The Lightbox

This is a tool used by animators, artists, doctors, photographers and craftspeople to view and or trace transparent objects by way of a backlight. For those that do marquetry and create their own patterns it is very useful. It makes tracing of a design onto a transparent medium, such as vellum or tracing paper, much easier. There are dozens of commercial lightboxes available and one is displayed below.

These are usually available for the craftsperson in art supply stores. Smaller-size lightboxes also come in thicknesses as thin as 3/4" while some high-end products use sophisticated lighting and come with a large price tag especially with the larger models.

At the other end of the spectrum are those that are handmade. Two such examples can be found here and here. There is no shortage of these on the internet. A basic lightbox can be had by placing a sturdy box with the open end up. Lining the box with a white reflective material is a plus. Place a light source inside such as a worklight. On top of this place a picture frame with 1/4" translucent glass (plexiglass will work on smaller ones) in it. I know one fellow who made his own and seemed pleased with the results.

Personally I have not used one. I rely on the computer to digitally trace my patterns which I discussed in a previous post, but if I did not have this resource, I would certainly use a lightbox.

Marquetry Organizations

Let me say before I go any further that individual organizations will not be named in an attempt to give equal billing to all. While it may be enough to name an important group it would at the same time draw attention to one that is unworthy. It is not my intention to provide a forum for the latter. I merely point out their structure, differences and weaknesses. During the years I have been practicing marquetry I have been associated with over half a dozen marquetry organizations. One of these I was intimately involved with including its founding, but let's start at the beginning.

The core of any organization is its members and the volunteers that run it. In some cases they are exploited to serve those in management. However, many craftspeople choose not to join a marquetry group. Their reason might be the amateur nature of the group, the cost associated with it or a lack of any real benefit. Many good marquetry people are not members of an organization. I believe as many as a third of like-minded people are not members. The number might even be higher.

Most of these groups have a statement of purpose that very few live up to and that is the promotion and advancement of marquetry. Some publish a periodical for its members which is not available to the general public. This is usually done to increase membership. (In fact, one such publication is nothing more than an advertising resource for those making a living at marquetry or have an ego to support.) The only opportunity they have to promote marquetry is through annual Exhibitions or limited public Shows. Again a very circumscribed experience for the public.

Over the years, 2 of these organizations have failed. It has always been thought that the cause was a lack of volunteers. I think the cause runs deeper than that. A lot of times they lose sight of why they were formed. Some are based on a business model, if you can call it that, of generating revenue. This takes precedence over all else. Anything tangible has a cost associated with it. If you are a member, you are going to pay. I have seen very kind individuals donate items to their group only to see them resold back to the same members they were meant to benefit.

So, the question remains, can a person benefit from one of these organizations?The answer lies in what you expect from your membership. It will help you connect with other marquetry people in and beyond your area, keep you updated on marquetry events/tools and provide a forum for your questions or ideas. It will not improve your technical deftness or make you an artist. And it will not help you market your marquetry (if that is your aim). The best groups are those devoid of professionals (remember, they are members for one reason) and are populated by members who just enjoy marquetry. Experience can be shared, but it can only be acquired with age.

Photographing Marquetry

In this world of digital photography this task has become rather automated with the advent of the point and shoot camera. This is possible with the use sensors that employ an algorithm to determine the proper lens setting. Film speed, focal length and shutter opening all play a part in this process. The problem is that all sensors are not created equal. Where the sensor obtains the light source has a great impact on the final result. The difference between an acceptable picture and an exacting photo are very noticeable.

To overcome this obstacle a digital camera, and preferable a DSLR, a manual metering system is required. To use this setting a light meter is needed like the one below which I have used since my 16mm film making days.


