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    Teach Yourself the Process of Veneering - A Guide to the Tools You Will Need, the Processes of Different Veneers and Repairing Faults
    Teach Yourself the Process of Veneering - A Guide to the Tools You Will Need, the Processes of Different Veneers and Repairing Faults
    Teach Yourself the Process of Veneering - A Guide to the Tools You Will Need, the Processes of Different Veneers and Repairing Faults
    Ebook193 pages1 hour

    Teach Yourself the Process of Veneering - A Guide to the Tools You Will Need, the Processes of Different Veneers and Repairing Faults

    By Anon

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    About this ebook

    This text contains a comprehensive guide to veneering, including information on tools, the processes of different veneers, and repairing faults. Complete with a plethora of photographs and all the information one could possibly want to know concerning the process of veneering, this text is ideal for those with an interest in the subject and constitutes a valuable addition to DIY literature. The chapters of this text include: Preparation of Work; Cutting, Laying, Jointing, etc.; Types of Veneers; Preparation of Core and Crossbands; Preparing Face Veneers for Gluing; Gluing Veneers Under Pressure; Veneering Curved Work; Veneering Wood with Metal and Other Materials; Veneering Defects; Preparing Veneered Work for Finishing; et cetera. This text has been chosen for modern republication due to the timeless nature of the information contained within it, and we are proud to republish it here complete with a new introduction on decorative woodwork.
    LanguageEnglish
    PublisherJoline Press
    Release dateDec 21, 2016
    ISBN9781473347144
    Teach Yourself the Process of Veneering - A Guide to the Tools You Will Need, the Processes of Different Veneers and Repairing Faults

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      Teach Yourself the Process of Veneering - A Guide to the Tools You Will Need, the Processes of Different Veneers and Repairing Faults - Anon

      INTRODUCTION. PREPARATION OF WORK, TOOLS, ETC.

      VENEERING and inlaying are very old arts, highly esteemed and practised by the ancients. We read of Solomon’s sumptuous furniture being inlaid with gold, ebony, and ivory, and the Egyptians were masters in the craft. In ancient Rome both arts reached a very high place in decorative woodwork other than ordinary furniture, and their doorposts, rafters, shutters, etc., were often inlaid with tortoiseshell, ivory, and rare woods. Tables, chairs, coffers, wardrobes, and other domestic pieces of cabinet work were veneered with woods which in those days were costly and scarce, and it became such a fashion amongst the nobility that tables were bought at fabulous prices, quite eclipsing the sums recently given for examples of old French and Chippendale work. Maple, olive, holly, ebony, plane, cherry, cedar, box, and citron were favourite woods; and it is recorded that two tables veneered with the last named—which is our Thuya wood—fetched over £10,000. Pearl, ivory, metal, precious stones, and marble were other materials used in this fine art, and many examples of it are still to be seen in the British Museum. From that day to this it has been used as a practical and beautiful means of decoration; the later Intarsia work of Italy, the Marquetry work of the French, the simpler Inlaying in our seventeenth century furniture, down to the fine specimens of veneered work executed by Sheraton and his contemporaries in the eighteenth century, are examples which are much sought for by connoisseurs. and, when found, fetch a high price in the market, Veneering, inlaying, and marquetry are arts which are closely allied to craft; they all need some knowledge of the value of colour—some taste for good arrangement or design, together with the practical use of material and its various applications; and, although the three are allied, it will be necessary to take them one by one to give an adequate description of their methods and merits. This work will treat the subject in theory and in practice, the designing and the doing—for the two should not be separated; in the nature of materials and best methods of usage; and, as far as possible, illustrations will be given of designs and useful details, and it is hoped they will prove a valuable and practical series, not only to the amateur, but also to the professional workman who has not yet had the opportunity of practising an important and beautiful portion of his craft.

