Throughout the making, my actions are focused around three main axes, namely the design of original models, the respect of acoustic and mechanical characteristics of the wood, and the quality of finishing.

When designing an original model, I illustrate my perception of the guitar by fusing in a few lines my personal vision of aesthetics with my sound ideals. For this exercise, I imbue my craftsmanship with a distinctive character that becomes the signature of my instruments.

Working techniques are drawn from the heritage of traditional European workmanship as well as through new contemporary avenues. Some guitars reveal arches inspired by the principles of violin making, while others are assembled according to the scales suggested by the classical guitar making. Most of my instruments are provided with a radiant bracing system developed from an authentic approach, which colors the sound of the guitar.

In an effort to produce instruments with an enhanced acoustic performance, I select wood parts based on the density and elasticity (mechanical strength) of wood species. By doing this, I am able to draw up an accurate profile of each part and then adapt my interventions to the mechanical and acoustic properties of wood. At various stages of making, I carefully take note of the deflection (flexibility) and weight of the guitar’s master components, in order to reach the optimal acoustic behavior as well as to compile data on my instruments. However, although this scientific process is crucial to the guitar sound effectiveness, the maker’s sensitivity also plays a major role in the quality of the final product. A significant similarity can therefore be heard in the sound character of the instruments, but each guitar has a tone of its own.

Finally, the finish enhances the work by emphasizing the greatest qualities of wood and by illuminating its patterns. The finish that I chose stems from a fusion of ancestral oil varnishing principles with traditional and contemporary oil finishing techniques. A slight shade is sometimes applied to increase wood texture and patterns. I usually complete the finish with a thin coat of French polish that makes the oil film shiny and more resistant. This treatment is all the more interesting so it provides a pleasant contact with the guitar, while hinting the warmth of the material.