Light from any source can be used. Once the setting has been determined and set, other factors are considered in taking the best possible picture. A tripod is essential in reducing blur. Another addition is the use of bidirectional lighting. This helps in eliminating shadows by the marquetry frame. I have found though that artificial light negatively impacts the transparency of a photo. If the photo will be cropped with photo-editing software then additional lighting is not needed. The best lighting is natural light. It will produce more natural wood tones and appear ideally realistic. If shooting outdoors and the camera accepts filters then a UV filter is well worth the investment. Another advantage I have found is that the UV filter can increase the warmth of the picture as seen below. The first without the filter and the second with.


Whatever camera you use to capture your marquetry, these will help in producing the best possible picture. Clarity should be the prime objective, but remember that every camera has its limitations. Try to get the most from yours. Leave out unnecessary background and let your marquetry take center stage.

Regional Differences

After a respite of unintended duration I was able to relocate and have exchanged my workshop for a studio environment. I no longer feel compelled to create marquetry for others. My main focus now is to work on projects that challenge me and enkindle my passion for marquetry. Occasionally, I will teach a class to art students who are looking for an alternative medium. In all, I am more focused on marquetry than ever before.

As an afterthought I pondered the regional differences found in creating marquetry. These are generalizations and exceptions do exist. Americans are fond of their technology and seem convinced that marquetry can only be created with the latest and most costly scrollsaw. Emphasis is placed on technique more than design. I would go so far as to say they have an obsession with joints while neglecting their art. In my case, I never used a scrollsaw until after I had worked with the fretsaw and knife for nearly 10 years. Some regions of the World are dedicated knife users. It is interesting to note that obstacles encountered by one group are often eliminated by the other. One contributing factor to these regional differences may be that only one technique is taught in that area. Those that really apply themselves may learn the other elsewhere and that makes all the difference for the gifted artist. This may be a blindsided assessment, but the lesson here is not so much how marquetry is created as what was created.

The Three Modes of Marquetry

Having been involved in marquetry for over 20 years (a comparatively short time to others that I know), I have noticed 3 levels or classes of marquetry craftspeople. While each is important and has its place, it is worth noting that all say something about the practitioner. The influences at work here are environmental, technical and cultural. I believe the second factor is the one which is most malleable. Determination or lack thereof may also play a part.

The first level are those that work from marquetry kits or utilize preexisting patterns that have the veneer choice specified beforehand. For some this is all the motivation they possess. In most cases they are only interested in making marquetry and do not want to be concerned with any other aspect of it. On the other hand this may be an entry choice to see if this is a craft that they might enjoy.

At the second tier are craftspeople that create their own patterns and render designs using veneers they have chosen themselves. The subject of each is single-minded and limiting. In this they specialize in a genre such as flowers, birds, landscape, people, etc. Specialization is good, but it does not provide for any growth in the technical department. This can be seen in a side-by-side comparison spanning several years from the same individual. The newer object is technically indistinguishable from the older. They have achieved their comfort zone and are in need of nothing else.

The third and advanced class are those that continually apply themselves to all aspects of marquetry and by doing so improve each succeeding project. This is a process that continues throughout their lifetime, always learning and striving for perfection. Design, veneer selection and execution all play a part. The mental approach for these artists is one of discontent with their previous effort. Not many will acknowledge their shortcoming in this respect and that destines them to mediocrity. I have seen marquetry that I felt was extraordinary, but the author was quick to disagree. These are the true winners in this class and often the most successful.

Whatever mode you find yourself in be confident you are contributing to keeping marquetry alive. It is not so much how you are doing it, but that you are doing it at all. We all have our reasons for taking up marquetry. Some are simply inspirational while others are occupational and mundane. Another side to this is to ask ourselves what it is we want to achieve. If you feel stagnate or unmotivated it may be time to reassess your involvement in the craft. The three modes of marquetry can help in this respect by guiding us to the next level.

