I used the technique of roughing out the neck profile at frets 10, 5 and 1, and then carving out the material in between. I must have used every carving tool in Jim’s workshop, plus a few a brought myself, but the most useful were the shinto rasp, a half round file, a drawknife and a curved spokeshave. Good fun process, and still some work to do on the headstock, and smoothing everything off once the fretboard is on.
For the headstock overlay, I decided on more of the ivory needlewood to match the fretboard inlays, but with an ebony block that sits proud a few mm, and meets up with the ebony centre strip in the neck.
This whole thing is a case of design on the fly, but I reckon it’s looking OK.