Tale of two rosettes: 7 moons and a city

I don’t think I can be accused of boring rosette designs… The two guitars that I am currently building are going to feature two of my most unique soundhole decorations yet: the phases of the moon (except the new moon – I might inlay that somewhere else on the guitar) and the skyline of Hamilton, Ontario.

Lunar phase rosette

This rosette is for a guitar (number 021) commissioned by a student at the university of Ottawa. This will be a traditional cedar topped rosewood classical guitar with some modern design features. The guitar will have a maple fingerboard (I’m leaning towards birdseye to complement the other birdseye inlays on the guitar). He requested a rosette that featured the phases of the moon, and this is what I came up with!

I started by drafting the design on paper so that I would know the placement of all 7 of the moons that I would be inlaying. Then I got to work on the inlay.

First I inlayed a ring of rosewood with fine white veneer lines on either side. I first made the rosewood ring from a cutoff from the back of the guitar, and then excavated the channel with my circle cutter and a couple of chisels. Someday I will get my dremel or a router set up to do this work.

Here is a closeup of the inlay – one of my cleanest yet!

As you can see, I marked the locations of the moons with pencil line spokes radiating from the centre of the soundhole. These are not spaced evenly as the moons will not all be of the same size.

Next, I started inlaying the moons. The first was the full moon, which is at the bottom of the rosette (towards the bridge). This was cut out of a piece of birdseye maple with a 23mm diamond hole saw and was inlayed into a hole cut out with a forstner bit. (I talked about buying these drill bits in my last post). I used a thin piece of black veneer to edge the moon so that it would have a bit more of a finished look.

Here is the second moon ready for inlay with the eclipsed portion of the moon cut out of ebony and the moon cut again from some birdseye maple.

I used a hole saw bit to cut out the circles and then used a Grobet Jewelers Saw to turn the circles into part moons. I have had the jewelers saw for years and have never found a use for it until this project. It worked really well, so I’ll be using it more for future inlays. To clean up the cuts and make sure that the pieces fitted together perfectly, I used a piece of dowel wrapped in sandpaper.

I clamped each of the moons individually by using a piece of green tape as an initial clamp to keep the pieces in place, and then applying pressure with deep-throated C-clamps and wooden cam-clamps.

After that, I just continued to inlay the remaining moons and then spent a good amount of time cleaning up and levelling the inlays.

I should note that I did not thin the soundboard before inlaying the rosette. I have been doing this on all of my recent builds, and I am probably going to continue to do that for the foreseeable future. Firstly, this allows me a re-do on the rosette if I make a mistake the first time – this happened a few guitars ago. This also allows me to inlay the rosette, clean it up, and then level the good side of the soundboard a second time, as I always end up making a bit of a mess when I am inlaying a rosette. When I am confident that the rosette looks good and the soundboard is flat, I flip the wood over and do the final thicknessing from the “wrong side” of the soundboard. I thinned this soundboard to about 80 thousandths of an inch (2mm).

Here is the finished rosette after all of the clean up, soundboard thinning, and cutting out the soundhole:

Hamilton skyline rosette

This rosette is for guitar number 017 (yes, my numbering system is all messed up because of a few partially complete guitars and my sporadic work schedule), and will be donated to the Hamilton International Guitar Festival as a prize for the winner of the competition this July. This guitar will have an Engelmann spruce soundboard and spalted maple back and sides with rosewood detailing in various places. I think it will be a very pretty guitar if all goes well.

This rosette was done in a similar fashion to the lunar phase design by starting with a simple ring inlay and then inlaying the fancy bits afterwards. I also inlayed this rosette before thinning the soundboard in case something went wrong (happily, it did not!).

The inlayed basic ring on this rosette was much more narrow than on the lunar phase design, so I used two strips of dark brown veneer in a narrow channel rather than attempting to cut out a 1.5mm thick rosewood ring.

I designed the main part of the rosette to be asymmetrical, with most of the rosette being a simple rosewood ring and the skyline sitting on the bass side of the soundhole. I glued two pieces of rosewood together (leftover wood from a back), thinned the piece to just under 2mm thick and then glued my paper design to one face of the rosewood. I cut the circular outer part of the rosewood piece with my circle cutter. I left cutting out the inner circle until the end so that I would have maximum stability while cutting out the intricate skyline.

Here is the inlayed narrow ring with the rosewood blank ready for cutting:

Next, I used my jewelers saw to cut out the skyline while clamping the wood firmly in my vise. After cutting very close to the line with the saw, I just had a bit of tidying up to do with my craft knife and a bit of 320 grit sandpaper. Here is the inlay piece ready to go with the paper partially removed:

And a picture of the tools used to cut out the design:

All that was left was to cut out the inside circle with my circle cutter, leaving me a ring with a skyline growth on one side.

I then had to cut the channel for the inlay, which I did with a combination of my circle cutter (for the circular bits), my craft knife (to trace the skyline onto the soundboard), and various freshly sharpened chisels. When I was happy with the fit of the inlay, I glued it in – it fit fairly tightly, with just a couple of tiny spots to fill later on. Here is the inlay after it was dry and before I did (almost) any clean up:

And here is the final product, all level and mostly tidy. (I added the narrow poles/steeples after the clean up with small pieces of dark brown veneer.)

Finally, for a bit of a reference, I thought I would share a picture of the skyline image that I stole from the internet and traced (with some adjustment for practicality and the curve of the rosette) – I have to say, I am pretty pleased with how close it looks to the original!

Now that the rosettes are complete, I’ll be flipping the soundboards over to brace the guitars before turning my attention to the neck. As I am writing this in advance of posting it to my blog, the progress might seem rather quick between this post and the next building update, where I will show you the progress on both guitars. Hopefully by that point they will actually look like guitars – it is going to be a busy few weeks!

Advertisements

Published by

Emily

I play guitar. I build guitars when I can. I enjoy all sorts of music, but Baroque, 'classical' guitar music of the 19th and 20th centuries, and jazz music hold special places in my heart. I am using this blog to document some of my adventures in guitar building, performing, and teaching, and hope to give my readers a bit of a look at the world inside a guitar.

3 thoughts on “Tale of two rosettes: 7 moons and a city”

Join the discussion

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s