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Here you have one of my favorites. Olivewood and bloodwood on Cedar.
Anders, what do you use to fill in the spaces between the Olivewood? That's my personal favorite of your rosettes by the way. I also really like the one.
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Does anyone here have (or have seen) any steel guitar like rosettes on classical/flamenco guitars, like solid wood ones? Pics or links? Just to see how it fits...
Check out Peter Tsiorba, Les Stansell, Jeffrey Elliott...
from the builders perspective, is the wood inlay (like one of anders rosettes) easier to make than the mosaic tile rosettes? I've only done the mosaic tile way and its pretty hectic to make all the veneers for the veneer log.
I think i'll try this type of wood inlay for my next guitar, I think it's an interesting mosaic design because each rosette is different and it looks organic
What is the black strip in between all of the olivewood on the rosette on the previous page?
This one is kinda festive, I like the braid to go one way like some of Manuel de la Chica guitars. As if, right. My old label which I'm thinking of switching back to.
So I'm all over the map, but right now I have been working on a simple what I call rings of Saturn variation on the Santos rose I showed earlier. Sort of like that Esteso rose. I can't make the same rosette every time, but I'm working toward a closer variation on a theme style. Not so much difference between each one, but still simple.
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And a fast & dirty vihuela rose and bridge. My old girlfriend was a soprano who sang early music. I made this vihuela for her group at that time, Ensemble Calisto. They recorded with this vihuela and it sounded quite lovely. I wish I could get some real parchment instead of water color paper.
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Simple is good. I dont like these totally overdone big rosettes. They completely dominate the guitar. The Hauser rosette that Orson posted is very beautifull.
Thanks again, Richard, for providing the photos. For me too, that would be a bit too much of ornamentation, eventhough it demonstrates admirable precision work.
Having said that, what impresses me personally is how old school luthiers and carpenters would accomplish miniature inlays with the humble means of their time. ( Like with the original from Torres.)
Then again, I and likely vast of contemporarys are about to realize that not only younger history but ancient and even prehistorical times were not remotely as primitive and ungraceful as we used to think until lately.
Yesterday I saw a documentary about ancient devices. Some from thousands of years ago. Like for instance an hydraulic automat for handwashing. After receiving a coin the automat would first release a soap ball and then run water. And that thing is still functioning today!
Already cavemen´s tool making was incredibly advanced and ergonomically sophisticated. The clock is being predated for a couple of tenth of thousand years back to match the actual period of modern homo sapiens ( and neandertaler, for that matter ), which again and altogether helps evaluating actual status quo ( and its partially unbelievable / destructive backwardedness ).
Below the deco of a guitar of mine.
Ruphus
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Anders, what do you use to fill in the spaces between the Olivewood? That's my personal favorite of your rosettes by the way.
It's mine too because the olive wood came from a pile of leña, which is such an important part of life in the mountains of Andalucía for many months of the year. It's the only source of heat for most. I can still smell its comfy aroma from the estufa that Anders gave me. Hapy days.
A direct connection from Andalusian life to the guitar.
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