Official Luthiers Forum!

I've been good friends with Peter Cree for over 3 years now since he persuaded me to make a guitar for his Art Guitar project. Peter "paints" using pigments and nitro-cellulose lacquer, creating an acoustic finish as thin as any applied by the great hand builders and finishers. He has just finished a commision for C.F.Martin & Co on one of their 12 fret OO guitars based on the art of the Anasazi people of the American Southwest that will be unveiled by Martin next week at the NAMM Show in Austin, Texas. The guitar is fabulous:



Peter has a photo-documentary of the process on this guitar here on his website. Fascinating stuff.

This is what he did to the guitar I sent him 3 years ago:

_________________
Dave White
De Faoite Stringed Instruments
". . . the one thing a machine just can't do is give you character and personalities and sometimes that comes with flaws, but it always comes with humanity" Monty Don talking about hand weaving, "Mastercrafts", Weaving, BBC March 2010

Neato!! Dave, on the first one, are the tuner buttons painted or is that turquoise?

Ron

_________________
OLD MAN formerly (and formally) known as:

Ron Wisdom

Somewhere in the middle of Arkansas......

Dave, very cool. I had a local artist do the same thing. We both donated it to a charity auction and it was the highest bid piece there (even above the Jamacan vacations and such).
Here's mine:

I am an art fan of all most all types and I find the art on these amazing but I have to say I am not very enthused with it on guitars. Just a personal thing. I guess I just like to see the wood on guitars.

Spoken like a true Zootaholic.  What step are you on Michael?  They are interesting though.

_________________
Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

Ron,

If you go to the link I posted it has all the details. The tuner buttons are turquoise as are most of the fingerboard inlays.

Paul,

That's nice - I'd be interested in the technique your artist friend used. Peter doesn't just paint and then lacquer over it. This is how he describes it:

"The purpose of this work is to use a traditional and proven finish technique in a totally new way. By moving decoration onto the soundboard of a stringed instrument, I defy the notion that you can't decorate the top without compromising the sound. Adding pigment into the lacquer and applying with a brush, I sand flat and repeat until the image is built up and defined. This technique results in an ultra thin finish that rivals any other in volume and tone, while giving a dynamic visual presentation. Four years ago, after many years of experimentation, I began this project to show that an alternative to the traditional gloss, matte or sunburst finish can be accomplished. Now with this innovation, painting is possible on the soundboard. One can incorporate motifs from all cultures and any visual art design onto the surface of fine stringed instruments."

_________________
Dave White
De Faoite Stringed Instruments
". . . the one thing a machine just can't do is give you character and personalities and sometimes that comes with flaws, but it always comes with humanity" Monty Don talking about hand weaving, "Mastercrafts", Weaving, BBC March 2010

I know it came across snobbish. I did not mean to but JMO It really makes me Ill just kidding

Faberge Guitars, so to speak!  Built up colors in thin layers.  Very interesting.

_________________
Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

David,

Your friend is very talented. BEAUTIFUL!

I have seen this on your website, and as an artist, it really appeals! I plan to possible paint guitar cases sometime in the future...

Actually I am wondering if Peter Cree has ever considered using Pyrography as a medium of combatting the "thick finish impairs tone" problems; something which he has very obviously overcome with unique painting techniques, but a useful skill to have.

[QUOTE=Dave White] Ron,

If you go to the link I posted it has all the details. The tuner buttons are turquoise as are most of the fingerboard inlays.

Paul,

That's nice - I'd be interested in the technique your artist friend used. Peter doesn't just paint and then lacquer over it. This is how he describes it:

"The purpose of this work is to use a traditional and proven finish technique in a totally new way. By moving decoration onto the soundboard of a stringed instrument, I defy the notion that you can't decorate the top without compromising the sound. Adding pigment into the lacquer and applying with a brush, I sand flat and repeat until the image is built up and defined. This technique results in an ultra thin finish that rivals any other in volume and tone, while giving a dynamic visual presentation. Four years ago, after many years of experimentation, I began this project to show that an alternative to the traditional gloss, matte or sunburst finish can be accomplished. Now with this innovation, painting is possible on the soundboard. One can incorporate motifs from all cultures and any visual art design onto the surface of fine stringed instruments."


