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!
Posted on March 4, 2022May 29, 2025 by Dale Phillips Wet Inlay Wet Inlay by John Calkin Originally published in American Lutherie #66, 2001 and Big Red Book of American Lutherie Volume Six, 2013 In my infancy as a luthier I didn’t have a lot of skills, but I still wanted my instruments to be different from any others. And I wanted them to be fancy. That might have been a combination headed for disaster, but I discovered a few tricks that let me achieve my goals while I simultaneously learned to build instruments worth owning and playing. One of those tricks was wet inlay. I loved the look of guitars draped in abalone trim, but I was sure the work was beyond me. Shell was also way too expensive for a project that might be botched and tossed in the dumpster. Tonewood was nearly out of my reach; there was no way I could invest in cut shell, too. The road to settling on turquoise trim was roundabout. I went to college in Colorado, where silver-and-turquoise Indian jewelry was everywhere. Most American turquoise is mined in Arizona, and the surrounding states have a strong turquoise culture. From a jewelry-making class, I learned that the blue stone is pretty hard, requiring lapidary equipment to cut and polish it. And not only is the good stuff fairly expensive, it’s pretty boring. Quality turquoise is a one-dimensional shade of blue with no grain or color intrusions. Eventually I realized that the jewelry I admired the most was the cheap stuff, chips of turquoise mixed in a clear matrix of some sort, ground flat, and polished. I was pretty sure I could do that to instruments. I could see into a future when turquoise-trimmed instruments would be my famous trademark. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on August 11, 2021May 19, 2025 by Dale Phillips Pearl Inlay Method Pearl Inlay Method by John Thierman Originally published as Guild of American Luthiers Data Sheet #29, 1976 Many instruments made today, as well as in the past, have included the added artistry of inlaid patterns. Inlay is the process by which one substance is inserted into a background, then sanded off flush, creating a pattern within the background substance. Inlay work, or marquetry, can be beautiful and impressive; or it can be gaudy and impractical in terms of the stability of the instrument, and in the problems encountered in future repair. If the inlays are designed tastefully, and are put in correctly, you can achieve an added dimension in instrument building, and not noticeably impair the practical aspects of the instrument. The two major materials used in inlay patterns are wood veneer, and shell (abalone or mother of pearl). Thickness of this inlaid material is of prime importance to all practical aspects of the instrument — the thicker, the better — (up to 1/16"). For wood inlays on the headstock, I use 1/28" veneer, or thicker for, if it needs to be refinished in later years (hopefully many), I don’t want someone, myself included, sanding through the inlaid pattern. On fretboards, sufficient depth is imperative, as the board must be sanded down when refretted. If your inlays are too thin — they will disappear before your very eyes. Therefore, I only use 1/16" wood stock for inlays on the fingerboard, and I have to keep that pattern simple, as 1/16" wood stock is not as easy to cut as pearl. Wood veneers of many colors and grain patterns are readily available from most supply houses, Pearl of abalone is harder to come by, and more expensive. As with wood, I use as thick as possible, without having a hernia cutting it. .080" seems to be my limit, and it’s just thick enough for arched fretboards. Shell comes in different grades — #1 will have more color and brighter hues; whereas #3 may be pale, or have some pin holes (caused by worms), or have bad grain. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
