The Shellacater (MIM Fender body)

[Mike Seta]

This one is not a Warmoth but I plan on doing a variation of this on a Warmoth soon. It's a Fender MIM body.

I'm calling this one the Shellacaster. The design was inspired by a seashell my daughter found at the beach. It has deep, textured semi-circular segments radiating from the center and following the curves of the body, getting progressively smaller and shallow toward the horn of the guitar. The body has been hand-painted to accentuate the depth of the carving and bring out all the intricate details. You can get lost looking at this thing. Black is mixed in with a variety of metallics. This body sparkles in the sun or under lights, and all the little carved details make it come to life when it's moving. The back is not carved but features my take on the "distressed" look, with layers of various colors interacting with each other for a very deep effect.

 

[stubhead]

Shiver me timbers! That looks exactly like the Strat that was found on a tiny Caribbean isle, clutched in the grips of a pirate skeleton! Marooned, matey, with nothing to do but carve on ye ol' Strat and wait for the inevitable. :evil4: :evil4: :evil4:

Great work! There are now over a dozen guitars that've passed these portals that just plain smoke the Fender Custom Shop. Makes you wonder... you must've carved a fair amount of stuff - first! - but it's the initial conception of things that's needed, without that all the gnarly ol' experience just makes you a better monkey - but yer still a monkey! 'R' R 'R 'R ...

 

[Mike Seta]

Thanks. I like the pirate references! I also think it looks like it may have come from King Tut's tomb.

I usually put anywhere from 10-50 hours into a body. The concepting is pretty organic. Not to sound weird but I try to let the curves of the guitar dictate the design. Once I start sketching, the body tells me what to do. I guess that's just testament to Leo Fender's genius. For me, he got it right the first time (and second time) with the Tele and the Strat. There are of course other iconic designs out there, but none as sexy as those two. Working within the limitations of those two designs forces me to focus on a concept within the parameters of the existing shapes. In other words, if I worked from a body blank, I think I'd have TOO much freedom and the designs would suffer.

Also, I have ZERO finishing skills or equipment, so my guitars are always designed in such a way that you can't hurt the finish. If I had a brand new $3000 guitar and scratched it, I'd be beside myself. With my designs, a scratch becomes part of it. 

 

[Ddbltrbl]

Not sure how I missed this, but... Great Job! 

 

[Mike Seta]

^^ Thanks. It was a weird one, but I really regret selling it. Guess I need to make another!

 

[Surf n Music]

Tripy looking. I like it!

 

[swarfrat]

But was it a chambered body?

 

[bagman67]

But was it a chambered body?

I see what you did there.

 

[stubhead]

I keep meaning to ask, what's your primary group of tools? Chisels/blades, Foredom/Dremel, trained beavers? Oh, and if you haven't yet seen William Jeffrey Jones' work, it's pretty spectacular (in a civil fashion):

http://divine-jones.com/