      As veneering is sometimes a ground work for the other two, it will serve as an introduction to take it first; and before touching the subject proper, it will be necessary to clear away some of the prejudice attached to the word and its meaning. The fact that the commonest and shoddy furniture is made of pine, and veneered with mahogany, walnut, etc., and sold as solid work, has brought the word into bad repute; but a wholesale condemnation of veneering can only arise from pure ignorance of its real nature, and of the proper uses of rare and decorative woods. It would be utterly absurd to attempt the making of a cabinet of any size in solid ebony, rosewood, tulipwood, satinwood, and other hard and scarce woods; the weight alone forbids it, and the texture of these woods are not of a kind for solid construction. Let no one imagine that good veneering is bad work; on the contrary, it is the best work. Best because the wood should be carefully selected and as carefully prepared; the construction has to be of a special kind, such as would not have to be done in solid work; whilst the choice of figure in the veneer, its cutting and preparation, needs more careful thought than straightforward ordinary work. Veneering is only bad when it is done with an intention to deceive; it is only good where it shows that it is veneer, as in such fine examples as those of the seventeenth and eighteenth century workmen, which are as good to-day as ever they were. Chairs, cabinets, chests of drawers, of the days of Queen Anne—to go no further—are in use to-day, all with some veneering upon them, and Chippendale, Heppel-white, and Sheraton were noted, especially the letter, for their decorative veneered work; and the fact that so much of it remains to-day, is a proof of the excellence of the method employed. These chapters are written to give an added proof by way of practical instruction in an old and beautiful craft, though, to-day, a much-abused and misunderstood one.

      Coming now to the practical side of the question, and firstly to veneers, of which there are two kinds—i.e., knife-cut and saw-cut, the thin and the thick; the former are cut to about thirty-six to the inch, and the latter about twelve or fourteen. Knife-cut is used for common and constructional work hereafter explained, and the picture mount veneer is cut too thin for any practical use in woodwork. In the common woods—such as oak, mahogany, walnut, etc., veneers can be obtained in varying widths up to 18 and 20 ins., and even wider, whilst in the rarer woods—satinwood, tulip, ebony, kingwood, etc.—the sizes are confined to narrower limits. The former, with others, can be bought by the sheet; but the latter, with hard woods of small and irregular growth, are sometimes sold by the parcel or by weight. In olden days veneers were cut by hand, and were nearly 1/8-inch thick, which accounts for much of the work lasting so well; and the French veneers are sometimes cut to the same thickness. Stained veneers can be got in almost any colour other than the natural wood supplies—red, green, blue, grey, etc., sycamore and maple being the woods generally used for staining; but the colour is only made permanent by good polishing.

      Then as to the ground, which is the first and most important thing to consider and prepare. There are only a few woods suitable to veneer upon, and the best are Honduras mahogany, American walnut, and sometimes oak for the best work where hard woods are used, and American yellow pine and whitewood for commoner work. Woods of a resinous nature, such as yellow deal and pitch pine, should never be used. The wood should be well-seasoned, which means dry; it should also be clean, i.e., free from knots and coarse growth and shakes. As a good all-round wood for general work, Honduras mahogany cannot be beaten, and all veneers can be safely laid upon it. A hard wood, like ebony or satinwood, should never be laid on a soft one like pine, as the latter would soak more than its share of the glue.

      One of the chief difficulties in veneering is to keep the work flat, and this can be assured by one or two methods. The first is to lay the veneer on the heart side of the wood, for as the fibres made up by the annular rings increase at each layer towards the outside, the tendency to go hollow is always away from the heart, so that if the veneer be laid on the heart side, the pull is fairly equalised. Another good method, especially in using pine, is illustrated in Fig. 1. The board which is to form the ground is cut in narrow widths, the edges are reversed, and the whole is rejointed, so as to get an equalisation of forces; this should always be done where veneer is laid on both sides. Again, where a panel is to be veneered with a pattern and kept flat, in addition to the above method it is necessary to first of all veneer it on both sides with thin veneer, laying the veneer across the grain, and no matter what pattern is afterwards veneered on the front, the panel will keep flat. This is the French method, and the writer has proved it over and over again to be a sound one. Sizing, and one or two other methods will be explained in their place, and the above referred to when work of the kind is being described.

      Fig. 1.

      Fig. 2.

      The tools required for common, or knife-cut veneering, are a toothing plane, veneering hammer, a good swab, and a flat-iron kept hot; but if the glue is hot and the work done quickly, the flat-iron can be dispensed with. The toothing-plane (Fig. 3) is about the size of a smoothing-plane. It has but one iron, which is fixed with the usual wedge, but in almost an upright position; the back of the iron is grooved, which gives the cutting edge a row of teeth like a saw. When the iron is sharpened in the usual way on the oilstone it must not be rubbed on the back, as other plane-irons are. A rather coarse iron is best for the ground, and a finer one to tooth the veneer, but this latter is only

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