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Author Topic: Mark's (Queequeg) L-09 Art Finish  (Read 17035 times)
Mr_LV19E
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« Reply #20 on: February 05, 2012, 11:35:47 PM »

100 grit on a belt sander would be a lot faster than that scraping method. 
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« Reply #21 on: February 06, 2012, 12:59:11 PM »

Nothing beats a 4" grinder............

Will begin on design choices today and will post that.

Cheers.
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« Reply #22 on: February 06, 2012, 01:05:27 PM »

ps....here's three stages of the last one I did.   Its the thinnest yet.............and better looking in person.   Photos don't pick up the subtleties in color and shade.  Remember this isn't just a novelty, it's a better functioning finish with benefits.





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« Reply #23 on: February 06, 2012, 02:02:59 PM »

ps....here's three stages of the last one I did.   Its the thinnest yet.............and better looking in person.   Photos don't pick up the subtleties in color and shade.  Remember this isn't just a novelty, it's a better functioning finish with benefits.

Very Canadian indeed. My wheels are turning gotta decide which Larrivee I would like to have done
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« Reply #24 on: February 07, 2012, 01:09:20 AM »

I have to say I LOVE the artistic work you do - beautiful stuff. Looking forward to the rest of the process!
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« Reply #25 on: February 09, 2012, 02:24:04 PM »

Been working on choosing imagery for the guitar for the past two days..........

Somewhere in here.....

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« Reply #26 on: February 10, 2012, 11:31:46 AM »

I talked to Peter the other day catching up and he told me about this project for Mark. I am on my iPhone so I will make a quick reply and do a full review of Peter's work on my guitar soon here, which I think is very telling on how wonderful the resulting instrument is going to be here. Quite simply, the improvement in tone is dramatic and immediate. Over time, as the finish anneals with the top and they become one, the guitar just keeps getting better and better. I couldn't be happier with the nitro art finish Peter put on my guitar, which he showed a picture of in this thread.  I will give more details soon. Mark, you are going to be one happy man when you get this guitar back! 

Justin
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« Reply #27 on: February 10, 2012, 12:58:02 PM »

Thanks Justin.   I have just come up with the image after doing my searching......basically with Celtic designs I'll scan in a full pic of one of the illuminated pages from the Book of Kells, at a very high resolution then extract tiny areas and blow those up.    This takes days.........but once I "see" something that excites me, i cut and paste to give a general guideline and away I go.   So here's the pic of the cut outs to determine composition.   These are just two elements but all will be in relation to these Lion images.  Rule of thumb in art is to never show the work in progress, mostly because no one can see what your mind see's.   In this case I think showing all stages gives and inside view of how things are made, along with the workings of a human mind.    These guitars take major effort.  At least its a work of love.

 
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« Reply #28 on: February 10, 2012, 01:33:09 PM »

This is a very interesting thread, and if I had more than one guitar I might try it.  I am wondering how people have responded when you have played these guitars out in the public.  You are a very good artist and I look forward to more posts.
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« Reply #29 on: February 10, 2012, 01:42:42 PM »

I've gigged at galleries in Santa Fe with wonderful response.......

This is nothing an amateur can do.   Its not "painting" in the normal sense.    Final thickness is around 2 mils.......time for a Celtic designed top is around 100 hours.
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« Reply #30 on: February 11, 2012, 03:12:49 PM »

As I promised, this is my plug for Peter's work and a review of the last few years spent with my custom OM-03MT that Peter put his art finish on..."The Fish" guitar.  I want to complement the thread for Mark and the process being documented here.  Here's how it started for me:  I got the OM-03MT on a whim in 2007 because it was a custom run with an abalone rosette and logo, and at the time I had several guitars.  I was finding that to my ear the tone of a mahogany top was what I wanted. It was a decent sounding guitar, but nothing remarkable.  I had a Bourgeois JOMC that was epic, a custom instrument by Joel Stehr, and about 5 other Larrivees.  I was buying guitars just to buy guitars it seems .  I contacted Peter after seeing his work on the internet and asked if I could commission a guitar.  He agreed.  After talking about his process, and him asking about my interests, a theme was settled on...marine...fish.  The rest was up to Peter and he had free reign.  It took a long time folks.  A year at least if I recall correctly.  He put more sweat and time into that guitar than few can appreciate.  But when I got it back, I was completely amazed by how it sounded!  It wasn't the look so much as the sound.  Now the look is what it's all about of course, but the sound...tone. It was as if the sound Jean Larrivee had in his head when he designed these guitars was realized, or that at least the potential of the guitar had been given a chance free of that poly.  The stamp of mass production had been removed, so-to-speak. 

