Posted on October 16, 2026October 16, 2026 by Dale Phillips In Memoriam: Charles Fox In Memoriam: Charles Fox 1943 – 2026 Published online by Guild of American Luthiers, September 2026 Photo by Mark French. Today we say goodbye to a true icon in the guitar-making world, and a friend of mine for over thirty years, Charles Fox. My thoughts are with Denise and his daughters during this terribly difficult time. Few people have had as much of an influence as Charles on the renaissance of guitar building in the US. He was a superb designer, a legendary inventor of guitar-making tools (the jigmeister!) but perhaps he will be best remembered as a talented teacher who so skillfully brought the craft to thousands over the years. Erudite, artistic, philosophical, clever; Charles was blessed with a hearty laugh and baritone speaking voice that will live inside us as we continue our remembrance of him. Personally, there was really no one in this business who was kinder, more demonstrative, and more supportive of me, professionally and personally, than Charles. I will miss him fondly and am grateful for his long life and his friendship. — Chris Herrod (Posted on Facebook, September 10, 2026) Charles Fox was one of the young, self-starting, maverick luthiers who got going in the 1960s, and by sharing what they were learning, brought about the American lutherie boom. He became a legend in the field, due to his long and productive career of building, teaching, and invention. He was already running one of the earliest guitar-building schools in the US when he joined the GAL in 1974, back when we were just getting started. Charles was a true believer in the information-sharing goals of the Guild and he was one of our most loyal and encouraging supporters over the decades. Starting in 1995, he attended every one of our GAL Conventions and was a featured lecturer or workshop presenter at seven conventions between 1995 and 2014. He has sixteen GAL author credits including several extensive and detailed process pieces. (His detailed building method is currently posted for members on our Articles Online.) There is a lot to be learned from these articles, including how to think coherently about the process, which he often stressed, urging us to take a wider view than just the how-to of a particular task. Charles was deservedly and universally loved and respected in our field. His influence and personality will resonate far into the future of American guitar building. He will be greatly missed. — Tim and Deb Olsen My life as a luthier changed the day I met Charles Fox. I took his acoustic guitar-making class some years ago, not knowing what to expect. I knew I needed to grow as a builder and guessed that a short course from a master would help. At the time, I didn't know who he was, but friend in the guitar industry described him as a “heavy hitter.” That sounded promising. In Charles, I found a skilled and creative luthier who was also a natural teacher. After the class, my son told me, “I don't know what happed, but you just got a lot better.” I got to see everything from the details of how a skilled maker approaches specific problems to how a master thinks broadly of his craft. The picture above shows him working on my guitar - after I accidentally glued the rim to one of the blocks in the assembly fixture. He was the picture of patience and care as he corrected my error without judgement. Working on the series of articles describing his building method was deeply rewarding. I got to learn more about how he thought and how it was reflected in his instruments. I found that he was as much tool maker as luthier. His shop was filled with creative, well-designed jigs and fixtures. Central among this was his side bender. The version we used in the class was a refinement on his original that we have all seen. I don't think Charles ever considered a design truly finished - he was always looking for improvements. If half the stories I've heard about Charles are true, he led a colorful life, filled with creative adventures. He clearly made many friends along the way. We will all miss him. His teaching is reflected in every instrument I make. — Mark French I am very sad about the news that Charles Fox has passed away. I became friends with him in the 90's when I was invited to teach a fretting class at The American School of Lutherie in Healdsburg, CA. His factory was next door. I remember a wonderful hang at his home with Rick Turner, where we reminisced and talked guitars all day long. Charles was brilliant at jigging up for small builders to increase consistency and productivity. He taught and mentored many over the last 50 years. We most recently spent time in 2023 at the Northwoods Week at the Galloup School. He was both a colleague and a mentor to me. Rest in peace, my dear friend. Condolences to his wife, Denise. — Roger Sadowsky Rather than recount Charles' numerous accomplishments, I thought to add something of a more personal and humorous nature. Some years ago whilst visiting his school in Healdsburg, Charles made note that my voice was quite deep, such as was his. With a wry smile he suggested that if he ever lost his voice, he planned to call on me to be his “voice double.” I would be to tasked to read his lines from behind the curtain, while he “lip synced” out front. That was a bit of a running joke between us when our paths would cross. A good and kind man who will be missed. — Michael McCarten So very sorry to hear of Charles’ passing. He was a big influence on my building and his use of jigs. I heard him at the 1995 GAL Convention in Tacoma. Sad news...my condolences to his family and friends. — Jeff Scott If you would like to add a story or memory of your own, contact the GAL.
