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Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
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I can have a play making something similar out of luminous powder and resin and see if we get something I can use here.
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i assume other hardware supplies from japan will be getting it quite hard by this.
if you can that would be good, although looking into powders I might be able to give more colour options if I make my own. also more options for the outer ring
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I start by marking on some contours
Then it's time to route some ledges, I freehand these here. I have templates I made for a LP carve, but its just to remove bulk material for the carve, so doesn't need to be (and isnt) perfect. I moved outside the workshop for this as its a nice day and it makes a lot of mess
After that I added the neck angle to the top, and started going at it with a violin plane and curved scraper.
Eventually we have a nicely subtle carved top plate
This plate is 8mm at the outer edge and a full 24mm in the centre. Thats quite a deep carve for a small guitar, so I'm happy I managed to keep it o smooth and subtle.
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We had the same Luminlay discussion and other stuff from Japan on the Basschat forum. It's all a bit of a challenge!
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Board isn't attached yet, but its bound ready to go on
Walnut headplate is on, binding is cut and bent to fit
Interesting wood patterns round back from the marbl3d paduak, looks like bacon. should be fun once carved
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I have started the carve on the inside using the drill press method to mark depth
Guess i need to start thinking about F-hole and control layout as i will need to sort all that before attaching the top to the rims
the Languedoc's used for inspiration come with 3 styles of f-hole. Single slash and double f-holes shown below, and a slash both sides. They also tend to group the controls very close to the bridge
Originally I was thinking of 2 f-holes, but need to plan it carefully as the dog ear mounts may end up quite close, add in the controls in those locations and it could look quite messy in that area.
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next stage is to use a gouge to remove most of those drill marks like this
My drill press doesn't quite reach the center, so i'm slowly working down the bump there. once that is done i will finish off with a small round bottomed plane and scrapers to make it all flow nicely and go further out to the edges and slightly into the horns
yes, there is a small void on the join of the top, but it's in an area that will be routed away by the neck pocket
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I am working with flatsawn wood here, which looks lovely but is more likely to warp as it settles into into new complex shape. Not too much of a problem, but it means I need to go slow and give plenty of time for things to settle before the next step. The good thing about cherry is it changes colour quite quickly, so it acts as a guide for where I have already worked and a quick scrape on the oxidized surface shows any bumps really clearly
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