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Wow..... I love it. Wonderful work - and I think the "flash" is great - I don't think it's too much at all.

Nice work Chris. Great detail. I like how if you look closer you can see that there is even more to it than you catch on your first or even second glance.

Now what are you going to do while you wait for your books to show up?

I can just see you

"Well the books aren't here today, I guess I'll add another ring."

Glue CF into the X bracing, brace it and bind the soundhole. Check out the chladni patterns, and cut the sound port and figure out how I want to treat that if at all and then there's veneering the arm and ribrest and binding and purfs of course. I'm going to see if I can do a MOP herringbone for the top purf. I'm not sure whether I can pull that off or not??? But worth a try. The way to approach this inlay stuff is to just break it down into small sections and to take it a section at a time so that it doesn't seem overwhelming. Like a puzzle, a piece at a time. It takes time and patience mostly. And then it's onto the neck....

Chris,

Thanks for the reply about the materials. I am not really into torquoise on guitars, but it looks really nice in your rosette. I think the thinness of the lines of turquoise is why it works (for me) and I like it in your rosette.

Once again very nice work.

Looks great!

Now the pressure of building a guitar with tone to match......<smile>

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Formerly known as Adaboy.......

Thanks John,
Maybe I have opened your mind a bit on the turquoise use then. I'm open up to using anything for inlay on guitars as long as it's getting me the result I'm after.
I know there are a lot of people who don't care for shell inlay on guitars and the such and like the more organic look as I call it. But that's okay with me as there are things that I don't care for all that much either or just aren't to my taste. But then there is good and bad in all that stuff too. I can appreciate work that's not to my taste and still get some ideas or influence from them though. I've been reading up and wanting to get into Spanish rosettes and the block and plane method for the past year and this turned out to be a sort of study on using certain elements of the spanish design and inlay and ring designs. I kind of just let it take me where it did. I do that alot it seems. I start out with a fairly simple idea and the choice of materials or available materials at the start seems to give me ideas and evolve into more complex things. What ever it is it's fun for me and it's nice when folks seem to like the results.
Darryl, It's Adi spruce and a Dred! Just how bad can I screw it up???

Wow...

I usually don't like rosette with a lot of abalone and MOP, but yours is gorgeous !!! And by the way, thanks a lot for all your great ideas, tips and tutorials...

Chris,
looks like a well done job. Personally its a bit too busy for my taste, however it was well executed.

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Peter M.
Cornerstone Guitars
http://www.cornerstoneukes.com

Thanks Peter, There are a few mistakes on it for sure. But I think I'll be better off to leave well enough alone then trying to correct them. After all I'm not a CNC or Larry Robinson.

Wow!! That's a really awsome looking rosette Chris! Excellent design and workmanship!!
Keep up the good work - I'm looking forward to seeing the rest of this build now!!

Cheers,
Dave F.

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Cambrian Guitars

"There goes Mister Tic-Tac out the back with some bric-brac from the knick-knack rack"