#1
|
|||
|
|||
The next Laskin for TAMCO UK
__________________
Trevor. |
#2
|
|||
|
|||
Love the subject matter and the design - should be another phenomenal work of art by Grit. Who is the man on the headstock supposed to be? (He's pretty clearly not Da Vinci)
|
#3
|
|||
|
|||
The Mona Lisa was stolen at some point. Its the thief.
__________________
Trevor. |
#4
|
|||
|
|||
super cool concept. I'm sure it will look mind blowing with Grits techniques and stylings. I love this kind of stuff!!
Very cool. Keep us updated on this. Kevin. |
#5
|
|||
|
|||
Quote:
http://en.wikipedia.org/wiki/Vincenzo_Peruggia |
#6
|
|||
|
|||
Won't be as pricey as the Mona Lisa but I'll bet Grit doesn't come cheap. Not that I'd expect you to tell us but one can't help wondering what Grit would charge for something like that. I couldn't even venture a guess. But it will sure be a beautiful piece of collectable artwork.
__________________
Bill Gennaro "Accept your lot, whatever it may be, in ultimate humbleness. Accept in humbleness what you are, not as grounds for regret but as a living challenge." |
#7
|
||||
|
||||
Quote:
__________________
A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#8
|
|||
|
|||
Quote:
Not a bad point. That same photo you found was the only one I could unearth. And a straight on view was not what I wanted. Not knowing what Peruggia might look like any other angle I chose a friend who was around the right age, and used him as my model. And of course I had to imagine the scene from text reports of how he got the picture out of the Louvre (under his smock). Given there was much artistic license in the depiction--and humour throughout the inlay design--I felt no lack of my model not matching the real culprit. But since you pointed this out, I'm re-thinking a bit. I may indeed give him Peruggia's big moustache, so thanks for that. Cheers, Grit |
#9
|
||||
|
||||
Artistic License is definitely allowed in this situation. Great job Grit and thanks for contributing.
|
#10
|
|||
|
|||
I am a big fan of your work, Mr. Laskin, and it will be fun to follow this one as it progresses!
Best, Jayne |
#11
|
|||
|
|||
Quote:
Grit |
#12
|
|||
|
|||
__________________
Trevor. |
#13
|
|||
|
|||
Comin' along! I'm just curious, when does he begin the inlay work (cutting the pieces of the design, not actually inlaying them in the instrument)?
__________________
Bill Gennaro "Accept your lot, whatever it may be, in ultimate humbleness. Accept in humbleness what you are, not as grounds for regret but as a living challenge." |
#14
|
|||
|
|||
Quote:
I move into inlay 'mode' once the body is entirely assembled, bindings glued on, but before I start fitting the neck (and before the heel block is glued on--I do a 2-piece neck). I then design and cut the entire inlay but proceed to complete only the headstock portion of the inlay, to get it done before the fretboard is glued on. This way I have clear access to 100% of the headstock area with tools. Once the headstock portion is inlaid, engraved, 100 % completed, then I go back into woodworking mode and fit the neck, carve, etc.. I don't inlay the fretboard until after the final sanding of the finish, the body and neck are attached, and I've radiused and angled the board. The inlay is the last work just prior to fretting. |
#15
|
||||
|
||||
I don't mean to be a bother, but what materials do you plan for your inlay...it is so detailed, I have not see any of your other work, just wondering how you are going to pull that off?
Thank you |