The Art of Inlay

Author Larry Robinson Publisher Miller Freeman Books Year 1994 ISBN 0879303328 Purchase from Amazon ANNOTATION If your read the chapter on History, you will see immediately that this book is not about Marquetry but Inlay. However, I include this book as part of my reference material firstly for its inspirational value. Read the forward by Rick Turner and you will see what I mean. Larry shows what it means to completely understand the nature of the different materials being used and how best to use their different attributes and properties in expressing his creative ideas. He demonstrates a level of creativity, that anyone wishing to express themselves with any kind of material (such as veneers) should strive to attain. Other reasons for including this book as a reference are the chapters on Drawing (which is very applicable to Marquetry), cutting, leveling and Engraving and inking. Larry writes about techniques that are equally applicable to Marquetry. Drawing is at the essence of both Marquetry and Inlay. A good understanding of all aspects of drawing (particularly perspective) is necessary in order to develop to an advanced stage. The chapter on ‘cutting’ will be appreciated by those using the fret saw technique. I still personally continue to perceiver with the knife method of cutting. The other chapter on leveling is also appropriate because veneers today do come in different thickness. At the end of his book, I notice that Larry also makes reference to some of the same books on Marquetry as I do. The final reference, that of Engraving and Inking, Larry gives a good description of how this technique works and with some modification has been used on Marquetry pictures. Several other books I mention make reference to using this technique as well. Larry has lots of examples of his work. One of them I like in particular is the two zebras on Brazilian rosewood runout section (1987) - Red abalone and mother-of-pearl. He uses it to demonstrate what happens to abalone when light reflects from different angles. I also like the appearance that the zebras are also transparent, yet there is a full, 3D effect as well. It gives me an idea and I wonder if a similar effect could be created using ebony strips over a light burr veneer. The other piece I like (if you have read my reference to Fine WoodWorking - Veneering, Marquetry and Inlay), Pierre Raymond in his book made reference to the period of time when Art Deco was predominant. The piece of Larry’s below is an example of what that kind of work may have looked like. An art Deco resonator for the Tsumura collection (1991). All images reproduced from photographs by Richard Lloyd. Finally, I also like Larry’s epilogue and would encourage everyone to follow his advise: "Learn these techniques but don’t let them become a fossilized repertoire. Let them be a point of departure towards exploring new techniques and styles." COVER This beautifully illustrated book is both a celebration of the art of inlay and a hands-on guide to its materials, tools, techniques, and endless creative potential. Inlay in America today often adorns guitars, banjos, mandolins and other musical instruments, as well as furniture, fine woodwork, jewelry, wall hangings, and various objects d'art. Designs range from simple monograms, vignettes or patterns, to elaborate scenes of nature, history, or fantasy. This book is a spectacular showcase of some of the finest examples of this art, and an inside look at how to create it. Seventy color photographs of exquisitely inlaid pieces illustrate the artistic and technical insights of one of today's foremost inlay artists. You'll discover the versatile palette of natural materials used in inlay: shells, woods, metals, stones, gems, bones, ivories, and even vegetable ivories, or "tagua nuts." In a personable, easy-to-read style, the author tells you about the tools and techniques used to transform these elements into inlay. He describes in detail every step of the process and every aspect of the art--from drawing the initial design to touching up the finished object. And you'll get plenty of tips and tricks along the way, like how to use the innate magic of shell's light-reflecting properties to make a guitar fingerboard "flash on" all the way up the neck. With concise instructions, descriptive photos and drawings, and inspirational examples of recent inlay by top artists throughout North America, this book is an unsurpassed technical advisor for the beginning or experienced inlay artist and a unique artistic treasure for any art and crafts enthusiast. LARRY ROBINSON is a self-taught inlay artist of world-class stature. He began using hand tools in his father's workshop at age six, and was making furniture with power tools by age 11. Years later, while studying classical guitar, he hired a luthier to build a custom acoustic. Seeing no progress, however, Robinson eventually "wormed my way into his shop and built the whole guitar myself" He was subsequently offered an apprenticeship by the luthier. Robinson's introduction to inlay was in 1975 while working at Alembic Inc. Today he is a recognized expert whose decorative inlays grace instruments, boxes, wall hangings, lap desks, and various objets d'art. His musical clients include such names as Stanley Clarke, John Entwistle, David Grisman, Paul Kantner, Greg Lake, Fleetwood Mac, Hot Tuna, Led Zeppelin, and marry others. He has numerous inlaid pieces in the Tsumura Collection and other prized collections in the US and England, and his work has appeared in Guitar Player, Fine WoodWorking, and Folk Harp journal magazines, the Gibson Custom Shop Calendar, and the books Pearls, Acoustic Guitars and Other Fretted Instruments, and Tsumura's 1001 Banjos.