In September 1994, I attended a weekend-long inlay seminar taught by Grit Laskin. I had some prior inlay experience and a very good background in Visual Arts. Grit took my inlays to a whole new level. He discussed layout, design and developing a theme in your art work. He also taught us how to copy a picture and most importantly, demonstrated and taught us the lost art of engraving.

Engraving is very difficult and extremely slow-going. There are no second chances when engraving on shell. One little mistake, and its there forever. The graver cuts are filled with a black wax, India ink or magic marker.

Almost all the inlay art I've done started with an idea the customer had. Some customers like to talk the idea over first; others have sent me a stick drawing or even a photograph. From there, I do a very rough sketch for the customer to see. If I'm on the right track, I'll do a good drawing. If I've got it wrong, or I have to make a few changes, I'll do another rough drawing. After the good drawing has been ok'd, I'll do a finer, more detailed drawing with all the engraving. I do the inlay from this last detailed drawing.

Sometimes I'll come up with a great idea while I'm doing the inlay. I almost always call the customer to get an ok first, but on the odd occasion I've surprised my customers with a little addition like the bubbles on the Sailor Sam Mermaid guitar, or some extra inlay on the bridge wings like on Art-Deco II.

Another interesting note is that I can copy your signature and inlay it on your guitar. Ever thought of having your own signature model?

I can do any idea you can come up with, so... what's it going to be on your dream guitar?