Official Luthiers Forum!

This is a question for y'all. From wherest do you derive your inspirations?

I.e. how do you create the visage of your work?
Do you start with a piece of wood then piece it together intellectually based on what you think looks good together?
Do you take a image or thought and go from there.

Tell me!!! How do you build with Inspiration?
Do you tap into any resources?

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Colleen, wife to Mark Kett and longterm lurker to the OLF
http://www.pearlinlays.com

As a lifeling artist & craftsperson I do have very strong visual images in my mind which I have been able to translate to canvas/clay/textile/wood- and that has also come in handy with guitar building.

Often I can see the guitar shape and design elements in my minds' eye and imagine the structural properties before I build it.

Obviously unlike the more creative crafts, what I imagine then has to be mapped out in the form of a plan on this fantastic pattern planning paper I buy off the roll from my workplace (arts college), with all the necessary and essential maths....

Guitar Center or OLF, either one.

Oh, or Acoustic Guitar mag...

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http://www.dickeyguitars.com

Let take this one step at a time

I build 90 percent per client custom specs. that said I usually help the client through the process with experienced input. The first thing I ask is what type of music the play and what playing method they use the most or what method of play will this instrument be dedicated to.

Second I ask if they have a specific tone wood combo, guitar size in mind and if they do I analyze the characteristics of those specs and make suggestions to fit the profile they are looking for.

This is way over simplified but let say this has gotten to the size of the guitar the tone woods to use and the way the guitar will be setup for play. Next is to tie the B&S and top together esthetically. Three things i look at at this time are contrast. color and context. I like to first pick the binding that will add a nice but not stark contrast between the top and B&S. If the back & side wood is mainly dark but has light variances to it like Ziricote or Macassar I prefer a binding that is in the medium color and contrast Like a Koa. If the back & side wood is more mono toned like IRW I like to use a bit more contrast like Maple but a medium still works well here as well.

Next is to pick the top purfling. If the client wants abalone top purfling no matter what top is being used or if the top is very light in color like a Carpathian spruce I keep the purfling simple like bwb on the other hand if the client uses a darker top and no abalone purfling I like to use a visual purfling like the half chevron made up of light, medium and dark wood combos or even a bw herringbone.

Anyway I can go on and on about how I choose each specific Item but that is not my point I want to make here. It all boils down using the woods and appointments as a canvas and applying general art rules to the project with attention to Colors, Contrast, Composition. The trick is never allow one element to so overwhelmingly dominate the others that you don't instinctively enjoy the collective beauty of the whole or each of its individual components. Each component should both delineate between components and tie them together at the same time.

So to answer your question I draw my inspiration from the major media to be used and tie it all together with the appointments.

Hear, hear! Well said, Michael!
Downright quotable, mate.

Steve

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From Nacogdoches...the oldest town in Texas.

http://www.stephenkinnaird.com

For me it is an effort to accomplish the following:

1) Let the wood that I want to use tell me how to best compliment/exploit it.

2) Remember "repetition of shape and design" meaning repeat essential curves/radiuses AND since the primary woods used really represent the "design" to me I try to limit number of woods that I use in a single guitar to 3-4 woods total. This means what ever the back and sides are made of I want to use this wood for things like the rosette, perhaps the bindings at times too, and sometimes the head stock and fret board. If I am using a wood that makes a strong visual statement I don't want any thing to compete with this "primary" wood.

3) Pay homage to the great guitars of the past. Realizing as I do that one would be very hard pressed to do much of any thing with a guitar, both structurally or visually, that has not been done prior I want the guitar to show it's heritage by being constructed of traditional/core woods. I didn't always feel this way and I will use lesser known exotics in the future, if they have sonic and visual appeal, but going forward I am trying to reduce variables and have repeatable results. Part of this for me is using woods that have been successful for me and others prior.

4) Keep it simple - let the beauty of a few simple design elements and some exceptionally pretty wood make an uncontested statement.

Good question Colleen

Hey Colleen

I agree that it's a great question. You know what, Colleen? It might be beneficial to go to a local art supply store and ask for a book that will you show you through "the elements of design." The repetition Hesh mentioned is one of them. It would be an enjoyable time for you to familiarize yourself with them.

I look around at what's been done before, but I also come up with a few of my own ideas. Not as many as I'd hope, but they come from time to time. Try to analyze as you look at things you've enjoyed. How is color used? How are shapes used? Questions like that.

I figured it was the only way I would own a guitar worth killing for. Of course, that remains to be seen. I am, however, hopelessly hooked on the process.

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Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

I'm one of "those" builders that are more centered on the sound quality than the appearance, but I have found that with a little immagination you can come up with combinations that will make the guitar as pleasing to the eyes as the ears.

I usually start with the back and side woods, then decide on a neck material that will compliment the color of the back and sides. then I love strong contrast with the bindings. Right now I am really liking bloodwood, curly maple, rosewood, and walnut for bindings. Of course that is likely to change with the very next guitar if one of those dont work for a good contrast. For purflings, I like to do every guitar different. I have found that some of the most suttle variations can make the most impact. Colored purflings strips included with the usual purfling materials can make a BIG difference. I like to add either green, red, or blue strips along beside my abalone or MOP rosettes also. It really seems to bring out the colors without being overpowering.

