Trapper John

Thanks for the tip, xocd. Would veneer tape work as well? As I understand your suggestion, using hide glue on the show face to adhere a paper layer for reinforcement would help in my situation. Veneer tape might accomplish the same thing. I have tried to achieve results with my DW788. I've varied the cutting speed but no joy. In an attempt to find my own solution I have put a bench pin in place and will try hand sawing with a coping saw. If I like the results I'll post pics.

Thanks for the quick response, Tom. I should note that I am using a DW788 with this pattern. I am currently playing with wood selection as my current choices don't satisfy me. I am a seasoned, if not incompetent, realistic decoy carver. The main reason for my post was to test the waters on this pattern regarding how much detail to put into this particular piece. This is one of the great advantages of working from any pattern; it may be reused for experimentation So I'll probably make a "safe" version, once my wood selection is firm, and an "experimental" version to try out different levels of detailing.

I always used spray-on glue for pattern attachment but never was satisfied by the process, simple though it might be. I took a gamble and tried a Xyron Creative Station as an alternative. The pattern is placed into a printer-like feed tray. A hand crank moves the pattern into the machine where it passes through a set of rollers and is affixed to a removable adhesive backing. This backing is very easy to remove manually. The entire process takes a few seconds. The cost of the machine was $58. Spendy for a "toy"? Yes indeed. But hey, I'm 73. I get to play a little, too!

CharlieL, I have been using my DW788 set up the same way! I use an Optivisor 5x with an attachable led light bracket. The AA battery and switch assembly attaches to the visor with a velcro strap, while the leds are in a frame which snaps over the changeable lenses. The whole unit weighs next to nothing. My (terrible) close-in vision requires the use of the 5x lens. The visual quality is great, and the added light is a much appreciated accessory as I am not always at my well-lit saw. The visor flips up and out of the way for normal viewing. The savings in time and hassle are tremendous, and the entire assembly cost less than that of a dedicated and separate lamp - at least in the 20 years or so that I've owned it. The unit can be obtained almost anywhere online a woodworker would choose to look.

Dan, that makes sense to me. Traditional scroll saw cutting would involve making a packet comprised of layers of veneer with grains and tones properly aligned and sequenced. That is essentially what you have described as I've interpreted your comments. The pattern is applied to the top level of the packet, as you have surmised.

I am working on a marquetry project that includes crescent shapes. Using the knife and window technique, I am experiencing difficulty with the extreme corners; even when I succeed in my cutting I am experiencing breakage of these 1/2 inch pieces.L The problem occurs when I go to remove the piece to insert in the background. The "tail" of the crescent wants to break off. Sometimes the very tip of the crescent is lost and is too small to replace. I am using a #11 scalpel blade and the veneer measures .025 inches thick. I have tried a variety of techniques for cutting and part removal but so far the results have been kind of hit or miss. I have even wetted the veneer with a water/mineral oil solution and put it through my veneer press as well. (I hoped that would reduce the tip breakage by softening up the wood fibers in the veneer. No joy here, either.) I have tried cutting with my DW788. I have run with the speed set at 40%; I have used blades ranging from 2/0 to #5. Reverse tooth, spiral, and "puzzle blades" have all seen duty. The scroll saw devours the pieces even when I successfully follow my pattern. At present, my options appear to be: 1. Keep cutting using the window technique. Learn as I go. 2. Learn the correct blade size and saw speed for my scroll saw 3. Identify the problem and ask for help. Obviously I have selected the third choice. Practice/skill improvement is obviously required on my part, but does anyone have a practical solution for me?

I am about ready to start working on the JGR Canada Goose pattern. (I have both goose and gander patterns.) Before I commence scrolling and sanding I would ask if anyone has any experience with this/these patterns - especially sanding!

Of course you need pictures! Please forgive me for violating one of the first rules of pattern requests. I was unsure of how to proceed and must have spaced on the request. I will post a couple of pics as soon as I can. Again, please overlook the breach in common sense and etiquette. J

I'm looking for a very specific pattern featuring a 1999 HRC Corvette. I'd like to make an intarsia piece featuring same, which I intend for my neighbor. Can anyone help me out?

Thank you both for the comments. Old Masters finish it will be - and now I'll get my order going!

