Clavin

The only thing that would be stupid is not trying new things. Mistakes in all fields, or carreers are inevitable. In luthiery they just cost more.. As for me when it comes to inlay advise, well, I'm just full of it.. Craig

If it's in an ebony neck I would take as fine as you can generate ebony dust and fill the spaces (not cracks!) with that DRY. Then take Stew-Mac liquid CA and glue in the inlay as normal, letting it fill in underneath the inlay and soak in the dust. If it's in any other wood type (depending on how wide the gap is) either leave it, and the natural wood will show through, or you just need to rout more carefully. If you decide to "fill" the gaps, and it's rosewood, or someting as dark, just use black. It will most likely look less obvious than trying to match the wood color type. If you choose to leave it clear so you see the wood through the clear glue, it will make a "window" of sorts. The wood underneath wil look a little darker due to the glue, but keeping the fretboard oiled will help blend it in. Also if using the "window" idea- take a permanent black marker and blacken the sides of your inlays before installing them, then the bright pearl (if it is) will not show the sides through the gaps making the inlays look off. It helps it look more perfect. These ideas only work well for ebony and darker rosewood, or darker walnut. If it's maple then you can just do it over again.. Craig

Can you define cracks better? Cracks in the pearl? Space between the wood and the inlay? If there is cracks in the pearl it happened when you pressed the inlays in, and nothing with fix it. Need more info- photos could help too. C Lavin

I never use cutting lubricant. If a blade breaks I just change it out. It takes more time to care for a single blade then just move forward. I also keep a stash of about 3-4 gross of blades on hand of size 06, 03, and 1, so I have plenty to go through. Get more blades than you need, or think you need. As a beginner you'll most likely be going through possibly 5-6 blades every 10 minutes. If not most likely your tension is off. As you get better you'll break less. I usually just dull out a size 1 anymore before it breaks. I cut mainly with 03. Craig.

Thanks as always everyone. To answere some questions, this one took longer than usual just because I went through about 6 seperate designs until I decided upon a plan that would not only work, but be visually exciting. It also had to be able to have all of the pieces fit the curve, without sanding through. If I had to make a good guess I'd say it took maybe 20 hours? Engraving it took 4 hours, cutting it maybe 5, now that I think of it 25 may be right. I know it took under 30 for sure, but more than 15 total. I try not to think of it. If I get caught up in time I may never hit my goals. As far as man-o-war are concerned, I have a friend that wants one done for him. He makes stained glass and can't figure out how I would go about doing a man-o-war inlay. I can't wait to show him how! More again soon. Craig

I thought it was rare enough to be commissioned to do a jellyfish a while back for a violin I did. This is my second jelly now. I think I hold the world record for jellyfish inlays. Thanks guys. Craig

Hi everyone. This isn't a guitar of course, but it demsonstrates what can be done on even a very variable and heavily curved surface such as a knife handle. It wraps around, and slopes unevenly to the knife base, which made for a complex piece. It's far more complicated than a radiused fingerboard. It's about 75 pieces of different types of pearl, and pink atlantine in a walnut handle. The whole inlay is only 3 inches from top to bottom. The knife was custom made as well. I plan on making a mini tutorial from this one day, but I have gotten pretty busy. It may take a while. Thanks for looking! Craig

Who's Calvin? I assume you mean C Lavin my user name I got my router base for my Fordom from Stew-Mac. They make one to fit the flex shaft. Call them for details, or go to their site. Craig

I happen to know that John Kinaird used that stuff on the orchids inlaid guitar, and he really liked the way it worked. Many, many other luthiers I know are trying it and becoming converts. I know Mike Doolin of Doolin guitars uses it ( I think) and he loves it. Craig Lavin

Or, you can just go to www.rescuepearl.com, and they have dots in any size you want, priced by the piece, no minimum order I believe. Look there first before doing anything less than fully researched. C. Lavin

O.K. I will first thing after I'm done with the Gibson crowns, the scribing and routing for the jelly knife, and the two truss covers I need to cut ( busy day tomorrow is!!) Speaking of- why are we up so late?? Craig

Thanks Mike. I value your opinions. My style isn't for everyone, so I understand where your coming from. Thats the cool thing about art of any kind. Once you get past the techniques the freedom to create is personal. This is soley my design. I have done things I would never want on a guitar myself, for clients. I currently have a list of things I would never want to do, but I am doing them. It's part of the job. Maybe one day I can just do my designs, then I can hear more people argue if it's thier cup of tea or not. At least it's enough to start dialogue! If my works make people talk that is enough for me. Craig.