I have just recently started experimenting with guitar shapes also, and I think I have come up with a couple of winners in that arena. One of the guitars I will post some pictures of in the next couple of days that is quite unusual.

I always like to look toward some of my peers on this forum and others for some ideas on how I can dress up my guitars. I would be most interested in seeing what a female builder does with their guitars as well.

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Reguards,

Ken H

Ken, I bet you would enjoy looking at the websites of Kathy Wingert and Linda Manzer. Their guitars are extremely appealing.

Very nice wares you're making Colleen, looks a lot like tonewood…
I like to look at ancient instruments. When I go to NYC I try to stop at the Met to look at the couple of Amatis and the few Strads they have on display, it never ceases to move me, along the other beautiful instruments they have in the collection. Also at the Met I love looking at the Greco-Roman section. Particularly the 1st century Roman period. There is a grace that is hardly matched by anything that came since or before. Perhaps this is inspiring for building guitars? The curves, the balance?
Instrument building has many centuries of history so it's not like we start with a blank page, although some regularly try… and fail. I also try to read as much literature as I can on luthiery, string instruments, makers etc. Looking at pictures, construction details and so on can also inspire and the web is a great resource for that. Although nothing beats holding the object in one's hands.
Stefan Sobell makes a very true comment on his website's last entry. He talks about carving necks by hand (a wasteful hobby for those wired on CNC and such). It is when working by hand that he thinks about guitar design, how to improve this and that, try this etc.
Same happens to me, I mostly think about "new" things, or get inspired for a new instrument, when doing handwork. It is both therapeutic and purposeful. And quiet.

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Laurent Brondel
West Paris, Maine - USA
http://www.laurentbrondel.com/

Hi Colleen,
This topic reminds me of a story:
When someone asked the great Reverend Gary Davis when he wrote a particular song he replied; (I'm paraphrasing here) "I didn't write that song -it was revealed to me!."
Somehow I know what he meant.

FANTASTIC! I am loving reading your reponses!!!!!!!!!!!!!!!!
Esp. since I usualyl see such technical expertise here, its lovely to see the more affective side of things

(re: my wares: hehe, would be cut off from the shop we're using that project is MY little baby: mark indulges me in it I think teehee)

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Colleen, wife to Mark Kett and longterm lurker to the OLF
http://www.pearlinlays.com

Colleen, are you just wanting to survey work methodologies or do you want to develop your own skills in this area? That will really shift the nature of the answers provided.

Three elements to consider:
-form follows function,
-truth is beauty,
-and the work teaches us.

Look at the work of many builders, and "collect" examples/photos of their work, anything that catches your fancy. After awhile you'll have a pretty large catalog of photos. Start sorting though them and look for trends in what you find appealing, and determine which elements have long term appeal to you, not just trend appeal. Before long you'll have more inspiration that time.

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Expectation is the source of all misery; comparison the thief of joy.
http://redrivercanoe.ca/

Colleen,

Michael has really said it nicely.
I like to design the guitar around what a performer needs in an instrument and choose the materials to get that end result. Remember that "voicing" your guitar actually begins when you select the materials and choose a body size/design for that guitar.
If you are looking for design inspiration then guitar shows are great for this. If you can't make it to the shows then sometimes the show programs/magazines are available. LMI was recently sending out the program from the healdsburg show with every order. This is a great source for design inspiration.

By the way, I love your avatar. Kind of reminds me of myself. I have two shop supervisors, One a 4 and 1/2 yr. old boy and the other a 16 month old girl. The work bench is the perfect height for quick diaper changes as well. haha I am about as fast as a Nascar pit crew too.

Ahhh! The aroma of a diaper change! I remember it well. It sure takes the Rosewood smell out of the air!

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Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

Hi Colleen. Nice to see you here. Cute baby! I've got little ones myself...

Anyway, on topic... I get a lot of inspiration and ideas from the instruments of other designer/builders, both contemporary and historical. Not to say that I copy them (you could say I'm a staunch non-copier), but I definitely get ideas and get my own creative juices flowing by breathing in their work. It's not really limited to just instrument makers for me, actually. Many forms of art including painting and drawing, photography, printmaking, textile art, sculpture, and architecture will give me stuff to chew on and spark ideas. I have also worked in many different media over the years, including clay (I used to do sculptural work in clay as well as make instruments - mainly drums - out of clay).

In fact, even non-visual media are an influence; music paints pictures and sculpts forms in my mind...

I'm also a real nature boy, and get a lot of inspiration and ideas from the forms in nature. Trees, rocks, hills, rivers, snakes, fish, the human body...

So, there's all this stuff that pours into the senses, and basic design concepts one learns and develops... and then there's also just a kind of inner listening and exploration, experimentation, lots of envisioning and drawing, tapping into the Source that's alive in myself... I know, it can start to sound esoteric, but it's reality for me.

