The American Marquetarian 2011-2

8/17/2019 The American Marquetarian 2011-2

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The American

Marquetarian

Quarterly Magazine of the American Marquetry SocietyA non-profit organization dedicated to the advancement of the art and craft of marquetry

Summer 2011


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Gallery

The American Marquetarian 2

Below: three views of Dave Peck’s "Where the Redwoods Grow”: Find Dave’s method of applying marquetry to a complex curve on page 10

House by Tom Main 15” X 12.5”

Chest-of -Drawers Backsplash by Jim D’Anjou 7” X 30”

Box Top by John SeyboldSee page 15 for story


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AMS Information….…………………………….4Officers Comments……………………………3,5Chapter News……………...……………………6Veneer Storage Ideas……………………………7Letters to the Editors………………………….8,9Marquetry on a Complex Curve……………….10GSMS Report - A New Tool…………………..12Making “Brick Veneer”……………………….13Guide Bushing Mystery Solved……………….14Who Wouldn’t Want a Third Hand?……...……15Frame/Shelf Pattern……………………………17Q & A………………………………………….18

New Members…………………………………18Gallery……………………………………2,19,20

I’m always trying to make our monthly NorChapter marquetry meetings more interesting. We height Tuesday night meetings per year and four Saturdaytime meetings. The Saturday meetings are wattended because it’s a non-work day for working memband our far off associates can make them too – some drtwo or more hours to get here. Also, on Saturday we alwhave a theme oriented workshop or we invite an outs professional to lead and teach. This attracts memberthe Saturday meetings.

Our attendance on a Saturday has averaged fiftover the last six Saturdays in 2010 and thus far in 2That’s a nice number - just about right so everyone can ha work space and we’re not crowded.

At our last Saturday meeting here in our MorHill shop, we invited Patrice Lejeune from south

California to come and talk to us. Patrice works at French Marquetry School in San Diego and uses the uprchevalet for marquetry. It was a great day and we sixteen members present.

I’m working now to get an instructor for our nSaturday meeting in July. Whoever we finally invitwill be a hands-on workshop. Then in October, we’lgoing up into the northern California hinterlands to DPeck’s environs for a weekend session on ApplyMarquetry to Curved Surfaces. We will turn a goblet then Dave will teach us how to make and then g

marquetry to a rounded surface. We already have members signed up and we may have to schedule a secweekend. So our Saturday meetings are informat popular, well attended and a lot of fun.

However, I worry about the Tuesday evenings; hto get more members to attend? We have thirty-five Amembers in the northern California area and twenty-sehave paid local dues. All the AMS members get our lochapter newsletter via Internet. We’ve had an averagten members at the last eight Tuesday night meeti(where are the rest of the twenty-seven paid-up, lo

chapter members?).Our core group is highly motivated (really marquetry), interested in producing better material (lthe Show-and-Tell portion), congenial (sometimes I hto pound the table so we can get started), and can give take constructive criticism (no prickly, easily offenego’s need apply). In general, they are fairly satisfied wthe way we are conducting our meetings (I do compliments on the quality, value and content of thmeetings).

IN THIS ISSUE

Continued on page 5 - President's le

On the Cover:Memories of Grandeur by Hosie Main

Hosie has traveled the West since his first excursion back n the 1930’s and taken many photographs of barns and housesince his retirement in 1974. He selects one of his house or

barn photos providing a pleasing angle and then enlarges it totraceable size (formerly on a copier and now on a scanner).

He then traces the photo on tracing paper makingmodifications as he sees fit. The tracing is then resized to fitwith the foreground veneer natural color tone variations andhe pattern in the mountain and sky veneer. The mountainsre olive ash burl to provide height to the picture. Typically

he will mix and match barns, houses, windmills and outhouseso make a pleasing composition. He saws the outline of the

buildings, windmill, and mountains with a bevel cut on hisold Delta scroll saw with a 2/0 blade; the roof of zebrawood,iding slats of brown pine, and black walnut, window frames

of cherry, doors and windows of either Gabon ebony or dyedbony are cut later with an Exacto knife. To conserve wood,

he tapes the various woods together for the sawing just bignough to cover their areas on the drawing with double sidedarpet tape which is then removed very carefully with a solvent

or lighter fluid using a chemist’s spatula after the pieces are

ut. Cracks are filled with wenge sawdust mixed with 30minute epoxy prior to sanding after gluing the picture to thebacking board.

This particular barn was a photo in an Arizona newspaper back in the late 1970’s built by the Fuller family in the 1880’socated in Pine, Arizona. The house, windmill, and outhousere of his own design and sized to fit this composition. Hosie

has been fortunate to obtain pine beetle infested wood over he years from several different sawmills here in the Black

Hills of South Dakota, which he has resawed on his table sawContinued on page 9 - See On the Cover- Hosie Main

President’s Message

By Ken Horner


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Carolinas: Carolinas Chapter. Meets 4 times a year at a plTo be announced. Robert DeHart, President, 149 Fox HollowDr., Danville, VA 24541, Tel: 434.250.7462, email:[email protected]. Julie Russell, Board Member, 49278Woodland Dr., Norwood, NC 28128, Tel: 704.474.4398

Oregon: Columbia River Marquetry Club. Meets first Saeach month except July & Dec. at Cedar Mill CommunityLibrary, Portland, OR. Gerald D. Laddusaw, President, 210E. 138th Court, Vancouver, WA 98683. Tel: 360.256.9389;Frank Knighton, Board Member, 910 S.E. 283 Ave, Camas,WA 98607, Tel:360.834.2873, email [email protected]

4

Chapters

New Jersey: Garden State Marquetry Society: Meets theSat. of each month, except July and August at the Monmout

County Library, Manalapan, NJ, 9-12 noon. John TruskowsPresident and Board Member, 4370 Annadale Drive,Schwenksville, PA 19473. Tel: 610.222.3829

Minnesota: Lakeland Chapter. Meets the 3rd Sat. of eachmonth at the Bryant Community Center in Minneapolis, MNJim Dalton, President 798 1st Ave. NW, Wells, MN 56097Telephone: 507.553.3915 email:[email protected]

New York :The Marquetry Artists of Rockland County. Barring holiholds meetings every Tue. 10-12 noon at the Pearl River LibJoe Medler, President and Board Member, 15 Spruce Lane, Nyack, NY 10994. Tel: 845.623.9052. Cornelia Muller,Publicity, 19 Klein Ave., West Nyack, NY 10994. Tel:845.358.3561Upstate New York Chapter. Meets the 2nd Wed. each mon9 to 12 at Jewish Community Center. President and BoardMember, H. Sheldon Koch, 7 Woodbury Place, Rochester, N14618, Tel:585.381.4786, email: [email protected]

California:NorCal Marquetarians. Meets the fourth Sat. of each quar plus the 3rd Tue evening of each of the other months at theSawdust Shop in Sunnyvale, CA. Ken Horner, President, 95Ruth Lane, Morgan Hill, CA 95037, Tel 408.463.9030, [email protected]. Ralph Porter, Board Member, 838Point Creek Ct., San Jose, CA, Tel: 408.926.0653, email: [email protected] Marquetarians Meeting location: 3815 Utah St., SDiego, Ca 92104 Meetings day and time to be announced.Phone number for more information: 619.298.0864 PresidenW. Patrick Edwards, email: [email protected] Member: to be announced.

