the typical process for me usually begins with an idea of the shape in my head. almost 90 % of time i go with instinct. there are no pre-planning involved at all . just a personal goal of trying to attain a simple but "curvy" shaped instrument. the thing that i'm very dissapointed with are builders who copy an already existing design/shape.Now, there's nothing worse in my opinion than to copy someone's work unless you're trying to duplicate a faithful reproduction then by all means. mind you that the shape of the modern day guitars etc.. are based on the spanish-style which in itself is not a new innovation.
ive always had a very controversial opinion about the design structure of the ukuleles that are out in the market as we speak. that's why i keep it to my self . i absolutely am in disgust of the boxy shaped ukes that look like someone's Aunts droopy ass. i can count with one hand of the few ones i admire . namely the folks over at Lowden Guitars. an irish-based company whose gaining quite an attraction at the annual NAMM shows. To me, it is the pinnacle of a modern guitar shape design. There's not a single flaw with the design on those guitars in my opinion. Even the old Martins and Gibson flattops shape i can't stand. You couldn't pay me enough cents to design a flat-ended neck joint because its easier to execute a dovetail route. Not me. I prefer the curved surface where the neck and the soundbox meet. The rest is simply applying the original idea to paper. any piece of paper, be it the ones out of my printer or a sketch pad.heck i even use client medical charting sheet lately. I usually draw the half-shape on paper by hand. everything done by hand. absolutely no CAD computer drawings. none of that easy modern comfort bullshit . call me old school thats fine. Refine and repeat . I would even go as far as sticking it on the wall or any flat vertical surface with a scotch clear tape and just sit and stare at it all day. An approach i learned from my Art professor Wes Lee back in college. he taught me to see things through negative shapes and light. during this process is when i notice the minute details . I do the edits accordingly. i cut the initial shape with a plain household scissors then transfer it a fresh blank sheet of cardboard. i then mark and draw the sound hole and bridge positions to get a realtime image of what im trying to accomplish. i need to see where everything goes into place. again, always trusting my instinct. once im happy with the overall design is when i get to working on the actual Mould of the uke. i have about 13 different concert mould to date which is excessive. its just to show how i'm never really fully satisfied. i get bored fast and easy and i'm constantly thriving to get better. To sum it all up, what im looking for is a Uke that has curves, tight waist, cute overall aesthetics and a warm tonal punch.but above all else is the Sound. Sound and playability after all is king in this business. but thats for another time.
i have always been the biggest fan of the cavaquinhos. there's something about it that i find fascinating . its basically a miniature classical guitar with steel string and a slotted headstock . a very ornate sound hole rosette designs and matching purflings that goes on top, back and even on the headstock. i find it captivating. the shorter scale too at only 13.68" in length. i wouldnt be where i am today building these instruments hadn't i stumbled upon a photo of the instrument searching the inter web ,some 11 years ago. so, its a new year and im in desperate need of fresh design to keep my enthusiasm going for a while. I've already had several wood combination ideas for this.
cheers
here's a photo of my drawing where i stuck it on the medicine cupboard in the nurse's station at work last night.
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