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    The Art of Marquetry by Craig Vandall Stevens

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    Carlos Costa

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    © All Rights Reserved
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    of 92
    The Art of Marqu etry a Craig Vandall Stevens ‘Text written wich and photography by Joy Shih Ng With illustrated, step-by-step instructions About the Artist Craig Vandall Stevens designs and builds one of a kind furniture in his one-person shop in Sunbury, Ohio. He studied furnituremaking at the College of the Redwoods Fine Woodworking Program in north- ‘em California, a program renowned for its excellence in craftsmanship and attention to detail. There under the instruction of master cabinetmaker Jim Krenov, he developed an extensive background in traditional cabinet making techniques and handskills, The fo- cused environment of the college became the setting for Craig to begin exploring the delicate art of mar quetry Craig's furniture and carvings have been recog- nized both regionally and nationally. He has received ‘Awards for Excellence from the Ohio Designer Crafts- men andwon an “Excellence in Craftsmanship" Award from American Woodworker Magazine's national competition, His work appears in Taunton Press’ De- sign Book Seven and has been included in group and solo exhibitions around the United States. Craig isalso responsible for reproducing many of the original ar- chitectural carvings for the historical renovation of the Ohio State House in.Columbus, Ohio. The Art of ‘Marquetry is his third book. Craig teaches classes on a variety of woodwork- ing topics and conducts small group workshops in his shop. He may be contacted at 11951 Wildwood Lane, Sunbury, Ohio 43074. The Art of Marquetry Craig Vandall Stevens ‘Texe written with and photography by Joy Shih Ng Aen ee eS OCI Dedication This book is graciously dedicated to my friend and teacher, James Krenov. Thanks for sharing your gift. Front Cover: Cedar Waxwing Cabinet, marquetry detail. Courtesy of Fan and Darel Hutchinson. Photo by Stephen Webster Library of Congress Cataloging-in-Publication Data Vandal! Stevens, Craig. ‘The art of marquetry / Craig Vandall Stevens ; text witen with and photography by Joy Shin Ng. p.m. ISBN 0-7643-0237-X (softcover) 1. Marquetry. Ng, Joy Shih. I Title Tr192v26 1997 745.5 12-de21 9651132 oP Copyright © 1997 by Craig Vandsll Stevens. All rights reserved. No part of this work may be reproduced or ‘used in any form or by ary means—graphic, electronic, or me- chanical, including photocopying or information siorage and re- trival systems—without written perrission from the copyright holder. “This book is meant only fer personal home use and recreation. I Is not intended for commercial applications or manufacturing purposes. Printed in Hong Kong ISBN: 0:7643.0237x Designed by Bonnie Hensley Published by Schiffer Publishing Ltd. 7 Lower Valley Road Atglen, PA 19310 Phone: (610) 593-1777; Fax: (610) 593-2002 Enmail: schifferbk@aol.com lease write for a free catalog, ‘This book may be purchased from the publisher. Please include $2.95 for shipping. ‘Try your bookstore first. We are interested in hearing from authors ‘with book ideas on related subjects. Contents Acknowledgments.....4 A “Word” from the Author.....4 Introduction to the Art of Marquetry.....5 Woods for Marquetry.....6 Marquetry Tools and Supplies.....11 Introduction to Resawing..... 13 Equipment for Marquetry Projects. Introduction to Double-Bevel Cuttin, A First Project.....22 Marquetry Using a Scroll Saw.....22 Marquetry Using a Fret Saw.....29 A Second Project: Curled Aspen Marquetry Using Thin Veneers _ A Third Project: Copper Iri A Fourth Project: Winter Bir: Glossary of Terms.....87 Sequence of Events Checkli Helpful Hints.....89 Gallery.....90 Acknowledgments I would like to express my appreciation for Caroline who shares this adventure with a sense of humor, endless support, and a lighthearted spirit. She will surely one day be sainted. A special note of thanks to my long time friend Gary Everts, whose commissioned piece, “A Stand For Music’ appears in the Gallery section. I would like to acknowledge the special talent of Greg Zall, my good friend and marquetry compadre. Also thanks to Stephen Webster, my studio photographer, who beautifully captures the subtle detail of my furniture. Stephen's photographs appear in the Gallery section. I would also like to acknowledge the staff at the College of the Redwoods Fine Woodworking Program, Jim Krenov, Michael Burns, David Wel- ter, and Jim Budiong. Their commitment to an honest, sensitive approach to woodworking inspires me and has helped me develop new ideas about grace and beauty. Avery special thank you to Jason Grant and EcoTimber in Berkeley, California for continually educating me and other woodworkers concernit responsible forest management. EcoTimber gra- ciously provided the Lesser-Known Species that I describe and use in some of the marquetry projects presented in this book. Special appreciation to my femily and friends for their understanding that following the path of the heart is more important than following the path of convenience (in other words, never asking when I'm going to get a “real job”). Finally I would like to thank the nice folks at ‘Schiffer Publishing for taking an interest in my work, in particular Joy Ng and Doug Congdon-Martin for their great skills and sense of humor. A “Word” From The Author ‘Truthfully, one of my reasons for learning the ert of marquetry is that | could then use one of the greatest words in a woodworker’s vocabulary on a daily basis - Marquetarian! A person that makes pictures out of wood! It sounds so...noble, use it at every opportunity. For instance, out to dinner at a nice restaurant, I might slip it in when lorder my meal. “Id like the marquetarian... oops, I mean vegetarian special.” Signs can be hung around the shop or from the mail box - “Marquetarianis in”. The possibilities are endless. Aside from woodworkers getting to wear the coolest clothes to work, getting to name-drop terms like marquetarian is certainly one of the highlights for me. This all goes to prove that wood- workers often spend way too much time alone! Introduction To The Art of Marquetry While studying Fine Woodworking at the Col- lege of the Redwoods in northern Calfornia, | had the chance to see the work of many of the school's former students. A few of these beautiful pieces of handmade furniture used the art of marquetry asa means of decorating a surface. This art form cap- tured my imagination and has become one of the most rewarding aspects of my work as a furnituremaker. There is sometimes confusion between mar- quetry and inlay. Inlayis the art of creating a design that is made up of shell, stone, metal, and some- times wood. The inlay is then glued into a cavity that has been hollowed or carved out of the sur- face. Marquetry is a technique where different col- ors of wood veneers are carefully cut to ft precisely together, creating a design in a single sheet. This, veneer sheet or picture is then glued to a solid, stable surface. The idea that one can paint a picture using the natural colors of wood, precious metals and gems is an ancient one. Artifacts enriched with colorful designs were left behind in the tombs of the Egyptians. By modern definition, these surface decorations are more closely related to inlay. In the mid 16th century, Italian