The next Laskin for TAMCO UK

[Trevor M]

Due next spring sometime.

[cogito]

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)

[Trevor M]

The Mona Lisa was stolen at some point. Its the thief.

[KevinLPederson]

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.

[Dave Higham]

Originally Posted by The Acoustic Music Co (TAMCO) UK

The Mona Lisa was stolen at some point. Its the thief.

Pity Grit didn't draw the real thief.

http://en.wikipedia.org/wiki/Vincenzo_Peruggia

[billgennaro]

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.

[iim7V7IM7]

Originally Posted by Dave Higham

Pity Grit didn't draw the real thief.

http://en.wikipedia.org/wiki/Vincenzo_Peruggia

Perhaps he had a different model in mind?

[Grit Laskin]

Originally Posted by Dave Higham

Pity Grit didn't draw the real thief.

http://en.wikipedia.org/wiki/Vincenzo_Peruggia

Hi Dave,

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

[CoolerKing]

Artistic License is definitely allowed in this situation. Great job Grit and thanks for contributing.

[jaymarsch]

I am a big fan of your work, Mr. Laskin, and it will be fun to follow this one as it progresses!

Best,
Jayne

[Grit Laskin]

Originally Posted by jaymarsch

I am a big fan of your work, Mr. Laskin, and it will be fun to follow this one as it progresses!

Best,
Jayne

Thanks everyone, for all the kind words. I'm sure Trevor will keep you updated as I send him images.
Grit

[Trevor M]

Here's some build photos.

[billgennaro]

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)?

[Grit Laskin]

Originally Posted by billgennaro

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)?

Hi Bill,

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.

[TomB'sox]

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