Painting headstock with inlay

[Charles Savage]

Ok, I am going out on a limb and guessing this should be some kind of No-Brainer. But I have not found the approach/technique for finishing the face of a headstock that has fine inlay work without painting over it. I understand that I can fine sand the dried black paint gently from the inlay but this seems risky in that I might break through along the edges. Any tips? I cannot stop thinking about how this is supposed to be done.

[Brian Evans]

I stained my headstock with inlay, to darken the rosewood, with a penetrating stain. That way I was able to sand back with 320 grit to clean off the pearl while not taking the stained layer off the wood. No idea if this is right or wrong.

[Mark Swanson]

In traditional inlay work, painting is never done, except in the case of a repair or something like that. Staining does work and can work really well if the filler around the inlay will also take the stain.

[Charles Savage]

I should have clarified...the headstock has a thin black stiff material on the face that sands very smooth and clean. (I forgot what it was called) I am just getting back into this project since 6 years ago but I could look it up. As I understand, it is very similar to what was used on the Gibson models of the late 50's. After it was glued in place I then carved the inlay pattern and filled in with black epoxy. When set, I sanded the slightly raised inlay and it is now smooth and even over the face.

[Chuck Tweedy]

The material is black phenolic paper laminate - sometimes Garolite XX
It will be jet black under a clear coat - so just clear coat the headstock/neck after the inlay has been brought flush with the headstock face.

I might be missing something here...

[Charles Savage]

Thank you Chuck. As smooth and dense as this material is, it has to be just as you said. This my first complete from scratch build but by having the neck nearly finished and the body profile ready to be routed, I can almost see light at the end of the tunnel.