craftsmen began us- ing marquetry as a furniture decorating art. Around that same period of time came the invention of the fret saw. A U-shaped metal frame with a fine blade held tightly at the open side, the fret saw made it possible to cut veneers quickly, with great accu- racy. Today's fret saw works on the same principal and is still one of the primary tools used by the marquetarian. Tuse a technique called the double-bevel cut for neariy all of my marquetry work. Double-bevel means cutting 2 layers of veneer at the same time, with the saw blade angled or beveled, so that one piece fits in the void left by the other piece. It's a very accurate method that eliminates gaps around the individual pieces of the marquetry picture. The technique can be confusing initially, but itis easily learned. With practice, the cutting of the veneers can be mastered and the challenge becomes de- signing the marquetry picture and choosing ve- neers that will enhance its eppearance. Much of the fine furniture that I design and build begins with the marquetry design. Sketch- jing may lead to a drawing with graceful, vertical lines that spark an idea for a cabinet with a similar graceful, vertical presence. After completing the sketch, | begin choosing the woods I want to use. The background can set the mood for the piece and is usually the wood I'll be using for the cabi. net itself. After choosing the marquetry woods, | transfer the finished sketch to the background and begin the process of cutting the different colors of veneer to fit. In this book | will discuss the double-bevel technique of marquetry including the tools and materials required, veneers, using the scroll saw and the fret saw, choosing woods, design, shad- ing with hot sand, and finishing. I'll take the projects from the design through the marquetry process including preparingthe completed design for finishing. | will also demonstrate how to saw your own veneers out of solid wood planks. This is a benefi- cial technique for the marquetarian because it can provide veneers in colors and textures that might be unavailable in commercial or store-bought ve- neers. Sawn veneers, while much thicker than commercial veneers are easily cut with a fret saw or scroll saw for use in marquetry. I wish you luck as you explore marquetry and | hope you find it as exciting as | do! Woods for Marquetry Lesser-Known Species From lef to right: New Guinea red cedar, red elm, red oak, chechen, red eucalyptus, cuchi. From left to right: kta, kiat, nara, granadil. A Sampling of Thin Veneers From left to ight: aspen, sycamore holy, maple, white cak. From lft to right: Botta rosewood, mahogany, European pea, Give Eat nda oewood a A Sampling of Sawn Veneers From left to sight: holy, black bull hoo’, red eucalyptus, osage ‘orange, purple heat, macassar ebory. From leftto right: yew, Norvay maple, satinwood, bubinga, poplar, sircote q From leftto right: European beech, jarrah, bird's eye maple, redwood burl apple Brazilian rosewood, 10 Fon le fog eewied, mountain mahogey eh brown ‘team calor sapwood), manzanita, eucalyptus, mesgute acc A Sampling of Woods That Show Chatoyance From lef to right lacewood, quite madrone, makore, bird's eye ‘ap, ye Marquetry Tools and Supplies One of the wonderful things about marquetry is thet it requires few tools. The double-bevel method can be performed using either an inex- Pensive, hand-held fret (jeweler's) saw or an elec- tric scroll saw, both available from woodworking catalogs and stores. Hegner scroll saws are avail- able from Advanced Machinery Imports Ltd. Along with a saw, you'll need: Jeweler’s blades size 2/0 (jeweler's blades fit both fret and scroll saws and are available through jewelers supply stores like “Frei and Borel” in Oakland, California) Pin vise for holding tiny drill bits (woodworking or jewelers supplies stores) A tiny drill bit, size #66 or so (a little larger than a needle) Masking tape ‘Small counter-sink (mine is made by Dremel and is available at hardware stores) Pencil Tracing paper Graphite paper ‘Tweezers (jewelers supply stores) Hot plate and small frying pan Fine sand (sandbox sand) Yellow woodworker's glue and a small glue bottle ‘Small hammer Sand paper or cabinet scraper Wax paper Veneer tape (woodworking catalogs and stores) If you're using a fret saw, you'll want to make a simple angled table with a birds-mouth or notch Cut into the front edge of the table. The angled table is the key to an accurate fit of the veneers. Because the angled table supports the work piece at the correct angle, the saw can be kept vertical. If you're using an electric scroll saw, you may find that the opening in the metal table top has a large space around the blade. It's worth spending a few minutes making an auxiliary top out of nice plywood or masonite that reduces the gep around the blade. This offers the veneers additional sup- portaat the blade, keeps the blade from flexing too much and helps prevent tiny marquetry pieces from falling through to the floor. The new top can be attached with double-sided carpet tape and re- placed when worn, Njustable Bedsrsth, ep veu et my aes M4" Talc birch sored robsse (no que) Mijestable Brdanerth Front new —— ® —s— ijysteh —Bedemot se ve HE Dale ick plyueod,, glued and sraned Introduction to Resawing Veneers ‘The first step to accurate resawing on the bandsaw is setting up and adjusting the saw. The proper blade is important and I use a sharp 1/2" blade, with 4 hook teeth per inch. The benefit of using a blade with 3 or 4 teeth per inch is that it efficiently removes alot of material quickly, yet the teeth don't have an overly aggressive set. Remove the blade currently on the saw. Dust. any sawdust off the bandsaw tires and back the guide blocks and thrust bearings away from the blade. Install the 1/2" blade approximately in the center of the tires. The teeth will be pointed down towards the saw table and facing you as you stand in front of the saw. Tension the upper wheel until the blade becomes slightly taut, then rotate the upper wheel by hand for several revolutions. This allows the blade to properly track or find its proper location on the saw’s wheels. Adjust the tension of the blade according to the scale on your particular bandsaw. For this project | am using a Delta bandsaw with a 6" riser block. | have adjusted the tension of the blade a litte beyond the 1/2" mark. on the saw’s tension scale. The blade should be very tight,not so much that you risk damaging the saw, but tight enough to prevent the blade from wandering while in the middle of a cut. ‘Adjust the upper guide blocks so that they come forward to the back ofthe Dade’s gullet and in until they lightly touch the sides of the blade, Tighten the guide blocks in place Guiler trast barre of i \ St jut bee Kade ql Mottol perm 4 Gallet ide. ks G Set jat behind ape i — ‘Adjust the upper thrust bearing forward ntl it ightly touches the back ofthe blade. Tighten the thrust Bearing in place. The bearing should move slighly from light contact with the blade as the blade rotates. The bearing should not be in such tight contact with the blade that itcannot be stopped with finger pressure while the blade le being rotated by hand, Repeat the above two steps io adjust the lower gue blocks and. {hnust bearing below th saw teble Rotae the blade byhandto double ‘check that both the upper andlower guide blocks and thrust bearing ‘are properlypostioned, ‘The net important step is tofind the “drift” ofthe blade. Bard saw blades rarely cul