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.
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