WPE and OBG and ASFM return to MASW!

A French Marquetry Atelier in Indianapolis

I am pleased to be invited back for another teaching period at Marc Adams School of Woodworking.

I enjoy the atmosphere and support by the staff at MASW.  It is an environment which is full of energy and ideas.  The students all work together and many of them seem to actually live there full time.  Some of them really do.  Others return again and again to share and learn more about different and diverse aspects of woodworking.

I also enjoy meeting other teachers who are working there at the same time.  These are professional woodworkers that I read about and follow online, but, without actually teaching at the school, I would never have the opportunity to spend quality time with them.

This year I am teaching three classes, and I welcome you to check out the schedule and see if there are any openings left.

The main class is, as usual, working a full week with the "chevalet de marqueterie."  Marc has made 8 of these tools, and it is exciting to see (and hear) a full class sawing away, cutting precise elements from marquetry packets.  I should mention that in North America there are only three schools where you can have this instruction.  Paul Miller, in Vancouver, is a past student of mine and has the Canadian School of French Marquetry, with 4 chevalets.  Of course, I was the first to open such a school, the American School of French Marquetry, in San Diego.  I have currently 8 such tools, and have ordered more from David Clark, in Missouri.

David Clark has set up a business making custom chevalets, following my blueprints, and builds tools that are cost effective and precise.  His website is www.chevaletkits.com.

A few years ago I convinced Marc to also build 8 such tools and he sets them up each year in a classroom for me to use.

Waiting for Students to Arrive

All instruction is following as close as possible the lesson plan developed by Dr. Pierre Ramond, who taught for decades at ecole Boulle, in Paris.  I was fortunate to have studied under Pierre for most of the 1990's, and have dedicated my teaching career to continuing his efforts.  French marquetry is the only method in the world which uses a horizontal blade, cutting the packet at 90 degrees on a special tool, the chevalet.

There is more information about this process in previous posts.

This year, from October 9 to 13, I will teach a 40 hour class on French marquetry, focusing on the Boulle process (tarsia a incastro) as well as the Painting in Wood variation of this process, depending on the student's experience and goals.  If there are any returning students I will be happy to include the Classic Method ("piece by piece").

Simple Method for Veneering Columns

On October 14 I will spend the entire day teaching about my method for gluing veneer onto turned wood elements, like columns.  Years ago I had such an article published in Fine Woodworking ("Master Class") and one of my pieces with veneered columns was on the back cover.  I have worked out a simple method which is easy and low tech.  You can turn the elements out of any wood you want and then veneer them with exotic veneer to match the rest of the project.

On October 15 I will follow up this with a full day discussing the properties of traditional protein glues.  For nearly 50 years I have used protein glues exclusively, and have researched them extensively.  I was involved in an international conservation group in Paris that did specialized research into these glues and I have developed my own liquid protein glue formula, Old Brown Glue. I will be sharing my knowledge and experience about how these different protein glue work and what you need to know to use them in your shop.

As they say, "It is worth the price of admission."

I look forward to meeting you there.  Contact www.MARCADAMS.COM for more.

Chevalet In A Box. Delivered!

NOT from IKEA!

I had a great time last year at the Woodworking in America conference.  I am really looking forward to returning in September to the WIA at Kansas City.  I will be speaking, and probably looking as usual at tables stacked with old woodworking tools.  Also it will be a good chance to meet old friends, since I live on the extreme South West corner of the country and many of my "buddies" live on the other side of the world  (in other words, the East Coast.)

Last year I met Mark Hicks, who was showing his beautiful benches, at his booth for his business, Plate 11.  You can see his work at his website, Mark Hicks.  He lives in Missouri and builds amazing benches with all the surfaces finished by hand.

I mentioned to him that for years I had been looking for a woodworker who could supply the wooden parts to a chevalet.  I have been selling the hardware kits since 2000 but many of the students who buy the kits are not set up for "timber framing" which is essentially what building a chevalet involves.

In my experience it may take several weeks to cut out and fit all the wood parts and students just want to return home from the classes at ASFW and start cutting marquetry.  I have had dozens of students say that they would prefer to just buy a tool and get to work.

Mark was very interested in the project, so I left him with a hardware kit and a set of plans and we communicated off and on over the past year by email.  Fortunately for him, but unfortunately for me, he had a lot of orders to build benches and it took him a while to find the time to study the plans and "tool up" for the job.

A few months ago he sent me a message that he had started the prototype.  Last week it arrived in a box.  There have been a few jokes about IKEA but none of them have been worth repeating.  I should say that he builds shipping boxes and packs them better than any professional shipper I have ever seen.  You could have driven a fork lift over that box and nothing would have been scratched.

Every Thing You Need Ready To Assemble

I opened it and found a beautiful set of wood parts to make a chevalet.  Mocking them up with some hardware provided me with the confidence that I had found a perfect partner in this effort to make this tool available to a wider audience of woodworkers.

Then last week Mark arrived and spent several hours with Patrice and I discussing minor points of the elements, perfecting the prototype, which I will be sending back to Missouri.  Mark will then develop the final kit and have one on display at his booth in Kansas City.  If you ever thought you would be interested in working on one of these amazing tools, be sure to take the time to visit WIA and talk with either Mark or myself.

He will be taking orders for these kits at the show.  We will be working together on this effort, and I will supply the hardware from my workshop while he ships the wood kit from his business, located in the center of the country.  I will reduce the cost of the hardware since I do not need to supply the plans, and he is making every effort to keep the cost of the wood kit as reasonable as possible.

Prototype Chevalet

Looking at his work on this prototype, I can say that the marquetry worker who ends up with this tool will have a better chevalet than any of the tools I currently have in my school.  I expect that, once he is in full production, I will probably sell off the chevalets in my school and replace them with these new ones.  They are that good.

The American Chevalet has arrived!  It's not your father's Chevalet.