perpendicular to the fron ofthe saw table, £0 is important to find each bade’ angle at which X naturally wants 10, Draw a line along the lenath ofa piece of thin screp wood, parallel toone side. 14 Tum the sav on and pusting fiom the end of the serep, cut part way ‘along the pencil line manipulating the scrap to allow the blade 10 follow the line. Hold the scrap piece stil and tum of the saw. Wile stl holding the scrap piecein place, place an adjustabe bevel square along the front edge olthe bandsaw table. Adust he square’s farm agains the edge ofthe screp piece paral tc the pencil line. ‘Tighten the bevel square. The bevel quare's angle now represents the dit ofthe saw blade, For resawing I made an accurate fence out of 3/4" birch plywood ‘approximately 4 high to suppor the park being resavn. | saw my veneers to a sttong 3/32". This allows me to thickness plane or sand the veneess to a strong 1/16". My finished veneers ‘measure5/64". Whatever inal thickness you choose for your veneers, IES important thet all veneers used in a marquety project be the same thiskness, ‘At the same time that you are adlusting the distance between the blade an¢ the fence (3/32' plus), st the fence against the angle of the bevel square to align ft with the drift ofthe biade ‘Clamp the fence to the bandsaw table. Double check the distance between the fence and the blade, and double check the fences, ‘angle with the bevel square. Make any adjustments and re-clamp if ‘necessary. The fence lam using doubles as a router table fence which explains the dust chute, ‘Check thatthe fence i square tothe top ofthe bandsaw table. 15 ‘One ace and one ede ofthe wood tobe resawn have been jointed. drew a cabinetmakers tiangle on one end of the board to ald in re-assembiing he veneers in the sequerce that they were cut With the jointed face against the fence and the jointed, sawtable, use steady pressure and saw the veneer off. to use e steady feed rete to reduce the chance ofthe biade burning the wood. Before starting the cut, think about the postion of your hhands. Postion them on the workpiece so that you dont need to ‘stop the forward progressin the middle of the cut to get a new grip ‘Any pauseslike this usualy resultin burned marks and regulates fon the wood surface. Beware of where your fingers are on the end ofthe board so that they are net in the path cf the blade ae it ete. I's a good idea to have a plece of scrap wood neaiby to push the boaré through a the end of the cut, keeping your fingers out of danger. Thefirstveneeris sawn. Check the new surface for any unevenness Anyhigh orlow spots require thatthe board bejeinted again before the nex veneers cut. The cabinetmaker's triangle allows me to easily find boolematched veneers. Book-matched veneers are a mirror Image of each other and often create a more attractive background of e marquety design than randomly selected veneers. By checking the ccabinetmaier’s triangle drawn on the end of the board, you can easly find the correct sequence of veneers, (Once all the veneers have been cut, they are ready to plane or sand tothe final thickness Ifyou erenot planning on wing a cram Sarder or thickness planer, fhe board is tao small ta be safely sert through a planer, set the bandsaw fence to the final veneer thickness. For these smaller pieces | set the fence 5/64" from the blade. With careful fence and dif set-up, veneers sawn at this fence setting are ready to use for marquetry right aff the saw Equipment for Marquetry Projects Equipment for sand shading: small hotplate and pan, fine sand (phygound sand), small bash, long-handle tweezers. ‘Ral and woes needed oe martin, Fm base ft and small hammer wth slightly convex head, cabinet scraper, Sal courcrank py vse winany OBL WOR rd See handle tweezers, smallbrush, ret saw bledes (ewelers blades, size 20) sal duebotle, 1/2 masking pe, bench, mechani pene, [use @ Hegner 22" vatiable-speed scrol sew for most of my rmarquetry work. The variable speed motor one of the saw’s most important features. At is slowest setting the motor operates at approxmately 400 rpms, slow enough todo very precise marquety {ané stil make good progress on a project. The sav’s accuracy ‘allows me to focus on the marquetly process and ts 22° deep throat permite work on lacge marquetry pares. recommend using 2 foot pedal to operate the saw, freeing both hands to manipulate the workpiece | also enjoy using a fret or jeweler's saw for marquetry. Fret saws are available with throat depths ranging from 2 1/2” to 12" deep. The depth of the throat somewhat limits the size of the mar- quetry design that can be created, but with careful planning a smaller fret saw can be used to make several small patterns and assemble them in sec- tions in a larger piece. Becorning proficient with a fret saw is a wonderful skill to learn. The equi ment required is inexpensive and can be modified to fit your needs. The technique feels awkward at first, but with practice it can become a very accu rate, rewarding approach to marquetry. Double-bevel means cutting two layers of ve- ner at the same time, with the saw blade angled ‘or “beveled” so that one piece of veneer fits in the void left in the other piece. The thickness of the veneer and the thickness of the saw blade deter- mine the angle of the bevel. The bevel Is then set by tilting and securing the table of a scroll saw or a “birds-mouth’ jig if you're sawing by hand with a fret saw. Using 5/64” sawn veneers and a 2/0 jew- elers blade, the space around each piece of ve- neer will be filled using a bevel of around 7 de- 18 Singh. eden Sia fa" Bate beck ip appon. 6 =10 aed saw Tobe woh dloying toning AS oy oe 7 f workbere Top edag 7 fine rune mowing engl grees. If your sawn veneers are a different thick- ness, you'll need to adjust the angle of the saw table slightly. This sounds much more complicated than it is. Your first couple of practice pieces will help to clear things up. If you're not interested in sawing your own veneers or don'thave the equipment to do so, you'll want to use commercial or store-bought veneers to practice the art of marquetry. The bevel angle will be greater because the veneers are much thin- ner, Commercial veneers come in two common sizes, 1/28" thick and 1/40" thick, so you'll need to experiment to determine the exact bevel engle for the materials you're using. When using the slightly thicker 1/28” veneers, the saw kerf gap will be filled with a bevel angle of 13 to 15 degrees. If yourveneersare 1/40” thick, Ive found that a bevel angle of 18 to 20 degrees works. The work is sim- plified and the fit of each marquetry piece is more accurate if you use the same thickness veneer for an entire project. To begin, Il demonstrate an exercise that will help you understand the process of marquetry and how the double-bevel method works. Introduction to Double-Bevel Cutting I ‘Select alight color veneer Il always refer to this nial veneer for ‘any marquetry project asthe "background veneer”. The background veneer is always the piece that has the design or pattern drawn on it All other veneers are added tothe background veneer to create the design. Brawa sknple shape on the background veneer. have marked the shape with the letter"W" toindcate a ‘waste’ or throw- ‘away piece. This wasie piece i replaced bythenew pieceof veneet. - . 