The Evolved Chevalet

The chevalet de marqueterie has existed since the 16th-Century, primarily in France, but the horizontal carriage is a more recent addition. Many like to date this change to just before the French Revolution. There is even a folklore legend that has it attributed to Dr. Joseph-Ignace Guillotin who initiated the now famous guillotine. In all probability it should be dated from the 19th-Century. The reason the carriage was added in the first place was to precisely cut multiple pieces of veneer at the same time. Before that veneer was hand sawn and very thick. Sometimes as thick as 3/16". I cannot imagine more than 2-3 veneers being cut in a packet and the accuracy between each not a factor because in most cases they would have been inlayed into a background with a chisel and knife. Later, veneer was sawn much thinner by machine allowing more layers to be cut - at least twice as many. Hence, an accurate-cutting chevalet was needed to cut each piece as well as the background precisely. It should be noted that the earliest surviving chevalet de marqueterie in this form is from the 19th-Century because it just did not exist before that.


The two great ebenistes that flourished in Paris just before the French Revolution were Jean-Henri Riesener and David Roentgen. Both employed the relay method in creating their marquetry. This is the same method that was used during the Renaissance. These were highly successful cabinetmakers that adhered to the old ways. There is no evidence that either used the newer chevalet. For instance, if Roentgen had access to it in Paris, it would likewise have appeared in Germany after Roentgen many trips back to Neuwied where he employed over a hundred workers. No cabinetmaker would deny himself a tool that would lower his costs and or increase productivity.

After the Revolution, marquetry furniture fell into decline. All of the great workshops were closed and no one wanted to be associated with anything from the Ancien Régime. It was not until the Second French Empire (1852 to 1870) that marquetry returned to its former glory. It was most likely at this time that the new chevalet appeared and would have been needed. By 1880, Paris had 20,000 workshops and the competition was fierce. It is not hard to understand how one marquetry cutter would have the edge over another with this tool.

2011 MAF Exhibition

The 2011 MAF Exhibition of marquetry in France has set the requirements for entrants. The mandatory pattern is shown below and was drawn by Michel Wagner, himself a winner in 2000. This is a national exhibition of the "Best Apprentices of France" in trades taught in vocational schools throughout France.

Only level 5 students are eligible. In the marquetry class requirements are that a list of woods must be submitted ( natural and dyed veneers allowed), pieces are cut using the element by element technique with either a scrollsaw or the chevalet de Marqueterie. Shading by traditional hot sand and pressing the marquetry on a medium without surface treatment - no finish (varnish, wax, oil etc..). The substrate must be 15mm X 350mm x 270mm.

Finally, I have displayed past winners and it is easy to see why strict rules foster quality. Keep in mind these are students.



As a postscript to this post it is well to remember that competitions outside of France that do not nationalize a craft have no distinction between that and art. They never will. The last exhibition I attended which was held in an effort to promote marquetry as an art form displayed laser marquetry next to that made by hand. No difference between the two was mentioned nor displayed forthright. This is a hypocrisy that causes more harm than good and misinforms the viewing public. It's what I call attribution by association. Of course some will say they don't need to know, but I will save that one for another post!

Marquetry Kits

Marquetry kits have been around as long as I remember and have inspired many to take marquetry up as a hobby. Once thought to be the domain of specialized craftsmen it has enabled anyone to practice this craft. Kits come in a variety of skill levels and sizes. At the bottom end are those that include nothing more than a pattern and a selection of domestic veneers. These are the ones that individual craftsmen offer, usually of a small size. The user is required to do his own cutting either with a knife or a fretsaw. The top end kits include everything to create a marquetry picture with the veneer pieces already cut out. Backing board, sandpaper, finish and frame are all included. I thought it would be interesting to inspect one of these better kits and the results are detailed below.

Each piece that makes up the picture is laser-cut from veneer that has a permanent paper backing as seen below. This makes it more stable and an excellent bond for the adhesive.