[/QUOTE]


I really dig this... I would think though... if he is doing this with colored nitro don't you think he would get bleed from the melt in of subsequent coats of color, or even the coats of clear that go over it?

Any idea how he has conquered that problem. I have thought about doing this before.... Ever since I saw the modern Collings cowboy guitar I have had ideas like this.

_________________
Brock Poling
Columbus, Ohio
http://www.polingguitars.com

Dave, I had written this guitar off as I really screwed up the lacquer on it. It was sitting on a shelf and donating it actually did me a favor as it gained some shop space.
The artist just painted this one. Looking at it closely, you see brush strokes and uneveness. I'm with MP in that I really don't like it as a guitar, but it's kind of a cool sculptural piece of art in its own right.
Sorry to dance all over your thread with posing of my painted "thing".

I have a well deserved reputation for liking my guitar wood to look as natural as possible, no tinted shellacs no pearl or abalone, no inlay of any sort and definitely no sunbursts or black tops!

But blow me I would love to own the guitar of Dave's that Peter Cree did his magic on. That transcends just being a guitar and has become something completely different.

Colin

_________________
I don't believe in anything, I simply make use of a set of reasonable working hypotheses.

Man that is just plain cool!

_________________
Support the OLF! Bookmark our STEWMAC link Today!
Lance@LuthiersForum.com

Good morning Gents,

This is my first post on what looks like a great forum.

First and foremost as a player of guitars, the tone has to be there. this is not paint but pigment mixed into small amounts of lacquer and brushed on. Far different than clearcoating or spraying. I can get my finishes to 2 mics with few brushmarks. The surface tension differs and there's little need to overcoat.

Its pure nitro that buffs flat.

Painting a guitar with an image is an endeavor that would make me ask "why". But working the "skin" of an instrument , a very important functioning element to a guitar, is the "art" here. Thus the project has been called Art and the Acoustic finish.

Sure many want to see the wood. I like to as well on many of my instruments.   But how many tan guitars are out there? There's room for something other than sunburst or gloss or matte. Especially if it performs so well.

So thanks for looking. Martin has been very good to me as has David. The resulting "Anasazi" is absolutely killer in sound. One of the best guitars I've heard. so check it out at Namm in Austin. any apprehension as to the technique will disappear.

Cheers,

Peter

I should also have said that this is the first guitar martin have made of "sustainable" woods. The top is 4 piece Adirondack spruce, the back/sides, fingerboard bridge and headplate are Chechen and the neck sustainable/certified Mahogany. This is what the Martin woodbuyer Linda Davis-Wallen says about Chechen:

Metopium Brownei (a.k.a. Black Poison Wood, Caribbean Rosewood, Chechen,)

Growing Region: Mexico and Central America.
Availability: An alternative species. Available with FSC (Forestry Stewardship Council) certification.
Weight/Hardness/Density: A hard, dense and tight grained wood. Chechen scores 2300 on the Janka hardness scale, Maple scores 1450, and Red Oak scores 1260.
Comments: The Chechen tree grows up to 50 feet in height with a trunk up to 21 inches in diameter. Chechen is part of the Anacardeiaeae family, which includes cashews, poison oak, poison ivy, and poison sumac. While it is not true Rosewood, it does share much of the same coloration.

Observations from a snare drum company:
Timbre/Tonal Color: Chechen has a lower fundamental pitch than our Maple comparison drum. Full bodied and rich sounding with a nice "presence".
Dynamic Range: The character sound of the drum remains the same from pp (very quiet) to ff (very loud) with a sweetspot similar in size to Maple.
Tonal Range: It has predominantly mid-range frequencies, with some low as well as high frequencies, giving it a full, rich textured sound.
Tuning Range: Tunes down nicely. The note gets shorter as the tuning goes from loose to medium tension. The Chechen went slightly tighter than the Maple drum before choking, but was still lower in pitch than the Maple drum. Chechen has a softer feel to it than our Maple drum, without the "table-top" feel at higher tension.
Resonance/Decay: Less focused than Maple with a "spreading" sound. Chechen is more resonant and has a longer principal note than Maple.
Cross Stick: Full bodied and low in pitch. One-half inch of movement gave a pronounced change in pitch.
Volume: Slightly louder than Maple.
Sensitivity: Good sensitivity that responds well at all volumes, with nice projection across the room.