4 Place a contrasting piece of veneer unde the fist veneer making ‘sure the drawn shape is completely over the contrasting piece. pee, A Holdng the two pieces of veneer carefully together, tur the pal ‘over and secure with several strips of masking tape. => Install a uny dri bit into a pin vise. I'm using a #68 size bi, but 2 variety of sles wll work providing they're just lightly larger then the 2/0 scrall saw blade. Any del be about the ste of a seuing neede will work fine. Drill a hole to match the angle ofthe titec Saw table, starting on the inside ofthe drawn line and anging the bit towerds the outside of the drawn shape. By driling at ‘approximately the same angleas the tit ofthe sw table the drilled hole will be sawn away from both pieces cf veneer. Using 5/64" ‘veneers withthe 2/0 blade, and ting the saw table to 7 degrees clminates the saw kert This makes for e perfec fit Dail Bienes wasce Hace Bago we Bakar er nse ce waste Dei bitexie Guere piece edilld ie iscoranusy and invtihle 19 “Turn the workpiece over and countersink the ext hole. This makes threading the blade through the veneers much ease, Marking & ‘rele around the ext hole watn a grephite pencil or dark pen also tds in finding the countersnis hole when the worlolece fe tuned back over for threading, With the teeth of the saw biade facing down and towards you, thread the saw blade through the hole. The drawn shape should now be visible asthe top of “background” veneer. The éraun shape ‘oF waste prece should be uphill of the bla¢e. That i, if your saw fable is tilted down to the let, the waste piece should be on the ‘ight (phil) sie ofthe blade. yp Bake Tied 7° below hevzontal Attach the top of the blade tots camping device. Adustthe tension tn the blade so that the machine doesetrattlein use, but itt so tight that you'te constanty breaking blades. 6» + \ 4 ee Begin cutting the shape, rotating the workpiece dockwise which feeds it into the saw blade while keeping the waste piece uphill cf the saw blade. Again, with the table tited down 7 degrees to the lef, the drawn shapes tothe right side ofthe saw blads. When the cutis complete, the waste piece willbe replaced withthe new inser. veneer” curently taped belon Cutauwy Crs section, ab macy cps Yo ook cura thal 76 7, wry Sea veseert, the gop will be Fld byte inert pece. 36 Bade cisert presen plat th. ne gop Arun its ges Cut along the line, continuing to rotate the piece clockwise, To prevent bending the blade to the side or towards the back, ‘occasionally pause the saw and release your hold from the workpiece to allow the blace to center itself Some flexing of the blade towards the back ofthe saw i to be expected this happens ‘excessively, you might consider placing an auxllary table on Your ‘a's metal table surface. The space jor the blade can be cut to allow only a small amount of backwards fexing ofthe blade, Ive fitted my table top with a piece of 1/4” masonite, reducing the spece around the blade. When reaching a comer of the tape, keep the blade moving in place at you carehly turn the corner ‘This wil alow you tomake a tight turn and prevert the lade from breaking, ‘After removing the workpiece from the machine, remove tape and set aside the bottom contrasting venee. Fiom the back or wrong sde ofthe top (background) veneer, set the cut-cut contrasting veneer in place. k should be a snug fit “Tur the workpiece over You are now a Marquetaian’ Revel in your success, show al your fiends, stat promising beautful marquetry sits to family members. Ifthe Rt is not as snug as you had hoped, however, hold off on that last suggestion for a bit anc continue reading, \Workon several practice pieces to begin feeling comfortable wth the technique. Dont be discouraged if your first attempt is not a Perfect fit—this isthe me to fne-une your work. If the cortrasting veneer that you have cut isnot a snug fe, and fais titough or is @ loose fit, try anging your saw table sighly more to the left. For example, try changing the scale nthe saw table rom 7 degrees to 7 1/2 degrees. Making the ange steeper wil create a tighter ft. Ifthe contrasting veneer thet you have cutis too large and won't it into the opening, try decreasing the angle ofthe saw tase sighty, may take several pracice pieces, changing the saw table's angle ‘each time, to determine what is perfect fer your situation 21 A First Project Marquetry Using a Scroll Saw ‘Woh the craphite paersitin place, draw two reference mars at ‘opposte comers of the sketch. The reference marks help you to reposition the racing over the veneer for subsequent cuts. = Fora simple project that wil allow you to practice double-bevel ‘The transferred sketch withthe reference marks. This veneer will aut, well make alea! using two pieces of veneer. Copy the leaf now be referred to as the "background venee.” pattem on to tracing paper Place the tracing over a light color ry > | {ve chosen a beautiful wood calednara to maketheléaves. Nara fs one of the many lesser known species of wood that | use in my ‘weodworling, Its Color ranges from golden-brown to red and will ‘Werk well for this project. Il reer to tas the “insert veneer” To ‘make the design more realistic, I lita to ute the grain ofthe insart ‘Tape the tracing to the veneer and side a plece of graphite paper \Venee! to suggest vein inthe leaf, Ihave drawn artows representing (graphite side down) between the tracing and the veneer. Using @ ‘grain directions on the pattern to help postion the erin ditecton Pencitransfer the cesign cn to the veneer. ffthe insert veneer (contrasting venee) \ ell Position the background veneer over the insert veneer. We'l work. ‘on the section of the leaf marked #1, Notice the insert veneer's grain runs in the direction of the arrow. Secure the background ‘Veneer to the insert veneer with masking tape. ie wT The process of double-bevel_ marquetry is the continuous, overlapping of veneess. Where this first insert plece borde's the secondinsert piece Isa good place to demonstatethis overlapping, Continuing with the section of the leaf marked #1, you il follow the transfered pencline on the outsice of the leaf pattern, When, youreach the centerline separating the two halves ofthe leaf pattem, you will ct just outside ofthis centerline the dotted line Shown), This overlap area willbe cut away with the nextinset piece, leaving, a clean seem between the two halves othe lef patter, Dril @ hove using the pin vise and bit along your dotted line. Remember toslighty angle the driltowares the outside of the line, to approximately maich the angle of the ted saw table. Placing the hole inthis overlap section insures that it willbe cut away with, the folowing inser piece. “Tum the workpiece over, draw a circle eround the dill hole and countersink the hole ‘Thread the blade through the hole and attach it tothe saw’s blade clamp. Tension the blade Begin cutting along the dotted line in the overlap area. When you reach the comer back off sighly and carefuly pot the workpece tocortinve follovingtheline. While pivoting, the saw blade fs moving but the teeth are not cutting the veneer. 