The ornaments on the guitar serve both an aesthetic and functional purpose (e.g. like the rosette was already mentioned). Here we will see the process of covering any exposed endgrain of the soundboard/back/sides for protection and how it is a decorative component in the isntrument. Since the ornaments are usually serving to protect the guitar, they typically need to be tough. I used rosewood and ebony for the ornaments on this guitar, which are both very tough woods.

After assembling the guitar, we install the first ornament at the tail of the guitar, where the two side meet. This ornament is called the tail-graft. We can see in this picture that this ornament covers the endgrain of the sides.


We carve out a tapered slot for the tail-graft.


I used a piece ebony matching the one that is used on the head of the guitar. The white lines are veneers of maple, which are used to contrast and embellish the ornament (and I am not sure if they serve any structural purpose).


We now move on to the ornaments that protect the endgrain of the back and soundboard. These ornaments are called bindings. I use a special tool, 'gramil', to score the wood at a constant width across the entire perimeter of the body. It is the small tool laying next to the chisel. This is slow work, but eventually steps are carved around the entire perimeter of the body.



The binding is glued into the slots around the perimeter, and taped down while the glue dries.


I have better pictures of this process on the soundboard. Here you see how the first step is established around the perimeter.


It is hard to make out in this picture but there are actually two steps carved into the perimeter for a slightly fancier purling ornament.


Here we see the two pieces, purfling and binding, that will be installed. Purfling is the decorative that will be glued on the inside of the binding. Both had to be bent on the hot-pipe to the shape of the sides.


Again tape is used to secure the purfling and binding while the glue dries.


And this is what it looks like when its done.


The junction between different ornaments is considered and smooth transitions are nicer. The piece of maple veneer which was used to highlight the binding is used as the smooth transition between the tail-graft and binding. This gives it a look of continuation and is pleasant to the eye.


Ever since I glued the back plates together I was disturbed by the back ornament I glued between the plates. It was the only thing I had at the time, but after it was glued I knew I didn't like it. It survived a few months in the guitar until I raised enough courage to confront it.


I sliced and carved a channel over it, to cover it with something that looks better.


Here it is easier to see the original back ornament in the bottom of the excavated channel. It really did not fit with the bindings. The new back-strip will look like the bindings.


Lots of tape and glue will ensure we never have to see the original strip.


I am really happy how it came out!




Next: Fingerboard

Construction