Exciting WIA Week in Winston Salem

Fortunately, I had decided to arrive several days in advance of the WIA conference and stay a few days after, so Kristen and I were able to spend some quality time in old Winston Salem.  In fact, the last time I visited Winston Salem and MESDA was in 1978, during one of my several trips to visit East coast museums and historic settlements.  I am sorry it took so long for me to return.

The weather was great, in fact, with only a slight spot of rain and moderate heat.  While I was away, on the other hand, San Diego had a heat wave, with several days above 100 degrees.  Poor Patrice had to work at the bench, building the top of our Treasure Box (Series 2) while I got to wander around from place to place, thinking perhaps I should have packed a sweater.

Last year, during this time, I was teaching at Marc Adams school, and only had a short time late on Saturday to get away.  I broke several speed limits driving from the school to Cincinnati to see the WIA event.  I got there about 30 minutes before it closed, with just enough time to get my signed copies of Roubo from Chris.  As it turned out, I also had to sign a few copies, since I wrote the Forward.  The best part was that I got to have a nice dinner with Roy later that evening.

This year, I was a speaker, and presented two lectures to a rather enthusiastic and supportive audience.  The first was a talk on "Historic Marquetry Procedures,"and went through basically 500 years of the traditional methods used to create this art form.  The second was "Building and Using a Chevalet."  At the start of this lecture, I mentioned that I have been working for nearly 20 years to introduce this unique tool to woodworkers in North America.  Then I foolishly asked if anyone in the audience knew about this tool.  When nobody raised their hand, a person in the back shouted, "You haven't been very successful!"  As they always say in law school, "Never ask a question if you don't already know the answer."

I shared the lecture room with Roy Underhill, which is always an experience.  As I was setting up my talk, he was putting his things away.  They had scheduled a half hour break between speakers.  Just about the time I was ready to start, Roy had the brilliant idea to "introduce" me. You probably already know he can be theatrical, to say the least.

He said the first time we met was at the Great Salt Lake, and there was a stampede of brine shrimp.  Tim Webster was sitting in the audience, and had the quick thinking to pull out his camera and video it, posting it on YouTube soon after.  I was speechless and had to hold my tongue, while he went on and on, creating a story that was more and more amazing.  My mike was turned up to the max and when I did comment it was way too loud.  Near the end I asked him to turn down the mike, and he crawled under the screen to adjust the volume.  I thought I had a quick wit, but there is no way I can keep up with Roy when he is "on."

Here is the video: Underhill introducing Edwards

While I was having fun in the lecture hall, Kristen was in the Trade Show, where we had a booth for both the ASFM school and OBG.  She is a master of working these shows, and I am very grateful for her talent, as I usually lose my voice and patience trying to compete with the noise.

Of course, Roy had to stop by and pick up some glue...

At the end of the show, they gave away a rather expensive band saw.  I wondered if it would fit in the overhead compartment on the plane, but fortunately I was not in the contest to win it.  However, they asked all the speakers at the show to sign it.  I asked, rather incredulously, if they really want me to sign a power tool?  They insisted, so I did.  You can see my name, with the comment added 

"Use hand tools."

After the show Kristen and I went to MESDA where we had a nice tour with Daniel Ackerman.  We also enjoyed a private home tour by Tom Sears, both of which are members of SAPFM.  We had dinner with Jerome Bias, who is the joiner at Old Salem, and then visited him at work, where he demonstrated his Roubo veneer saw.

Across the hall Brian Coe was using the foot power lathe to make some turnings.  That is a rather impressive tool, made from massive pieces of oak.

All of this activity was in the Brothers House, and it was full of woodworkers from the show, having a great time sharing stories.  There was a warm sense of camaraderie and mutual friendship.

I made a promise to myself not to wait another 30 years before returning to Winston Salem.  Thanks to Megan, Don, Roy, Jerome, Daniel, Phil, Freddy, Martin, Tom, Brian, Will, and too many others to name.  You know who you are!

A Simple Painting In Wood Etude

Always Start With The Basics

When I decided to open up my marquetry workshop to students, I had to decide what kind of curriculum to follow, knowing that I would have a wide range of students with a wide range of abilities and experience.

Therefore, I followed the musical format which I learned during the decades I was involved with classical music.  At the age of 12, I saw a kid playing the violin on the Ed Sullivan show on TV.  I immediately told my parents that I wanted to learn the violin.  Fortunately, they were able to buy me a moderately good quality instrument and find someone to teach me.  I went every week to get a lesson and made a good effort to practice daily.  I was not always successful, and my teacher would always know when I had practiced or not.

There were fingering exercises, bowing exercises, scales in every key, and very simple practice etudes. It was all about technique.  My teacher was a very old man, and had learned himself from a Russian teacher.  He insisted that I learn the basics before I even thought about playing anything by some composer.  He was right.  I was soon able to join the Civic Youth orchestra, where I sat first chair, second violin section.  (I never had any aspirations to play first violin.  That takes a certain ego.)

In college, I naturally took music and had the good fortune to study with Bert Turetzky, a famous double bass player.  He listened to me play my violin and immediately said, "Forget it.  I need a viola player.  Can you learn to play the viola?"

I went back to my teacher, who was in his 90's and retired and asked him if he could help me.  He was generous enough to show me what I needed and I spent my college years playing the viola in the UCSD quartet.  Some of the most rewarding days of my life.

My point is that, if I had not been shown how to hold the instrument, how to tune the instrument and how to execute the most basic technical aspects of it, I would never have been able to perform Schubert's string quintet in C major successfully.

Thus, since I only teach two weeks of classes every quarter, it is essential that I teach the basics.  How to fit the chevalet to the worker.  How to hold the saw frame and set the tension.  How to make a packet and cut it. How to execute simple etudes over and over.