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Todd Rose
Ithaca, NY

https://www.dreamingrosesecobnb.com/todds-art-music

https://www.facebook.com/ToddRoseGuitars/

Excellent stuff ...is there any chance we could see some of your work? Especially those drums.

Didn't think that all my other craft experience would dovetail into guitar building, but it absolutely does. At first, I didn't see any creativity in it, but I'm seeing it more as time goes on.

I have loads of ideas waiting to be crafted into wood, but waiting for "the chops" in guitar building to improve to a standard where I'm not so much worrying about the elementary stuff and able to push the boundaries a little.

A belated welcome to the OLF, Colleen!

I got the inspiration for the bamboo inlay in my avatar from my nephew who I built the guitar for. He wanted me to design the guitar to reflect our family's history in Hawaii. So I started with koa, then came up with the bamboo idea. The rest, choice of bindings and other details just sort of fell into place.

http://www.patfosterguitars.com/koa000/index.html

The one I built for my kids, a little koa, has an inlay of anthuriums on the suggestion from my 10 year old daughter that I "put flowers on it, dad." So I did.

The other piece of it is a sense of coherence in details such as wood color and contrasts, some repetition and a "look and feel" that makes the wood's beauty accessible. And as mentioned before, try to pay some attention to other elements of design wisdom, but not too much.

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now known around here as Pat Foster
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http://www.patfosterguitars.com

Colleen- I'm surprised these guys haven't been more forthright with you! Most Luthiers are a little sensitive on this subject perhaps that's why.

If you would like inspiration as to anything concerning the guitar all good luthiers usually whisper, very, very softly into the soundhole/F-holes and immediately stick their ears to the soundhole and listen!

If you're very careful, you will hear awesome suggestions in what you should do or what you need to know! The reason for this is inside of every guitar are Tone Fairies! Little ethereal creatures that can be quite feisty! Thus one must whisper carefully, they anger easily!

This is a link from Frank Fords site I think he's the only one to get a pic of a Tone Fairy!



Yeah!!! They kind of look like Hesh! That's probably why his guitars sound and look so incredible, they like him!

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Billy Dean Thomas
Covina, CA

"Multi famam, conscientiam, pauci verentur."
(Many fear their reputation, few their conscience)

Thanks, Sam. You're a parent, right? So, you know how crazy and intense life can be. For the past week, I've hardly had any time to do anything other than take care of my wife and two little girls who are all down with the flu. You know, cleaning up vomit messes in the middle of the night, the whole works...

Anyway, I hope to have time to finally launch a web site sometime this year. Not to mention get some more guitars built! I've been thinking I'll put some photos of my drums and other past work on the web site, just to give people more of a picture of where I'm coming from. Maybe I can find time to digitize and edit a drum photo or two for you in the meantime (my years of drum making were long before I ever had a digital camera)...

Regarding creativity in guitar making... I've always seen unlimited potential there. The line some people delineate between "art" and "craft" has never held much meaning for me at all, and I've never approached guitar making as simply an exercise in executing a well-crafted copy of existing guitar designs (with, perhaps, a personal touch in the wood choices and decorative details). To me, it's a blank slate, at the same time that it's informed by what's been done before.

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Todd Rose
Ithaca, NY

https://www.dreamingrosesecobnb.com/todds-art-music

https://www.facebook.com/ToddRoseGuitars/

That's Hesh in there, isn't it??

I want one!! How much for shipping to the UK?

Does he place money under the pillows of my kids when they lose a tooth, too?

LOL, my sig just about says it all. Sometimes it can be a whole week without guitar building, and that hurts bad... A busy life kills creativity.



Again, agreed with what you're saying here....

Let us know when your website's up, I like looking at other artists work.

Most my my recent craft items has been given away or made thru' commissions, but with easy access to digital photography, there's no excuse to snap a few pics before the stuff flies out of the door!!

Thanks Sam!

You can order your very own Flushtone Fairy by calling BR-549 (that is country code O1) - operators are standing by.....

The Flushtone Fairy will not be sold in stores (something about a lack of proper manners) and will only be offered through this offer. The price is $19.95 declining US.

Each Flushtone Fairy is guaranteed to make your guitar more lively and vibrant, as if it wants to puke....... or you do........ And each Flushtone Fairy comes with a certificate of authenticity and a referral to a mental heath clinic in your area.....

But wait there is more!!!! If you order your very own Flushtone Fairy today we will throw in a second Flushtone Fairy for you to let loose in your other guitar or to give away as a very special gift - to someone that you hate........ All you do is pay the low shipping and handling charge of $99.99 declining US.

DON'T MISS OUT!!!!!

This offer will NOT be repeated and your Flushtone Fairy is likely to become collectible as time passes.

Call BR-549 (country code 01) now!

Offer void like Billy's brain where prohibited. You must be 12 years or older to order. Quantities are limited to 5 per customer so you can have your very own chorus line in your guitar.

Oh and I forgot.....

Sam this Flushtone Fairy does not place money under your or your kids pillows - instead it takes money out of your purse and runs away.........