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RE: 19th century spirit guitar (in reply to estebanana)
With rosettes the deceptive thing is that it’s really easy to make a rosette with very fine detail and the rosette will be dead on arrival. It will just look like a postage stamp, impressive for how refined it is, but ultimately kind of boring and illustrative.
If you use fewer elements but pick the textures and colors the right way, then pay attention to the traditional formats, you usually get something that has vitality.
RE: 19th century spirit guitar (in reply to estebanana)
quote:
If you use fewer elements but pick the textures and colors the right way, then pay attention to the traditional formats, you usually get something that has vitality.
Easy for you to say, because you clearly have a talent for this.
The crenellation is another masterpiece from you. The outer/inner rings are classic Faulk. (Almost reminds me of Felipe V Conde! Visually close to being an inverse of the crenellation on outer/inner rings of a Conde boca de rosas.)
I also really like the cadence of the red in the inner/outer rings on the full size classical.
RE: 19th century spirit guitar (in reply to mecmachin)
These are the ‘parts’. Thank you for the kind comments. I’ll say I’ve made some far fetched rosettes, but I learned valuable things.
The traditional Spanish formats like rings with ‘rope braid’ motif or the crenelated simple Roman key design, with borders and solid fields of black work extremely well and have endless possibilities for variation.
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RE: 19th century spirit guitar (in reply to estebanana)
You’re your classical rosette is really nice but the spirit guitar rosette is exceptional. It’s like less is more and like I mentioned up thread how each colored element appears to be floating in the black makes it magical.
Of course you must know that we are in the realm of personal preference at this point it. It would be interesting to see how your classical rosette would look with the blocks spaced out just a little more or just a little bigger with more black background.
What’s cool about this is it gives me something to think about with my rosettes and how I integrate my tiles in my system as it were, making me rethink the direction I’ve gone or just bringing it to the next level which is really cool being inspired by another’s work.
HR
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I prefer my flamenco guitar spicy, doesn't have to be fast, should have some meat on the bones, can be raw or well done, as long as it doesn't sound like it's turning green on an elevator floor.
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