The first week is the Boulle method, where it doesn't matter much if you can follow the line.  Most students are able to learn fast enough and have enough control to stay on the line by the end of the week.  The second week is the Classic Method (Piece by Piece) where it is essential that you not only follow the line exactly, but are able to cut away exactly half the line consistently.  That takes good eye/hand coordination, and that takes much more practice to master.

There is an etude which is in between these two methods: Painting in Wood.  With this method, you do not have to follow the line exactly.  The pieces always fit, since you are basically using the Boulle method of cutting the layers of the packet in super position.  That means the elements of the design are cut at the same time as the cavities of the background, which is in the same packet.

With the Classic Method, the elements of the design are cut in a separate packet and the back ground is cut in a separate packet, so if you are not careful, they will not fit.  The French developed the Classic Method and were able to keep most of the secrets of this process in Paris.

At the end of the 17th century, the rest of Europe began to evolve the Boulle Method into the Painting in Wood method, as the desire to create more naturalistic marquetry designs became the fashion.  With Boulle, the packets were usually layers of ebony, pewter, brass or tortoise shell, and the overall design was either a positive or negative form of the design ("premiere-partye" or "contre-partye").

Boulle Marquetry Project for Art Institute of Chicago

When the fashion began to change, and the desire to include more types of woods as well as more naturalistic images of flowers and birds became popular, marquetry artists developed the Painting in Wood process.  Instead of solid sheets of material in the packet, they began to include smaller pieces of exotic wood veneers, strategically placed in ares of the design where they were needed.

I wrote an article explaining this process in detail in Woodwork, February 2008, where I show how I made one of my tall case clocks.

The success of this method depends on making sure the elements of the wood you need for the design are exactly in place inside the packet, and that you are able to include as many different species of woods as possible in the fewest number of layers.  Generally, using 1.5mm sawn veneers, I limit my packets to 8 layers of veneer, plus the 3mm back board and the 1.5mm front board.  When using 0.9 sliced veneers, it is possible to include as many as 12 layers of veneer.

I first make multiple copies of the design.  Using those copies, I begin to place my woods in each layer where they are needed.  Then I fill in the gaps with a scrap veneer so there are no voids inside the packet.  I am careful to keep the outside corners of the design for proper orientation.  I usually include at least two different species of woods for each flower, which gives me the option at the end of selecting the proper woods for the best effect.

Working from the back of the packet, I first start with a 3mm back board and a layer of grease paper.  The back layer of veneer is always the back ground, which in this case is ebony.  Note I have colored on the design those parts of the background which are isolated and would tend to get lost if I didn't pay attention while cutting.

Layer F (Background Veneer)

(Note there is no ebony veneer in this photo, since it was used in the project.)

Each of the following photos shows the design for that layer on the left and the layer of the packet on the right.  Since this example is one I use in class, I have covered the layer of veneer with clear packing tape, and you are looking at the back of the layer for clarity, since it is covered with veneer tape on the face which holds everything together.

The next layer is generally either a layer of green or brown for the branches or leaves:

Layer E

Here is the next layer in the packet:

And so on, each layer with its design:

Layer D

Layer C

Layer B

Layer A

Note that I have colored the design with yellow for the parts I need.  That allows me to quickly visualize the final result, making sure I have the desired woods in every part of the picture, before I assemble the packet and begin cutting.  As you can easily see, this process allows for efficient use of small pieces of veneer which otherwise would be discarded.  Plus you can place the grain direction the way you want for the best result.

I make a final drawing and use it when I cut out the packet.  This design shows me all the information I need to select the proper layer of wood from the plug of veneers, each time I cut them out.  The rest is discarded.  I keep only the woods I need for the picture.

Cutting Guide

There are several reasons I like Painting in Wood.  Since I am not very good at drawing, but I am very good at cutting, this process allows me to "improve" the design as I work.  As I said already, it also allows me to use very small scraps of my sawn veneers, which are expensive.  I also find it very stimulating to mentally create the final image and "see" the picture while looking at the layers of the packet.

One of my students, Paul Miller, seems to have also found this process interesting.  After he returned to his workshop and built his chevalet, he sent us a card with the photo of this etude on the cover:

Paul Miller's Card

I really appreciate it.  Soon he will be performing Schubert!

The Chevalet Pandemic

Suspected Source of Infection

My dictionary defines "pandemic" as "occurring over a wide geographic area and affecting an exceptionally high proportion of the population."

Here are some facts about this particular infection:

I discovered the tool through "pre industrial espionage" in 1976 and built my first tool soon after.

The first time the "chevalet de marqueterie" was published in English was in 1989, when Taunton press issued Pierre Ramond's book, "Marquetry" including blueprints.  Soon after, he published the three volume edition, "Masterpieces of Marquetry" which was eventually translated into English by the Getty museum.  In volume II, he honored me with a photograph and copy which said "The perpetual transfer of techniques between continents can be illustrated by Patrick Edwards' equipment."

I feel responsible, in some way I suppose, for introducing the "chevalet" to North America.  I had a two year contract with the Timken museum, with sponsorship from the NEA, to create a didactic marquetry workshop in the lobby and demonstrate to the public how this tool was used.  We also produced a short PBS video, "France in the 18th century: the Age of Elegance" which was nominated for an Emmy.  (We didn't win, but as they always say, its an honor to be nominated.)

Then, a decade later, I sat on stage in front of the SAPFM audience at Williamsburg and introduced it to a large group of woodworkers.  I still remember the look on their faces.

For three years after that I demonstrated twice a week in the Getty museum, with both the chevalet and a picking machine.  I was informed that I had an average of 120 people during each of my 2 hour lectures.  They monitor these things, I found out.

Then Roy invited me to be on his show, which was for me like dying and going to heaven.  I don't know what his audience is in numbers, but they must be the most interesting woodworkers in America. He has established "The Woodwright's Shop" as the longest running "how to do it" show on television.

During this entire time, I was teaching students at ASFM and selling kits with plans. I have exported my kits to Belgium, England, Australia, the Philippines, and several other countries.