The kerf which results from this type of cutting is identical to that of a #5 jeweler's blade. This same laser cuts the pattern onto a backing of 1/8" pressed hardboard. A clear adhesive film is placed over this pattern and the pieces of veneer are assembled (paper-side up) working from the center out to the edges. When this is complete the backing board is turned over and the protective covering is removed exposing the contact-adhesive. The marquetry assembly is placed onto the backing board little by little or by using a slip sheet. After pressing into place the clear adhesive film is removed. Finally, the finish is applied and framed.

I thought the assembly approach was straightforward. The kit contained 15 different veneers - both domestic and imported. All were of the same thickness and the only problem I encountered was that 2 pieces had to be trimmed slightly with a knife to fit. This was a large picture and my guess was that it contained over a 100 pieces. Marquetry kits have evolved over the years and this one was as simple as it gets with no marquetry experience needed.

NOTICE

I will be relocating in the near future and unable to do any posting during that time. After I get settled my posting will resume. Until that time, though, this blog will continue as usual.

Vector Patterns

Any marquetarian of any merit has their own stash of patterns, especially those that have been practicing the craft for some time. If you are like me, you have more than you will ever use. With that being said I am always looking for designs that are new and intriguing. Two that I came across recently are shown below and intended for marquetry. Download them for free from a website located here. They look promising as well as challenging. Also, be sure to check out the scrollsaw patterns as they are adaptable to marquetry.




These are vector ESP files. In a previous post I discussed the advantages of using vector drawings. Basically, they can be enlarged with no loss in quality. However, one question that comes up is how to print patterns that exceed your shop's printer. What I do is convert the vector to a TIF file after it has been resized. Burn this to a CD and take it to a commercial printer who prints posters. Most can handle anything up to 36" x 48" with any paper weight.

Glues for Marquetry

In a corner of my shop there is just about every glue I have ever used. Of these only 3 are suitable for marquetry. There are many more on the market, but these are single-application glues. By this I mean they are intended for one purpose. It seems the research and development required to make glue compatible with all materials, under any condition, is too costly to persue. One glue that comes to mind is Titebond's Cold Press Glue. While this may be a good adhesive to glue up veneer panels, it is not usable for marquetry if the face side is assembled with veneer tape. The reason being that dampening the tape to remove it will cause the marquetry to delaminate. Another question that arises is how many of these new glues will be compatible with finishes yet to be developed.

My personal favorite is hide glue in either the hot or liquid form. I use it for pressing, veneer sizing and repair work. It is reversible and makes excellent filler which bonds to itself in the press by melding into one glue film. Can be manipulated for shorter or longer open times and is useful in creating faux finishes. And speaking of finishes, it is organic so all finishes are compatible. It is interesting to note that it has been in continuous use for 4,000 years. Some things man got right the first time.

Another glue is Carpenter's yellow glue. This is a synthetic polyvinyl acetate-based glue. Undoubtedly the favorite for marquetry in any type of press. But it can also be used without a press. Tape the marquetry on the face and place face down on a board. Secure the outside edges with veneer pins. Apply a coat of yellow glue to this and the substrate to which it will be applied. Let dry overnight and remove tape. Then with a household iron and the marquetry placed in position on the substrate, work from the center out to the edges. It is a good idea to place brown kraft paper between the marquetry and the iron. This is a good way to mount your marquetry if you do not have a press or are limited by space.

Contact cement is another adhesive that is useful in the above situation providing good ventilation is available. Two coats of glue are applied to both the marquetry and substrate. Use a slip-sheet to position the marquetry and with a veneer roller press into place. The key is to apply 2-3 coats and arrange the substrate perpendicular to the marquetry. Below is an example of what can go wrong.


Only one coat was applied and the substrate was oriented in the same direction as the marquetry. Movement in the veneer was not constrained which caused it to rise and crack. On the back the veneer ran perpendicular to the ground and developed no cracks and this with only one coat of contact cement.

Whenever someone shows me their marquetry I ask what glue and finish they used. The answer to the glue question is always one of the above. I have found it far easier to talk a craftsman out of their finish than it is of their glue.