_________________
Dave White
De Faoite Stringed Instruments
". . . the one thing a machine just can't do is give you character and personalities and sometimes that comes with flaws, but it always comes with humanity" Monty Don talking about hand weaving, "Mastercrafts", Weaving, BBC March 2010

[QUOTE=peter cree] Good morning Gents,

This is my first post on what looks like a great forum.

First and foremost as a player of guitars, the tone has to be there. this is not paint but pigment mixed into small amounts of lacquer and brushed on. Far different than clearcoating or spraying. I can get my finishes to 2 mics with few brushmarks. The surface tension differs and there's little need to overcoat.

Its pure nitro that buffs flat.

Painting a guitar with an image is an endeavor that would make me ask "why". But working the "skin" of an instrument , a very important functioning element to a guitar, is the "art" here. Thus the project has been called Art and the Acoustic finish.

Sure many want to see the wood. I like to as well on many of my instruments.   But how many tan guitars are out there? There's room for something other than sunburst or gloss or matte. Especially if it performs so well.

So thanks for looking. Martin has been very good to me as has David. The resulting "Anasazi" is absolutely killer in sound. One of the best guitars I've heard. so check it out at Namm in Austin. any apprehension as to the technique will disappear.

Cheers,

Peter[/QUOTE]


Welcome Peter... you work is beautiful.

_________________
Brock Poling
Columbus, Ohio
http://www.polingguitars.com

Welcome Peter, I'm in total agreement with many of those here, that's stunning work. I can think of lots of ways your artistry could enhance an already beautiful instrument.

_________________
Eagles may soar, but weasels don't get sucked into jet engines.

Welcome to the forum Peter.  Very interesting technique and designs.  How DO you keep the colors from bleeding into each other when they touch? I think I saw that question in one of the other posts.

_________________
Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

Welcome Peter. I hope to have not offended you. I meant no reference to your work. in fact I love your work. Just not crazy about it on a guitar (just a personal opinion). however the art in its self is stunning I most certainly would hang your work in my home with pride.

MichaelP.

Thanks for the welcome and I take no offense. Fact is this work creates controversy and as the years pass I've gotten to a point of not being offended if someone like the work or not. I understand the love of wood since I've been a wood worker for over 30 years.

I've had no problem with control of the medium so no bleeding problems at all. The surface is so thin that theres never enough lacquer to bleed. The method is shown on my web-site. Just click on the Art guitars or on the Martin "Anasazi" pic. to get pics of how I do this.   A few "secrets" to the method but its basically add-on, sand to ghost, add-on, sand to ghost, add-on..........................ad nauseum.

This takes about 100 hours per top. Nuts really. but as a professional visual artist.................well, OCD has its advantages.

Please ask any questions.   This week will mark the first public appearance and there will be much more to come. Finally the thousands of hours developing this is proving itself with the sound.

Thanks again David for introducing me to this forum. And thanks for the welcome.

Cheers,

Peter

I do love the Calypso feel to the last two. Kind of reminds me of the art on the Santana Abaxis album

Welcome! That guitar is amazing Im lucky if I can do stick figures

Now something in the way of a hawaiian scene on a ukulele...that would be
art

_________________
Zac

Anchorage Alaska

Finshed my 1st! See #1 here

Welcome to our forum Peter. I remember back when you were originally asking for guitars on the Acoustic Guitar magazine forum. Even then it was a bit controversial. I remember that one of the initial donations was from England but was unaware or had forgotten the Dave White was the contributor. Kudos Dave, but I'd expect no less from you. I'm very glad to see that your project evolved and has turned out so well. Looking forward to the reviews of the Anasazi guitar.      

_________________
Don Atwood
Arlington, VA