Some additional routing of the body was required to set the neck and get the electronics to fit.  I also needed to rout a battery compartment, which was actually the first exercise for the CNC machine.

The body was a very plain poplar, so it was going to need an opaque paint job.  I primed and then sprayed a yellow-to-green sunburst, covered with several coats of AquaCoat clear lacquer, which dries quickly and isn't nearly as noxious as solvent-based lacquer.

I used a picture of a cracked stucco wall to rout the crack pattern a few hundredths of an inch deep, then filled this with a mixture of black mica powder and more clear lacquer.  I sporadically mixed in a little silver to give it some depth and sheen.  After getting the appearance I wanted, I filled the cracks flush with clear cyanoacrylate glue, and sanded smooth.  The thick layer of clear lacquer over the paint allowed me to sand without disturbing the yellow and green sunburst.

I adapted the best aspects of a number of graphics to create the dragon's head and claws, simplifying the color palette, while trying to create the appearance that the dragon was bursting through the front of the guitar.  I routed each color one at a time, and filled with the various colors of mica and clear lacquer that you see, using more CA glue and sanding to bring it back flush after each round.  It was pretty tedious, and it took a good bit of care not to sand down into the paint and mess up the sunburst.

I used the back to learn how to do text engraving with the CNC machine, adding one of my favorite Email signature lines.

When all that was done, I applied more AquaCoat clear lacquer, but it was a battle not sanding through to paint on all the contoured edges.  And I could never buff it to a glossy finish.  So I ended up spraying it with clear polyurethane, which polished up nicely.

I applied the same green paint to the neck, and used the CNC machine to rout the headstock logo, filling with white mica and clear lacquer, similar to the procedure used for the body.  The face of the headstock was given a glossy buff, while the back of the neck was given a satin wipe-on polyurethane finish.

I used a locking nut (without the clamps) not because I wanted to, but because the neck had been built to accept one, and it seemed the path of least resistance.  The nut area had not been created with a great deal of precision, so it took a good bit of detailed filing and sanding to get it to seat properly.  But after that, saddle placement, fret dressing, and neck adjustment went pretty smoothly.

The electronic components were installed, wiring was teased through all the channels, and the finishing touches were applied, finally bringing the guitar to life.

The GFS REDactive pickups and associated electronics delivered everything you hope for in active pickups.  There is zero noise without having to shield the compartments.  The bridge pickup is bright without being shrill, and the neck pickup is round without being muddy.  There are useful tones throughout the range of both the volume and tone controls, using either clean or distorted amp settings.  All very cool, and distinct from other instruments I have on hand.