Why so shiny?

Everything in our modern world is shiny, glossy, plastic. It’s everywhere. Somehow this has become a marker of quality.

But I’m not convinced. As I’ve progressed in my building and tried new finishes, the main thing I’ve discovered is that a lot can be hidden with modern finishes, which is why they’ve become the standard in mass produced guitars.

Sanding scratches? Cover them.

Dents? Lay on the sealer and sand it flat.

These things are much harder to hide with thinner, oil finishes, which is maybe why I find them so satisfying. You wipe them on and they reveal any imperfection. The only way to address these is to go back to sanding, up through increasingly finer grits until you’re ready to try finishing again.

The whole process really is great. Sure, it takes more effort, but those efforts are rewarded. I can work slowly, paying attention to the details, and I can course correct as needed.

The other thing I’ve noticed is that precision can be be highlighted by an oil finish. You can keep lines crisper, and they look great. With lacquer finishes, it’s actually better to soften lines so the the film can build evenly, and to avoid the chance of sanding through the finish in those areas.

Ultimately, oil finishes provide something that a lacquer can never do, not even satin or matt - bring warmth and a direct connection to the timber. There’s a depth to the timber that oil brings out. It’s in the top layer of the timber, not just on it. And the way you can feel the grain is a welcome change from the lifeless expanse of gloss that we’re so often surrounded by. It’s a reminder that these instruments are made from nature. They’re made to be experienced with all senses.

When it comes to the instruments I build, lacquer is out. Oil is in.