23 ‘Now thet you have completed the sharp turn at the corer carsfuly follow the pattern line around the outside ofthe let. Remember to The completed cut. Remove the workpiece from the saw. ‘occasionally eease the workpiece toallow the blade tocerter sel | keep a finger applying downward pressure 10 the veneer near the tawblade. This presoure prevents the blade from accidentally ing the workpiece and allows meto pivot the workpiece when following ‘eurve or eithig arcimd 8 comer Remove the insert and waste pieces. Also remove masking tape and set aside the remaining inset veneer. \ Pivot around the corner, easing off onthe pressure to prevent the teeth from cuting while you make the turn, Cut alorg the cotted With the background veneerstiface down, push the cut-outinsert line inthe overlap section vo the string point piece into the opening, 24 Fr 4 @ “Tum the workpiece over and check fora nice ft LUghty tap the inset piece into the opening with a small hammer to assure a snug fi that ie fush withthe face ofthe background veneer Wipe off excess alu. - { et 4 Once you're satisfied with the ft, you are ready to gue the insert ‘The first section of the leaf glued in place piece in place. Remove the plece and apply yellow woodworke"'s na From the back side (wrong side) ofthe background veneer, press Lay the pattern over the background veneer using the reference the glued insert plece In plece, ‘marks for postioning. Tape the pattern in place 25 ‘Side araphite pape: (craphite ide down between the pattern and the background veneer Retrace the centr line oftheleaftotransfer Itto the newly placed inser piece. Position the background veneer over the insert veneer We are now working on the section ofthe leaf marked #2. Again noice the Inger veneer’s grain matches the direction of the arrow on the leaf section marked #2, Secure the background veneer to the insert ‘veneer with masking tape. 5D + ——l “The overap area from the firs inserted lef section wil now be cut ‘away with this second leef section. This wil leave a clean seam betwen the two sections. Wit this second leaf section you wil be catting the actual line all te way around. 26 < eS Drill a hole on the centr line of the leaf, angling the dil towards the outside of leaf secton #2. Ifyou can imagine dling ata sight steeperangle thanthe aw table tied, the drilhole wil be invaible once the insert piece is cut out. Because we have no overlapping area on this piece in which to place the hole, the slightly steeper dill angle wl place the hole in the waste area of both veneets. “Turn the workpiece over, draw @ circle around the dill hole and countersink the hole ‘Thread the blade through the hole and attach it to the saw's blade clamp, Tension the blade. Again, notice thatthe waste area ofthe background veneer (Ihe top venees) is uphill to the right ofthe blade, Begin cutting along the centerline of thelea, feeding the workpiece Remove the insert and waste piece. Also remove masking tape into the saw blade. Remember that the workpiece is being retated ‘ond set aside the remaining insert veneer clockwise and to oceasionaly release pressure on the workpiece allowing the blade to certer itself. Sead (Once again, when reaching the comer, backoff lightly and caefuly ‘Again with the background veneer stil face down, push the cut- pivat the workpiece to cantinue following the ine. ‘Out insert int the opening, ie “Tum the workpiece over and check the Mt, The clean seam baween the two halves ofthe leaf demonstiates the benefit of cutting bath The completed cut. Remove the workpiece from the saw. inserted veneers along the center Ine at the same time, 27 ‘Choesing tohave the grain run in two different directions not only suggest the veins inthe lef but also shows the eflctive contact ‘ofthe wood, The shaded insert pce, Z Brush away any sand “Te further enhance the contrast between the two halves ofthe leat Iwilshade te centerline edge ofthe secondinsert, Over a hotplate, heat fine send in @ small pan on a high setting. Place the center line edge oftheinset into the hot sand for 10-15 seconés, checking reguenl for desired shading. All woods react diferently to shading ‘ith ho! sand. Some species shrink if eft in the sand too long hile otners may bur easily. The narra 'm using shades very well and after just a few seconds, hes the look Im after. Experiment Shading with serops ef the same kind of veneer before using the actual inset piece, € a Reposition the centerline edge of the insert piece to shade the length of the curve, Again, heat for 10-15 seconds or as needed, checking the progress regulary. 28 ‘Apply glue around the edges. From the back side of the background veneer, press the glued Insert plece in place. Lightly tap the insert withthe small hammer if needed. Wipe off excess glue eee “To demonetrote marquetry using a ret say, we'll continue with the same leaf design by adding 2 new lef and branch, Place the tacing ‘ ‘over the background veneer cn the good or “face” side of the 4 previous leaf design. Tape the tracing 10 the veneer. The completed leaf glued in place, Marauetry Using A Fret Saw When making a marquetry design using a fret or hand-held sam, you will use the same tools and supplies as previously described ‘The ony difference isthe saw and the saw table, Pictured from left lo right feet sew with an 6" deep throat anda modified handle, 12 fret saw (Eclipse branc), homemade adjustable sawtabe, Imodiied Slide a piece of graphite paper between the tracing andthe veneer the saw on the lef: to provide a very long handle using the hande and transer the design. from aJapanese hand saw. The handle not only fitsmy hand rice, butts extra length makes it easier to heep the sew vertical whe cutting the veneers 29 eevee fae poe aoe vamnaanat —_ — ‘asin, dri an angled along the oted Ine Remembers dt Li {oars th catste ofa econ #3, . = Agtin, to make the design more realistic, velluse the grain ofthe “Tum the workpiece over. draw a circle around the drill hole and insert veneer to suggest veins inthe leaf. Well work on the section ‘countersink the hole. ‘of the leaf marked #3. Postion the background vereer over the Insert veneer, matching the directions ofthe arrows. Secure with masking tape Be auare of previous cut veneer So that you don't overlap and c. Clamp the fret sa table to your work bench. Tighten the blade at the hande end clamp with the teeth facing away ffom the saw frame and down towards the handle. Hook the top end of the saw fon the fet saw table and place the handle against your shoulder Thread the saw blade through the countersink hole and slide the workpiece all the way to the handle. Applying pressure Drawa dotted line onthe outsie ofthe lee’s center Ine to provide with your shoulder, flex the saw frame and fasien the oppose end for the overlep. ofthe blade. 30 The adjustable fret saw teblehas been tted to7 degrees since Im still using 5/64” veneors and a 2/0 saw biade. The notch in the front of the table, called the "bids mouth", is where the sawing takes place. The workpiece and saw are in position to cut. Mylethand beeps. downward pressure on the workpiece while rotating the workpiece Into the teeth ofthe blade. Because the sawblade'steeth are facing ‘away from you, the retation of the workpiece is opposite (counter clockwise) of the rotation used on the scroll saw With the table tilted down to the let the waste piece in the background veneers, Uphill or to the right ofthe saw Blace. — Begin savingalong the line. Myright hand operates the saw vertically, “To steady the sawing motion, I rest my elbow against my leg. This helps assure thatthe saw sioke is consistenly vertical. Make every for to saw within the birds-mouth, pausing occasionaly to check the saw blade's position. With my left hand manipulating the workpiece, I saw along the dotied line tovarés the corner. a oa FF Progress along the lin, overlapping the previous leaf. Complete the aut. gr 31 ‘Wah the background vet face down, place the cutout eet La Hs) Y ~ Release the blade from the upper blade clamp and withdraw the lade. ( / a “To show a sense of depth between the two leaves, 'm going to shade the are that ovelaps the fist leaf Remove the insert and waste pleces. Also remove the masking tape ad set aside the remaining insert veneer. ‘Shading the insert. 