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Veneering and Inlaying
VENEERING AND INLAYING
A Study of Materials, Principles and Processes
BY G. M. NYMAN
Published by The Woodward High School Printing Class, Cincinnati, 1917
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Veneering and Inlaying
Veneering and Inlaying
The art of enriching objects by the use of rare and costly woods in the form of veneering was known and skilfully employed by artisans of a remote age.
In European museums and, undoubtedly also among collections of antique art in this country, curious examples of such work can be found. In many instances the veneer is fastened to the core with small wooden pegs and from this we draw the conclusion that glue was not known at that time, at least, not as a medium for fastening veneer to the core. The early craftsman method of veneering, judging from their work, must have been somewhat as follows:
After having cut his veneer to a thickness of from Vs" to 14", he held it down on the object to be decorated and bored or cut small holes thru the veneer and down into the core a short distance. In these holes he inserted small pins or pegs made of the same material as the veneer. These pegs were wedge-shaped, with an elliptical head and concave sides coming to a point. When driven home, the points were firmly imbedded in the core, thus holding the veneer in place. Corners and edges are often reinforced with metal, this preventing the veneer from being stripped off, as well as serving a decorative purpose.
Later on, when the use of glue became known, veneering made rapid progress and some of the best pieces of antique handed down to us bear mute evidence of artistic skill and patience in the employment of veneering and inlaying of wood, metal, and other materials for surface decoration.
Some of the furniture known to us as “Period” furniture could not have been executed had not the old masters known the art of "building up" gluing three or more layers of wood together in such a way that the grain in one layer always runs at right angles to that of the adjacent layer.
The employment of veneers forms a very important part of the woodworking industries today and some knowledge of the processes and principles used in this work will benefit all who work in wood and use glue.
In European museums and, undoubtedly also among collections of antique art in this country, curious examples of such work can be found. In many instances the veneer is fastened to the core with small wooden pegs and from this we draw the conclusion that glue was not known at that time, at least, not as a medium for fastening veneer to the core. The early craftsman method of veneering, judging from their work, must have been somewhat as follows:
After having cut his veneer to a thickness of from Vs" to 14", he held it down on the object to be decorated and bored or cut small holes thru the veneer and down into the core a short distance. In these holes he inserted small pins or pegs made of the same material as the veneer. These pegs were wedge-shaped, with an elliptical head and concave sides coming to a point. When driven home, the points were firmly imbedded in the core, thus holding the veneer in place. Corners and edges are often reinforced with metal, this preventing the veneer from being stripped off, as well as serving a decorative purpose.
Later on, when the use of glue became known, veneering made rapid progress and some of the best pieces of antique handed down to us bear mute evidence of artistic skill and patience in the employment of veneering and inlaying of wood, metal, and other materials for surface decoration.
Some of the furniture known to us as “Period” furniture could not have been executed had not the old masters known the art of "building up" gluing three or more layers of wood together in such a way that the grain in one layer always runs at right angles to that of the adjacent layer.
The employment of veneers forms a very important part of the woodworking industries today and some knowledge of the processes and principles used in this work will benefit all who work in wood and use glue.
Marquetry
The art of reproducing flowers, fruits and other forms of nature, as well as objects of human design, is called marquetry. The materials used are colored woods of varied kinds in there natural state or dyed, besides shells and thin metals.
The marquetry cutter must be a person of great skill and artistic ability in order to work out the pictures true to life in such unresponsive materials. The work is done by tracing the design on the veneer which is to form the background. The other veneers to form the design are glued onto the back of the former, with paper between. They are then cut with a marquetry cutter’s saw - a machine resembling a foot-power scroll saw, adjusted with a tilting table or a tilting saw. This is to take care of the space left by the saw cutting its way thru the materials. As very fine saw blades are used, it does not take much of a tilt to close kerf when design slips into place.
After being sawed the design is removed and shaded. This is done by dipping the piece in hot sand and scorching until the desired depth is obtained. Afterward the background and all pieces forming the design are assembled and glued onto a soft piece of cardboard and the marquetry is now ready for the market.
Amateurs can do a little experimental work along this line by embellishing objects with simple conventional design. A fine scroll saw can be used; circular parts can be punched, or bored out with a Forstner bit. Lay all marquetry with paper side up. When dry after two days, remove papers by water soaking and scraping.
Marquetry work (borders and lines) rightly applied add distinction and beauty to any object. It sets off and give life to surfaces that, without any embellishment, would appear flat and monotonous. As the work itself requires considerable skill in execution and application, the presence of it stamps the article as valuable. Displaced and overloaded application of this kind of work will cheapen the appearance of any object, as will inharmonious and loud effects in coloring and outline.
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