Today I sat down in front of my computer and Googled the term "chevalet de marquetrie" then clicked on "images" and was amazed.

Try it.  See for yourself.  Take a few minutes and see how fast good ideas can spread.

PS:  If you are already infected and one of these tools sits in your shop, let me know.  Send photos and I will post them so others can be warned!  By the way, there is no known cure...

Shop Tour!

Ring the Bell

The front door at my business used to have a stained glass transom window above it.  It was lovely, as it faced West and the setting sun would shine in through the glass.  My wife, Kristen made it, back in the "hippie" days and it really gave the front room class.

However, two things conspired to change that.  First of all, the transom was held in place with a chain, which allowed us to open it and let the air in.  One day that chain came loose and the window fell completely open, hitting me on the head.  Of course, I fixed it, but the bump left a mark.

The real reason was that KFC built a "restaurant" across the street, some 30 years ago, and connected their sewer line to the main line which runs directly in front of my shop.  Before KFC, my business was the first building on the end of the line, and there were no problems.  As soon as KFC began to operate, I found large quantities of "effluent" bubbling up out of my front toilet.  In fact the front room, which was full of antique furniture, had 6" of standing sewage when I arrived the next day.

Of course, KFC denied any involvement, and the city inspector accused me of putting "something" down the toilet, threatening to shut me down.  My damage claims were denied, and I had to clean up the mess.  The only good news was that KFC quietly relocated their drain to the larger commercial sewer directly in front of their store, instead of the smaller residential line in front of mine.

The city inspector determined that, since the sewer line had a very shallow slope, and that the front toilet was on a slab at ground level, it was easier for overflow to come out the toilet instead of lifting the manhole cover.  That was the news that signaled the end of the stained glass transom.

At that time there was news that a contractor in Los Angeles had laid a new basketball court improperly, and it had buckled severely and needed to be replaced.  This floor was made of 3/4" T/G hard maple, and finished with all the basketball lines and such.  The contractor had taken a saw and simply cut the floor into 12' x 8' chunks and piled them outside.  They were free for the taking.

Several of us guys (the ones with trucks) drove up there in a caravan and loaded up as much flooring as we could lift.  I remember my truck sitting on the axle, as I drove home with my headlights pointing to the sky.

Soon, I had a beautiful new hardwood floor in the front room, which raised the floor (and the toilet) over 6" (more than enough to solve the overflow problem).  The result was that I now hit my head on the transom window, which needed to be removed.  That meant I had to build a new front door, which ended up nearly 8 feet tall.

3815 Utah Street

That was over 35 years ago, and I still miss the light coming through the window.

The rest of the building has been changed and adapted to my uses over the years.  Thanks to Asa, at Fine Woodworking, I can invite you to take a tour.  This link will take you to a short presentation.

3815 Utah Street Shop Tour

I hope you enjoy it, and if you are ever in San Diego, please ring the bell and visit.

I Miss Posting On My Blog

I didn't understand the lasting effect it would have on me to actually "retire" from some long term activity, like I talked about in the last post.  That was in March, when I quit all my activities in historic commercial revitalization and non profit management boards to focus full time on my business.

Now, 3 months have passed and, although I have been very busy working on exciting projects, I have not had the urge to post anything on my blog.  I realized today that it is time to get back to work on keeping the blog up to date, as I appreciate the interest it has for other woodworkers.  Most of all, I look forward to the comments and feedback I receive when a post something.  It is rewarding to know that I can share my abilities with others in such an easy and practical system.

I have just completed an article for the Society of American Furniture Makers' Journal, which will be published at the end of this year.  As the SAPFM Cartouche Award winner, I get the pleasure to see my work on the cover of the Journal, as well as contribute something inside.  I wrote articles for each of the first three volumes of the Journal, when it started, and am pleased to see it has become one of the most impressive publications on American Furniture today.  Even if you can't make the SAPFM meetings in Williamsburg, getting the Journal in the mail justifies the membership dues completely.

I guess that now that I have the Cartouche, I am on the "A" list of woodworkers.  I will be speaking at the Woodworking in America conference in Winston-Salem in September.  I see my photo placed next to Frank, Roy, Phil, Peter and others who I deeply admire and respect, and find a real satisfaction that I have been accepted into that group.  These are the intellectual philosophers and technicians in our world that have chosen woodworking as a craft life.  In my mind, they are national treasures.

My talk will address the chevalet de marquetry and historic French marquetry processes.  I speak on Friday and Saturday.  Also, I will have a booth at the Marketplace for the American School of French Marquetry and be selling Old Brown Glue, if you need it.  There will be a show special price.  I hope to see you there.

Here is the link for the WIA Show:Woodworking in America Show

Last month Asa, past editor of Fine Woodworking magazine, arrived in San Diego to judge the Design in Wood show.  He took some time to visit me at work and put together a photo tour which will be posted online in a few days.  Also, we sat down for a one hour audio interview, which went really well.  Asa is a smart guy and a good friend.  While he was here, he picked up one of the guitars that Patrice had veneered with marquetry, plugged into the amp and rocked out some serious licks.

If you want to listen to the audio podcast, here are the links.  There are two segments, each 30 minutes long.  You will find them at the last half of each of the podcasts.  The podcast starts with the editors discussing different topics and ends with the interview.  I found it amusing that the first podcast begins with a talk about dumpster diving and junk finds.  When Asa asks me how I started, I talk about living next to the city dump when I was young, and bringing home all the things I found at the dump to repair.

On this link, my part starts at 34 minutes:  Fine Woodworking Podcast Interview Part I

On this link, my part starts at 45 minutes:  Fine Woodworking Podcast Interview Part II

I will let you know as soon as the video shop tour is working.

It's good to be back.  I will post again very soon.  It makes me happy.

