KENT CHASSON "Craftsman Style” Concert No. 99 (Engelmann/Wenge)

[iim7V7IM7]

Kent made significant progress this week on KC #99. His vision and interpretation of the "craftsman style" design movement is coming together into a unique instrument that while "different" from many of his other creations, also incorporates many of the elements of the "Chasson" aesthetic that attracted me to Kent as a builder as well.

Here's a view of the backstrip, together with a wenge heelplate with matching catalpa inlay to terminate the pattern.



The in and out surfaces of the backstrip design can be seen here along with the mahogany neck.



A simple raised, chamfered catalpa end graft both mirroring the backstrip and a gentle arch reflective of the truss rod cover.



A raised, catalpa rosette with mitered edges and a pattern of dovetailed joints can be seen here along with a cantilevered fingerboard terminus with a convex arc to mirror the headstock.



Coming together...

[Kent Chasson]

I just wanted to reiterate that this has been a collaborative effort and a very rewarding one. I started to design a Craftsman style guitar years ago and put it aside due to the amount of work it was taking. Bob was inspiring to work with and provided hundreds of ideas and lots of feedback along the way. I'm really looking forward to the next one!

Finishing starts today. Hope to be playing this in a couple of weeks if the finishing process cooperates.

[psychojohn]

Awesome looking guitar. Very tasteful, yet stylish.

[Jimmy Caldwell]

Kent,

I've been following this one pretty closely and am very impressed by the level of detail you guys have put into this. I'm a big fan of the Arts & Crafts style and have had something like this in the back of my mind for years. Nice to see you and Bob have made yours a reality. I'm very anxious to see the finished product.

[gregg]

Good to hear from you, Greg. Hope all is well.

This thing is almost ready for finish. I'm putting on the heel cap and cutting the pocket for the adjustable neck. Then the end graft. Hope to get all that done today.

I'm also doing a second round of finish samples to figure out how to keep the open-pore texture but reduce the depth of the pores. I think I have it...

Hey Kent, yeah I'm doing great thanks. Actually finishing up a guitar this week, then I might actually put a build thread on here soon. But, back to your work, really like the direction you have taken and I'm sure your instruments sound fantastic these days. Take care my friend.

[iim7V7IM7]

Kent is being kind, which I have discovered to be his way.

When I selected him for this commission 8-months ago; it was not only because I liked the style of his instruments and felt that he understood tonally what I was going after. I could tell through discussions that he had both design knowledge and a long-standing personal passion to create an instrument in this style.

I think the design that Kent created a design that successfully exhibits the following principles:

1. honest construction: e.g. functional joinery becomes an aesthetic feature with no ornate decoration. The dovetail joinery of the rosette and tenon-like truss rod cover and end graft.
2. simple lines: e.g. use of the rectilinear, use of clean arcs, subtle tapers, visual alignments is seen throughout the design
3. quality of materials: e.g. quartersawn woods, dark colored elements like the tuners, tuner buttons and saddle as a surrogate for cast iron and patterns in the backstrip and fingerboard reflective of stained glass
4. elements in nature: e.g. Color palette, ornamentation both realistic and simplified/abstract

Always patient and open to ideas, he has put up with my ideas, input and critique. He has also known when to push back. What I have enjoyed about this project, beyond the stunning end result was letting go of formal, prospective design tools such as drawings and trusting the "craftsman" create many of the design features by working with the wood itself. I am also excited to see KC No. 100 move ahead....

Hey but we're getting ahead of ourselves. I still think there may be a few things up Kent's sleeve left on No. 99 before its finished....

[iim7V7IM7]

Kent applied a single coat of McFadden rosewood pore filler to the Wenge to fill the larger pores. You normally would apply a number of coats to avoid future shrinkage. But in the case of No. 99, a single coat has been applied to intentionally allow for future shrinkage to maintain a sense of natural texture in the Wenge. This should reduce the specular highlights caused by pores once the finish goes on.

Here is the product "mudded" out on the body (don't be afraid, it comes off)...



Here is the body after a bit of sanding...





The first coat of the Tru-Oil finish has been applied...

[kirkham13]

It's coming out great. Possibly a satin finish? Anyway, very very nice.

[iim7V7IM7]

Almost satin, but a touch different (far from gloss)...Kent wants the honest textures of the wood to be featured in the design. Kent has been experimenting with different finishes. The design has many inset surfaces so spraying a wet out of laquer or poly would be beyond challenging. Kent is hand applying a Tru-Oil finish. He had to do a whole bunch of experimentation to develop a technique to achieve what he was after.

Originally Posted by kirkham13

It's coming out great. Possibly a satin finish? Anyway, very very nice.

[jay7347]

This is such a cool style... love it!
-jay

[iim7V7IM7]

I misspoke in my posting last night.

The photos above actually have the first coat of Tru-Oil varnish applied with a French Polish type technique over the McFarland Rosewood Sealer. Hence the slight bit of satin sheen on the Wenge and some beginnings of flame in the Catalpa in the images. This will be a multiple coat with sanding or steel wool in between type process to achieve the desired finish.

Here is some information on this type of finish:

http://www.mandolinluthier.com/Hfinish-tru-oil.htm

[iim7V7IM7]

Starting to get a bit more sheen than satin as the Catalpa rosette shows some flame and mitered edges among the dovetails and a bit of tint and cross-silking can begin to be seen on the Engelmann top.



Again, a bit more sheen on the Wenge back and sides, the Sapele binding shows a bit more contrast and some more flame developing in the Catalpa backstrip (like looking through a window at the outside).

[ecguitar44]

LOVING how this is turning out.

And I'm digging how much the Wenge is a great visual substitute for quartersawn oak (which is the "usual" aesthetic for "Craftsman"). Awesome build!

[justonwo]

Great design on all fronts. I love the back strip. I agree the wenge creates a ver nice canvas.

[iim7V7IM7]

Yes, that was the plan...to emphasize the quartersawn oak look (albeit a difference hue) along with its texture (hence the non-traditional finish using the polymerized linseed oil finish). I too am pleased with how it is turning out.

More importantly, Kent felt the Wenge was also appropriate for my tonal goals as described to him.

Originally Posted by ecguitar44

LOVING how this is turning out.

And I'm digging how much the Wenge is a great visual substitute for quartersawn oak (which is the "usual" aesthetic for "Craftsman"). Awesome build!