I’m using the AGF app on my iPad to post, and it looks like I’m doing something wrong- everything duplicates. I’ll figure it out and see if I can edit the redundancies out on my computer. Sorry for all the clutter!

Not seeing duplicates, Steve. Please PM some of the steak! I just finished my workout and I'm starving!!

Never mind about the duplicate photos- they just showed up on my iPad, but not the computer. I need to learn my way around the app a little better.
Attachment 12015Moving right along... I made a four-piece, segmented back inlay, using marbled Gabon Ebony, picture-framed with flamed African Aniegre and red veneer lines. I have this weird habit of implanting copper and shell dots into stuff, and I couldn’t restrain the impulse this time. Fortunately, Mike was okay with that, and suggested I drop three more into the lower section. You’ll see that in later photos. Attachment 12016Attachment 12017This theme will also follow on the end graft.

After the center seam inlay on the back is done, it’s time to brace the back... And then move on to the rosette. Mike had a couple of ideas, and the one we settled on was my signature rosette, which I call the Element. It’s an asymmetric design, with a lot going on; it takes a couple days to make from start to finish, as there are a lot of detailed steps involved. I really enjoy this process.
I can actually make an element rosette in a workboard, and put the whole thing together in a unified piece. When it’s all done, I rout the rosette channel in the top and inlay it. Then, the sound hole is cut out and bound. I always bind sound holes, both for the style points, and to protect that soft end grain of the redwood from years of onslaught from picks and fingernails.

Attachment 12018Attachment 12019Attachment 12020Attachment 12021

Looking great as always Steve!
I'd be very interested to see your process for building such an intricate rosette.

Me too...
 

This happens to me too when using my iPad and the AGF app to post pics. They are double on the app but fine on the old site. Some iPad glitch I wager.

This is going to be a beauty and I am enjoying it from afar!

Yay for bevels! They are a fab invention and sure make the guitar easier on us old guys... and the steak and peppers look yummy too!

Have fun, and keep us posted!

Cheers

Paul

I love this set. Steve showed me some more highly figured Macassar Ebony, and it was both pretty and tempting, but my vision for this guitar was a bit more sedate. Or maybe "linear" is a better word, because these woods have figuring. At any rate, the straighter, more uniform look appeals to me, and I know I will never get tired of this look.



This is an area where Steve was easy to work with. He ran the idea by me, as he said, with the dots in the upper section, and I wanted a bit more symmetry and asked his thoughts about the lower section. I sent three mock-ups and gave him right of acceptance/refusal on any or all, he picked the one I would have chosen if the three were in front of me. I don't know how this will tie into the end graft, we've got a strap pin/jack for a pickup - I intend to use this guitar at gigs whenever possble - but that'll be up to him. I don't know if some elements will make into the inlays...we'll see where Steve takes it!

Full disclosure on the rosette, I was being difficult. :) Steve had an idea for a rosette, and assembled it. It was beautiful, but didn't fit my vision for what I wanted. It wasn't easy sharing that with Steve. He was pretty excited about it, and it was very pretty. Again, he made it easy. I had an idea of perhaps an abalone ring, surrounded by two ebony rings...not fully fleshed out. Steve asked me to send images of what I thought I'd like, and also directed me to his gallery. While looking at the gallery, I saw the Element rosette, and really liked it. I sent a few images of a couple of other, far simpler rosettes, along with an image of the Element. I said that, if we could do something like the Element rosette, it would be amazing, though I didn't realize how amazing at the time I said this.

For those of you that know Steve, it's not a surprise that he is a spiritual man. It's an area that we connect with. I mentioned earlier that Steve donated a guitar to help me honor my nieces. It turns out that the very guitar Steve donated had the first ever Element rosette. The fact that I chose that...it resonated. It may be Steve's signature rosette, but to me, it's Jordan's rosette, and it will connect her to me and my music, always. That's priceless.