Roubo Redux

Patrice and Agnes Reading Roubo in French

I first met Mr. Roubo at the Getty Museum Conservation Lab around 1975 or so.  There was a French conservator there who had a copy and used it for his reference.  I was interested in it, since it was full of amazing drawings of various tools and woodworking methods I had never seen before.  As I did not speak or read French, I began asking him questions hoping he would translate.

His response was rather cold.  He seemed to think that it was only possible to understand the mysteries of Roubo by understanding both the French language of the 18th century and the specific French history of the woodworking methods shown.

I was left with a feeling of frustration, knowing that a book of knowledge about a trade I cared very much about was not accessible to me.

20 years later, when I was attending school in Paris, I would divide my spending money between veneers at Patrick George and books at the Librairie d'Ameublement, which specialized in books about woodworking and the trades.  I bought books in French, German, Italian and English, and my bags were always at the limit.  Of course, Air France back then allowed me two checked bags (30kg each) and a carry on (no weight limit!).  And they provided a great meal inflight.  Those were the days...

Anyway, each time I returned to Paris, I would rush over to the bookstore and ask what was new.  The owner remembered me and my tastes, and would direct me to exactly the books I needed.  In one section of the store was the Roubo, which was very large and very expensive.  And in French.

Each visit, I would ask the same question:  "When will it be available in English?"  Always the same answer, "Probably never, since there is no demand for it by English speaking people."

I eventually was able to acquire a wonderful full size edition (in French) which was printed in 1975.  That date is ironic, since it was the same time I first heard of Roubo.  However, I only received this edition, which included all four volumes, just last year.  My partner, Patrice, was much more helpful in translating the work, and my understanding of French has improved over the years.

Nearly 20 years after I finished my studies in Paris a team lead by Don Williams and Christopher Schwartz managed to complete the project.  Last Saturday, after I finished teaching a class in French Polishing at MASW, I got into my car and drove (at a high rate of speed) down 74 from Indianapolis to Cincinnati.  I was in a rush to get to the last hours of the Woodworking In America trade show to visit Christopher and Don, as well as many other friends and professionals in the wood industry.

I was also there to pick up my copy of Roubo in English.  For the first time in over two centuries people who don't read French can now enjoy the wonderful insight and information which Roubo captured in this important work.  Lost Art Press had printed a limited edition of large format books which sold out immediately and will not be reprinted.  However, for the rest of us, where the book may end up on the workbench as a "working" copy, Chris has printed a smaller hardcover edition.

That edition is very reasonably priced and available here:  Lost Art Press: Roubo

You cannot imagine my excitement to finally be able to read, in English, the information which had so long eluded me.  Chris and Don and the team deserve the MacArthur award for genius for their efforts.

I was also honored to be able to contribute the Preface to this historic edition, along with my friend and business partner, Patrice Lejeune.

Life is full of amazing surprises!

ASFW at MASW!

The New School of French Marquetry

I realize that, in the world of French marquetry, there are a few "chevalets" sitting in workshops in large cities like Paris, Brussels, London and New York.   However, these tools belong to the artisans who built them and use them for highly specialized work, usually restoring period furniture for dealers.  In general, the design and function of this tool has remained somewhat "secret" over the centuries.  You could just say the "chevalet de marqueterie" is obscure.

In fact, there is only one school in Europe where students can get instruction and practice using these tools.  That school is ecole Boulle, in Paris.  Even in that school the chevalet is part of a curriculum which includes Colombo Filippetti  jig saws and other cutting tools to make marquetry.

When I was there as a student some 20 years ago, Dr. Pierre Ramond taught a rather strict traditional approach to making marquetry which focused on the chevalet.  There were 12 such tools in the class and a similar number of students, working diligently every day to design, cut out and assemble real masterpieces of art in wood.  The new professor at that school has a new building and encourages a diverse mix of traditional and modern methods to create the work.

In 2000, when Pierre retired, I asked him and received his permission to create my own school in San Diego, where I endeavored to continue his work, using many of his exercises and methods.  I built 7 chevalets and created a simple introductory program for students which would allow them to experience the amazing properties of this tool.  That program has been a great success and I have had hundreds of students, of all ages and skill levels, over the years.  Every one of them is delighted to have the chance to use this tool, and many of them have followed up by building one for their own use.

During the past several years, Marc Adams and I have had phone and email conversations about me teaching at his school.  Although I had never visited his school, I had had many students here at ASFM who also were graduates MASW, and they encouraged me to go.

The biggest problem is that the chevalet is a large tool and cannot easily be transported, so it would be necessary for Marc to build a chevalet for each of his students who wanted to take a class.  That means, essentially, that there was no profit motive for him to do so.  It is to his credit that he decided to proceed, and the only motive I can suggest is that he really loves woodworking and his desire to create the best and most diverse woodworking school in the country is sincere.

At any rate, Marc built 8 chevalets this summer, and I agreed to fly out and teach a class.  I was impressed and amazed at the facilities and quality of instruction which I discovered when I arrived.  I had no idea how complex and professional the facilities were.  He is celebrating 20 years of classes and it shows.  The walls are covered with student's work and souvenirs of past instructors, many of whom I know and admire.  On top of it all, it was spotless.  Imagine all the woodworking machinery and activities running continuously and not a spec of dust anywhere.

First Class at Marc Adams

I was provided with a room to myself, full of benches and a chalkboard with video hookup.  In the center of the room stood 8 beautiful new chevalets, ready to use.  I arrived a day early to run through the final tune up procedure so they would cut properly and empty my bags.  I had brought 100 pounds of materials and supplies to run the class and it took some time to set that stuff up for class.

Cleaning Up the Marquetry on Friday

I was pleased to meet the 8 students who showed up bright and early Monday morning for the first class.  It was an honor to be able to bring the chevalet to another school in America, and I personally want to thank Marc for his vision and support to make this possible.