Washington : PugetSound Chapter. Dave Underwood,President and Dennis Harrison, Board Member, [email protected]

Colorado-Wyoming: WyColo Chapter Initial meeting waheld at the Woodcraft Store in Loveland, CO. Next meetingnot been scheduled at press time. Contact Dave Kisker at303.652.8929 or [email protected]. You can alsoto http:\\www.comarquetry.org for more information.

Vol. 15 No. 2 Summer 2011

The American Marquetry Society, founded in 1997, is a non-

profit corporation devoted to advancing the art and craft of

marquetry.

Officers & Board

President: Ken Horner, 9598 Ruth Lane, Morgan Hill, CA 95037,el: 408.463.9030, email: [email protected]

Vice President: Jim Sweet,150 Holcombe Cove Road, Candler,NC 28715, Tel: 828.667.1505, email: [email protected]

Editors: Joe & Chris Schnell, 1401 Claymore Dr., Garner, NC7529, Tel: 919.779.5237, email [email protected]

Membership Officer: Dave Peck, 726 Road N, Redwood Vly.,CA 95470, Tel. 707.485.7458, email: [email protected]

Treasurer: Gary Myers, P.O. Box 68428, Milwaukie, OR 7268, Tel: 503.659.9261

Assistant Treasurer: Gerald D. Laddusaw, 2104 S.E. 138thCourt, Vancouver, WA 98683, Tel: 360.256.9389, email:[email protected]

Pattern Librarian: Susan Jorgenson. 8025 W. 34th St., St. LouisPark, MN 55426, [email protected]

Q&A Editor: Larry Schmidt, 10830 NW Reeves, Portland, OR 7229, Tel: 503.646.9410, email: [email protected]

Exhibition Chairperson: Phillip Fine, 15 Capri Drive, ChestnutRidge, NY 10977 Tel: 845.352.1736

Board Chairperson: Julie Russell, 49278 Wood Land Dr., Nor-wood, NC 28128, Tel: 704.474.4398, email:[email protected]

Webmaster: David Fifield 1085 Tasman Dr. Spc. 79 Sunnyvale,CA 94089 Tel: (408)744-1466 email:[email protected]

The American Marquetarian is published quarterlyby the American Marquetry Society (AMS) and is devoted todistributing information about marquetry. Any contributionconcerning marquetry will be considered for publication based onavailable space. Send articles, tips, letters, photos and other

contributions to: Joe Schnell, Editor, (see contact informationabove). Note the publication schedule (page 16) for timesensitivematerial.

Annual membership rate is $25.00 for addresses in the UnitedStates. For addresses in Canada or Mexico add $3.00 to cover additional postage. All other overseas addresses add $5.00. Allrenewals are due in January. Membership application forms areavailable from the Membership Officer. New members receiveall magazines for that year. There is a $5.00 initiation fee for allnew members. Please mail your application (with payment) to theTreasurer (contact information above).

The American Marquetarian


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So what’s the problem? We meet for two hours andometimes there isn’t enough to do. The Business portionakes only a few minutes. Show-and-Tell lasts maybe thirty

minutes. What do we do for the remaining hour-and-a-half?Perhaps have a teaching session? Except everyone

lready knows how to do bevel cuts, make stack cuts, cut

hin strips for a border, do frame construction, glue, clampwith screws or use a vacuum bag, and they know the bestinishes. Naturally there are nuances, short-cuts, and new

products that come up from time to time. These arediscussed but aren’t enough to fill a whole two hour meeting.

Then I had an idea. How about adding a ‘critiqueession’ to the meetings? This would use some of the excessime and might be educational – for both the old hands andhe novices. In this vein, for our meeting last Tuesday, Isked members to bring in a piece (old or new, either inished or not) so we could try critiquing. We had nine

members present and six brought in a piece. Everyone wasnxious to hear how the critique would work.

I explained some rules and we went through theprocess for six pieces and then had an active discussion onritiquing,’ what they liked and disliked, the good and the

bad. We decided to continue the practice with further ground rules and refinements. We’ll have two more eveningessions and I’ll report back next issue on how they wentnd what we learned.’m interested in your experience or expectations alonghese lines.

Keep cutting little pieces of wood.

President’s Letter From the Chairman of the BoardBy Julie Russell

Notes from the Editors:As this goes to press, the heat is building in North

Carolina and summer is upon us. Hot weather means wean stay in the air conditioning and cut veneer!

Chris and I would like to thank everyone who submittedmaterial for this issue. We are so pleased with the responsewe received this quarter from old and new contributorsaround the country. We usually have a hard time getting

pieces to publish, but we were both surprised with theesponse we received from our request last issue, and thequality of the material sent. We received material from themembership that spanned all levels of experience, fromnovice to expert. We hope it inspires everyone to continueo send in articles, write-ups, photos, and tips for publication.

We still have hundreds of members that have not contributed,o you are not off the hook - we need to hear from you!

The contribution Chris and I make to the society as editorss completely reliant on your efforts. We have our regulars,

but I know there is an abundance of material and ideas just

waiting to make the pages of your magazine.

Notes From My Shop:

The weather is perfect, the birds are singing, andflowers are blooming (along with a few weeds). I hcompleted cutting out two pictures of my own deMaking my own designs has been a long time com

It is exciting to see the idea become a completed pic In keeping with my goal to use my own designran into the problem of narrowing my choices. Aflailing around and jumping from one idea to anotheraccomplishing absolutely nothing, I decided to picsubject and do a series. I picked large flowers in the sof Georgia O’Keefe. My first picture in the serieswater lily. The inspiration came from several maga

photographs from my picture file. I have been sav photographs, magazine pictures, line drawings, etc

over fifty years. My second picture in the series is a lsunflower. The design was inspired by a photograph to me by a proud gardener. Now that I have started the flower designs, the idare flowing. If I can figure out how to scan and s

pictures to the editors, I plan to send in a couplcompleted pictures for the next issue. When I am reto change subjects, I think I will move on to lighthou

As you will see, we have omitted the regular patterthe quarter feature to accommodate all the articles

pictures you sent. We’d love to hear what you think abthat. Did you miss it? Do you ever use the pattern? something you look for? Do you have one you’d likshare? Let us know what you think about this.

