Designing Your Guitar
My guitars have name and personalities. I found myself drawn to the third guitar I build because the decorations just seemed happy! I like to build to a theme, and then use color and beautiful wood to create a guitar that calls to people. I don’t do much fine detail work because I think the guitar starts to look like fancy furniture instead of something meant to be used. I put my star on the heel cap and use the headplate to create an inlay that means something to the owner or ties to the theme of the guitar. I add a few details as a call to the past with a Bird’s Beak Volute and small Pyramids on the bridge. The details let everybody (including the guitar) know that it is special.
Using technology to improve my guitar building means that whenever new materials, CNC fabrication of parts, and electronic measurement improve my product or solve a problem — I use it. Gore’s equations and measurement methods have helped me get to 50 guitars in just 5 builds. Carbon Fiber in construction helps keep the guitar top light and stiff. The visual design and knowing how to apply technology are definitely an art.
I think of designing the guitar as the materials, colors, playability, and tone that the player desires. The size, shape, and construction details have been determined, driven by the size of the guitar and the scale length. My hope is that you can check out my work to consider what you might want in your guitar.
Inlay
I use inlay on the headplate. This is really the only real estate on the instrument for artwork. I started out putting my dancing star the guitar headplate. I was blinded by the manufacturers and thought that everyone needed to see my star to know that Elaine Seat built it. This was not clear thinking. Now I think of the headplate as a place for artwork. It can be your spirit animal like #13’s white raven, or a beautiful flower like the cherry blossoms on #17. I use shell, colored wood, Here’s some info about shell. Paua Abalone is the blues / greens shell. It is rare and expensive, AND doesn’t show up well as it blends into the background. Check out Guitar 16.
If you are using ebony as headplate, fingerboard, and bridge — Mother of Pearl is striking. And beautiful. Check out Guitar #13.
Gold Mother Pearl is very cool. It is difficult to keep it Gold as the top gold layer sands off in the finishing and leveling process unless you are VERY careful. But, and the gold comes off, it is a white background with all sorts of colors shine as the light hits the differently. The cherry blossoms are Gold Mother of Pearl with paua abalone for the stems. Black Mother of Pearl has a gray with pink / green tones look. You can see on Resonator 005.
Color
I use color in two places: the overall tones of the guitar, and subtle use of complementary color to engage the user.
Color Tone
I use color in two places: the overall tones of the guitar, and subtle use of complementary color to engage the user. So, don’t build a guitar based on color! But one you determine the tones you want from the top, back, and sides — I believe some colors work together better than other for the decorations. You can look at the guitars shown on this website and see the tones of the wood and different decorations. I love the combination of sitka spruce, Rosewood, and Cherry. All of these materials have pink cast, and as the instrument ages, it seems to melt together. An Adirondack (Red Spruce) top has more of a yellow cast, a seem to hold their light color better.
Color Surprises
I like to use colored veneers on the bindings, purflings, and in the rosette. This secret instances of color can really make the instrument special.
Rosettes
My rosette is a custom shape of two offset circles with color / shell / wood segments. I find it simple and elegant but difficult to make if you aren’t careful.I make the wood segments from leftovers of the back or ebony. The opposite segments are epoxy or shell that matches something else on the guitar.
