Official Luthiers Forum!

What do you think is the widest/thickest rosette to imbed in a 000?

I’ve done several wider rosettes, around a 1/2” or more and didn’t care for the look. I thought they were too prominent as a design feature. Now I use in the neighborhood of 1/4” with more traditional elements which seems to suit my design sense better. Just my opinion and I do tend to lean towards more conservative design.

Edit: I should be more careful when I post over morning coffee. My steel string rosettes are about 3/8” wide and measure 5/8” from sound hole to outer edge of the rosette. I also use the wide, traditional rosettes on nylon string guitars.

_________________
Steve Smith
"Music is what feelings sound like"

Classical guitars often have rosettes approaching 1 inch in width.

Classic guitars are similar in size to 000.

Mine are often around 3/4 on classics and steel string.

You can cut some rings out of colored paper to get an idea how different widths might look on your guitar.

Narrower and asymmetrical seems to be the current trend.

_________________
Brian R, Wood Mechanic
N8ZED

I'll add to this that when using colored disks to get a picture of how it might look, don't forget about binding/purfling width. purfling width will have a larger than expected effect on the look of the body shape.

_________________
Bryan Bear PMoMC

Take care of your feet, and your feet will take care of you.

The 'three ring' style of rosette that is usual on Martins seems to go back to an early 19th century Classical style. Later Classical rosettes filled in the area of top wood visible between the wide central 'field' and the outer 'stringing' with more complicated marquetry banding. This makes the rosette look larger, even when it's not. They retained the field at about 1/4" width, although that has become larger and more prominent (and complex) over time.

In an article about Classical rosettes Clark pointed out that what's important is how the rosette looks from 6' away. Ideally it should compliment the look of the guitar, and offer something visually that will draw the viewer in. They do this with the tile patterns in the field, steel string makers often use figured or highly reflective wood.

Colors, and color balance, are important. Too much black or white can make it look 'heavy' or 'washed out'. A balance of warm and cool colors can compliment the colors of the wood in the guitar while also producing an attractive pattern to draw folks in. A lot of shell can blend into a 'mother of toilet seat' effect unless there is some demarcation between pieces.

This is one of the few places in a guitar's design that can express the makers identity. When Romanillos was working in England he devised his signature rosette based on the arches of the mosque of the Alhambra as tribute to his Spanish heritage. Cyndy Burton used a ring of the spalted maple that is common near her home in Oregon. It's tempting to just get a ring of inlay of some sort and slap it in, especially so early in the build process. A bit of thought can pay off later in a design that sets you apart, especially if you think of it as a focussing element in the overall design and wood choice.

Great points Alan.

I always build my rosettes as a separate item when they are a ring, even when a tiled design, and I usually let the customer select one they like if I'm building for someone. More modern style asymmetrical rosettes don't usually give you that option.

I think Alan's point about something pleasing to draw the eye is important.

Too small and you lose that attention getter.

Rosette and head plate are some of the main artists canvas on guitars

_________________
Brian R, Wood Mechanic
N8ZED