I had suggest that Marc build his chevalets in several different sizes, but he chose to build them all the same size, which was 61 cm.  This size tool is fine for a person who is over 6 feet but one of my students was only 5 feet tall, and that presented a problem.  I have different size chevalets here in my school, and it makes it easy to fit the student to the tool.  The solution we came up with at MASW was to make a second seat blank and use wood spacers to raise the seat.  This required raising the foot pedal an equal amount with a block of wood, and allowed the shorter students to easily work the larger tools.

Adjustable Seat Height

At the end of the week, all students had successfully completed the three basic projects in Boulle technique.  Everyone was pleased with the class and I felt that I had contributed to the diversity of the woodworking program that Marc has developed over 20 years.  It was an honor to add my name to the list of famous and distinguished instructors who have passed through these doors over the decades.

Now there are twice as many woodworking schools in America as there are in France where students can create art using the "chevalet de marqueterie."  The American School of French Marquetry, in San Diego, will continue as usual to offer classes, as we have done since 2000.  Marc Adams School of Woodworking, in Indiana, will offer similar classes in the future, so keep watching their schedule.

I am rewarded each time I see a woodworker sit for the first time on this tool and smile at the results.

We've Got Nails!

Tools for Nailing Veneer Packets

When you practice an art form which was perfected in France over 200 years ago, it is natural that you will need some specialized materials, usually not available in America these days.  Home Depot carries a lot of stuff, but they do not have animal protein glue or cast iron glue pots, as I understand it.

Some of the things I need to do my job properly include sawn veneers in a variety of exotic species, bleached bone, 16cm fret saw blades, backer board (ayous) in both 3mm and 1.5 mm thickness, Kraft paper and, of course, veneer packet nails.

Veneer Packet Properly Nailed

"Veneer nails?" you ask.  Why, those are easy to find.  Perhaps, if you don't want the "correct" nails which are used in France exclusively to make the veneer packets.  The problem is that the nails you find in America are more like pins than nails.  The shape is wrong.  The point is not sharp.  The steel is the wrong hardness.  They usually have no flat heads.  Otherwise, they work ok, I guess.


Some years ago it was easy to bring in kilos of the correct nails from Paris, packed in Kraft paper and carried in my carry on bag.  That was before paranoia changed air travel.  Heck, I used to bring liquids of all types, powders in paper bags, tools, and a wide variety of professional materials all the time.  Now I worry about how much toothpaste I have in my bag.  How long does 3 oz last?

Anyway, the last kilo of nails lasted a long time.  So when I returned to Paris and made a trip to the nail factory which had operated in the Faubourg St. Antoine for more than a century,  I expected that it would be easy to buy another kilo.  I still remember standing in the street, looking at the building which was completely gutted and the impressive sign which proudly announced the new condos soon to be finished.

No more nail factory...Instant panic set in.  What now?

Searching on the internet made me realize that nail guns had replaced brads generally with the special nail strips that these guns used.  Useless for my projects.  Other than that I found small brass nails which were used for model building.  I couldn't believe that small nails had become obsolete.

These nails are used in building packets of veneer for marquetry.  They have a special hardness which makes it possible to drive them through hard woods, and, after the excess length is cut off, the ends are riveted in place.   They come in different lengths for different thicknesses of veneer, usually 15 mm and 20 mm in length.

Finally, after some time searching for another factory which understood the special type of nail we needed, we got a tip from Yannick Chastang, ebeniste working in England.  He pointed us to a factory in Creil, near Chantilly, North East of Paris.  I discovered this factory was the last factory in France which was able to make these nails, but they had a minimum order requirement of 50 kilos.  That meant that to place an order I had to spend more money than I had.  Also, 50 kilos of these small nails would last me for a century.

Not only that, these nails were not normally in stock.  The minimum order was because they needed to actually make the nails for us on demand.  We needed to order 25 kilos of any size before they would tool up and make them.  Note on the label that there is the date (11/9/13) which is September 11, 2013, the actual date of manufacture.

It took me two years to get the money together to place the order.  So two months ago I sent the money transfer for 25 kilos of 15mm nails and 25 kilos of 20mm nails.  Naturally, they took August vacation, so the shipment was delayed.  Then it was sent by air freight, which added to the cost, and arrived in Los Angeles to clear customs (even though I told them to send it to San Diego.)  Thus, I had to pay the duty and trucking to have it delivered to my shop, which further added to the investment.

15mm Nails in Can or Box

Last French Company Making These Nails

15mm Length

What a crazy thing it is to spend all this time and money for a bunch of tiny nails!  The  only consolation is that I will never need to buy nails again.  Also, I can now supply nails to students and other marquetry workers here in the States so that they don't need to go through what I went through.

20mm Nails in Can or Box

"Acier Clair" means "Bright Steel"

20mm Length

I am making these nails available, if you need them, at reasonable prices, for several sizes of packages in both lengths.  These nails are 0.7mm in diameter which is American wire gauge #21.  The 15mm length is packaged in tins which weigh at least 200 grams or 7 ounces and cost $15.  The 20mm length is packaged in tins which weigh at least 100 grams or 3.5 ounces and cost $9.  The 15mm length is also available in a box that weighs 1Kilo or 35 ounces and cost $50, and the 20mm length is sold in a box which weighs 500 grams or 17.5 ounces and cost $25.  Shipping is extra for any size, of course.

Please contact me if you want to get some of these nails for your project.  I will be happy to send them to you, and you don't need to invest the kind of money I did to get them.  Frankly I am amazed that any factory still makes them, and I wonder how much longer this supply will be available from France.

I also import 90gm/square meter Kraft paper and sell it for $3/meter and the impossible to find backer board in two thicknesses, 3mm for $3.50/square foot and 1.5mm for $3/square foot.  These are speciality items for the serious marquetry professional, and I need to purchase them in substantial quantities to be able to offer them in this country at these prices.

If you are interested, just call or contact me by email.

