The rings (p.13)

The final steps for my rosette ; inlay the wood strips into the inner and outer grooves.
I’m doing one side at a time since no real time saving, and giving me time to do the task and to verify. For this design, each side is having 3 sets of homemade purfling, and using the middle one to fine tune the overall fitting. If I’m using hide glue for most of the works, like inserting the previous center motif and the purfling built, I rather like the use of poly glue for these last inlay works, and plenty of open time as well.

Salted & peppered (p.12)

Soundboard in progress. It is a German spruce table that was selected for this guitar, and having over 8 years old.
Once the first leveling of surfaces done, which includes an additional margin of about 30% usefull for the work of the rosette, it is the tricky work of doing the rose which require a high level of attention and care.
The required procedure for that model is divided mainly into 4 steps: realization of the central pattern, routing of adjacent grooves, followed by the inlaying of the wood strips in each groove. Curentlly only the last 2 steps remain.

The birds are back in town (p.11)

Once the back is assembled and thinned, the addition of the central reinforcement and bars are relatively easy operations.
If the relative humidity level in the workshop stay in a fairly narrow range throughout the year, it is possible to measure with some wood the slightest variation into the back once the cross bars glued. Having in mind where the guitar will live, I quickly glue the 3 bars during the most advantageous time as possible.
Regarding the approach to glue the transversal bars, I have reservation about the one that consists to glue them using a rigid dished form. I will certainly elaborate more on this some day…

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