The feedback we received from the holiday issue very positive so we would like to do another one this y

Announcing our desire now should allow plenty of timsubmit a piece. A “holiday piece” for this requeswhatever is celebrated or admired by you, each mem(and by the way, you could have a fall theme in mindthe next issue).

Thank you all again for your support, you have email ID’s, so please tell us what you liked, didn’t likesomething you would like to see in a future issue.Best wishes,Joe and Chris

Continued from page 3

Please note the date after your name

on your mailing label.

This is your paid-through date.


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Chapter News

he American Marquetarian 6

NorCal Chapter

We had three great meetings during this past quarter,highlighted by a presentation by Patrice Lejeune in April.We meet at both the Saw Dust Shop in Sunnyvale and atKen and Linda’s place in Morgan Hill, depending on thechedule.

Our March meeting was held at the Saw Dust shop. The

meeting opened with a lively discussion of several topicsncluding making handles for our new scalpels, getting new

blades, details of putting marquetry on curved surfacesmember Dave Peck is the magician that has perfected this

bit of magic) and various other discussion topics betweenmembers. All present concurred that these kinds of discussions are one of the major reasons for belonging to,and attending meetings of, our Nor Cal Chapter. Fivemembers brought completed projects for Show and Tell.

The April workshop meeting was held on a Saturday atKen and Linda’s home with sixteen members in attendance.

After donuts and coffee, we held our Show-and-Tell session.Eight members brought in projects to share with the rest of us. The projects included a dresser backsplash with maplebranches and leaves inlay, beautifully turned pens, inlaywork on the curved surfaces of goblets, flower panels for ewelry boxes, and two stunning ukuleles made by members

Dave and Bill.The highlight of the meeting was the presentation by

Patrice Lejeune. He is from France and works with Patrick Edwards at the American School of French Marquetry inSan Diego, Calif. Patrice gave a wonderful slide-show onhis time at the Ecole Boulle School in Paris. We learnedquite a bit about the fusion technique and his desire for xperimentation”. You are invited to visit his website at

www.patricelejeune.com to view his work and obtain abroader understanding of his techniques.

The May meeting was back at the Saw Dust shop onTuesday evening. The meeting was devoted to discussionegarding introduction of a ‘critique session’ into our egular meetings. Ken Horner set the stage with an example

of his marquetry that had been judged at the 2008 AMSMarquetry show. Several members then volunteered their projects for analysis and suggestions by the others members.We all agreed that this was a constructive and learningopportunity that we will work to incorporate in the future.Ken said he was going to delve deeper into this subject inan article for a future issue.

We are very pleased that our chapter continues to grown membership. We now have 36 AMS members locatedn Northern California with 29 of those pay dues to our Nor

Cal Chapter.By Bob Shultz

Marquetarians of the Carolinas

Our March meeting was held at Herzog Veneers inmorning and, after a lunch break, the meeting continueSauers Veneers. This is a favorite meeting held each We are treated to a wonderful selection of veneers especselected for us. The owners of both companies are helpful when we have any questions about wood finishing. Most of our meeting time was spent discussing

planning our participation at the Charlotte WoodworkShow, where we were offered a booth allowing us to premarquetry and our club to the woodworking public. Wean excellent response to our booth with many perequesting further information regarding our meetings. welcome all to attend our meetings and hoped to see min May.

We had 10 items for show and tell.

Our May meeting was held in Asheville at the FolkCenter. It was reported that the Charlotte WoodworShow had invited us back again next year. We discusome things that would improve our presentation forfuture show. We had several guests, some coming as a result of

Woodworkers Show and some from the class at Brasstotaught by our own Clyde Badger and Tom Pressley. had our show and tell followed by an open discussionany marquetry questions and suggestions.By Beth Woody and Julie Russell

Marquetarians of the Carolinas at the CharlotteWoodworking Show

l to r: Jim Sweet, Robert DeHart; Bonnie Richards

WyColo Chapter:

The organizational meeting for the WyColo Chapterheld on April 21 at the Woodcraft store in Loveland, We had an enthusiastic initial response with 11 attendwho were all members of the AMS, although we hopattract others as well. The draft Bylaws were reviewed


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Garden State Marquetry Society:

At the December meeting, John Graham presented a widerray of woodworking tips and tricks. In January, officer lections resulted in the same slate of officers being elected.

Then, in February, Frank Garcia demonstrated his style of

hip carving. He utilized the club’s camcorder along with aelf-made camera boom to project his presentation. Each

meeting included a great variety of show and tell items fromhe members.

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fter considerable discussion, there were several suggestedmodifications to be considered for review and the finalversion will be passed at the next meeting, which has notyet been scheduled. Officers were elected and are DaveKisker, President; Scott Roth, Vice President; DonnaCunning, Secretary and Vicki Hennon, Treasurer.One of the main initial focus points of the group is going tobe to find opportunities for exhibition of the group’s work,ince there is significant interest in the commercial

opportunities for marquetry. Because of the length of discussion, only a limited exhibit of members’ work waseviewed, but it’s clear that we have some very talented

marquetarians in this region. More of their work can beeviewed at the Colorado Marquetry Website,

http://www.comarquetry.org

Chelmsford NorCal Twin Chapter

Marquetry life “across the pond” continues at a furiousate. Our twin chapter Chelmsford has been busy these pastew months. The Chelmsford Marquetry Group is one of he older groups formed in 1983 and boasts of being one of he largest groups in The Marquetry Society with some

65-70 members. Their regular cutting meetings take placevery Thursday evening from 7 p.m. to about 10 p.m. atWrittle, Chelmsford.

Having hosted the very successful 2010 NationalExhibition of The Marquetry Society, the group now has setights on creating a web site. They hope to have it go “live”oon; we’ll let you know when they do.

Most recently they had a show and critique of last year'sNational Exhibition followed by a small celebratory buffet.From time to time they run these evening events so as toritique the work done by other groups without any offense

o the creators. They also find that these events help their members get to know each other. Becausethe royal wedding was the following day,they celebrated with a huge, multi-layeredchocolate biscuit cake (doesn’t require baking) that is said to be a favorite of Prince William.

