New guitar update, headstock veneers

Headstock veneers are finished. Back before I built my first guitar, I knew nothing and everything about headstock veneer.

When my boys first started playing a few years back, I took my first real look at an acoustic guitar. Discovering that they are in fact, largely made from the same 3/32” hardwood veneer, with which I have an intimate relationship, was very cool. I instantly saw the potential for my marquetry. I came up with my headstock shape when I was building my first commercial piece, Stars & Stripes. I was initially resigned to using a “classic” shape, as I assumed that every possibility had surely been tried. I mean, how many luthiers out there are trying hard to be original? I'd just gone ahead and used the Rickenbacker shape on my sons ¾ size electric, my 3rd build. Can you tell the tuners are on backwards? I learn all my lessons the hard way.

As you might be starting to realize, I don’t really know what the final guitar is going to look like right from the start. The design sort of evolves during the process of building. This is what keeps it fresh, and makes my work so much fun.

I was well into the flag motif before I’d settled on a headstock shape, and I was looking through my books on federal style furniture. This and the French empire stuff is some of my favorite. American craftsmen of this period used flags, eagles, shields galore. When I’m feeling patriotic I often turn to the finest pieces for inspiration. I was staring at a picture of a folk art gate in the shape of federal shield, with the scalloped top, when it hit me. How about a shield? I spent the next week or two searching for this headstock. Had it already been used? To this day I haven’t seen one like it, and definitely not on an electric, so maybe I just got lucky. Once I had it on the Stars and Stripes, I was struck by the resemblance to a “W”. It also seemed to work with my curly hearts, so I had my headstock and oh so original. Note the bookmatched walnut ground perfectly centered on the point. How many of you can do that?

Marquetry allows me to inlay the headstock veneer from underneath, prior to laminating the headstock. (just like with the finger boards and bodies.) The inlays are the full thickness of the veneer and a perfect fit. Below is the process of design in photos.

The foliage is drawn in. I am more precise in my artwork here due to the proximity of hardware. Note that final placement of the flowers will eliminate many intricate foliage details. The key to a successful panel is to cut the foliage in without regard to what will be lost. Then, the details that remain in the gaps between petals are more fluid. Coins are great for layout. Although , if things keep up, I might have to switch to little wooden circles.
Petals are cut in opposing pairs. Because the entire process is done by hand, it is no problem to switch the grain on each pair, around the center. This way the spalting radiates outward on each petal. Do you think anybody will notice this stuff on the finished guitar?

The walnut centers are cut with the grain at 90 degrees to the ground. And the logo, in flame maple, right over the top. Once sanded out and polished the shimmer of the curly maple should “push” the flower back and create depth. We’ll see. Note the piece of broken band saw blade. The back edge of this has been my scraper for about 8 years. You can see the shavings in the photo.

This one is my favorite. Flames are the same wood as the ground, curly maple, only with the grain of the wood at sharply contrasting angles. I've scraped it smooth and brushed on a little shellac for the photo, but it won't come into it's own until we get it past 600 grit. Note the cherry burl flames within the walnut lettering. Do you think anybody will notice this stuff on the finished guitar?

As an artist, I can envision the finished work and draw it in place, a layer at a time. The majority of inlay work is done from tracings that include all details on the same layer. My ability to produce the design in situ, a layer at a time is perhaps more similar to pencil and ink on paper.
When Heidi paints she uses a palette with a dab of each of her colors. My palette is made up of local hardwoods and when I’m cutting marquetry I end up with quite a pile. I am always searching for the perfect grain and color for each detail of a panel. It is from this chaos that my artwork emerges.

I’ve also got the back panels fitted up.

These are jointed on the edge sander, but without it being turned on. The belt is turned slowly by hand, and the pieces are offered up to the straight edge for a perfect fit.

These edges have to be airtight, for the joint is formed by hand, holding the pieces together for a couple of minutes with the assistance of a few pieces of tape. Finish seams must pass candling and the floppy test. After glue is fully cured I hold one edge parallel to the seam and flop the sheet to ensure a good bond.