Enhancing Marquetry

Marquetry is often referred to "painting with wood" and to that end many craftsmen, since earliest times, have strived to emulate classical painting. This is done in such a way as to change the appearance of the veneer so it has the effect of adding form to shape.

At the most basic level is the application of oil to the unfinished marquetry to bring out the tone and highlights of the wood. The best oil for this is poppy oil. This is a clear oil used by artists. Rub a light coat briskly into the wood. Apply a wash coat of Shellac afterwards and then apply the top coat of your choice.

By far the most popular method for enhancing parquetry is "sandburning" or sand shading. In this the veneer is submerged into fine hot sand. It only takes a second to effect a change and a little practice goes a long way. In many instances, I believe, it is overused. A subtle effect is ideal as in the piece below of Mont Saint-Michel by Franck Debouverie.

 

Another ancient solution was the use of acid. This was usually nitric acid in its many forms and often diluted to useful levels that were less dangerous. Not used anymore except in antique restoration where new wood is treated to match the patina of old wood.

Pyrography and marquetry can be combined to produce spectacular results in the hands of a seasoned craftsman. The problem is that it can easily overshadow the marquetry to the point of obscuring it all together. As it is applied to the veneer after glue up, a heat resistant adhesive must be used. This method cannot be undone. It appears this method is underused.

Engraving has been around as long as sand shading and is little used except in restoration. It was heavily used to highlight tortoiseshell, brass and silver in centuries past. The knife is most often used today in this procedure after lines are drawn on the sealed marquetry. Black wax is rubbed into the cavity afterwards.

Finally there is penwork. This is the application of ink upon the marquetry to illuminate it with detail. A pen is used with a nib of the desired thickness. This is applied after the parquetry has been sealed and sanded. A level surface is required. Black India ink is best. Most ink contains alcohol to speed drying so a top coat of Shellac will result in bleeding. An oil based varnish is a better choice. Used mostly in Far East countries to enhance unanimated marquety as shown below.

Even among purists, there is an attitude that most of these techniques are unacceptable. In some juried competitions they are outright prohibited. The consensus is that the selection of veneer for its grain, tone and contrast should preeminently determine a persons ability as an artist. I agree, but it can be an asset to display a little form on an otherwise flat surface.

Segmentation

In the pursuit of marquetry it is often, either more or less, about solving problems during its execution. One technique I used when I started marquetry was segmentation which is illustrated below. The scenario for this method, in my case, goes something like this. Using a small handheld fretsaw with a 11.5" capacity I would create marquetry that exceeded its range. I have a similar fretsaw measuring 24" that I made for such cutting. To cut the entire marquetry using the latter saw would be laborious. To reduce the amount of time spent using the larger saw the project was quartered. Each quarter would have one or more sections cut independently of the other with the smaller saw and added latter using the larger saw. Sometimes for the sake of ease they would be cut in with a knife.

In the photo above three quarters have been joined. The top has had a border element partially added. To the left are two sections that will be appended to the fourth quarter. To do this a waster veneer is cut in to receive these as shown below.

To add the first of these elements the marquetry is placed face down. The piece to be cut in is positioned by the use of a transparent reverse pattern. A line is drawn using carbon paper around this piece in an area where a border veneer will be placed. The cutting is done on the backside and glued in place. Below is the result.

For the sake of variety the right motif (below) is let in using the window method with a knife. This is done from the front side. It is positioned from the face side using the same pattern flipped right-side up. Other elements can be made and added at this stage. When all the segments have been added the border pieces are cut in.

What has been achieved by the use of this technique is that I have eliminated the cutting done with the larger saw by 1/3 to 1/2. With the proliferation of large scrollsaws this technique is rather unneeded. Having used it, however, as a beginner without a scrollsaw, I am happy to have added this to my arsenal of techniques. Knowledge is enduring.