Posted on October 16, 2026October 16, 2026 by Dale Phillips The Charles Fox Guitar-Building Method, Part One The Charles Fox Guitar-Building Method, Part One by Mark French Originally published in American Lutherie #139, 2020 See also, A Guitar Is Born: Attending Charles Fox’s Hands-On Guitar Making Course by Mark French The Charles Fox Guitar-Building Method, Part Two by Mark French The Charles Fox Guitar-Building Method, Part Three by Mark French The Charles Fox Guitar-Building Method, Part Four by Mark French The Charles Fox Guitar-Building Method, Part Five by Mark French The Charles Fox Guitar-Building Method, Part Six by Mark French Charles Fox has been making guitars for about fifty years and, as a master luthier will, he has developed a personal approach to his craft. Building on a solid foundation of experimentation, he has developed a set of processes that let him complete tasks quickly, accurately, and repeatably, but with a deeper purpose. This is the first in a series of articles that describe Charles’ building method in detail. There are some good descriptions in print of how to make an acoustic guitar, so it may not be clear why we need another one. Books and extended articles are usually for beginning builders unfamiliar with making instruments, and describe basic processes for making good, traditional acoustic guitars. Some of these works are quite good and a few are iconic. However, this series of articles has a different purpose. It is intended for readers who have basic familiarity with acoustic guitars and guitar-making skills. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on October 16, 2026October 16, 2026 by Dale Phillips Constructing the Spanish Rosette, Part One Constructing the Spanish Rosette, Part One by Eugene Clark with Jonathon Peterson Originally published in American Lutherie #71, 2002 and Big Red Book of American Lutherie Volume Six, 2013 At our 2001 convention, Eugene Clark presented a well-attended and very well-received workshop on traditional Spanish rosette construction. Eugene is my neighbor, and by happy coincidence he was dyeing veneers and building rosettes shortly after the convention. Eugene, a lot of builders these days just buy premade rosettes, or work with rings or designs made from commercial purfling strips, or construct rosettes from pieces of natural material rather than constructing a mosaic. Why bother with all this extra work? Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on October 16, 2026October 16, 2026 by Dale Phillips Constructing the Spanish Rosette, Part Two Constructing the Spanish Rosette, Part Two by Eugene Clark with Jonathon Peterson Originally published in American Lutherie #73, 2003 and Big Red Book of American Lutherie Volume Six, 2013 I’m told that there is an old Chinese proverb that says, “The beginning of wisdom is to put the right names on things.” The right name for this process is “intarsia.” The Webster’s Ninth New Collegiate Dictionary defines intarsia as, “a mosaic usually of wood fitted into a support; also: the art or process of making such a mosaic.” When you cut a relief, a space to receive mosaic inlay, you’re doing intarsia. Marquetry, strictly speaking, is veneer work where the design is assembled as a veneer and then applied to a surface. Everything belongs in its context, and Spain is part of the context here. When I say Spanish guitar to an American group, it takes a while to explain what I mean. Spanish language, Spanish thought, the sounds and smells of Spain gave birth to this instrument. Spanish guitars are generally modular in design, often from tip to tip. There will be a basic building unit for the entire instrument, and everything on the instrument is coherent with that building unit. The great makers of Spain worked in both decimal and fractional inches, and when they could afford it, used expensive machinist’s rules. If you measure their instruments with the same tools that they used you may see the logic of their design, with every component placed along a grid according to a chosen building unit. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on September 25, 2026September 25, 2026 by Dale Phillips Meet the Maker: Charles Fox Meet the Maker: Charles Fox by Fred Carlson Originally published in American Lutherie #52, 1997 I had the opportunity (blind luck, you might call it) to study with Charles Fox in 1975 at the beginning of his School for Guitar Research and Design’s rise to prominence as one of the premier guitar-building schools in the country. Much more recently, in August of 1995, I attended a session of The American School of Lutherie, Charles’s updated take on lutherie education. I had been asked by the GAL to interview Charles, but our schedules made it difficult to connect. We finally sat down and had a fine, rambling phone conversation in late fall of ’95. What follows here is my notes from that conversation, organized into this interview format with a bit of journalistic license. Charles, I know you have a background in the fine arts; in fact, I remember seeing some paintings of yours back in Vermont. Is that what led you to lutherie? In a way, I still think of myself as a painter who is currently not working. In the mid to late ’60s I was studying flamenco guitar, taking lessons through Sherry-Brenner, who import fine guitars. I found that they had materials for guitar construction, and a British instructional pamphlet; I built a guitar at home, and loved it. I stopped playing, built another and another, a couple of flamencos, a classic, and then a couple of steel strings which sold immediately. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