Margaret Bonnett has providedoutstanding interface betweenChelmsford and our NorCal groups. Sherecently completed her “Safari Fantasy,”

a depiction of a wonderful trip she and her husband (recedeceased) made to the Kruger National Park in Africa. trees are Sausage Trees, which bear huge fruits loved bymonkeys. Margaret was rather fascinated by them asnever saw such huge fruit on a tree.Ralph Porter

Hi Joe and Chris:

Since you accepted my suggestion about publishsome submitted ideas regarding storage and retrievamarquetry veneers, I guess I should make an atteto include the method that I use. First of all, I shosay that it is very imperfect and, while I have been uit for many, many years, I would gladly switchanother method that might be more effective efficient. So, here is a little description of my syskeyed to thee n c l o s e d

photos: Photo 1

shows the

samples of partof my veneer c o l l e c t i o n ,which aredisplayed in analbum designedto file 35 mm

photo-graphicslides. The number on each sample is keyed to

alphabetical listing of veneers in my collecThe larger pieces of venare filed according to

alphabetically assignumber in horizontal storracks, one of which is shoin Photo 2. Small piecesfiled in hanging file foldwhich are arranged by same numbering systemshown in Photo 3.Essentially, I think method has two basic flor weaknesses. First, it isnecessarily easy or possto represent the full chara

of a veneer with asample that is just acouple of inches square.Second, retrieval of a

piece of veneer fromthe horizontal storagerack is time consumingsince several different

To the Editors

Photo 1

Photo 2

Photo 3

Continued on page 9 - see Robert Swanson


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Letters to the editors:Hi Joe/Chris,

I’m new to marquetry and I joined the AMS in March2011. After buying and watching Peter White’s DVDGeometric Marquetry, The Easy Way,” I became inspirednough to attempt some geometric marquetry or parquetrys some prefer, and found everything pretty easy exceptutting out the small pieces. This needed a lot of care.

I live in Sun City West, AZ and belong to the woodlub where my friend Dave makes jewelry boxes. I jokinglyold him to learn marquetry, then he could make inlays for

his box tops. After some verbiage back and forth from eachof us, we decided to join forces. He would make a box, and

would attempt to make my very first geometric inlay usingmy recently gleaned knowledge from Peter’s DVD. Thephoto shows the result, but please don’t look too closely.

really recommend Peter’s DVD. Questions welcome [email protected]

After becominginterested in

marquetry, I joined theE n g l i s hM a r q u e t r ySociety some 2years ago andeagerly awaitedthe arrival of mynew member package. Alongwith the

certificate of membership, I received a pattern and a small number of veneers. Excellent! I could get cracking immediately.However, after playing around with it for quite some time,

almost gave up. I just couldn’t cut my veneers correctly.Then I remembered that my old boss, who has beenpracticing Marquetry since 1972, lived in San Diego. Sorryoe, but I must have plagued you week after week. Joe’s

perseverance slowly paid off, and things started to fall intoplace. Not that my cutting was great, in fact it was downrighthabby, but I really started to enjoy the hobby. I didn’t

ealize it, but I had just passed over the main hurdle.The Fisherman’s Harbour Scene must be very familiar

o many of you. I finished it using my own selection of veneer, since the original veneer was long gone. I am reallyproud of that first attempt, albeit a kit, and it now hangs onour Arizona room wall.

I bought a Milwaukee ¼ sheet sander, and with greatdread, knowing that I had about .025” to work with, fittedhe sander with 180 grit paper and took the plunge. Perfect.was amazed. No sanding through, no edge rollover. I

hould have sealed the surface first to stop color bleed but

d i dl et ht r iuntr et hinfa t

t hc aw imA Mk i

Luckily, I didn’t notice any bleed. I gave it 9 coatShellac Sanding Sealer and buffed it up with furniture poI would like to ask my fellow AMS members and exp please don’t look too closely at it; I am sure that you codrive a bus through some of the joints.

Ernie Mills, Arizona

Hey Joe and Chris,Attached are two photos of one of my last commissionsmet this bloke in a pub in Darlington and got chatting, you do. He wanted to know if I could render an origindesign that his relation had done, in marquetry for a guWe emailed details once I returned to Ipswich. The beaof this order was that it did not have to be mounted to a baseboard, finished or packaged for shipment. Wouldnmind more of this sort of order,

Suzanne MarquessIpswich, UK

Above right: Guitar Detail bSuzanne Marquess

Above left: Guitar bySuzanne Marquess

The American Marquetarian 8


9/209 Summer 20

nd finished with his planer and sander to a workable thickness.Using the table saw for resawing has limited the height of theky and the brown foreground to about 6 inches each on most

pictures, thus a reason for the addition of the olive ash burlmountains giving the picture more height. This particular picture used brown oak—likely also infected by a fungus toreate the interesting color patterns—was provided from aelative’s sawmill in Texas. Despite the destructive nature of he pine beetle to the forests, a small beetle’s benefit is thereation of blue pine and brown pine from the fungus left inhe wood. Hosie calls this wood “bugwood.” He has woneveral marquetry shows including one in Ipswitch, Englandn 1984 with his blue pine sky pictures.

Hosie at 97 is typically working in his shop every day.

On the Cover, Hosie Main - continued from page 3

To the editors:

I've been doing woodworking as a hobby for a few years,mostly cabinetry and general carpentry around the house andgarden. Last year I got the itch to do more artistic work on

smaller scale. I looked at what others are doing, turning,ntarsa, inlay, etc. Then I saw pictures of marquetry. It's

one of the few times in my life when I knew this was thehing I wanted to do.

I hesitated - it looked hard to do. I couldn't just look

t a piece and figure out how it was done. I went on-line andooked up how to do and I've got to say the information I gotwas a bit daunting. I had none of the tools, never workedwith veneers, and have never worked at that level of precision.

Still, there was something in the photos I saw thatmade me want to give it a try so I found the AMS and theNorCal chapter. I contacted Ken Horner and quickly got annvite to attend the next meeting, a training class for new

members. My first meeting was the Christmas party (alwaysoin at a party - great way to talk to the members) and theraining class was scheduled for January.

A month before the class, Ken sentout a supply and tool list. On theday of the class he had a supply of all the things he knew we'd forgetto bring. Ken and Ralph lead theclass and took us step by stepthrough the double bevel method tomake the famous, "Moon,Mountain, Tree."

Turns out, it's easier than Ithought it would be. The class

tarted about 9:00 and by 3:00 I had cut and taped up mypiece ready for gluing. I took the piece home and glued itdown, sanded and applied a finish. It's not the best exampleof marquetry, but for my first effort I am happy I got it done.Now I am starting on my second piece.

Andrew Reynolds

species must necessarily be stored on each shelf.Since you expressed an interest in random input

ideas that you might be able to use, I thought I'd thin the following:

When using a knife to do marquetry, most peoseem to turn to an X-Acto type knife and bladesurgical scalpel, however, is much, much sharper finer for doing this kind of work.