32 ‘The shaded intert, glued and tapped into place. Dil the hole from the inside ofthe cent’ line towards the outside of the line. Tur the workpiece over, éraw a circle around the dill hhole and countersink the hole To begin working on leaf section #4, lay the pattern over the background veneer using the reference maiks fr postioring Tape the patter in place, side grephite paper between the patter and the background veneer, and retrace the centerline ofthe lel PR. Poston the background veneer over the insert veneer. Again check to make eure the arrow in the leaf section lines up with the gain of the insert veneer. Secure the two veneers wth masking tape. ‘Thvead the blade through the veneers, Flex the saw frame with your ‘shoulder and fasten the blade. | - ¢ XN ‘Saw along the line and cut out the last leaf section, 33 eal “The completed cut. Remove the insert and waste pleces and set With the edge shaded to your satisfaction, brush off excess sand. aside the remaining insert piece. Tne shading should enhance the design by creating a three- ‘dimensional effect. The piece is now ready tobe glued into place. eq. “To enhance the contrast ofthe two halves ofthe leaf, I'm going to ‘shade the leaf section along the cente line edge ‘Shade with hot sand. Lighty tap the inset fora tight ht 34 The finished leaves. ‘To complete the project, we wil make the branch. Ihave cheeen @ veneer complimentary to the leaves in color and texture. ‘Toaldin placing the background veneer on the new insert veneer, | dilled a hole through the background veneer atboth endeof the length ofthe branch. These holes serve as locators when positoning ‘one veneer orer another to ensure the desired grain direction and to prevent placement ofthe veneer outside of the pater. Because the holes are driled within the patter lines they wil be cut away ‘when the insert veneer is cu or letin” into the backaround veneer. ‘Tur the background veneer overto the back side, Find the drilled holes and draw line connecting them. This s roughly the location ‘ofthe branch pattern on the opposite sie. Place the insert veneer over the background veneet Se Be sure to completely cover the driled locator hols, being sure the grain direction ofthe inser veneer ie running in the drestion of the branch. Secure with masking tape. 35 a \Wih the venesrs taped together dil an angled hove from theinside line of the drawn branch tovaids the outside ofthe design. This ho'e is for threading the blade. “The completed cut-out branch “Tum the workpiece ove; draw citle arcuné the dled hole ana ‘Check fr fit Shade the lower edge ofthe branch to adda shadow. ‘countersink the hole, “Thread and fasten the blade as shown before. Begin cutting. With arrow pleces lice this, be especilly careful o follow closely tothe Do a final check befere gluing end tapping the branch in place patter line ‘Congratulations! You have competed your fist projec. 36 A Second Projec Curled Aspen Leaf Marquetry Using Thin Veneers The next project, a curled aspen leaf, will be made using thin (commercial or store bought) ve- neers. The technique is identical to marquetry us- ing thicker sawn veneers except that the saw table is tilted to a greater degree to account for the thin veneer. For this project | will be using the scroll saw Before working on the stem, you'll need to change the angle of the saw table. Since the veneer | am using is 1/40 thick and I'm using a 2/0 blade, the saw table will be set at around 19 or 20 degrees. You'll need to experiment for the correct setting a The cutled aspen leaf pattern we'll be working on is shown here with a varety of thin veneers. From left to right: East Indian rosewood, figured makore, eastern maple, Bolivian resewood, ‘enuine mahogary, South American mahogany, quilted madrone, olive, holly, European pear, bubinga, ‘This pattern will be made using four separate cuts. You wil first ‘want to make a tracing ofthe design. On the tacing Ive numbered the four areas according to the sequence of cuts using your materials. The best way to do this is to make a practice workpiece using some small scrap veneers to check for a proper fit. Cutting thin veneer using a fret saw is no dif- ferent than cutting sawn veneers with a fret saw. The technique remains the same, however, the angle of the fret saw table is tilted to a greater angle to eliminate the saw kerf. Some experimentation will help you determine the correct angle for the materials you're using, Refer to the fret saw direc- tions in the sequence of events checklist for addi- tional sawing instructions. Choose a light.color background veneer such as the maple used Ivedecided touse three different veneers to make up the leaf. From bhereand tape the pattem over the certer ofthe veneer. Slidegrephite leftto right: East Indian rosewood forthe two large sections of the paper between the pattern and the background venee: leat (#3 and #4), genuine manogany for the underside ofthe leat tha’s curling up (#2), and makore for the stem (#1). [My decision to use these veneers is based on the desire to use & ‘wood witha grain pattern that suggest the veins ofthe leet. To help, choose the appropriate veneer | made a “window” by tracing ene section ofthe leaf onto a plece of screp paper. The sketched vein lines in the original pattern point out the type of grain 'm looking for | ed {placed the “window” over several areas ofa variety of veneers until | found one that contained the type of grain | was locking for. 1 ‘decided to use the East Indian rosewood because its swirling grain pattern and color would make an interseting loaf design. The color {and texture ofthe rosewood helps me determine the other woods. Draw two reference marks to allow for repositioning. tousein he design 38 Since the top ofthe leafis going tobe faty dark I chose alighter ‘wood, mehogany, for the underside ofthe leaf. The red-brown of the mshogany, shown en the ef, compliments the rOsewood aid will help creat the llusion of the underside of the leaf curing up. ‘The figured makore has a slightly ner teture than the rosewood ‘and the mahogany end will make a nice ster, i 9 “This area ofthe rosewood veneer shows the ype of grain peter I have in mind fortis section of the leaf This prece won't be cut out ‘ntl laern the project so have tapedthe window in place and set the rosewood ase. & & ‘The stem will be the first plece letinto the design. Place the background veneer over the makore veneer that sto become the stem. Remember to have the grain direction of this insert piece follow the direction ofthe stem, Secure wth tape, ry Wen ung thin veneers, youl vant to back p the tvo renters with a third piece of veneer. This extra layer whichis called “waster” vyeneet, supports the inser veneer and prevents the fragile piece from breaking or splinting when being cut. Use an inexpensive veneer for tis waster piece lke aspen or poplas, and tape in place, ‘My reason for Beginning vith the stem Is that | can overap the ‘stem into the lef. Later when leaf section #4 cu, there wil be @ ‘lean seam between the top of the leaf and the ser. It wil appear thatthe stem goes behind the leat Drawa dotted line sighty into the leat. This is where wellbegin the cut. Dill the hole. Tum the workpiece over and courtersink the hole. 39 Thread. attach, and tension the blade. Begin catting. By sartngin this area, the