A potential solution

Keith Turner contacted me after my last post, and made me reconsider a potential solution I’d dismissed earlier; dividing the top marquetry into three parts. The problem, as you recall, is that the dimensions of the complete table top marquetry are beyond the capabilities of the saws to which I have access. The issue with dividing the marquetry into sections is that there really are no convenient division lines. Unless, we employ a trick!

Photo of left-side of top

The above image shows the left side of the top marquetry. Notice how the leaves near the top-center of the photo don’t quite reach the border? A little more difficult to detect is that the end of the ribbon just peaking out from the scale (near the 14 1/2 inch mark) is also just shy of the lower border. These appear to be the most likely dividing points. If I used any of the traditional marquetry saw methods, however, I’d be forced to cut across the grain which would leave a visible discontinuity. But, what if those background sections weren’t present?

A close examination of the drawing shows that these extreme sections occur in the outwardly curved portions between the corner, and center border shells. A straightforward method for constructing the field might be to edge join veneer of the appropriate species to create a rectangle large enough to contain the desired shape when finished. Then, trim it to this shape. What if we took a different approach and cut lengthwise (that is, with the grain) between these shells (red line in the photo below)? This would leave us with terminal points (blue arrows) which we could use to create three distinct sections!

Now, each of the three sections is within the throat depths of an existing saw, and the missing field pieces can be rejoined once the marquetry has been completed! This should be completely “invisible” if the background veneer is chosen carefully.

My dilemma

For the past few months, all of my focus has been on the marquetry panels for the Kickstarter (KS) backers. These are about one-fifth a section of the entire top. When I look beyond this boundary, I get nervous! The KS panel is an edited version of the top which has A LOT OF DETAIL!

YIKES!

Step-by-step, I will be able to address this…

The problem I face next deals with the size of the complete top. If you study pictures of the original, you’ll see that the long grain direction of the background veneer runs parallel to the long direction of the top, and there isn’t an obvious opportunity to break the marquetry into discrete sections. The issue is, I don’t have a saw with a throat depth (the distance from the blade to the nearest obstruction, whatever it is) sufficient to cut the entire top as one piece; not my fretsaw, and certainly not the mini-chevalet. I don’t think that even a typical full-sized chevalet could even handle the task. It would have to have been purpose built. (Side note: to be certain, I checked with the school, and as I suspected, the throat depth of their chevalets are also too small.)

Roubo says that marquetry of this kind was created by laying down the background veneer first, then cutting the marquetry in using a shoulder knife. While I could cut the design into the background this way, I’m working with 1/32 inch thick veneer pieces. It’d be tough, slow going. Plus, I’m not skilled with the shoulder knife!

Another solution is to build a frame jig saw (see picture below), the foot-powered equivalent of a large scroll saw. Since chevalets in their present form weren’t around in the mid-1700s, this type of saw may have been used to cut marquetry for some Oeben furniture, as it existed at least a century prior.

While I could certainly build one to solve my issue, it would again, delay the project. Neither of these solutions strikes me as obvious though…

Marquetry update

Cutting marquetry with the mini-chevalet

With the prototype working, I’ve switched gears, and have been focusing on marquetry for the past few weeks. Specifically, the KickStarter marquetry panels discussed previously. As a refresher, the design that adorns the table top is composed of wood veneer cut and assembled like a jigsaw puzzle, a technique termed “marquetry”. This differs from the “parquetry”, or geometric patterns on the aprons.

First, I had to dust off, and tune-up the mini-chevalet. Considering the number of pieces that need to be cut, it just makes sense to get this fixture running as efficiently as it can. Like all chevalets, this is a user-/shop-made affair. Much as I’d like, you just can’t order one from your local “chevy” dealer. This is its first major run, so there are bound to be some system hang-ups – literally!

  • Alignment of the holes where guide rod runs through the saw arm is critical. Saw operation becomes stiff, and binds if this isn’t the case. Not helpful especially when cutting rice-grain-sized pieces! It also helps to clean and lubricate this rod occasionally.
  • Although the wing bolts work, tightening them with pliers provides a better grip on the blade. The blade holders on the chevalets at Marc Adams (based on the design Patrick Edwards promotes) required an Allen key to operate! So, I suppose I cannot complain about this.
  • I am still not pleased with the vertical fixture that holds the packet while cutting. It seems the packet edges get hung up on the jaw arrises. It might be beneficial to round these!

Finally, I’m able to cut marquetry! Now, it’s time for me to get busy. By my count, I’ve got around 70 copies of this flower, and its counterparts to cut and assemble!

