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    How To Make Marquetry Pictures
    How To Make Marquetry Pictures
    How To Make Marquetry Pictures
    Ebook101 pages58 minutes

    How To Make Marquetry Pictures

    By J Anderson

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    About this ebook

    This vintage book is a comprehensive and practical guide to the craft of marquetry – a decorative work made from inlaid wood and veneer to form patterns or pictures. Illustrated by useful diagrams and photographs, it is a must-have for any woodworking or wood-craft enthusiast. Contents: Wood Finishing - Marquetry at a Glance -introduction - Methods of Tracing - Methods of Veneer Cutting - The “Packet” Method - Assembling the Picture - Cleaning-up - Polishing Working from Photographs - Choice of Veneers - Framing a Picture. We are republishing this classic work in a modern and affordable edition, featuring high quality reproductions of the original illustrations and a specially written new introduction.
    LanguageEnglish
    PublisherRead Books Ltd.
    Release dateMay 31, 2013
    ISBN9781473380066
    How To Make Marquetry Pictures
    Author

    J Anderson

    Julie Anderson is a writer and author. She writes contemporary crime thrillers for Claret Press as Julie Anderson, her latest is 'Oracle' Book 2 in the Cassandra Fortune series which began with 'Plague'. She lives in south London and blogs occasionally about topics which interest her on the web-site www.julieandersonwriter.com. You can also find her on Twitter as jjulieanderson. Julie is Chair of Trustees of Clapham Writers, the charitable organisation which produces the annual Clapham Book Festival, now in its fourth year and sponsors literacy and reading in the wider community. She curates literary events at Festivals such as the Lambeth Country Show and Crystal Palace Overground Festival. She edited the annual Story Bazaar Compendium series for four years, containing articles and fiction from a variety of contributors. Her non-fiction writing work appears in a variety of places, including on academic courses and other online sites.

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      Book preview

      How To Make Marquetry Pictures - J Anderson

      CHAPTER I

      METHODS OF TRACING

      ALTHOUGH THERE ARE SEVERAL METHODS OF TACKLING Marquetry work, the general principle is the same in most cases and is shown in pictorial form on the facing page. The picture to be made is first obtained on paper (Stage 1 shows an example) and the various parts of this picture are traced on to the individual veneers as in Stage 2.

      The veneers are simply various timbers which can be obtained in the form of very thin sheets, and are chosen for their colour and natural marking, bearing in mind the particular part of the picture to be represented. They are cut to shape as shown in Stage 3, and finally glued on a plywood base to form the finished marquetry picture, which is shown framed in Stage 4.

      Obviously, the arrangement of the natural markings on a veneer is important, also its grain direction in relation to the picture as a whole. These factors must therefore be kept in mind when tracing shapes on to the veneers, the tracing being so placed as to make use of the most suitable part of a veneer. Fig. 1 shows two simple examples, but the characteristics of different veneers, and how they can best be used demands a chapter to itself, and is dealt with later on.

      If the various parts of the picture are to fit together well, the processes of tracing and cutting must be accurate, which depends partly on experience and partly on the method used. A common method is to use a sheet of carbon paper between the original picture and the veneer, then trace round the particular part of the picture required for that veneer, so a carbon imprint of the shape is transferred on to it (Fig. 2). This process is repeated for each part of the picture, but there are two considerations to bear in mind. Firstly, for accurate cutting, the line which has been traced on the veneer must be as thin as possible, and carbon paper will not give a particularly thin line. It will help, however, if the tracing is done with a fine-pointed instrument such as a stencil scriber, rather than with a pencil, which soon loses its point. Moreover, a pencil leaves marks on the original picture, round the part which has just been traced, making it difficult to trace the adjacent part with accuracy. Secondly, the carbon tends to work into the pores of the veneer, making extra work with the scraper or glasspaper in the final stage of cleaning up. For this reason, where carbon paper is used, the picture can be traced in reverse on the back of the veneer (Fig. 3) so that the face of the veneer which shows in the finished picture is free from carbon.

      The impression of contrasting light and shade on the river bank (left) is portrayed by tracing the shape of the bank in the most effective position on the veneer sheet (above). If stronger contrast is required, the different parts of the bank are cut from separate veneers.

      FIG. 1A. Making use of the natural markings on a veneer.

      A shadow cast by the roof eaves in the sketch on the right has to be emphasised. The shape of the roof is therefore cut from the veneer (left) so that its bottom edge lies in the darkest part of the veneer. Edges of the individual roof-timbers are depicted by the thinner dark streaks in the veneer.

      If a very heavy, sharp shadow is required for the roof eaves, it can be cut from a separate veneer of much deeper tone.

      FIG. 1B. Another example of the use of veneer figure.

      FIG. 2. Tracing by carbon paper. A: The shape required is traced on to the veneer, using a stencil scriber or other finely-pointed instrument. B: The veneer, ready for cutting.

      FIG. 3. Tracing in reverse on the back of the veneer. A: Picture first drawn on tracing paper. B: Tracing paper reversed, and required part of picture traced on to back of veneer. This method leaves the face of the veneer free from carbon marks.

      Cutting-out Paper Shapes

      A second method of transferring the individual shapes of a picture to their respective veneers is to cut up the original paper picture and glue the parts on the veneer. This method may be frowned on in some quarters, but the author has adopted it successfully. Providing there is not much small, intricate detail, it is quite a practical proposition and moreover, an accurate method, as a glance at Fig. 4 will show. 1, 2 and 3 are adjacent parts of an original picture drawn on paper. Obviously, as in Fig. 4B, when these are cut, they will fit together accurately again, whether the cuts have kept strictly to the lines of the drawing or not. If the patterns thus produced are now mounted on their veneers and the latter cut accurately to the patterns, the veneers themselves will fit together well. If

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