drill hole wil be cut away later ‘Shade the bottom side ofthe stem. Wi thn veneers the shading happens quickly, wth some woods in jst 2 few seconds. Be aware that some of the effect of sand shading may be sanded away later when fishing the projec. usually shade sightly darker han what {want to end up with 40 ‘The shaded ster, ~ Glue can be applied to ether the insert piece othe operingin the ‘background veneer Because the stem issosmall, epply glue round the edges ofthe opening in the background veneer and push the stem in place. A sheet of wax paper wll protec: the workbench from glue squeeze-out. [Nest we will be cuting out leaf section #2. For the same reason we ‘overlapped the stem into leaf section #4, cutting and overlapping this piece into section #4 wil also leave a clean seam between the peces. The goa s to fo! the eve into believing thatthe underside ‘ofthe leaf curls up along the edge. Crisp, smooth transitons fram ‘one part of the design to the next and overlapping pieces as yous build on the design i the key to convincing the eye. Draw a dotted line sighty into section #4, Place the background veneer over the mahogany insert veneer, Tivead, attach, and tension the blade. Begin cutting paying attention to the grain direction, _ = Lee “The completed cut. Discard the background waste veneer and the bottom waster veneer. Remove tape and check fora snug fi ‘Secure the background veneer to the mahogany and the waster veneer I wantto shade the concave side o the cuve where the leaf wraps {around to the back side. To prevent the two points of the insert vereer from shading more quickly than the insde of the curve, Dilla hole through the veneers along the dotted line in the overlap ‘arrange the hot sand in a small moune, area, Tur the workpiece over and countersink the hole. 41 sing tweeze's, dip the insert piece into the mound of hot sand. ‘Check the sha length of te cure is evenly shaded +2 ig every few seconds to make sure that the fll Glue around the edge of the opening in the backaround veneer ‘and place the insert piece. Wipe away any excess glue Leaf section #2, shaded, and glued in place. 42 ‘To begin leaf section #3, return to the rosewood veneer with the ‘window taped in place. Slide the background veneer between the window andtherosewood vveneet Once in place, remove the window and tape the veneers {ogether, ncluding the waster veneer. ae Draw a dotted ine fo: overlapping into leaf section #4, may decide to shade along this center ine later 20 Ive drawn the dotted line ‘close othe centerline of the pattern. This willallow for easier sand shading ifneeded. Drill a hole alorg the dotted line in the everap ‘area, Turn the workpiece over end countersink the hoe, if A ‘With the blade in place, begin cutting, ‘Careful sand sheding along this outside edge of the leaf will give the designa three-dimensional feel. addtion subtle shading along the center line wil visually separate the two halves of the leaf. rompleted. Shown through the opening, from top to ‘This rosewood veneer overlaps the cente’ line by about 1/16° so ‘ottom, fs a view ofthe three veneers: the hackgreund veneer, the the shaded area needs to extend beyond that point. Arrange the inser veneer, and the waster veneer hot sand in a small mound as belore to shade along the center 1m the same manne lightly shade the outside edge of the lef. Check the insert veneer for fit Ths is also the time to decide which Remember thot thin veneers shade very quickly $0 check the sreas may be enhenced with shading. progress every few seconds 43 This insert veneer is large enough to hold with my flagers so the ‘The final cut in this project will be leaf section #4. In preparation clue can be applied directly to is edges, we wi need io reposition te pater overthe workpiece usng the relerence mat Press the piece into the opering ofthe background veneer. Witha Slide the graphite paper between the pattern and the workpiece, larger insert piece like ths, you may want to held the workpiece in ‘race the pattem along the three overlap areas: the stem, the place for afew minutes unl the give sets. ‘mahogany underside, and the certer Ine ofthe lea. /,8 \Wewillnow be cutting the final leaf secion along the newly raced. ‘The leaf section completed. lines inthe overlap areas. 44 Having chosen the area of the roseweod veneer tobe let-in to leat section #4 by using another paper window, place the background ‘veneer in positon. With the design in place, remove the paper window, end tape the veneers togettier, Remembet woinclude the ‘aster veneer Dri he hole, angling the dil bit to slighty exceed the tt ofthe ‘tw table. Tum over the workpiece and countersink the hoe. ‘Threed the blade through the woikplece and attach tothe saws blade clamp. Tension the blade and begin to ut. ‘Once again, when pivoting around the point, eaze off on the ressure to prevent the teeth from cutting while you maketthe tun, ‘This corner is sharply pointed, requiring that you rotate the workpiece almost 180 degrees. Use extra care as you slowly ‘manipulate the workpiece. Itray help to light touch and release the foot pedal whie rotatnathe workpiecea litle bit each time the blade moves, then repeat to rotate alte bt more unl you've made t around the sharp comer. Cuting throuch the overlap area. Fingertips are postioned clote {0 the saw blade to firmly press the veneers against the saw table ‘op and guide the blade along the line, Check the final leaf section for a tight fi. 45 The two areas indicated here wil be enhanced by some very light shading, helping to create the three-dimertional llusion. For concave edges that are diffcultto place ln the mound of hot sand, sublle shading can be accomplished by holding the insert Vereer with tweezers above the hot plate and repeatedly pouring hho! eand over the area to be shaded. 46 ‘Someveneers reactto the beat ofthe sand byshiinking, nolonger ‘accurately fitingint the opening. This shankagecan becorected bby waiting, then toweling off the Inset piece. The veneer can be Wetted several times unt it expands to fit back into the opening. ‘This piece of rosewood shrunk encugh to warrant submerging the ‘veneer in water for afewseconcs. Apply weigh toflatten the veneer for three or four minutes asit dries. Check the Rt and repeat wetting the veneer as needed. Once dry, aiue the piece in place. The single curled leaf completed A Third Project: Copper lris ‘The selection of veneers is one of the fist steps ina marquetry project. Nature provides a multitude of colors and textures that ‘can be used io create the art. Shown here are a sampling of some vibrant colors that suggest a flower. From lef to right: eatinwood, cchalte kok, English walnut, ebony, osage orange, purple heart, and apple, ‘The design | have chosen is a single copper is. I will be using ‘sawn veneers inthis project. “The most important cheice of veneer forthe iris are the pels. like usea very brightly color woodto represent the copper petals in the Nower, The chalte kok wil work nicely for this design, ‘The purple heart and ebony veneers provide a colorful contest for ‘the smaller highlights in the design. “The background color should compliment the color ofthe petals. The unusual lighter grein in the epple veneer is perfect for en ‘This background veneer ie European pear abstract background for some of the darker highlights in the large peal “The bright yellows inthe osage oxange and satinwood wil work nicely a8 the stamen, Iwi make my final choice as the project develops. “The next veneer