The guitar is always out on the stand or hanging on the wall.  I play it every day.  My 5 year old plays it.  It gets picked up by people who can't even play and they strum it.  When you walk by you can't help but want to examine it and pick it up.  It's a work of art and an amazing instrument.  I play the heck out of it.  It gets dinged and bumped and scratched but I don't care.  And the other guitars?  Even a SCGC Baritone?  All gone.  I only have 1 guitar.  The one Peter transformed for me.  It was worth every dollar, and I would never part with it.  The way the Larrivee is built, my son will be giving it to his kids, too.

What has happened as the guitar has opened up over the last 3 years or so is that the sustain has become quite pronounced.  Also, the brightness that the hog tops are known for when folks first get them has mellowed.  The bass is heavy, the midrange cutting and the trebles sweet.  This guitar rings and it is because of the finish.  I'm certain because I've had other MT Larrivees long enough to have them open up from playing, and they don't sound like this guitar.  I have played it side by side with a Collings C-10 and SCGC 1929 depression era, both with hog tops and those guitars are built light as a feather, and my Larrivee sounds right up there with them.  In fact, it's more balanced from string to string.  I don't have any good recording equipment or I would have some sound clips to share.  You have to take my word for it or if you are ever in the Sarasota, FL area come by and play it.  It's sitting out by the couch waiting for you.  I think I just may pick it up now myself. 

My recommendation to you.  If you love art and you love guitars, give Peter a chance to work his magic on one of yours.  You will be a happy camper...

Justin
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« Reply #31 on: February 11, 2012, 04:09:20 PM »

Thanks Justin.......your project was epic.    Turn around time is now around two months.
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« Reply #32 on: February 12, 2012, 04:37:39 PM »

I have to say that my silence up to now in this thread is only a function of putting Peter Cree in the driver's seat of this whole project. I chose the motif and have nodded approval on the images and suggested some colors but this is Peter Cree's project; is not my project and not my thread. It only happens to be my guitar. I really believe that the more freedom I give the artist to express himself the better the end result will be for me.
My introduction to the work of Peter Cree began years ago with the Fish Guitar project which was covered in this forum at the time. (2007?) I was intrigued both as a scuba diver with a keen interest in marine life, and of course as a guitarist.
A few years later I missed a great opportunity to acquire one of Peter's art guitars. So when I saw the Irish bouzouki last month I contacted Peter right away to discuss the L-09 guitar and so here we are.
I am very excited about the whole thing and it's such a treat to watch the process and the progress all revealed before us here.
Then I read Justin's posts here about his fish guitar. Never knew where you were, Justin.
Serendipity strikes.
Justin, I will be in Sarasota next month, and I would very much like to meet you and your fish.
OK, I'll go back to sitting on my hands again now and wait patiently as each new episode of this story unfolds before me.

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« Reply #33 on: February 12, 2012, 04:59:55 PM »

Quote
I really believe that the more freedom I give the artist to express himself the better the end result will be for me.

 +1 

Very true.
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« Reply #34 on: February 12, 2012, 05:29:26 PM »

 +1 Your work is inspiring and beautiful Peter.
 
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« Reply #35 on: February 12, 2012, 05:34:08 PM »

I've gigged at galleries in Santa Fe with wonderful response.......

First of all, this is a very interesting thread.  Kudos to your unique work.

Where are you located?  You mention gigging in Santa Fe,  do you do that often? I live in Albuquerque and would love a chance to see these in action.  I wonder if many of these would be floating around my neck of the woods or not.
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« Reply #36 on: February 12, 2012, 06:21:21 PM »

Thanks for sharing your experience with us Justin. And thanks to Peter for inviting us in to see his work. All very interesting and informing.
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« Reply #37 on: February 14, 2012, 06:53:44 PM »

Transfer of design to drawing on the prepped wood surface.   Now to choose additional knotting.....

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« Reply #38 on: February 14, 2012, 09:50:12 PM »

End of day.........I begin laying in color washes tomorrow.


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« Reply #39 on: February 15, 2012, 12:12:34 AM »

This is great.  I can't tell you how many times I've thought of contacting you about doing this to one of my guitars.  For now, I'll have to live vicariously through this thread.  Thanks for sharing it.

WileE
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