As you can see in FIG 22, the body still looks great without a binding around it. I know the binding adds a nice touch, so it just depends on whether you want to take the time to mask off the binding or not or whether the binding on your body is in good enough condition to be worth the effort. Masking the binding is done before spraying your primer. There are two ways that you can mask your binding: A.
You can lay your masking tape down and then cut along the binding FIG 24 , or B. Although the fine FIG 23 line tape seems better, it has a tenden- cy of lifting, so you really have to be aware of that and make FIG 24 sure you press it down firm before spraying any paint.
Continue to lay pieces of masking tape around the whole top of the body until all of the binding is covered. Stay on the binding. Pay careful atten- tion not to run the tape into the unpainted area. Stay right on the edge of the binding. This will make an air- tight masking, so no paint will be able to penetrate the masking and, get onto the binding.
Continue with this technique until FIG 25B all of the binding on the side has been masked off. However, before you begin the back, be very careful not to accidently remove any tape off the top that you just labored over. Proceed with caution. I tend to always do the top first fol- lowed by the sides.
As you can see if FIG 25B, it bends nicely into place. If you use this method, press down before every coat of paint you apply.
Follow the edge of the binding and then simply flip any excess onto the top to make an air-tight mask. Once the binding has been masked and trimmed using whichever method you choose, pat yourself on the back - that was very tedious! Yes, some of those first few steps are a little painstaking, but necessary.
Well, for a couple of reasons: Primer helps to bond the paint to the body. Without it, you may find that your paint is doing strange things as it hits the sealer. It can be sanded just like the sealer. If it appears your sealer is uneven, sand the primer down and reapply a few more coats to help even it out.
The paint seems to settle and flatten out quite nicely. It also dries very fast. Still, you want to give yourself at least 20 min- utes between coats to allow the paint to completely dry and settle. This explanation is assuming that you have virtually no experience with spray painting. If you have experience and want to do it your way, then by all means, go right ahead.
The better your spraying technique, the better the final results. However, you should concentrate on trying to do as good a job as possible, applying thin coats instead of thick coats I hold the guitar many different ways while spraying - upside down, right-side up, sideways, etc. Hold it whichever way is comfortable for you.
If you find that the guitar body is a little heavy for you, try painting the body with the guitar upside down as in FIG This way, the weight of the body is above your hand rather than below. If this method is still too heavy for you, hang the guitar and spray sections at a time. I start my first pass across the body, half on the body and half off see FIG 28 next page. I also like to start the spray off the body and run the spray past the body see FIG 28 next page.
Doing this makes for a much cleaner pass across and virtually eliminates paint spatters the paint shooting out big drops of paint. I zig-zag my way up the entire body this way, both sides. I feel doing it this way helps to even out any inconsis- tencies in my spraying technique.
When putting on all of my coats, I almost always do the sides of the guitar body first, followed by the back, and then the front. Another important aspect to painting is your tempo. I seem to come up with 1 - 1. Each pass across the body is roughly 1 - 1. In between each coat, look for little sur- face bumps.
Your goal is to cover the entire body with solid primer and to FIG 30 keep the surface of the body relatively smooth. Expect to do roughly 5 coats of primer over the entire body The Bondo sands very nicely, so this should be a fairly easy fix, but still - use a FIG 32 careful touch. Remove any excess dust and debris on the body with a damp paper towel. Allow it to be free of any water before spraying the primer again. Apply light coats until eventually, the area is smooth and flat like FIG Take a damp paper towel and wipe off the entire guitar body, removing any dust or debris that might still be on there as well.
Remember - putting your paint on in thin coats allows it to dry faster with less runs, making it easier for masking off the bullseye design. Continue with the same painting tech- nique I described in the last chapter; go left to right, followed by right to left, etc.
Your next coat should be up and down, down and up, etc. Allow each coat to dry for at least an hour and a half before applying the next coat check your container for exact time they recommend. This will give the paint ample time to dry and completely settle. Dealing With Runs: All runs should be removed as best as possible before masking your body and applying additional paint. Be very careful not to go down to primer or wood.
That will be undetectable when we spray our clear coats. Painting Outdoors: If you live in an area of the country where you get rain and snow, paint- ing outdoors will be difficult.
Water hitting the body while you paint will cause air bubbles and imperfections, which may be difficult to fix. Wait as long as you have to in order for it to be clear and dry. The protractor is made up of 5 parts. You can get four of them at any hardware store. FIG 35 In fact, you want a tight fit These are the marks in which your pencil should be positioned when making the bullseye pattern.
FIG 36 previous page shows you how to line up the pencil to the measure- ments. The point of the pencil should fall directly on each specific measure- ment. For example, if the first measurement is 1. Accuracy is crucial for this step. Once you line up your pencil on the marks, mark the holes in the bracket so that you can secure the bracket to the dowel. After your first piece of tape has been laid, follow that piece with another and overlap your first piece by about a quarter of an inch see FIG Continue laying down the tape this way, overlapping each piece by about FIG 38 quarter of an inch until the top of the body has been com- pletely covered see FIG 39 FIG Once the top is covered, cover the sides of the body as well as the back with strips of tape like I did in FIG 40 next page.
I used a couple of pieces of paper on the back instead of using the masking tape. With the screw now secured in place, your protractor should be able to rotate around without a problem. You may have to do the same to ensure accuracy in your circles. To get the circles onto your body, hold the screw with one hand and rotate your FIG 42 pencil around with the other hand.
