Course: January 2007
Phil Bates    Jeremy Bunting    Owen Davies    Lloyd Jackson    Sam Pelgrift

Instrument details: Sam Pelgrift - Nylon string guitar


Sam has decided on a soundhole decoration consisting of two concentric rings with ebony shapes between which Sam is marking out for. The outer ring will be fitted later and integrated with the edge purfling.

Photo added on 23/10/2014


Go bars - strips of ash - are used to clamp the braces into place during gluing.

Photo added on 23/10/2014


On a classical bridge the shaping must be done prior to gluing to the front. Here the ramp between the saddle and tie-block is being shaped.

Photo added on 23/10/2014


One method of cutting decorative inlays is to cut both the inlay and the material it is inlayed into at the same time. Sam is using this method for his headstock inlay.

Photo added on 23/10/2014


When bending the sides the shape is constantly checked against the template.

Photo added on 23/10/2014


The instrument is together and the edge routed for the decoration. The final part of Sam's soundhole decoration can now be inlaid where the outer ring runs into the edge purfling.

Photo added on 23/10/2014


The fingerboard is glued on with a plywood caul to spread the pressure of the cramps.

Photo added on 23/10/2014


Sam is french polishing his guitar and is sanding back the initial coats.

Photo added on 23/10/2014


The polish is applied with a 'rubber', a pad that simultaneously applies the shellac polish and flattens the material already on the surface.

Photo added on 23/10/2014


This close-up shows how Sam has cleverly joined up the outer soundhole ring and the edge purfling.

Photo added on 23/10/2014


The headstock with gold mother-of-pearl inlay.

Photo added on 23/10/2014


The finished guitar.

Photo added on 23/10/2014

Course: January 2007
Phil Bates    Jeremy Bunting    Owen Davies    Lloyd Jackson    Sam Pelgrift

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