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Marquetry is the practice of painting with wood, usually with thin veneers, of different colors and grain patterns. Vaneer pieces are cut to size and shape, and glued to a backer board, or a box , or other similar project, forming a picture. When I practice marquetry, I will draw the desired shape on a piece of paper to the correct size, and cut out the shape with an Exacto knife, creating a window in the paper. I then place the “window” on the vaneer of choice, moving it around in trial positions until I am satisfied with the grain direction and pattern. I then trace the “window” on the vaneer and make the cut with the Exacto knife and tape or pin the piece in its respective position on the project. This process is repeated until the picture is complete. Final adjustments are then made, until all pieces fit together precisely.
When I am satisfied with the fit and the overall appearance, I place the pieces upside down on a piece of adhesive shelf liner, and carefully cut the shelf liner around the finished picture. I then place this unit right side up on the vaneer that I am using as my back ground, and trace around the unit with my Exacto knife, then cut this window into the vaneer.
When the fit is satisfactory, I place the picture unit into the window in the vaneer, and tape it in place from the top side, and prepare the surface of the backing for the application of the glue.
I like to use hot hide glue when veneering, because it gives me a little time to make a final adjustment in the placement of the vaneer. I spread the glue evenly on the surface and place the composite on the project. I then cover the composite with a layer of waxed paper and place a piece of plywood over the waxed paper, and either clamp the “sandwich” together or place sufficient weight on it to assure that the glue bond is complete. The waxed paper prevents the plywood from sticking to the project in the event of some squeeze out of the glue, which occurs more often than not. After the glue is set, the vaneer can be trimmed to fit the project.
Parqetry is a similar process, but usually involves repeat geometric patterns, generally with thicker veneers, and larger projects such as counter tops, floors, etc. In this case, I generally cut the pattern pieces, do the necessary sanding and fitting, and then, spread the glue only in an area that can be covered in a few minutes, and place the pattern pieces in the wet glue. It is often necessary to use a notched spreader to apply the glue or mastic, which gives the glue a place to compress without lifting the previously placed pieces. Parquetry generally involves a final sanding after the glue has set.
Inlay is the process of placing a piece of contrasting material into a solid surface, usually wood, but I have seen other instances of inlay. The process is much as I described when placing a composite picture in a piece of vaneer in marquetry.
The first step is to shape the piece that is to be inlaid. The piece is then positioned in its
location on the project, and held securely in place while scribing around the outside of the piece with a very sharp pencil, a metal scriber, or a sharp knife. I prefer to use an Exacto knife because the point is very fine, and the resulting line is very precise. The piece can be held in place with hot melt glue, double sided tape, clamps, or by hand pressure, depending on the size of the piece and what is at hand.
As inlay generally involves a final sanding, I like to spray paint the work area with an acrylic paint that contrasts with the parent surface prior to scribing, because the line shows clearly and the paint will disappear with the final sanding.
I use a rotary tool with a router base and a 1/8″ or smaller router bit to remove the material inside the line. I leave a little stock inside the line, and remove the last little bit with a sharp knife and a sharp chisel.
Set the router depth to a little less than the thickness of the piece to be inlaid. I generally place a couple of scraps of the inlay material under the router base, and a piece of paper under the bit on a good flat surface, and adjust the depth to just touch the paper. This allows the inlay to protrude above the surface of the parent by the thickness of the paper and the thickness of the glue film. It is much easier to sand the inlay flush with the surface of the parent, than to sand the entire surface flush with the inlay.