Cutting a marquetry flower using the mini-chevalet

One final note before leaving this topic. I’ve received requests to create mini-chevalets for others. While I would like to, I really need to spend my time working towards completing this project. Consider this, though; you don’t need a mini-chevalet to create marquetry. While it certainly can be used to create one-offs, the chevalet excels at being a copying machine, and this is where its strength lays. I’ll explain several methods in an upcoming post that can be used to generate more than one copy of a design per cutting. This should clarify things (hopefully). I’ll also briefly discuss techniques requiring fewer tools so you can get started.

A commentary on (hand) tools


When I began this re-creation, I already favored the use of hand tools. It has been my experience, however, that hand tools suffer a kind of discrimination in the modern world. To the at-large public they’re perceived as being slow, backward, or for the financially poor woodworker. In short, they’re second-class citizens. This is an unfortunate perception, which I hope to change.

The usual rationale you will hear about hand tool use is:
• hand tools produce less dust,
• there is less noise with hand tools, and
• hand tools are safe(r).

While these are true, for the most part, they’re not entirely truthful. My “shop” still has plenty of dust accumulation, and I do have to vacuum the floor. However, many times I can get away with simply sweeping up the shavings rather than having a dust collection hose connected to the tool. I wear ear plugs when performing some operations, especially anything involving mallet work. More often though, I listen to the birds singing outside, or carry on a conversation with passers-by. I’ve met plenty of woodworkers who reluctantly admit that they should have been more careful with their hearing earlier on in their careers…
Also for the most part, all of my tools have “flesh-sensing technology”…

Hand tools are really for production. Yes, you read that right! Most hobbyists seldom make more than one piece at a time. So, it takes longer to set up a power tool, use it, and put it away then it does a hand tool. And let’s not even mention the time (and materials) required for jig building!

Graham Blackburn once said (paraphrasing) that the point of power tools was to decrease the cost of the finished piece. Instead it cheapened the piece! In other words, power tools compromise the design. Jim Tolpin put it another way…power tools users design pieces to the capabilities of their tools. Hand tool users design first, then figure out how to build it. With hand tools, the skilled woodworker can cut any joint produced by a machine. However, the opposite is not the case!

Hand tools require skills development. Anyone can use power tools – set a fence, or guide to a measurement, and pull the trigger…
However, this mode of operating can be limiting. People are afraid of doing things free-hand since it might not come out “perfect”.

Understanding the principles upon which hand work is based gives a woodworker a better knowledge of machine operation. To paraphrase Matthew Quigley… It’s not that I don’t know how to use power tools. I just don’t have much use for them.

In the end, most woodworkers truly aspire to employ hand tools. After all, a common marketing phrase used by power tool manufacturers is that their tool will produce results just like it was hand made!

Sticking together

Woodworkers have a variety of glues at their disposal. No one is the universal panacea – each has situations in which it excels. Since I chiefly build indoor wood furniture, I usually use hide glue.

20140102-215419.jpg

Hide glue comes in two flavors: hot, and liquid. The terms are self-explanatory. At the risk of redundancy however, I will elucidate. In the United States, hide glue is most readily available to woodworkers in a powdered form at two strength levels. Denoted in grams, the lower the number the longer the open time. 192 gram strength hide glue is the most common. While suitable for most woodworking tasks, its speciality is in veneering and marquetry. Also available, but much less commonly encountered is 251 gram strength glue for cabinetmaking. This glue creates a stronger bond, but sets up much faster than 192.

  • Hide glue is easy to use. Other than the heating that hot hide glue requires, it is simple to prepare, and use. Liquid hide glue can be used straight from the bottle!
  • Hide glue is strong. It is more than adequate for woodworking tasks. In certain joinery situations, it even provides a slight advantage.
  • Hide glue doesn’t smell. Many people are concerned that hot hide glue will produce a strong smell, according to the stories they’ve heard. However, visitors to my studio are always surprised to learn that the glue pot has been cooking their entire visit, and they’ve been standing adjacent to it! Use a good quality hide glue. If the glue develops a strong smell, it’s an indication that it has gone bad. Wash out the pot, and make a fresh batch!
  • Hide glue has an infinite lifetime if kept dry.

While many are familiar with these points, few are aware of its benefits.

  • Hide glue is reversible! Unlike nearly every other glue, pieces bonded with hide glue can be separated with the application of heat and moisture, that is, hot water! Every other glue that I know of requires the destruction of the joint!
  • Hide glue adheres to itself. It is the only glue of which I’m aware that will bond to itself. This quality makes it ideal in situations where the joinery is stressed, and will eventually fail, for example, chairs.
  • Hide glue is transparent to finish.
  • Hide glue accommodates certain techniques, such as rubbed joints, and hammer veneering, for instance, which cannot be achieved through any other method.

20140102-215411.jpg

Not only does hide glue provide these advantages, but this is exactly the type of glue that would have been used on the Oeben original.