I'm about ready to start on a Judy Gale Roberts pattern, the Canada Goose. I've been considering trying blue pine for the wing areas. I've tried a small piece of the pine with clear danish oil and am not sure how the final product will look. Anyone familiar with JGR's goose patterns, finishing blue pine, or both, please add your experiences/ opinions. I have lots of western red cedar to work with but before I start creating sawdust I thought to ask.

Thanks everyone, for the great input on filling voids. I guess the only way to profit from all of this good advice is to practice more and not be as ocd about my work! Shifting focus back to intarsia, I have ordered several of JGR's patterns, including "Morning Sun," "Crescent Moon," and the "Canada Goose" and "Canada Gander" set. Any advice on the geese patterns will be gladly received. I am planning on using aspen, blue pine, and western red cedar as the main color themes, and would like to start by asking about blade Choices. JGR suggests using #5 and 2/0 blades, which is what I plan on doing for lack of better info or experience.

That's good advice and I will be sure to view the references. The glue bottle tip is much appreciated and I will check that out as well. I'll keep working on my scroll saw skills. I have been using 2/0 blades, spiral as well as standard tooth blades in the same size. Flying Dutchman and Pegas have been my choices thus far. One variable that I have to work on is scrolling speed and feed. I have experimented with speed settings and control, and so far it seems that finer (thinner) European veneers cut best at slower speeds while the thicker American veneers allow for a higher speed setting. I should also point out that I am using a homebrew water/alcohol/glycol softener and a manual press to flatten my veneer before use. Finally, your observation about being more deliberate is a good one. I may be over-eager to see results with my bevel cutting. I will practice more, slow down a bit, and let the results speak for themselves. I could really benefit from a good hands-on class but travel constraints and Covid rule that out for now. Thanks for your comments.

Most of the time we strive to minimize kerf, which is why double bevel cutting on the scroll saw is popular with marquetarians. As much as I've read about the subject and practiced, I know very little about acceptable kerf size - which ideally approaches zero - and gap-filling techniques. I know about using saw dust and wood slivers but so far am not pleased with the results. I am using PVA glue, which brings me to my second question: what do you guys recommend for a glue bottle, of all things? I have ran the gamut of cheap imported squeeze bottles. I am looking for a fine tip for edge gluing my pieces. I m tired of tips that require extensive cleaning, rusty needle inserts, and other woes that to with the junk I've tried.

Wow - a lot of interesting comments here. I am curious (or stubborn) enough to attempt both knife/window technique and the bevel cut approach with my scroll saw. I see advantages to both techniques. Knife work requires a different kind of deliberacy; pressure, blade quality and sharpness, and cutting angle are more deliberate and obviously slower. Using a fret saw and chevalet are even more traditional. This approach allows the ultimate in speed and control. At this point I am not smart enough to do more than observe and question. For example, I am not at all sure about why a simple bird's mouth is not as favored as a chevalet. For me the two methods that I have worked with have shown me that patience is as important as method, and the jury is out on which I prefer. Ultimately the answer to that question will require more time.

Frank, although I missed the opportunity to reply previously it was not for lack of interest or failure to appreciate your work. Your experience and familiarity with technique is precisely what I have been looking for. I understand the differences between intarsia and marquetry and wish to try them both. At present I have slipped into a black hole of learning, with the Haida/Tlingit style of formline art capturing my interest. My reasoning is that if I take the time to truly learn the process my creations, like yours, will have more credibilty. I actually have several projects in mind once I build skills and knowledge a bit more!

The meetings were held on Wednesday at 7:30 pm GMT- or in my case, 11:30am (PST). Your time depends on what time zone you are in. You may either remove your shoes and count it out, or do what I do and ask a loved one to do it for you. Sorry I didn't reply sooner!

Well, my problems with woodworking are largely self -inflicted. As mentioned above, one project leads to another, and to another... ad infinitum. I make more sawdust than most. I measure twice and still wind up on the short end of things. Any difficulty that I am having with marquetry simply points to where I am on my own learning curve because I am easily distracted. For example, and as I may have mentioned before, I am extremely interested in applying marquetry to Pacific Northcoast indigenous painting. As noted above, marquetry can be as simple or as complex as you want it to be, but it is basically painting using wood coloration and grain as a medium. I have taken a sidestep to learn as much as I can about this type of cultural representation and have made a few attempts at drawing and combining with marquetry. Thus, I spend as much time reading and organizing as I do actual cutting. This is probably why I don't have much to show for my efforts - yet. It must be a character flaw! Rockytime, I too buy my blades in bulk, just 100 at a time instead of 1,000. I need to declare that since Covid I have become increasingly reliant upon Mr. Bezos' company, which sources a lot of stuff from China. The important thing to remember about nearly any imported product is that is is being specifically designed and produced to specs, which we are all (myself excepted) comfortable with. So ultimately the quality of an imported blade depends upon the specs, the manufacturer's quality and honesty . . . and of course, the price. This is my explanation of why good old #11 blades are not all the same; a blade manufactured on the cheap is simply going to flex more, cut shallower, and dull faster than a higher quality blade. It's a bit like buying a scroll saw from Arbor Fright or . . . (fill in your tool name & model #). Or, perhaps this is not unlike a Chevy vs Ford discussion, lol.

