From THE GALAXY OF STRATS
P146
STUDY OF STARTS
LAYERS OF COLORS
SUNBURST
From the 1950s, Fender actively adopted opaque (solid) and metallic colors for guitar finishes, which were unconventional at the time compared to other manufacturers. This approach particularly emphasized the functional beauty of the Stratocaster, which featured a three-dimensional contoured body. Here, we will divide Fender’s unique methods and their variations into several groups and provide an explanation.
SUNBURST
The Stratocaster was the first Fender product to feature a sunburst finish. At that time, applying sunburst to ash wood was quite unique. In 1956, when the material changed to alder, the tone of the color shifted slightly.
In the late 1950s, the original 2tone sunburst was modified to a three-tone sunburst by adding red, which became a standard color from the 1960s onward. This color furthermore, divided into two versions: the wood grain-visible version from the early 1960s and the version after 1964 where the grain is less visible. This change resulted from a modification in the base coat process, where the yellow layer was moved to sit on top of the base sealer coat. To compensate for the slightly darker wood color, white was added to the yellow layer, which had the effect of obscuring the wood grain.
Later, at the end of the 1960s, the base coat changed from the previously used thin synthetic resin paint to a polyester undercoat in a finish called “thick skin finish.” In this specification, lacquer was used for the color coat and top clear coat. Next, let’s follow this evolution with photographs.
CAPTIONS
①2 TONE SUNBURST ON ASH
2-tone sunburst (Ash).
A 1954 2-tone sunburst. It has a unique atmosphere due to the contrast of the ash’s natural color and wood grain.
②2 TONE SUNBURST ON ALDER
2-tone sunburst (Alder).
A 1957 2-tone sunburst. The switch to alder began midway through 1956, and along with the material change, new painting methods like “bleach burst” were introduced to correct the color of the wood.
③3 TONE SUNBURST ON ALDER
3-tone sunburst (Alder).
A 3-tone sunburst was introduced in 1958. Red was added between the yellow and dark brown layers.
④FADING BURST
Fading burst
This type existed for only a brief period between ③ and ⑤. The red paint used in the 3-tone sunburst was prone to fading because it was dye-based. Seen in 1960 and 1961, this fading gives the appearance of a faded 3-tone sunburst.
⑤3 TONE SUNBURST
3-tone sunburst
Fundamentally, the same as ③, but due to the change in the fingerboard, it gives a completely different impression.
⑥3 TONE SUNBURST
3-tone sunburst.
⑦3 TONE SUNBURST
3-tone sunburst. Same as ⑥, but with the wood grain in the central yellow section being slightly less visible.
⑧3 TONE SUNBURST
3-tone sunburst.
A representative sunburst of the early ’70s. Known as “six-skin,” it features a color coat applied over a polyester clear undercoat, giving it a distinct color tone.