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Dremel wood inlay techniques,plans for a small greenhouse cheap,plans train toy box,dresser plans simple - PDF 2016>

I want to thank all who took the time to write to me about the first edi­tion of “Pearl Inlay Tech­nique,” and I also want to thank sev­eral indi­vid­u­als who started me down this path so many years ago, either through direct instruc­tion and con­ver­sa­tion, or through their first-rate writ­ing. The text that fol­lows describes one person’s method for inlay­ing mother of pearl and sim­i­lar mate­ri­als into wood. Any num­ber of flat or flat­ten­able mate­ri­als can be inlaid into the sur­faces of instru­ments, fur­ni­ture, jew­elry boxes, etc., but the most pop­u­lar for stringed instru­ments has always been mother of pearl from pearl oys­ters and a similarly-derived mate­r­ial from abalone shells.
Other mate­ri­als occa­sion­ally or com­monly used for instru­ment inlay, at least his­tor­i­cally, include bone, ivory, tor­toise shell, sil­ver, gold and its imi­ta­tors, brass, nickel sil­ver, stone and stone com­pos­ites, and var­i­ous woods and plas­tics (“mother of toi­let seat”).
The jig is clamped flat to a table so that the slot and hole or V-notch extends beyond the edge, the pearl sheet is posi­tioned over the open­ing, and the wood sup­ports the sheet while the saw cuts down­ward.
You can use a padded bench vise or even sand­bags to hold the object that you are inlay­ing (usu­ally a fin­ger­board or peg­head already attached to a neck), or you can build a jig to hold it on a table­top. Using com­pressed air to blow the pearl dust away from the inlay dur­ing the cut­ting is poten­tially a bad idea because even a slow and gen­tle air stream can aerosolize the dust right under your nose, and could trans­form a minor dust expo­sure (dust par­ti­cles released by the saw­ing) to a sig­nif­i­cant expo­sure (invis­i­ble clouds of dust). To view the original forum post and to discuss the VCarve Inlay Technique, please Click Here. VCarve Inlay makes beveled inlays using a V bit to carve both the inlay and the inlay pocket.
The resulting inlays rest in their respective pockets by contact along the sides of the inlay and pocket.
The versatility of VCarve Pro allows both pocket and inlay to be cut using the same design and same V bit but with simple differences in parametrics between the cuts.
The inlay itself is created with a backing which provides a base for multiple and otherwise fragile parts.
Part I cov­ers the prin­ci­pal mate­ri­als and tools, Part II cov­ers pearl cut­ting and lay­out tech­niques, and Part III cov­ers inlay­ing tech­nique.
There are as many vari­a­tions on each step and indeed on the entire process as there are peo­ple who inlay pearl, so if you run across instruc­tions that devi­ate from the para­graphs below (or vice versa), please adopt or stay with what works best for you. Each has its own pecu­liar­i­ties, but the process for cut­ting and inlay­ing all such mate­ri­als is basi­cally the same.


The scribe is used to inscribe the exact shape of the inlay into the wood that will be routed for the inlay. The most com­monly used drill for inlay work is prob­a­bly the Dremel Moto-Tool, which has been in pro­duc­tion in one ver­sion or another since the 1930s and has a well-deserved rep­u­ta­tion as one of the most use­ful of luthier’s tools. Very hard (ebony) or very hard and resinous (rose­wood) woods are noto­ri­ously hard on router bits unless the bits are made of durable mate­ri­als like tung­sten car­bide. I am now using a Fore­dom motor with a Fore­dom H8 hand­piece for the free­hand work (see Part III) because the Fore­dom seems eas­ier to con­trol than Dremels. It is VCarve Pro's unique ability to correctly handle the bevels on lines, arcs and points that allows the inlays to be cut without bit diameter offsets encountered with traditional CNC inlay techniques. This creates extremely accurate inlays showing little or no gaps between materials and rivaling the very best hand made inlays. This diagram is provided for reference only; you do not need to understand the diagram to make VCarved inlays.
When I was writ­ing my own MOP arti­cle for Gui­tar Inlays Head­quar­ters and research­ing the sub­ject, I found Sean’s old arti­cle and asked him if I could reprint it here. But much has changed since 1995 in the world of inlay and in my world too, not to men­tion in the way we dis­sem­i­nate infor­ma­tion online. I also don’t know what, if any, per­cent­age of the pearl oys­ter shells that are imported for inlay pearl orig­i­nate in cul­tured oys­ter beds, but I hope it’s large.
If you want to use a Fore­dom for all steps of your inlay work you’ll need to fash­ion your own com­plete router attach­ment to hold a Fore­dom hand­piece (not easy) or to pur­chase the “pre­ci­sion router base” and cor­re­spond­ing spe­cially threaded Fore­dom hand­piece from Stew­art Macdonald.
A large mill file and a flat cab­i­net scraper are use­ful for lev­el­ing the inlays and filler with the wood in the final stages of an inlay project. If you grind shell or saw lots of inlay and thus gen­er­ate lots of these par­ti­cles, lots of them can lodge deep in your lungs and could even­tu­ally cause seri­ous, even fatal, res­pi­ra­tory dis­ease. Abalone (sev­eral Hali­o­tis species, of which Cal­i­for­nia red and green abalone are the most pop­u­lar for inlay) occurs pri­mar­ily in mod­er­ately cold water parts of the Pacific Ocean.
The pointed bit is used in the tool free­hand to delin­eate and cut down the edge of the inlay mor­tise, the router bit is used in the router base to hog out waste wood in the mid­dle of the mor­tise and to even up the mor­tise depth, and the ball-end bit is used on the tool also in a router base to under­cut the edge after the mor­tise is mostly com­pleted.


Other tools you might need include a very small chisel for clean­ing inlay pocket cor­ners, gravers and Laskin’s filler if you intend to engrave the inlay, and other bits for the high speed drill as the need arises. Cal­i­for­nia abalone for inlay orig­i­nates entirely from “wild” spec­i­mens har­vested for their meat, which is con­sid­ered an ulti­mate seafood del­i­cacy. I use “medium” blades for most of my work because they are less sub­ject to break­age than fine blades and less likely to bind and break the inlay sheet than coarse blades. Because most “hob­by­ist” pointed and ball-end bits are gen­er­ally too large for small inlay work, I use den­tal bits that I obtained for free from my dentist–used bits are entirely sharp enough for inlay, and will remain sharp for a long time. Fine blades are usu­ally rec­om­mended for scroll­work and other intri­cate inlays, but as your skill increases you will have less need for them. Abalone lam­i­nates (“Abalam”) are now widely avail­able and are par­tic­u­larly use­ful for pur­fling appli­ca­tions and for large inlays in flat sur­faces. I believe that most cur­rent Dremels work with the cur­rent Dremel “plunge router attach­ment,” but the base on that device is huge, much too large for inlay work in tight cor­ners. Also try each unit while look­ing in var­i­ous direc­tions, talk­ing, bend­ing over, and chang­ing to other body posi­tions like you would real­is­ti­cally expect to do when work­ing with inlay. Many inlay arti­sans use a jeweler’s saw with an adjustable throat to accom­mo­date vari­a­tions in sup­plied blade length. Another option is the Stew­art Mac­don­ald “pre­ci­sion router base” (stan­dard dis­claimers), which is threaded to fit many post-1995 Dremels. I have a cou­ple of old-style Dremel router bases that fit the clas­sic, dis­con­tin­ued Dremel 380, and I con­fess that I use that old but use­ful com­bi­na­tion for the stages of my inlay work that require the router base.



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02.06.2013 | Author: admin



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