You may have to move the pencil down or up inside the bracket as you make the cir- cle s. I erased almost every line at least once. Proceed this way until the entire design is complete as in FIG 43 previous page.
Once again, take your time with this You want perfect circles and that may take a bit of work. Doing it this way will make the job look so much more professional. The rea- son for this is that almost all Les Paul copies vary slightly in shape from a real Les Paul. As long as that one is positioned correctly, the others can fall where they do and still look correct. Cutting out the bullseye is going to take a steady hand. Artists tend to have a steady hand and an accurate eye, so asking for help from an artist may be what you need to get a very precise cut- FIG 45 ting job.
Still, try to cut only as deep as is necessary. Cut carefully when working on the binding. Once again, take your time with this step. The more precisely you cut your lines, the more accurate your circles will be. Look to make sure that none of it is lifting off in any way.
We want to eliminate any and all bleeding underneath the masking tape, so go over all of the masking by simply pressing down on it to ensure a very good bond. Doing this ensures that no paint can get under the masking and ruin your prefect circles. You get to see your hard work come to life! Thin coats are a must as this will keep the paint from running or seeping under the masking tape. Allow enough time for proper drying between each coat. If you start early enough in the morning, you should be done by early-mid-afternoon.
Keep in mind, though, you only want to apply as much paint as is nec- essary; less is more. Once your circles are a solid black, you should stop. Spraying on addi- tional coats will just build up the paint and will make it more difficult to remove the masking tape. This keeps the tape from pulling any paint off. If some are necessary, then, begin by spraying the black paint into the lid of the can and use that as your touch-up paint.
Dip your brush into the lid and take little drops of paint at a time. Proceed by filling in any small areas that may need a touch-up. Your job should look a lot like the one pictured in FIG Step 16 is right around the corner The good news is, this step is probably the easiest of all of the steps.
You may be wondering, why so many? To get rid of that ridge, we need to build up the clear coats so that, when we sand the body back down flat, the ridge disappears. Before you begin spraying the clear, have a look at the body to make sure there are no bits of dust or debris on the surface.
Begin by holding the guitar in one hand while you spray with the other see FIG Run your first pass across left to right, followed by the next pass right to left, the next left to right, etc. For the next coat, go in the opposite direction; up and down, down and up, etc. Allow ample time between each coat for proper drying. All of that will get fixed during Step Step 19 eliminates the orange peel look and gets rid of all irregularities in the paint.
Although it dries really quickly, it takes time for it to settle and harden properly. In other words, your perfect job would no longer be perfect. These two bodies were back-ups I made for a series of photos I missed along the way. They are now complete and turned out even better than As much as I know the first set. Three weeks out the 2 months, your finish will be should be fine.
Go over it a few times so that when you remove the screws and stick, it separates easily from the body. Yup - This is THE step that most novices have the hardest time under- standing During this step, we are going to sand the body back down to a very dull, flat finish, eliminating all bumps and ridges.
Also, make sure you have a dish of clean water close by. Using one of your sanding blocks with a piece of the grit sandpaper wrapped around it like the one in FIG 56, dip the block into the dish of water and begin by sanding the finish in a circular motion. Your objective is to sand down the entire top of the guitar and eliminate the ridge cre- ated by the black paint.
As you sand, the surface should resemble that of the surface in FIG Try to avoid getting water in the holes that hold the studs for the bridge and tailpiece. FIG 57 Work in little sections at a time. Every few minutes, stop and remove the excess water and inspect the surface. Your goal is to eliminate all shiny spots; these are the areas that are sitting lower than the rest of the paint.
Continue doing small sections at a time until the guitar has been completely evened out and all shiny spots have disappeared. Be very careful when sanding on the edges of the body.
Also, continue to do this wetsanding with water on the body. You can either dip your block into your water dish, or you can scoop water with your hand and transfer it to the body that way. Using a grit or grit whichever one you can find in the stores after the grit will produce a nice, smooth surface with a dull shine to it that, when buffed, will give you a virtually scratch-free factory finish. Once again, take your time with this - look to spend a good hours doing the wetsanding.
If you have any doubts about legality of content or you have another suspicions, feel free to contact us directly to email blogger at hackermail. Home Subscribe Trade Links. Older Posts Home. The book is packed-full with color-coded diagrams that show chord tones , note names, and finger positions, a handy visual chord formula table , and the tones fretboard maps of 44 different chord types.
Do you know some chords, maybe many, but you're not sure how to play them together? This ebook will show you 52 chord progressions , that are the foundation of many genres and styles of Western Music. Why 52? The idea is to use this ebook for 1 year, studying thoroughly a chord progression each week , in all keys and chord voicings.
Before you know it you will be picking out progressions from songs on the radio! Guitar Ebooks. Over photos and illustrations detailing the entire prepping and painting process. My guitar turned out so much better than I hoped it would.
The books are easy to follow and the vinyl maskings… man! It has indeed made my life and spraying guitars so much easier, fun, and an enjoyable experience. Thanks, John, for your valuable guidance, online videos, and cool products. I will be back soon with new PYOG projects. Guitar painting has now become one of my passionate hobbies, and in the future, I plan to build a business working on, and finishing guitars.
I also show you how to make a Vertical Guitar Wall Hanger, too.
0コメント