Assembly Board Videos

Lately we have been encouraged to make more videos, and YouTube provides the perfect venue for others to see what we do and how we do it.  We are working on a series of videos which will explain the different methods for making marquetry, according to Dr. Pierre Ramond.  Those will follow as we get the time to put them together.

However, as we are building the second series of Treasure Boxes, we thought it would be nice to show how a picture is put together on an assembly board, according to the traditional French process.

I have posted previously about this method, and it is important to note that the idea of building marquetry face down in hot glue on stretched Kraft paper is something developed by the French and not usually done in other countries.  In fact, the type of Kraft paper used is not even available in America, and I have searched for it.  We import rolls of it from a company in France, and the shipping costs exceed the cost of the paper.  (Last shipment arrived by air freight, and the "friendly" customs inspector drove his fork lift over the shipment and thought that was funny.)

Anyway, the French Kraft paper is shiny on one side and dull on the other.  The shiny side resists moisture and is the side we glue to, and the dull side absorbs moisture, and is the side we apply water to to remove the paper from the marquetry when we are finished.  By applying moisture to the shiny side and allowing it to soak in for several minutes the paper expands.  Then when we wrap it around a board and glue it to the edges, it shrinks tight.  That is an assembly board.

A more exhaustive explanation of how to build an assembly board is found on this blog by searching earlier posts.  Use the search word "assembly board."

Patrice finished cutting all the pieces for the marquetry panel using the Classic Method ("piece by piece"), and we set up the camera to film the incrustation of the elements.  Each picture took about a half hour to assemble, working normally, and we speeded up the video so it takes half that time to see what goes on.

Hot hide glue is spread on the paper and the background is laid face down on the board.  Each piece is then picked up, flipped left to right and placed into its appropriate cavity.  We use a special marquetry knife to install the pieces.  It is a soft steel, so we can pry with the point without breaking the tip.

When all the pieces are in place, we clamp it under a piece of plexiglass and start over.  It is fast and easy.  Note we are using sawn veneers, which are quite thick, and you can easily hear the "click" as they plug into place.

As soon as we posted this to YouTube, we noticed that our friend, Paul Miller, had made a similar video last month.  The difference is that he is using sliced veneers, which are much thinner, and he has applied paper to the veneers before cutting them to strengthen them.  After he installs the pieces on the board, he must then carefully remove the paper with a slight amount of water and scraping to clean off the surface.

In either case, once the picture is done, we mix hot glue, hot water and fine sawdust to make a mastic.  That mastic is applied to the entire surface, which fills any gaps and holds the parts together.  Only then can the picture be cut away from the assembly board and applied to the final project.

Hope you enjoy this.  Patrice's video is HERE

Paul Miller's video is HERE

ASFW Invades MASW

Demonstrating at Timken Museum in 1990

There are so many ways to make marquetry, you could fill a book.  Actually, Pierre Ramond has filled 5 large books, including his recent publication in French of the work of Andre Charles Boulle.  You can use chisels, knives, fretsaws, jigsaws, lasers, punches, overhead saws and, of course, the famous "chevalet de marqueterie."  I think by now you know which method I prefer.

Pierre's first book, "Marquetry," was published in 1989 by Taunton Press, and was the first handbook I got my hands on which explained the proper use of the chevalet.  Prior to that, I had found the rare reference to this obscure tool in a few other books, but none of them seemed to know what they were describing.  I recommend "Marquetry" as the first and only book necessary to understand this ancient craft, and note, with some unease, how the prices for this out of print book have risen over the years.

Note to students: There is also a Vial edition published in France which is in English, and a reprint of the book in English, published by the Getty Museum in 2002.  All editions have identical copy and the only difference is in a few of the photos, which change from edition to edition.

Pierre published this important book after he got his PhD and included much of his research with a wide range of photos, essentially making him the world's expert on French marquetry.  However, he still had more material, and as he was allowed to actually trace designs of famous marquetry examples in many museums, he continued to publish a series of 3 volumes over the next few years, called "Masterpieces of Marquetry."  This three volume set was translated into English and published by the Getty Museum also in the year 2000.

The French edition of "Masterpieces" was published much earlier, and I still remember on one of my trips to Paris, in February 1996, walking into the conservation lab at the Musee des Arts Deco, and being greeted with congratulations by my friends.  Not knowing why I was so special, they presented me with the newly published Volume II, which had just been released.

There, on page 62, was my photo, and some copy which read, in part: "The perpetual transfer of techniques between continents can be illustrated by Patrick Edwards's (sic) equipment."  He goes on to discuss how I was able to acquire an historic foot powered frame saw and build my own chevalet.  In my talks with Pierre, he encouraged me many times to introduce woodworkers in my country to the traditional French methods of work, including the "chevalet de marqueterie."

That is exactly why I have established the American School of French Marquetry in San Diego.  I realize how special and fortunate it was for me to attend ecole Boulle, and it was my duty to make that experience available to others in any way I could.

Demonstrating at Getty Museum in 2000

When I started the school, I doubt that there were more than a couple of chevalets existing in North America.  I knew of a few European trained workers who had personal tools in New York, San Francisco and Los Angeles, but their shops were closed to the public.  In fact, the Getty Museum had two examples made for their purpose and I was able to see these tools in storage.  When I first opened my school, the Getty was generous enough to loan me one of them, until I could build more of my own.  That particular tool has now been loaned to the Philadelphia Museum of Art for their use.

The ASFM has two goals in teaching students: first, introducing the student to the chevalet, and second, transmitting the traditional French methods of making marquetry surfaces as taught to me by Pierre.

I often use a musical metaphor when I teach about the tool.  For example, if you were given a violin and a bow and had no knowledge of how to hold it, tune it, or read music, it would be very difficult to learn how to play it properly.  Therefore, the first class, Stage I, is designed to fit the student to his personal chevalet, how to adjust the blade tension and angle, and how to follow the line.  Also, the student is provided with three simple exercises to execute, so that they can learn the process from initial design to final picture.

