This section is from the book "Arts & Crafts Magazine Vol1-2", by Hutchinson & Company.
A Series of practical lessons on these subjects is in preparation for early production in our pages. In the meanwhile several of the designs already given in the magazine will be found available, especially some of those contributed by Jean Inglis, such as her conventionalised rose design, on page 77, last month, and her harebell medallion and nasturtium border in the present number. The design of ducks, for the front of a drawer or casket, by Adolph Thomas, in our June issue, and the one of fishes in the same style in the present issue, by the same artist, will be found suitable for both marquetry and inlaying.
The difference between the two processes is that the former is composed of thin wood only, glued on to a base, while the latter is thin wood let into a thick base. In executing the design in marquetry two pieces of veneer are placed together and glued up with a piece of paper between, the design being drawn on the upper side. The ornament is sawn out as in fretwork, a slight bevel being allowed, so that if the waste is taken from the front the pieces will fall into place with a little pressure. The whole tiling is then placed on a base of pine or basswood and glued up.
If the design is inlaid, the pieces should first be cut out and laid on the base; then if they are-marked round, the operation of sinking a space for them will not be very difficult. Great care will be required when gluing up to avoid breakage. Use very hot and thin glue, place a piece of board over the inlay, and gently tap with a hammer until the pieces are down. In cleaning off use a smooth ing plane, giving it a circular motion to prevent the grain pulling up. A. C. Horth.