A good cutting board to use when making long

in veneer is the back side of an acoustical panel. Thare the 2' x 2' or 2' x 4' panels used in suspenceilings. These panels are relatively soft, so theyeasy on your cutting instrument, they have no "graso they don’t interfere with the direction of your kand they can be used to support a lot of cuts before tneed to be (inexpensively)replaced.

When doing marquetry by the window metholike to put a piece of masking tape on the veneer whis being cut into the window. The tape makes it eto see where you have cut, so you don't miss any pof the intended cut line, and it also helps a lo

preventing the veneer from splintering during cutting process.Well, I think that's enough for now and I hope this isome use to you. I really admire the work you are doand I thank you sincerely. Best regards,Robert Swanson Greeley, Colorado

Continued from page 7 - Robert Swanson

Here’s a

photo of DavePeck’sveneer storage.

Coffee Break The Best Part of Marquetry

Charles Bingham has posted a video on the Yahoo grocalled “The Best Part of Marquetry” at this web address:

http://www.youtube.com/watch?v=zqsua2Pbu7AIt’s fun to watch that first coat of finish make all our w

“bloom.” There is a nice thread of marquetry information that ithe Yahoo group called "Marquetry".....just go to Yahoo.cselect "groups" then search for "Marquetry," and then sup. The group has distinguished marqueteers such as Dave Ellen Kisker (AMS members from Colorado; have their ostudio), Jack Metcalfe (author of "Marquetry Course" whicone of the best), and very well-known Quentin Smith fromMarquetry Society of Great Britain. Enjoy!


10/20The American Marquetarian 10

Marquetry on Complex CurveBy Dave Peck

The 25th Anniversary of the American Association of Woodturners is coming up this summer and they will have

n Exhibit for AAW Chapters. Each Chapter may submit awoodturning that best represents their chapter. I’m amember of the Redwood Empire Woodturners. Naturally Iwanted to incorporate marquetry and decided to depict aedwood forest around a tall, cup-like turning as my entryor the local contest (Fig. 1). I liked the appearance of a

nicely curved side rather than thetraight lines of a cylinder. Thiseft me with some worries.

Wrapping marquetry around aylinder or cone is relatively easy

using commercial thicknessveneers. However, try to wrapveneer around a complex curvend you can get wrinkles andolds. This article is anxplanation of how I went aboutliminating the wrinkles andolds.

A bit of background – a few years ago I helped RichardMiller, a long time AMS member and an exceptionalwoodworker, cover a dome with veneer. The secret heound was to put the veneer on in narrow strips so thathey conform to the shape of the dome. The sequence in

which the strips were applied was also critical. First youput on every other strip – making them just a little wider

than needed. After the glue dried go back and tape onthe interveningstrip to fill the gap.Cut through boththe new piece andthe previouslyapplied strips tocreate a perfect fit.(Fig. 2) Then glue

the final pieces.

made a drawing of a redwood forest (Fig. 3) and foundhat the tree trunks made natural dividing points just liken making the dome project.

I had a vase already roughed out and dry that could beonverted for this project. Note in Fig. 4 that I have trued

up the outside of the turning but left the walls thick towithstand pressures in clamping the marquetry onto the

Fig. 1

vessel. You can seethe marks I’ve made

for the recess but it’snot cut in yet. Alsonote that the top of the marquetry will be on an almostcylindrical surfaceand the curveincreases as it projects downward.

Fig. 5 shows what happened when I wrapped drawing around the vessel. The paper, as would the ve

stays in a cylinder.It’s at this small endwhere wrinkleswould form if thewhole marquetrywere applied at once.

While I had the drawwrapped around the turninmarked out where the piwould go. Note how each arenumbered on the drawing (Figand by making registration mon the top edge of the recess Iable to position the pieces qaccurately (Fig. 6).

For convenience, Icut the marquetry intwo parts (Fig. 7). Iignored the tree trunksat this point becausethey would be inlaidlater. After cutting andassembling themarquetry, I rubbedglue into the back of the marquetry and putveneer tape on the faceof the marquetry to

Fig. 3

Fig. 6

Fig. 7

Fig. 2

Fig. 4

Fig. 5


11/2011 Summer 20

hold it together while working with it. I cut out thendividual background parts, leaving some extra where the

tree trunks would go.I taped the top edge of these pieces into therecess and cut the bottom to fit therecess (Fig. 8).

To attach these background pieces, I placed glue just downhe center (Fig. 9). (See Sidebar on Old Brown Glue). This

makes it a biteasier to inlay thetree trunks, but if the glue spreadsand the edges getstuck down, it’sno problem – just

more likeinlaying intosolid wood.

I stretched surgical tubing around and around with theathe turning at about 12 rpm to clamp the marquetry in placeFig. 10). Hose clamps wouldn’t work because of theompound curve and the surgical tubing seemed easier than

a vacuum press. Note: I see non-sterile surgical tubing isavailable on Amazon.com. Also, Patrick Edwards told meabout elastic bands used in the exercise and medical

ehabilitation fields.These bands come indifferent widths andtrengths. Brand

names include RepBands, Resist-A-Band and Thera-Band and work qually as well asurgical tubing.

Fig. 11 showssome of the b a c k g r o u n d pieces glueddown. I used paper tape on theveneer faces andsome of it hadcome off andsome hadn’twhen this picture

was taken. The rope just fills in the hollow at the botand allows for using less surgical tubing.

I cut the tree trunks to size using the drawing as a temptaped them into place and cut around them into background to make them fit into the recess (Fig. 12 &

I forced glue under unglued edges and then u

compressed air to get it alway back into the naropening (Fig. 14). I worke2 to 4 sections at a time

soon all were completed.

Two areas required specialhandling. The area above themountain (marked 8 & 9 on Fig. 3)was applied as a single section rather than as two sections. I felt, because

the top of the picture was on analmost cylindrical surface, it wouldwork to just cut out a V (shown by a black area in Fig.15) where the deadtree stump stood. The branches werealready sawn into the marquetry, andit was just a matter of inlaying thetree trunk, much like the others onlysmaller and only shorter. It workedout fine. Also note that the treetrunks in section 10 extend up into the

foliage of the trees, therefore you have to have halffoliage in one section and the other half in another secfor these two trees. Also note that there was a tree trunk,didn’t get numbered, connecting the ends of the drawin

After finishing the marquetry, I was a little nervhollowing out the inside but encountered no problems I was very happy with the finished piece. The memberthe Redwood Empire Woodturners selected this piecrepresent the Chapter at the national symposium.

