twenty twelve guitars art update

It’s about bloody time I do another one of these.  Going to keep it short and sweet too!
Jon has been slaving away in his workshop on my new axes (amongst others) and they are both now starting to take some shape.  There were a few design changes here and there namely due to some limitations in the wood but nothing too major.

Design and Shape: 335 body with 3+3 Gibson/Belair style headstock
Body: Chambered swamp ash back and maple top
Neck: Indian rosewood
Fretboard: Ebony
Frets: Stainless steel medium-size
Scale: 28″
Inlays: Custom design, mother of pearl + sterling silver wire
Binding: body, neck, headstock, aged cream colour
Hardware: Tune-o-matic string-through, grover heads
PUPs: Seymour Duncan SH-5 + Custom ’59 SH-1
Finish: tru-Oil neck, body finish and colour TBC

Inlay art:
Numerous ideas have been floating in my head for inlay artwork.  I was keen to do something fairly simple, but unique and effective.  I didn’t want anything too complex or intricate as it simply would have taken a very long time to do and I needed to stick to a budget.

The first idea was originally conceived as part of a tattoo I never ended up getting (i’m too indecisive!).  Concept is to have a girl playing with a cat, coaxing and inticing it with a ball of yarn. Is it symbolic or representative of something? – Yes. Am I going to share that with you? – No, maybe one day 🙂

After revising which imagery could work the best, Jon and I drew up a template and Jon did some mock up inlays with different materials to see which would work best.


… and the finished product

The second guitar artwork was a bit more spur of the moment.  I was a bit inspired by rats and their symbolism after flicking through some of my housemate’s witchcraft documentation.  I then found some interesting sketches from a university thesis studying how rats attack different parts of the body.  Thanks google.

… and the finished product

F-Holes

Headstock templating

Binding + Cove idea:
Toying around with the idea of creating a cove next to the binding to make it more comfortable to play, I wasn’t totally sold on the idea but asked Jon to give me a sample of what shape and effect it would give.  I ended up deciding that it probably wouldn’t be the best for this shape guitar.  Perhaps on a solid body it would work very well but not this time around.

Jon rigged up his drum sander to accommodate with the extra wide body, an hour of sanding later one of the bodies was finished taking shape.  There’s more wood at the end of the neck blank than needed and some will be cut off and then glued back on to make up the appropriate thickness on the heel.  The grain should match up fairly well.

That’s all for now folks!

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