It will help with almost any curves, although for extreme curves like the ones you are talking about you really just need to either crack, or determin the cut points for the materials you are using so they don't break unevenly. Most inlayers just do purflings around curves like that, and let the breaks fall naturally. I am going to show you how to inlay on a variable curved piece by determining the maximum "flat" zone of the shell, how to "curve" synthetics, and how to position everything prior to routing on a curve so the pieces match the curve upon pieceing it all together. You should know how to inlay already. It's definitly advanced. I spend most of my time during these inlays just working out the logistics, staring at it some more and then moving forward. Craig

Hey Brian... It occurred to me while I was basking in my new "inlay artist" status.. That I could make a mini-tutorial with the jellyfish knife regarding how I deal with relatively hard variable curves during an inlay. It's advanced. It's also the same process for dealing with guitar tops, and even radiused fretboards that require big images. Can I send you some pics? My guy isn't around to post them on my site. Thanks Craig..

Go to the tutorial section. Lots of really good clues there.. As far as the silver purfling goes I don't see why not, it's flexible, and break resistant. I would probably cut my ends with the inlay saw, but you'd have to be very exacting. Of course you could file to fit the ends tight, but it's risky. It's the same process as adding a binding of shell anyway. Nothing really changes just because the material does. I would think silver would be easier. Just make sure the contact edges are roughed up so the glue grabs well. Silver will expand a lot more in heat, shell doesn't, just the glue, and you don't want your binding raising up under a finish on a hot day. Craig

Thanks. Thats spider web is made from sterling silver Johnsilver Right now I'm working on my most complex single small size piece ever. It's an 80 or so piece jellyfish going around the walnut handle of a custom bowie knife. The whole thing is under 3.5 inches long. Pics soon. Craig

Thanks guys. Of course this post was really about the guitar, as the inlays have already been posted here. The fun thing about this one is that it will mosty likely (unless it sells at the show), be available at one of the high end acoustic dealers afterwards. So, she's single now! She's looking to get engaged but it might take a pretty big size rock to get here. I have no idea what she'd go for... Well, O.K, I have a rough idea, but this isn't the place for that. Thanks again. More soon. Craig

Some of you requested that when the orchids inlaid guitar was finished that I post pics. Well, luthier John Kinnaird has completed the work, and here it is. These are from John's site. He's an amazing luthier, and has an eye for what goes with my work very well. Our team efforts typically start out as inlays, and the guitar develops based upon that. Normally it's the reverse. I think it's better this way! You get a complete, whole instrument, not just a guitar with splashy inlay all over it. I really love collaberating on projects with him. Thanks for looking. This is going to Tacoma for the GAL show starting Wednesday. And here is a link to the full gallery page- more pics there. http://www.kinnairdguitars.com/west%20coast%2052.htm Check out John's other guitars. He's definitly a master luthier. Thanks for looking! Craig.

If money isn't an issue get the Foredom flex shaft tool and a full range of Stew-Mac downcut carbide bits. 1/8" through 1/32 I believe they come in. Get the router base as well. That's the rig I use. Craig Lavin

Reconstituted stone is very variable with regard to hardness and brittleness with each different type. Many types are very hard and easy to cut, many are very brittle, fragile, and crack easy during cutting. Some are just downright a pain in the butt. You need to try each out and see how they work for you. I like cutting them at a thickness of about .08 or so, a little thicker than most shell. They come in slabs that are 1/8" thick, so you'll need to thickness them down to a workable size. No one I know sells it "ready to go" Masecraft supply has the full range of about 20 or so types, maybe more. Rescue pearl started seling some varieties, and I believe they may sand it down for you as well. You need to ask. It's not "beginners" inlay material in my opinion, but try it, and if it doesn't work out, try it again. Make it work. That's called learning :o) Oh- and it's NOT cheap Craig Lavin

I've got slabs of malachite recon stone here that have tons of banding and very strong patterns. I personally can't tell the recon from natural, and many jewelers use the recon instead of the real stuff for jewelry due to it's ease of use. What is different is the level they buff it out to. Natural recon can get a glass like look to it, you can most likely achieve the same with the recon stone, although I normally don't go higher than 400 grit. Craig L

You don't want to use the real stone because a lapidaris needs to cut it and it won't sand down. It's too hard. Use the reconstituted stone versions. They are available at Masecraft Supply. I posted the number a few days ago. Craig Lavin

With regard to will Paua looking good inlaid into quilted maple.. It depends upon the strength of the quilt, and the stain color. In a natural finish it will show up clear as a bell. In anything dark at all, excepet for maybe reds, and other red through orange tones, it will most likely get blurred into the grain a bit. If the paua is really strong patterned, like in abalam, you may not notice it as much, or it may look messy. You should try to shoot for a clear contrast to make the inlay jump out. Maybe outline it with another even patterned material, or some other idea. Of course it's your own guitar, and it is art. Whatever you decide is best for you. But you did ask. C Lavin

They don't have a website. You have to call and get a catalog sent out to you. Their number is 1-800-682-5489 I don't work for them. I don't get anything out of recommending them. They have one of the widest selections of inlay materials around. I can equally recommend Rescue pearl, or Luthier's supply, as well as many others. Craig

Why don't you inlay a surfer riding a wave across the lower bout of the guitar in playing positon, and have the surfboard have the same materials pattern as the guitar. It could be really cool. Makes it seem like the guitar is made of the surfboard materials. Craig L.