By the end of the first week, they have a choice to proceed to Stage II and work on the Classic Method, or do a Painting in Wood exercise, depending on how accurately they can follow the line.

We have had hundreds of students from dozens of countries complete our classes.  All of them have been surprised to learn how easily the tool functions, and what amazing things can be accomplished with it.  Nothing in my experience allows the precision and comfort that the tool is designed for.  It actually becomes a direct extension of the body, after a few hours of practice.

In addition to the 6 chevalets, of different sizes, that I now have in the school, I am currently building a 7th tool, which I expect to be available by June's classes.  One of the tools is left handed, but it is my experience that the majority of "left" handed students prefer working with the right handed tool. After all, how many left handed violinists are there?  (OK: Jimi Hendrix and Paul McCartney are exceptions.)

Now for the exciting news.  After some time discussing with Marc Adams the possibility of teaching at his school, we have come to an agreement.  He has purchased 8 chevalet kits and is building new tools for his school, where I will teach my first class in October.  Unlike his other classes, this marquetry class will be strictly limited to 8 students at a time.  I understand that he already has 6 students registered, so there are only 2 spaces available.

I expect that, now that his school has invested in these tools, I will be able to teach there more often than once a year, and even that his staff will be able to develop classes themselves, after some instruction.  This will be the second school in North America with chevalets!

Here is the link for the class:

Painting in Wood Class

In addition to that one week class in October, I will be also teaching two one day classes that weekend. The first is all you need to know about using protein glues.  I have sort of become the leading "authority" on these organic glues, so this should be interesting.

Here is the link for that class:

Working With Protein Glues


Finally, the last class I teach will be on French polishing.  This is a difficult class to teach in one day, but I will cover the basics and get you started on a life long pursuit of the most beautiful finish you will ever struggle to accomplish.

Here is the link for that:

French Polishing Class

The gluing class is limited to 20 and the polishing class is limited to 18.  That should be interesting.

If you can't make it to San Diego and ASFM, I hope to see you in Indiana at MASW.

Art Institute of Chicago Project

Last year we here at the American School of French Marquetry were contacted by staff at the Art Institute of Chicago to see if we could provide assistance in a project they were developing.  It seems that, in our modern age, most visitors to museums expect some form of electronic interaction to enhance their experience.  As usual, I am showing my age.  Lately the most common term I have been using to describe myself is "dinosaur."  "Back in my day," I say to anyone who will listen to me, "we would just go to museums and actually look at the objects, instead of a video screen."

Anyway, I want to encourage any activity these days that will keep people interested in decorative objects, and increase their understanding of the process used to create these wonderful artifacts of the past.  So Patrice and I were enthusiastic about being asked to help.

The AIC flew me back to see the original objects we were being asked to interpret, a Boulle coffer made of tortoise shell and brass, and a secretary by Roentgen.  It was my first visit to the Art Institute, and my first return to Chicago since I was there about 40 years ago.  I was impressed with the way the downtown has changed, the look of Millennial Park, and the new skyline.  What a nice place.  I also want to compliment them on their public transportation system.  I stepped off the plane, crossed the airport terminal to the metro and was dropped off directly in front of my hotel.  Then I had to simply walk across the street to the Institute.  (In San Diego, there is a trolly system, but it doesn't go the one mile to the airport.  You need to get a car to go from the airport to the trolly system...)

Working with the staff of the European Decorative Arts department, it was decided to use one corner of the Boulle coffer design and one element of the marquetry on the drawer of the secretary as a demonstration.  I returned to work with photos and dimensions of each.

We decided to divide the project, according to our strengths.  Patrice has a talent for accuracy and was assigned the Roentgen design to create.  I selected the Boulle pattern, as most of my work has been using that process.

One thing I changed was the material for the Boulle.  Although I have actual tortoise shell which was purchased legally prior to the C.I.T.I.E.S. ban on endangered species, I did not want to use it.  Instead, I used common animal horn, with colored paper backing, to simulate the look of the shell.  Also, I decided not to use a chevalet to cut the design, as it is still not conclusive that this tool was used by Boulle.  Therefore, I used the foot powered frame saw, as that was a tool I believe was available at that time.

You may note in the video that I do not worry about following the design.  I worry about symmetry and clean curves, and since all the materials are cut simultaneously, it doesn't matter how close to the design the cutting is done.  Also, at one point it says that the toothing of the brass "keeps it from moving in the packet."  That is not correct.  We explained that the toothing of the brass was to remove the oxidation and increase the gluing surface, but that got confused when they created the subtext.

Patrice used a hand held fret saw and a bird's mouth support, cutting the internal elements with a perpendicular angle and the exterior of the design with a bevel angle.  That means that, by cutting the cavity in the background veneer with a similar angle, the elements will fit nicely.  It was interesting to do the research on Roentgen's method, as the Metropolitan Museum in New York was exhibiting works by Roentgen and the book they published, "Extravagant Inventions: The Princely Furniture of the Roentgens," is well written and informative.  As it turns out, on page 230 a very similar flower is shown being cut and inlaid, using the same methods as Patrice.  We got the book only after we had completed the video project, so seeing confirmation of our work was rewarding.

It is interesting that at the same time as we were creating this video for the AIC, our friend, Yannick Chastang was creating a similar video for the Victoria and Albert museum.  It is fun to compare these videos, as there are slight differences in the process, as I am sure there were slight variations in the methods used during the period.

Here are the videos:

Patrick does Boulle

Patrice does Roentgen

Yannick does Boulle

I want to thank the kind staff at the Art Institute of Chicago.  They made this project fun and rewarding.  As a special thanks to our patron who sponsored the project, Patrice and I used one of the Roentgen flowers and framed it with a Boulle design and purpleheart and ebony trim.  We sent it off to the AIC and they presented it to our generous sponsors, with our compliments.

A Small Token of our Gratitude

Of course, if you have any questions or comments on these videos, please ask.