I began to thickness the top as the tedious rosette process was done.
With my large kanna plane, I thicknessed the top and it leave a gleam on the top when seen under light.
As the top was being thicknessed, I also take note of the mass and the frequency response as well as the flex on the top.
When the readings reach my desired range, I stop the thicknessing and it was ready for the next stage.
I started designing and making the rosette while I was doing the neck and other things.
I wasn't quite sure how the rosette would turned out so experimented quite a fair bit in making the tiles for the rosette.
The motif I had in mind was based on the Romanillos arches but I wanted to simplified it a little.
No much photo was taken during the making as I was concentrating on the making instead.
In the end it turned out pretty well, I'd say.
The hard part is to form the arches.
This was achieve by having 2 blank with a triangular cross-section profile.
One blank was planed with a convex based plane while the other having a concave plane.
The final part was sanded using the blank itself to ensure the fitting.
Finally to glue up, a black veneer was sandwiched between the 2 blanks.
After that the blank was cut into tiles.
Next was to form the pillars which support the arches.
For this I use several blanks which include the red coloured bloodwood.
This part was relatively easier.
As the arches were formed using white as background the pillar section was similarly using white as background too.
After the tile is cut they are temporarily laid out to see the effect of the rosette.
Subsequently more tile variation were added to the rosette motif.
It has evolved to become like a train bridge of some sorts.
I jointed a centre piece for the embedding of the rosette tiles instead of embedding into the main top directly.
This gives me the option of trying out various designs before inlay into the top.
The inlay tiles were planed down to level and I proceed to cut the channels for the other pillar motif section.
After the 2nd channel is cut, I began to inlay the 2nd set of tiles with a pillar motif.
In between the pillars, I create a tile that sort of look liked water body with that green blue lines.
So together it looked like a sort of train bridge.
After that I level down the main motif channel mostly by sanding.
All the tiles were essentially end grain and it doesnt take planing too well even with a sharped low angle block plane.
After that I also cut the channel for the surrounding purfling theme.
The outer purfling is inlayed
After both purfling is inlayed the rosettte is cut to shape.
After that the rosette blank backing is thinned down almost to the rosette tiles itself.
This is to prepare for the inlay into the sound board.
Subsequently the channel is cut into the top and inlayed onto the top.
Following that I added a tinge of red purfling to the rosette to make it more compatible with the back wood.
The final rosette looks good and it is the most complex rosette to date.
After that I added a patch to fill up the hollow which will be covered by the fingerboard.
Then the patch is leveled to flush.
I also began to make the neck first by squaring the blank.
Squaring the blank will make marking the dimensions much easier.
Also I tried to plan the length so as to optimised the material used.
These necks will be elevated design so they are longer than usually.
I saw the scarf joint and clean the joint up with block plane.
Before that I clamp a guide block to ensure that the saw is tracking properly.
Then I just need to make sure the saw stick to the guide block.
If the sawing is good the clean up is minimal.
During clean up I just need to ensure that the surface are straight and aligned.
I made a new head template for the new guitar.
Basically mirroring 2 pieces then join them together.
It has straighter curves more inspired by Simplicio style of head which is easier for carving too.
I jointed the cut-off from the back to form the headplate.
Glued the headplate to the head.
Trimmed the headplated.
Shaping the head. The head was shaped using block planes and saws and files.
The tuner holes are drilled next.
I have the jig from LMI to guide the drill bit.
Just need to make sure the holes are aligned properly for the 2 sides.
I draw a centre line and extend the 3 lines and use a square on the other side to align the intersection with the centre line.
Next I saw away the excess headplate at the fingerboard end.
I had to make sure that the headplate is square to the fingerboard surface.
To do that I use the guide block to saw.
After sawing, I clean up with my chisel.
Next I drill away the waste in the tuner slots.
I use a smaller forstner bit than the one at the start and end of the slot.
Next I chisel away the waste the tuner slot.
The final sanding still needs to be done though.
I also cut the heel block making sure the grain alignment is the same as the neck.
This will ensure that during the carving stage will be easier.
I clean up the slot by filing and sanding.
Next I cut away the piece for the elevated fingerboard portion.
Stacked heel pieces glued. Only the middle portion were glued first in order to facilitate easier planing of the straight back area
The foot piece was gluedto the heel block.