Fig. 8

Fig. 9

Fig. 10

Fig. 11

Fig. 12Fig. 13

Fig. 14

Fig.15

Continued on page 16 - see Dave Peck



New Tool - The Noden Inlay RazoJohn Truskowski GSMS

At the September meeting of the Garden SMarquetry Society, Geoffrey Noden, inventor of

Noden Inlay Razor, demonstrated the new inlay razor Some say, "necessity is the mother of invention." Geof

Noden, a professional woodworker, had a commissio produce 10 chairs using different inlay designs. Ou

this challenge came the Noden Inlay Razor.Since the demonstration, a number of GSMS memhave used Noden's Inlay Razor. All report positive resThe Inlay Razor will NOT replace the fret saw, scroll or Exacto knife. Its primary use is to embellish marqu

projects. Many unusual and beautiful effects canobtained through the creativity of the marquetarian.

Noden technique has given the marquetarian unlimrepeatability and unlimited design options.

The Inlay razor is easy to use and makes it possibl produce professional quality designs. Initially, the R

comes in a kit with both written instructions and a DIt also includes 4 pre-made cutting blocks and tweeAn advantage of the razor is the ability to produce unidesigns using self made cutters and wafers. Both domeand exotic woods can be used efficiently since end g

pieces are used. This also makes it easier to dye wooFour cutters come with the Inlay Razor Kit. B

cutters and wafers are easily made. The cutters are musing double edge razor blades. Initially the procesmaking wafers and cutters seemed daunting. Howafter some set-up time and practice, it became fairly e

to make these items. Cutting blocks will be available purchase through Noden's furniture design in the futu

In conclusion, several members of the GSMS felt Noden Inlay Razor to be a useful tool for individuals domarquetry and for woodturners. For additional info www.inlayrazor.com or call 609-882-3300. NodFurniture Design is based in Trenton, NJ.

Patrice Lejeune Visits NorCal Group

By Ralph Porter

For our NorCal Saturday workshop meeting on May 23,2011, we were most fortunate to have Patrice Lejeunehttp://www.patricelejeune.com) join us for the day. Patrice

was able to provide excellent insights to Europeanwoodworking training, and new techniques he isxperimenting with. Patrice is currently teaching marquetry

longside Patrick Edwards at the American School of FrenchMarquetry.He provided a presentation on the École Boulle, an

dvanced public school of fine arts and crafts and appliedrts in Paris, France (http://www.ecole-boulle.org) where he

personally had trained. He had hundreds of pictures on thechool itself, as well as many of the projects created by thetudents attending the school. It was particularly interestingo see that Europe puts much more effort into promoting therts and crafts than the USA does. We all actually learned

quite a bit about the piercing and fusion techniques, as well

s the use of hide glue.Patrice’s experiences expanded our knowledge of newmarquetry techniques quite a bit, and he inspired all of us tohink a lot more about including the techniques in some of

our work in the near future.Personally, I really appreciated his sense of doing

different things and techniques, just experimenting. Wekeep hearing from our own members that we just get in thatut of, "oh, no! --- moon/mt/tree!!!!” Maybe we should tryn abstract moon/mountain/tree incorporating fusion and

dyes.

In Memoriam:

Alton Jensen, of San Jose, CA 1925-2011Alton was an original member of the Nor CalChapter and has been in the AMS since 1998. Hewas an ardent wood worker and incorporatedmarquetry into many of his works.

Raymond Gladden, Sr. Of Great Falls, SC1927-2011 Raymond was an avid woodworker and an authority on marquetry, having been along-time member and past president of theCarolinas Chapter of the AmericanMarquetarians. He exhibited through the AMSon the web site, demonstrated often at themeetings of the Carolinas group, and was alwayshappy to share his knowledge aboutwoodworking.


13/2013 Summer 20

German Farmhouse Marquetry PictureBy George Lug

This marquetry picture is based on a 5” x 7” photoof an old German farmhouse. When my friend firsthowed me his family farmhouse photograph to

possibly use for a marquetry picture, I was hesitant. Itust looked too difficult and I was unsure that I could

use it for a pattern. Yet, I decided to give it a try. I

esearched some farmhouse structures in Germany viahe internet and my interest soon peaked. It was verydifferent from a typical farmhouse structure in theUnited States. The “bones” of the structure appear moreike a barn made of post and beam construction thanhose of a country farmhouse. On the lower level it

had brick and mortar walls filling the space between theposts and arched doorways. The upper part of thetructure had the more typical wood siding and a roof

made with a European traditional red-clay tile.Making this picture was going to be a challenge

not so much because the photograph shows thefarmhouse to be in a dilapidated condition, but primarilybecause of its brick and mortar structure. How doesone make wood veneer look like brick? In order tomaintain the integrity and presentation of the structure,

needed to find a way to represent brickwork for thefront of the structure in the foreground – the part that islose and up where the eye expects to see the most detail.

I decided to make a small sheet of “brick veneer”o use. This is not something I had attempted before.

Ultimately, I cut narrow strips of three different coloredveneers and from those cut small lengths to representbricks (the bricks needed to be sized differently or thebrick wall would look too uniform which was not thease for this aged structure). The bricks were randomly

mixed then stuck one by one, using a tweezer, onto aheet of vinyl contact paper. For mortar, a wood-filler

mixture was applied over the “bricks”. After allowing

a couple days to dry, I removed the contact papcarefully - and I actually had a stable sheet of “bveneer” ready to use. I didn't know how well the venwould actually turn out until the marquetry picture completely cut out, mounted to a substrate, sanded finished. It worked!

The picture was completed using the typical degree bevel method on a scroll saw and edge-glu

each piece of veneer. And as every marquetarian knthe finishing process took longer than creating picture itself. All in all, I was very satisfied withresult and so was my friend to whom I presented

picture.



GUIDE BUSHING MYSTERY SOLVED

By Bob Shultz

Have you ever worked on a marquetry project that youplanned to inlay into another larger piece of wood? Of course, this plan involves excavating a cavity in the larger wood piece and cutting the marquetry piece so that they fitogether appropriately. You can only imagine my horror

when, after working for months on the tabletop poinsettia

marquetry piece pictured, I cut it too small for the cavity.

The border may look decorative in this picture, but it isactually wood filler that was used to cover up for my mistake.

I was certainly baffled as to how I had made such amistake when I had so carefully followed the directions for

calculation of bushing offset. The purpose of this article iso explain how I made my error and to give you thenformation to prevent you from doing the same.

Router guide bushings are very handy tools for following a pattern that you have created. The mostmportant thing to remember about using bushings is the

offset – the distance between the cutting edge of the router bit and the outside edge of the bushing. Typically, offsetwill be calculated for using an “inside” template such asmight be required for routing out a mortise or slot holes for oinery. The bushing rides against the inside edge of the

emplate and the “cavity” created is smaller than theemplate due to offset.Our requirements for marquetry take us one step further

n this process. We need to also cut the marquetry piece,using the same template, to a size that fits into the cavityappropriately. Obviously the same bushing is not going towork. For an inside template, the bushing needs to bemaller in order to compensate for the diameter of the router

bit. This is pretty straight forward and we probably have alldone it successfully.

