Posted on June 3, 2025June 20, 2025 by Dale Phillips An Introduction to Metal Engraving An Introduction to Metal Engraving by David Giulietti from his 2001 GAL Convention workshop Originally published in American Lutherie #68, 2001 and Big Red Book of American Lutherie Volume Six, 2013 Design is always the most important element in engraving. I like a clear, simple design that has a central theme. I like it to have a structure and a pattern that is easily read from across the room, but still looks nice when you get up close. If you don’t have a good plan to start with, any job becomes more difficult. Once you make a mark, it’s there and it is very hard to take it out, so it’s always good to know exactly where you are going to go before you start. It is helpful when starting a design to first look at the big picture before you fill in any of the details. Start with the general shape of the design. You’ve got a box, or a circle, or some kind of shape; no matter what it is, you always want to consider what the biggest lines are, and put them in first. I always draw my largest elements first, clean them up, and then add other smaller elements to the design, and work down from there. In drawing scrolls or people, or any design, it is always the same — start with the biggest elements and work down to fine details. When you work in this way, all of your design aspects come together as a unified whole. Everything flows together. 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 June 3, 2025June 20, 2025 by Dale Phillips Guitar Tattoos: Inlay Harry’s Way Guitar Tattoos: Inlay Harry’s Way by Harry Fleishman from his 2001 GAL Convention lecture Originally published in American Lutherie #74, 2003 and Big Red Book of American Lutherie Volume Seven, 2015 There are many paths from point A to point B. There are people in this audience who have done more and better inlay than I have. I’ll be talking about the thought process that I go through when designing inlay patterns. Of course, you should all do exactly as I do. Everyone else is wrong. I’m going to do a question-and-answer session, but it will all just be me. I’ll ask the questions and I’ll answer them. (laughter) My first question is, “Why would one put inlay on a guitar?” Some of you who might be here to heckle, thinking that there’s no point in putting inlay on a guitar. You’re probably right. But I think one of the reasons that we might do it would be personalization. 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 July 8, 2024June 20, 2025 by Dale Phillips Pearly Shells and Nichols Pearly Shells and Nichols by David Nichols from his 1984 GAL Convention lecture Originally published in American Lutherie #1, 1985 and Big Red Book of American Lutherie, Volume One, 2000 My shop recently did two guitars for the Martin Company which are elaborate enough that they encompass basically all the different techniques used in pearl inlay. We inlaid the tortoise shell pickguards, the rosewood headstocks, ebony fingerboards, and all edgebinding. I photographed many steps in this process, and we can look at these as examples. Here’s a picture of where I’m going to cut the pearl and do the inlay work (Photo 1). I have taken an extra liberty with our cutting board, drilling a series of holes in the back where I can stand all the little Dremel attachments that I’m going to need. When we cut pearl, it is either filed, or ground with the Dremel to an exacting contour after we saw it. It gives you a much better looking job if you touch up the sawn edges of the pieces before you put them in. 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 July 1, 2024May 22, 2025 by Dale Phillips Letter: Natural Shell Material Clearance Letter: Natural Shell Material Clearance by Chuck Erikson Originally published in American Lutherie #100, 2009 Dear G.A.L. staff and members: A great big howdy and a coupla doodies to ya! We’ve been getting increasingly numerous complaints from luthiers that instruments containing any type of natural shell material are being challenged by Customs agents at the U.S. border, causing delays in delivery, generating extra fees and paperwork, and incurring the risk of impoundment or even confiscation. All of this can be easily avoided if care is taken to include proper details on the customs forms (not only about shell but also bone, fossil ivories, and woods). As the major supplier of all things nacreous, we can assure everyone that none of the shells offered are controlled, banned, endangered, listed, or protected and they’re all openly brought in under our U.S. Fish & Wildlife Import/Export Permit. But just because they’re “animal products,” F&W bureaucrats can cause unnecessary hassles and raise funding through various charges such as so-called “inspection” fees (even though any given package may not even be opened and nothing get actually inspected). A few years ago, during a private conversation with a F&W customs agent, he claimed huge numbers of these bogus “fees” were initiated in many government agencies during the Clinton administration as a behind-the-scenes method of increasing revenue while at the same time being able to announce publicly that taxes were not being raised; already understaffed, overworked, and underfunded, he indicated F&W employees were not at all happy with the added burden of now becoming unwilling “tax collectors” for the government! Our website (www.dukeofpearl.com) has full info about each shell species including common and Latin names and country of origin. On customs export forms it helps to mention that the shell is from a commercial fishery. If subsequently questioned, it can also speed things up if you then supply a copy of a sales receipt from whoever sold you the shell. But don’t include this with the instrument’s original paperwork; as with the IRS, never volunteer more than the necessary minimum of information when dealing with any government agency. Also, don’t bother protesting any customs charges. Just pay the extortion money and hope you drop off their radar the next time through. Complaining will only generate an official “file” on you, the last thing you want! If you’re still having difficulty getting clearance, have the agent contact us and we’ll supply a valid license number and any other information they might want (such as country of manufacture). Keep on luthing!
Posted on June 6, 2024May 23, 2025 by Dale Phillips Questions: Inlay Artwork Questions: Inlay Artwork by Paul Bordeaux Originally published in American Lutherie #95, 2008 Dave S. from the Internet asks: I do inlay work on my instruments, and I’m always on the lookout for inlay patterns, designs, and artwork. I’ve seen all the Dover stuff. Anyone know of anything I’ve missed? Fingerboard vine patterns, floral, tropical? Paul Bordeaux at Bordeaux Inlay responds: I purchased a package of four pattern booklets specific to instrument inlay from First Quality Music ten or fifteen years ago. (I couldn’t find it on their website, www.firstqualitymusic.com, but a phone call may help: 800-635-2021). I use every source available, particularly the Internet. You can search for line art, clip art, tattoo art (be prepared for this one!), and specific variations like tribal art, vine patterns, or particular creatures. National Geographic magazine has provided many stunning images to either spark an idea or to create line art from. I’ve used client-supplied photos, children’s books, even tea-box art. Some of the more interesting books can be found at small art stores which have been around for a while. Once you start looking, there are patterns everywhere. Good luck!
