The Rozawood Twenty Eight, built by Czech maker Roman Zajicek, completes the selection of instruments chosen for the covers of the official Guitar Show 2026 catalogue, alongside the Hommage ’59 by BakeShop Guitars and the Pilgrim Slimline by BMC Guitars.
The Twenty Eight draws directly from the design language of the Martin D-28 and HD-28, instruments that Roman Zajicek openly describes as a fundamental point of reference. “This guitar is for many players the ‘Holy Grail Guitar’,” he explains, and for this reason the project maintains “all the significant design elements, as close as possible to the original Martin HD-28.” So dimensions, peghead shape and purflings remain deeply connected to that historical model, while only a few details depart from the original design.
Among these variations are the use of curly maple binding in place of traditional celluloid binding, a modified neck heel shape and “the slightly shaded edge of the soundboard giving a vintage appearance.” Rather than redefining the instrument visually, these elements work within an intentionally familiar framework, preserving the recognizable identity of the classic dreadnought tradition.
Material selection plays a central role in the instrument’s response and tonal behavior. Zajicek identifies the choice of spruce for both the top and the braces as one of the most important aspects of the project. “We use the highest quality of Spruce braces (from Val di Fiemme) and torrefied Spruce for the soundboard,” he explains, describing a combination intended to produce “a special feel to the sound that is very close to the vintage instruments.”
Beyond the visible construction details, another defining element lies in the internal structure of the soundboard. The Twenty Eight uses what Zajicek describes as a “double X” bracing system. While the lower section follows the logic of a traditional X-brace design, an additional X is introduced between the soundhole and the neck block to increase structural stability in that area.
The development of the instrument was also shaped through continuous dialogue with musicians, particularly within country and bluegrass contexts. Zajicek describes himself as being constantly in conversation with players, trying to apply “all their ideas and comments” to refine the final result. The objective, in his words, was achieving “the balance between bass tones and trebles, and also a ‘punch’ in the projection,” combining clarity, responsiveness and projection within a balanced acoustic response.
For Zajicek, the Twenty Eight selected for the cover of the Guitar Show Bologna 2026 catalogue represents a synthesis of the company’s broader philosophy. “The Twenty-Eight is to me the representative combination of simple and elegant design with high quality and luxury tonewoods.” The intention is not to create an overly elaborate instrument, but rather “to offer a simple instrument with high performance to the public for affordable price.”
This balance between tradition, refinement and functionality also defines Rozawood’s broader construction philosophy. Zajicek explains that innovation is never introduced arbitrarily, but only when it contributes meaningfully to the instrument itself. “I am always trying to apply the traditional techniques to the building process, and do not make the innovative elements just for fun.”
Even elements that may appear unconventional, such as the company’s convex rosette design, are “preciously designed and tested before applying to the instruments.” For Zajicek, every design decision ultimately remains subordinate to the same principle: “the most important thing is the sound of every guitar.”
In this perspective, even aesthetic or experimental elements must continue to fulfill what he describes as “the principal function of the instrument — the sound projection.” The Twenty Eight reflects this approach directly, combining historically rooted construction principles with carefully measured refinements aimed at preserving clarity, balance and acoustic response within a familiar and recognizable form.