The Marquetry discussion seems to have tapered off. Since last posting I have joined the "American Marquetry Society" and participated in a few of the weekly Zoom meetings conducted by its parent, "The Marquetry Society." This group is based in England and the attendees comprise a most helpful group of well-established marqueteers. Their work is most impressive and their willingness to share and discuss technique reflects patience (no doubt a benefit enhanced by the practice of the art form) and experience. For a rank beginner like me, the difficulty with this informal structure is that at present I have nothing to show or discuss. Ernie Mills, the U.S. Rep, has a website known as "Marquetry Magic," ( See www.marquetrymagic.com) which is well worth visiting. Be sure to check out the section entitled "Tutorials.". After selecting this option scroll all the way to the bottom of the screen and select the link to "The Beginner's Guide." After introductory material is covered there is a section entitled "Basic Techniques" which is well worth your time to review. The basic "Leaf Pattern" seems to be a classic introduction to the window method of cutting veneer. There are also several variants of the exercise to be found on Youtube. No matter your skill level this exercise is well worth the small amount of time and materials required to complete it. For this novice the simple act of cutting the first piece of veneer was a learning experience, in that I quickly found that choice of knife handles and blades was important to my success. If it doesn't "feel" right to me I tend to distract myself and to begin fussing with my work. (I also learned that not all #11 Xacto replacement blades are created equally, but that's another story.) Although I ultimately plan to use a scroll saw for my marquetry work, I concluded that learning several different approaches to cutting and developing "windows" into my work would only be helpful. Ernie Mills has been most encouraging and helpful in launching my efforts and I highly recommend joining the American Marquetry Society for its benefits. Since marquetry, as opposed to inlay, is a relatively obscure approach to woodworking and art (especially in the U.S.) it would be useful to have a regular forum for exchange of ideas and information about projects on this site.

Let me begin with a sincere apology for not replying to the many fine posts that I received in reply to my original comments. Suffice to say that life got in the way but I am back for sure. My interest in formline art and scrolling has re-emerged and although I am interested in intarsia I have also been exploring marquetry. I hope to be a better poster/responder in the future!

At long last I may have found my niche - on this site, as well as in my scrolling. I am a rank amateur when it comes to scrolling and marquetry and have read many of the books referenced by others. I am addicted to watching videos offered by popular streaming services. I began with a Craftsman saw and, having gotten my feet wet, soon replaced In with a Dewalt DW 788. In an era of Covid, traveling from my location, and at my age, are out of the question. That rules out formal classes, such as many responders have reported experiencing. A forum dedicated to marquetry would serve two purposes. First, it would allow for a more focused set of sub-topics. Veneer sources, diy veneer presses, discussion of practical issues - these are a few examples of what I am referring to. The second purpose is simply this: to provide an opportunity for the camaraderie that goes with sharing a common interest and assisting others with our own experiences and ideas. Count me in for further discussions!

I am looking for a full profile (side view) pattern of a 1999 C3 HRC hard roof coupe) corvette. I have found many pics of same but no patterns for scrolling or sign making. I am too new to GIMP to feel good about making my own pattern, and hope to.avoid reinventing the wheel on this one! Any help would sure be appreciated.

I'm looking for a Sasquatch intarsia pattern and so far have found nothing. As a relatively new scroller I am more intimidated by wood type and grain selection than anything else. Has anyone found a pattern that I can buy or copy?

I may need to consider combining intarsia with marquetry/double inlay. (Check out my posts on the intarsia forum to see what I'm up to.) The use of various white shapes to relieve dark areas requires the use of small delicate pieces that may not withstand intarsia cutting and sanding efforts. I'd be interested in reading input from you and others, Jim, as I work on solutions to my challenges.