I’ve always enjoyed making rosettes. It’s one of my favorite parts of guitar making. Rosettes define the overall aesthetic and visual character of a guitar. I’m glad Mike opted for an Element style, because they are my favorite ones to make.
I had two identical sets of Sinker Redwood, and without consulting Mike first, I got an idea for a rosette I wanted to try out. A three-ring design, with cross-grain Zebra wood and Spalted Maple. It came out okay, but I agree with Mike- the Element is the better design for this guitar. And the extra benefit is, I can use this other top for a future spec guitar, hopefully one I build for a guitar exhibition. Since Mike mentioned it, I thought I’d show it to you guys. Here it is...Attachment 12033Attachment 12034

Finally figuring out this app! Let’s move on to the closed box. Here are some random photos of the guitar before and during the binding process. In keeping with the rest of the decorative elements, I made some Ebony bindings with flamed Aniegre and red veneer line purflings. On the back of the guitar, the purfling is exactly the same as on the sides.
As previously mentioned, I initially suggested using marbled Black and Tan Ebony for the bevel trim; but Mike preferred solid black Ebony. Wow, he sure called that one right. I’ll show you what I mean shortly. First, here are those random photos...Attachment 12035Attachment 12036Attachment 12037Attachment 12038Attachment 12039Attachment 12040 I’ll post some photos of the fully built and bound box shortly, as soon as organize the photos. Thanks for looking!

This rosette is very nostalgic Steve. At the very start of my journey into luthier built instruments where I was commissioning my very first Michaud, Joel had borrowed one of your rosettes for one of his earlier builds and it was the nicest rosette I had seen, I wonder if you remember me telling you that hahah

Great you see you back on the forum! Congratulations Mike on the upcoming guitar - exciting times :D

Hey, Marcus, great to hear from you! Thanks for visiting this thread. I hope everything is great with you, and you are busy composing and playing your brilliant arrangements on your Michaud guitars. Yeah, I do remember you mentioning that rosette, and I was really honored and proud that a luthier of Joel Michaud’s prodigious talents would be inspired by one of my designs. I think the Element-style rosette he made was nicer than any of mine!
I would like to mention also, why I call this the “Element” design. Some years ago, I built a Performance Florentine model guitar for another of our longtime AGF denizens, Ernie Elemento. He set me on this path, asking me to try some new asymmetric designs for rosettes, and also design a new bridge shape. He and I were both pleased with the outcome, and the Element (from Elemento) rosette and bridge series have become my most popular designs.
This is how my guitars have evolved- building custom designs for discerning clients who bring their own ideas into the build. Exactly what Mike and I are doing with this Eclipse.

Here are some photos of the guitar in its current condition. I finished up the bevels yesterday, and I am SO GLAD Mike requested solid black Ebony trim. I’ve made several dozen bevels, but have never done them with solid black Ebony, usually choosing figured woods instead. I’m very pleased with the clean elegance of it.
Bear in mind, we are also using solid black Ebony for the bridge, front headstock, and fingerboard, so this theme will carry across the whole guitar.Attachment 12043Attachment 12044Attachment 12045Attachment 12046Attachment 12047Attachment 12048
The end graft inlay is a continuation of the segmented back inlay; and we are putting a pickup in the guitar, so I positioned the copper/shell dots to accommodate the pickup jack. It will be in the center of the end graft.
In the picture of the guitar on my workbench, you may notice the coiled black tube under the guitar. I want to mention this to other luthiers. It’s a mountain bike inner tube, filled with coarse sand, and tied off at both ends. This is simply the best guitar “cradle” you can use, because it conforms perfectly to the rounded backs and tops, provides a no-skid base for the body, and is made of nitrile rubber, which does not react to any guitar finish. It costs about six bucks for the materials to make one, or even less if you are a bike person who goes through a few inner tubes a year. I call it the Blacksnake. Make one or two for your shop, and you will wonder how you ever managed without them! Here’s another shot:Attachment 12049 I should also mention, to all you guitar players- you should also make a blacksnake guitar cradle, and use it when you change strings and do routine maintenance on your guitars. Also, buy or make a neck cradle. You will thank yourself, because everything will be so much easier and more secure.

Now I know what I am going to do with that tube I have been saving. I knew it would be used in some way for my building but I have not figure out the best application. I wanted to make a neck cradle with lead bird shot but the stuff costs an arm and a half. Also was looking for some leather to use, I think I have a small wheel innertube somewhere.