How did I make such a grave error after being vcareful with my project that had taken me so long to creThat is the answer to the mystery and it has to do withtype of template. The vast majority of projects that urouter bushing will employ an inside template. Howwhen the cavity is quite large, as in my 18”x24” poinsinlay, it may be impractical to use an inside template surrounds the area to be excavated. Instead, an “outtemplate would be used since it overlays the area to

excavated and the router bushing goes around the out perimeter. As you can imagine, this type of templatenot been addressed at all by those giving directions on to calculate offset. The formula is different. Insteasubtracting the router bit diameter from the bushing diamit is added to calculate the offset for the cavity toexcavated. The formulas below show how the offset be calculated for each template type.

I have created two tables showing the offset for var bushings when using a 1/8 inch diameter router bit. easily discovered which bushing combinations will cr

the same offset if you want the inlay to fit exactly intocavity. Additionally, it is possible to determine the buscombination if a slight gap is desired to accommoda border that will be applied to the inlay after it has beenFor example, using an inside template with a 1/2“bushfor the cavity and a 5/16” bushing for the inlay will cra 1/32” offset gap for the border. This is the method I ufor the small inlays in the picture of the coat rack base.

I would suggest that you prepare tables, as I have dfor each template type and router bit diameter that you

be using so that you can easily avoid a potential disawhen you are doing this type of project.

Continued on page 19 - See Guide Bushing Mystery


15/2015 Summer 201

Who Wouldn't Want a Third Hand?

by John Seybold

I'm a big fan of bookmatches, geometric designs, andfancy borders, but to do them right you have to be able tout pieces to exact size and shape. In the box top shown

here, for example, my background is a 4-way bookmatch,urrounded by an eight-piece bias-cut border. I also had

o cut this panel to a precise size (within a few thousandsof an inch) to fit flush with the edges of the box. Cuttingall the straight lines on a piece like this can be quitedifficult - any deviation from perfect straightness andquareness jumps out. I wanted to make sure that the

oints where the bias-cut border pieces met in the middleined up perfectly with the bookmatch seams, and of ourse those butt joints had to close with no gaps. Sizinghe panel exactly added to the challenge - it was importanto me that the mitered corners of the border line up

perfectly with the mitered corners of the box, and that inurn meant that I had to cut the center background panel

perfectly square and to an exact size, and then cut theborder strips to an exact width.

I'm pretty sure I would have botched this job withouta simple but specialized cutting jig that let me make allhese straight cuts safely and accurately. I've made aouple of these now, improving them each time, andomewhere along the way the jig has become anndispensable tool for me. I use it like the vise on my

bench, as a steady, strong, and injury-proof third hand tohold my work. It's a pretty simple arrangement: a flatutting surface, a reinforced clamping bar (in this case aection of ruler), hold-downs on the sides, and a fence toegister your piece for straight cuts. But it's the detailshat make the difference, and in this version, the critical

See page 2 for a color photo of John’s box

feature is the pair of blue cam clamps. My first verof this jig used star knobs, but I got tired of spinning tup and down to clamp my veneer. I bought these clamps at Rockler for about seven dollars for the They raise and lower the ruler by about a quarter oinch, which is just enough clearance for a couple of piof veneer. They engage and disengage instantly, andcan check your alignment, slightly open one side, tapruler over, and clamp again to make the fines

adjustments. You wouldn't think it from looking at t but these clamps can generate immense force. I have t backed off so that it takes only a light press frofingertip to push them down into the locked position; eso, the ruler and the veneer underneath are himmovably against the cutting mat. There's another su benefit. You can hold the ruler down exactly where want it with both hands, and then just reach up with finger or your thumb and close the clamp. It makmuch easier to get the precise positioning you w

Another nice touch is the cutting mat with a grid maron it.

I originally made this jig to cut the border strips for box. The technique is simple: slide your veneer fagainst the fence, sandwich a spacer strip of the deswidth between the ruler and the fence, clamp, removespacer, and cut your veneer. It's accurate, repeatable,

pretty much idiot-proof. The speed and conveniencthe cam clamping action, though, quickly made meother uses. Squaring an edge to a bookmatched seaa snap. Put the ruler over the piece, use a smallthrough drafting square to line it up with the seam, cland cut. Cutting the bookmatch is easy too: cutreference edge on your first piece and set it aside. Tthe matching piece, tape it down to the mat, line upfirst piece so your veneer is perfectly symmetrical abthe reference edge, slide the ruler up flush with the e



lamp, and cut. How about making mitered cuts on your border? Take your two border pieces, position the ruler over the keeper side of the top piece, line it up to 45degrees, clamp, and cut.Once you start making straight cuts like this, you'll never go back to holding a straightedge (except, perhaps, if youwant to cut a piece bigger than you can fit on the jig). It'smuch more accurate, because you get to clamp it down,heck your alignment at leisure, and then cut. If you're

working with fragile burls, the even pressure along thetraightedge reduces the risk of tearout. And, finally,here's no chance of slicing off your finger tip or wrecking

your nearly-finished masterpiece because your

traightedge slipped. And sometimes, it's nice to be ableo clamp a piece of veneer to stop it sliding around whileyou line up an image for tracing. As I say, it's nice to havehat third hand.

Construction is straightforward. I find a 12"x18" cuttingurface to be about right, but you could make a larger or maller version to fit your needs. Square up a piece of

high quality 3/4" Finnish birch plywood (MDF wouldprobably work too) a couple of inches wider, and about4 inches deeper than your cutting surface. Route two 5/16"lots down the sides. Flip the board over, and keeping theame fence setting, route a shallow 1/2" groove to widenhe back side of each slot. You'll use toilet bolts with theam clamps; make the groove just a little deeper than the

bolt heads so they can slide freely. Plane a piece of hardmaple or other dense, stable hardwood so it's perfectlytraight and about 3/8" thick (you want it to be about an/8" taller than your cutting mat and thickest veneer stack;oo tall and it will get in the way when cutting narrowtrips) and 3/4" wide. This is your fence for strip cutting;

glue it along the top edge of your board. Cut ansection of wide aluminum ruler (which won't wrec blade if you happen to run into it) to act as your cutguide. You can find some brands that have a shalchannel running down the center of the underside - thwork particularly well, since the channel concentratesclamping force along the edge of the ruler. Stiffen it wa piece of stout hardwood or, as I did here, a piece ofx 3/4" aluminum bar stock. If you use wood, you m

want to take a few shavings off each end to give it a slcurve and spread the pressure evenly across the whlength of the bar; I found that the aluminum bar stock stiff enough that it worked as-is. I just attachedreinforcing bar to the ruler with double-sided tape. Mthe bar stick out an inch or so on each side and drill hfor the toilet bolts. You'll want to drill the holes overso that you have some freedom to angle the ruler a bitway or that as you slide it up and down. Put it all togeadjust your cam clamps, and start cutting!

