photos above show the marking, routing and hand fitting inlay process
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3/9/08 ... Close up of the top with the completed edge inlay, ready for final stain on the mahogany.
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In this picture, the pieces have been firstcoated with stain and the inlays have been masked off in preparation for the final color on the mahogany. You can see the finish sample of the final color in the foreground and the black apron details nested within the leaves. the other black column details and moldings are in thefar background. All of a sudden it dawns on me that there are A LOT of pieces in this table.
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Inlaying the edge detail.
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Showing the length of each piece of edge inlay.
2/27/08 We're now working on the burl center inlay for the main table and for the leaves. The small half circles we can glue to the table with clamps , but the leaves will go in a vacuum bag press so the the larger area (11 x 18) can be clamped with more consistent pressure.
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Fitting up the pie shaped pieces of the center inlay.
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Clamping the fitted inlay to the table.
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Fitting up the inlay for the leaves 2/27
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The table as it is today 2/22 with a photoshopped on apron and painted molding detail
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My son Will, rough bending the inlay pieces for the circlular ebony inlays with a shop made 'hot pipe'. He could, with just the hot pipe and careful control of the heat, bend the kiln dried ebony, or most any other thin wood, into a radius slightly larger than the pipe itself. We learned this technique from the guitar makers catalog, how to books, and a little experimenting. The .35" burl line is cut, not bent.
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A close up of the inlay process. This is actually the third step, as each layer is glued in, one piece at a time, using the nails to temporarily force the pieces into place until the glue dries. The blocks for the edge inlay are in the backgroound.
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End view of the whole table with the triple outer inlay border (ebony/burl/ebony) set.