to choose will represent the leaves inthe design, ‘which makes up a large section of the total picture The Englsh Walnut venee, when combined wah the red tones of the chakte lok and the European pear creates the ilusion of a green tint. ‘Make a tracing ofthe its. Center the ris on the background veneer ‘Well start wth the long petas inthe top pat ofthe picture because fend transfer the desig. they are in the background of the design and will eventually be ‘overlapped by the smaller petals. Position the upper left long peta, ‘over the chalte kok veneer, orienting the grain along the pet's By _iengih Tape the veneers together, ‘This cut wil overlap into the smaller peta. Draw a dette line and diillata slight angle. Re — CHoKTE KOH \ f — ENGLGH MUN gy) = RoR ENE eee wae oF FETA gin PETAL — Aap ‘ arn a ee om arusasoe Crete) 1 GRAS ‘To help you remember the veneers and colors used in different Turn the workpiece over. Draw a circle around the hole and sections ofthe ins design, make a Key on the sheteh, ‘countersink the hole 49 “Thvead the saw biade through the hole in she veneers Because these longer petals should appear to be behind te smaller petals, well shade thi lover end. Knowing thatthe lover end of, this petal wil be cutaway when the smaller petalis cut, vellshade ferther up the inset piece. ‘Attach the saw blade tothe blade clamp and tension the blade, uYV ‘ Begin to cut along the line. This center highlight or vein’ of the petal willbe cut ou later. For this step cutout the entire petal ‘Shading the petal insert, 50 ~ = Lightly tap with a small hammer for a snug ft ‘Apply due around the edges of the insert piece. ‘This flower petals drawn behind the adjacent petal, It needs tobe the nest siep so thatthe adlacent petal can overlap. ‘Tape the veneers together. Draw a dotted line to overlap into the Press the inser plece into place, Wie off excess glue mallet petal as well asthe adjacent petal 51 Dil a hole through both veneers along the dotted line Turn the This area ofthe petal bordering the adiacent petal willbe shaded to workpiece over and countersink the hole suggest a shadow. PF “Thveadl the blade and begin cutting. As always, remember to rotate the workpiece clockwise. Following the steps taken in the previous petal and cut arcund this entre peal Pivot when you reach the tip, Bf the petal, easing off the pressure on the blade to Keep the saw bladeteeth fom cutting as you slowly tum. ‘Sand shading completed alongthebordering edge. Gueinto plee. Th ed eu pa ing add in ey et Te Pte ey eae an se ye cut completed. Disengage the saw blade and remove the ‘ony highlight. Reposition the pattern on the background veneer peered uses SEs gna ares 52 “Tum the background veneer over and place the ebony in position cover the flower petal. Tape in place. Notice that much ofthe waste piece (in the tweezers) is cut away in the saw kerf while the ebony insert piece is finely pointed. When, ‘working whh Uny pieces Ike this, I’ 3 good dea to Sweep the work area tegularlyin case you drop the insert piece, Dillor “pierce” a hole through the vein along the line. Angle the ceil bit greater than the angle of the sawtable, ofa! least 7 degrees. By ene cP ‘angling the drillbitthis way, the dil will enter the waste piece on the Pega erie ad eat he nits ices on ha bea roe ‘Check the insert piece fer ft Apply alue to the edges and pressinto “umm the werkplece ove, cele and countersink the ext hole pee Pi volva ges an ps SE Since the angle ofthe drillhole is greater than the angle of ihe able, the workpiece wor't lay fat on the saw table after threading the bade. With both hands lightly onthe workpiece, touch and release the “on” switch of the sav By causing the saw to take a couple of sirokes, the blade will Dring the workpiece fat on the table. Ifthe bade breaks, remove the pieces from the bide clamps and re thread a new blade. Begin cutting, carefull fllowing the pattem, line. When reaching a comer, carefully rotate the werkpiece 160 ‘degrees without allowing the weet to cu the workpiece. Follow the saw kerf that was just created as you start back up the other lin, ‘merging into the drawn line. This wllleare avery fine point on both ends ofthe insert piece. ‘Tap lightly and wipe off excess due, 53 ‘The fist petal completed. ‘This ned petals curled towards you with part ofthe back visible. willbe making this peal in several stepsand taking the opportunity ‘with ths petal to Show another method of letting-in the ebony highlight. The first cutie going to split the petal in hal lengthwise lve drawn a dotted line indicating where the frst cut wil be. Remember to extend the dotted|ine to overlap the srallr peal at te botom, Pierce at the dotted ine, tum the workpiece over and countersink the hale. Jn the pattern and transfer the third long petal along the line bordering the second petal ‘Cutting through the overlap area. 54 ‘Test fit the insert piece. Notice the lighter color of this plece which With this alternative method to leting-n the ebony highlight, I'm looks ike't’s in font ofthe sheded petal ‘orerlappnng each inser piece as | go along so that each subsequent cut will build on the previous one. Draw a dotedline overlapping in ~ the uncut area ofthe petal \ ‘The insert piece has been shaded along the botiom to suggest a Peerce at the deted line, turn the workpiece over and countersink shadow which wil bebehine the smaller petal. Notice that | avoided the hole. Make your cut and test ft. Shown here's the ebony inser sheding the edge bordering the other petal. {gued in place. LES s of ‘Once again, reposition the patter. Transfer the ebony highlight ‘area to the background veneer Remember that this line was cut ‘Again, reposition the pattern and transfer the lin representing the ‘away with the ast step. side of the ebory highlight that was cut away. 55 Before cutting along the portion of the petal that borde's the NNaticethe insert pieces shadedto a daskertone that wil dferentiate highlight, Fil cut the curled erea atthe top. Draw a dotted lire that it from the rest ofthe petal, overlaps slightly into the petal. Pierce the cotted line, turn the workpiece over and countersink the hoe, Cut the curled area of the petal along the ine. Reposition the pattern and transfer the line that was cut avay previcusly. Now we're ready to complete work on this petal {ve dravm the line shown to connect the point of the petal to the “To suggest the back si¢e of the petal, | shaded the edge of the transferred lie onthe ebony highlight. Again, notice hat ve drewn insert piece bordering the rest ofthe petal the dotted line to overlep the smaller petal. 56 ° A Pierce the overiap area on the dotted line, turn the workpiece over nd countesink the hole, Thread, attach, and tension the blade, Begin cutting. eS A the blade enters the area of the ebory highlight, I'm folloving the pattem line, being careful toleave atiry iver of ebony, to create a fine point, As | approach the other end of the ebony highlight are, | wil ‘gredually taper the cut, leaving a point in the ebony. Test fi the Incat piece, ‘want to shade the lower part ofthe petal to match the other piece Glue into place, ‘The third petal completed, 57 = . | A ee om | ’ / Lill now etn the smal petal on the tight. I choose to work on this With the frst small petal in place, and having repositioned the petal first because it appears behind the bordering small petal pattern, | transferred the ine that was cut away. A dotted line was,

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