There are a lot of ways to apply a sunburst. I like to use wood dye and work directly on the wood similar to the method used by violin makers (and guitar and mandolin makers before sprayed finishes became the norm). The method enhances the grain of the wood because dye interacts with it, becoming darker in the areas where the water base of the dye is held and stays wet, like areas with curl in the wood fibers. If you love the quirkiness of wood and like the way that watercolors look, then this method might be for you. It is, however, less predictable than spraying color coats over a sealed wooden surface. I think it’s worth the extra work and a little risk!
The guitar has been sanded down and is ready for finishing.
The hormigo binding has pores that need to be filled. I tape off the light areas of the instrument and apply pore filler to the hormigo only.
Before applying dye, I brush a coat of watercolor resist called Miskit liquid frisket on the wood bindings that I want to stay light in color.
The body gets a wash coat of dye to raise the grain. The body is sanded lightly then another wash coat is applied.
I start working around the edges with the color.
When the color has been established (I use several applications of very diluted dye), I start pushing the value down with darkening coats. In this case, the toner was a mahogany brown.
Toned maple with a dark binding
Spruce tops often have more curl than you think, and the dye accentuates the natural figure. I’m using a few “colors” of shellac as I build the finish here to add a another color dimension to the ‘burst.
Dye creates a kinetic effect in the way that the light reflecting off the figure is affected by the angle you’re seeing the wood from.
Fifteen frets to the body for this tenor.
The shellac needs to be cleaned off of the bridge location with a razor blade and some alcohol.