Inlay with difficult pieces

[John Coloccia]

That's nice work, Harvey. There's always room for improvement, but that's very nice. I have a hard time believing that if you went over that with some sand paper to fill it with sanding dust, and then put a drop of glue, that anyone would ever find it. I prefer epoxy or hot hide glue for such things. The hide glue is really my favorite because it seems to be the least noticeable to my eye, especially if a piece is to be stained.

You're right, though...the long, graceful curves are the hardest things to do...at least they are for me.

What size mills are you using? My smallest one at the moment goes down to 1/32", but even that is a little grabby and anyhow, it's too big. I just picked up some really tiny diamond burrs...one of them come to a sharp point. I didn't bother to use it on the headstock because it really doesn't matter...any little filling will completely disappear because the whole thing is black. I have fooled around with it, though, and it does makes things easier, especially on the curves. You can sit there and nibble away until it's perfect.

On e problem with the StewMac base is that it's a little sticky. I'm going to put some of that drawer glide plastic tape on the bottom of mine to slick it up a bit. This is hard enough without fighting your tools

[Harvey Pascoe]

Its encouraging that you think that is good and, no, I really haven't seem much work by others first hand, mostly just pictures. The problem with inlays is that they draw attention so people are sure to see mistakes. But, as I like to say, the difference between the master and amateur is the ability to hide one's mistakes.

I have 1/32" bit also but I think the bit size is less of a problem than the top heavy Dremel, but then you are not carving into wood are you? What, plastic? That has to be tougher to do than wood where I can carve a deep outline, then vee it out and that helps keep the bit away from the line.

On the sweeping curves I tried a quarter round gouge, chipping, nibbling away at the line vertically. This was the first time I'd done that but it was far superior to the unweildy router. Gives me very precise control. Don't even get near the line with it. Try that if your material permits it.

Once again I"m reminded that the key to success is the right tool for the job. Its easier and faster than pure skill, Hahaha.

[John Coloccia]

re: plastic
The material is called fiberboard. It's made with wood fibers and then pressed. There must be some sort of binder because it feels kind of like plastic and it seems to melt a little sometimes. It machines pretty well, but it does not work by hand very well. It's almost like trying to carve plastic.

[Harvey Pascoe]

You really got me going on this, John. I tried my hand at double bevel inlays when I bought a scroll saw about 4 years ago, Did some passably good inlays but altogether disappointed. I pick it up again and all of sudden I'm doing what I couldn't do back then, a go-figure moment.

Anyway, here's a practice piece with a marlin inlay done with the scroll saw with pieces of scrap. This piece is rough, no sanding or filling, just glued in place. The lines are near perfect BUT at every sharp turning point the blade makes a small hole which is no problem as they can be filled to invisible with just glue and sandpaper. Notice how fine a point the fish's bill comes to. I was surprised that I could get it this fine without breaking. Your logo would be a snap with this method. The inlay piece and the background piece are taped together, then a hole is drilled thru them to insert the saw blade at the start point, which was the tip of the bill. The table is tilted 8 degrees so that both pieces are beveled when cut and the inlay piece fits perfectly into the background piece with the matching bevels.marlin.jpg

[Chris Fournier]

Your last crack at it is how I do it Harvey. Also I like to use the omni-directional blades in the scroll saw, no turning just change direction, very tidy. I think that the marlin came out very nicely!

My laser guy lives 200 miles away and it's emailed files and Canada Post to get the job done. Hasn't been a problem yet.

[Harvey Pascoe]

Don't you have a problem with the round blade leaving huge kerfs? The blades I used is so small I have to hold them with tweezers!

[george wilson]

You think you are bad,I inlay my signature into mine. I prefer to use a 1/32" bit in my drill press because I can see what I'm doing better than with a Dremel router. I also use the Stewmac down cutting bits that don't fuzz up the line.

My drill press is an old 1964 Craftsman I bought new,but it has the optional high speed attachment that goes 10,000 rpm,which you really need for cutters that small. The sharp corners get cut out by hand with very narrow chisels I make.

Some time ago,I saw an imported guitar that had a bunch of very thin,tapering elements in its headstock. They were a lot thinner than yours,and there were MANY pieces. They had done it by inlaying a sheet of pearl and masking off the "inlay" and spraying everything black. I thought the best part was that you could not(for the time being) see the outline of the large pearl sheet!!!!

I think Gibson also does that now also. Inlaying a block of pearl,and masking the name off. Most likely by silk screening it!!

Anyway,doing this type of difficult inlay is how ambitious young men,and old fools torture themselves. Probably 99.9% of customers out there never look closely at it,or give it any thought,do you think??? Yet,we keep on.

[Bryan Morgan]

Great tutorial! Thanks John! I'm saving this as a PDF

[raul segura]

wrong post