Sidebar – Old Brown Glue

I’ve been looking for glue with superior strengthadhering marquetry to a curved surface such awoodturning and think I’ve found a winner in “Old BroGlue.” It is hide (or animal protein) glue with a longer otime than most PVA glues. It requires you to heat the before use but putting the glue bottle in a pan of hot weasily does that. The glue viscosity is best between 100degrees F. Unlike PVA, you apply glue to both the veand the substrate. Clamp and allow to set for 12 to 24 hCleanup is with cold water. It’s nontoxic. One drawbis that it has a shelf life of only 6 months (extendable year with refrigeration). It comes in 20 oz and 5 oz bo

– the smaller size is what most casual marquetarians want. I found it easy to use and plan to make it my gglue.Dave Peck To order or for more information about Old Brown Gvisit oldbrownglue.com on the Internet or write to AntRefinishers, Inc. 3815 Utah Street, San Diego, CA 921

Magazine Schedule

Issue Deadline Mailed by

Fall Aug 20 Sept 14Winter Nov 20 Dec 14Spring Feb 20 March 14Summer May 20 June 14

Continued from page 10 - Dave Peck

Editor's note: See page 2 for color photo of Dave’s vas


17/2017 Summer 201

Frame / Shelf By Terry Hayes

This frame /shelf will let youhowcase your pictures and nick-

knacks or other hobbies.The key to this frame/shelf is

he sides. Once you have the

ides made, you can then controlhe width, with the shelf and the

brace across the back.The sides can be as long as

your biggest picture and for horter pictures you just remove

what is needed off the top.The groove width for the

helf is 3/4". This is the widthof standard 1" dimensional

umber. The depth should be 3/8".The shelf you see here is 1" x 8."The groove width for the

ides should be a little bigger han what you use to mount your

pictures. Example, if you use 1/2"plywood to mount your work hen the groove width should be

9/16". The groove depth shouldbe from 1/8" to 3/8" - I used 3/8."

The support bar across theback is 1-1/8" wide X 1/4" thick,but any size would work.



You may wish to welcome new memberswho live nearby. If you know of someonewho wants to join the AMS, contact Dave

Peck (address on page 4) for an“invitation to join” brochure.

New Members

Bill Colburn61 Arbor Dr.Waynesville, NC 28786828-280-6795

Peter White0 The Russets,

MeophamGravesend, Kent DA130HHUnited [email protected]

Donald J. Kraus4920 Crestwood LaneSyracuse, NY 1321515-488-2233

[email protected]

Marian Bruney

5700 Drummond WayNaples, FL 34119-9510

Carl R. Cacioppo612 King James CourtBear, DE [email protected]

Rick ElbannaP.O. Box 484Milltown, NJ 08850732-887-5695ick@ricardocapelli-com

Lynne Buss21070 Capella Dr.Monument, CO [email protected]

Paul Rappold55 Cliff Rd EastWading River, NY 11792631-929-0522

David A. Roth11233 W. 117th StOverland Park, KS [email protected]

Beth Woody109 Elmer RoadHillsborough, NC [email protected]

Wes Highfill1526 Britton Circle

Bellingham, WA [email protected]

Ed McDonaldLower KnockenrahanArklon, Co. WicklowIreland0035340239421

Ernest Mills16007 W. Falcon RidgeDr Sun City West, AZ [email protected]

Rodger Rozendaal7501 135th Ave SE

Newcastle, WA [email protected]

If you have questions or tips, please send tLarry Schmidt10830 NW Reeves StreetPortland, OR 97229-5129Email:[email protected]

Q: After my picture is glued up and sanded, Isometimes find a piece that is too light in colortoo dark. How can this be fixed at this stage of

picture?

A: This can be a problem but the solotion is eato solve. If the piece is too light or off color, ussmall brush and apply stain of the desired colorthe piece, then proceed to finish picture. If the

piece is too dark, use of small brush and apply small amount of wood bleach to area until the ler color is reached. Household bleach will alsowork. Sand lightly and apply finish.

TIP OF THE MONTH:

If you knife cut pieces and the edge is a little rouse a fingernail file or emery board to smooth.

Changing your address?If there is an error or missing

information on your address label or inthe membership listing, or if you move,

either permanently or temporarily,send a notification to

Dave Peck, the Membership Officer


19/2019 Summer 201

Gallery

Canadian Rockies by Bonnie Richardson 13½ “X 11”

Inside Template Offset

Cavity (Bushing OD - Router Bit OD) / 2Inlay (Bushing OD + Router Bit OD) / 2

Outside Template Offset

Cavity (Bushing OD + Router Bit OD) / 2Inlay (Bushing OD - Router Bit OD) / 2

INSIDE TEMPLATE1/8 " Router Bit

Bushing OD Cavity Offset , 1/32" Inlay Offset, 1/32"

3/4 10 145/8 8 121/2 6 107/16 5 93/8 4 8

5/16 3 7

OUTSIDE TEMPLATE1/8 " Router Bit

Bushing OD Cavity Offset , 1/32" Inlay Offset, 1/32"

3/4 14 105/8 12 81/2 10 67/16 9 53/8 8 4

5/16 7 3

Continued from page 14 - Guide Bushing Mystery

“Joy” byDennis

HarrisonJoy has

dyed graybird's eye

maple witha black

gown anddyed

flowers

Guide Bushing Examples

1. We have a 1/8” router bit and want a perfect fitfor the inlay. We will use an inside template. Allnumbers come from the tables above:

Choose the ¾” bushing for the cavity with a 10/32”offset.

Choose the ½” bushing for the inset because it alsohas a 10/32” offset. In this case, a perfect fit.

2. In the example above we want a 1/16” spacearound the inset for a border.

Choose the ½” bushing for the cavity (6/32” offset).Choose the 3/8” bushing for the inset (8/32” offset).The difference is 2/32” (8 minus 6) or 1/16”.


20/20

Above and Right: Robert Fontana created a boxwith these six images on the sides, cover andnside cover. Pictures include the Great WallMutanyu), Gui Lin, Hong Kong harbor, Fu Zhouemple, an Imperial Dragon and some randomemple.

Above:"Teeka" by Del Porter

Teeka is an Italian Greyhound. Sometimes call

miniature greyhounds, they weigh 15-18 pound

This picture is from a photograph.

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