In order to proceed with the project I hunted down as much information as i could find about Friederich and his guitars. This included a short article by Tom an Mary Anne Evans (1977), an interview by Andrea Tacchi (1997), a recent interview published in the Orfeo on line magazine, plans based on a 1972 Friederich cedar top guitar and numerous photos.
After reviewing the plans, two authentic Friederich guitars and numerous photos, I identified two challenges relative to limitations in my own skills. The first was the sculpturing that Friederich executed on the headstock face plates for his "Concert" models. I do not have the tooling I would need to do that with a power router nor the skills and patience to do it by hand so I decided that this guitar will be a copy of the "Recital" model. My second challenge would be the rosette. Rosettes have not interested me nearly as much as all of the other aspects of guitar making. All of the mosaic rosettes in my guitars have been purchased from commercial suppliers. Apart from those I've made a number of "modern" rosette styles that did not incorporate mosaics but rather herringbon/wheat patterns against solid wood backgrounds and veneer band borders.
But thankfully James Lister posted a full description of his mosaic process in the documented post about his 100th build so I decided to give it a try. Friederich's rosettes do not appear to be identical from one to the next but they have three elements in common; the pattern/colour scheme for the central mosaic, herring bone bands near the outer and inner circumferences and a variety of coloured veneer bands separating those elements and forming the inner and outer borders.
First I plotted the patterns and colours on my computer and cut .5mm veneer strips.
Then I sorted the strips according to the horizontal pattern layers and glued them
Planks were cut from the blocks,scraped to .5mm thickness, glued & clamped
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Last edited by Michael Lazar on Tue Jan 26, 2016 6:26 pm, edited 1 time in total.