VENEERS AND. MANUFACTURED BOARDS
The time-honored technique of veneering can transform a simple cabinet door into a flamboyant burst of color and grain, an unassuming piece of furniture into a seamless work of art.
And though wood veneers have shifted in and out of favor over the centuries, woodworkers have used them to marvelous effect since the ancient Egyptians embellished objects with thin sheets of precious woods. In the 18th and early 19th Centuries, fine veneers became the hallmark of sophisticated, high-style furniture. Large swaths of distinctive wood veneers covered tabletops; marquetry pictures—delicate patterns made by aligning pieces of veneer and insetting them in the surrounding wood—decorated all manner of cabinetry.
Veneering declined with the advent of production machinery in the 19th Century, only to rebound once again in the early 20th Century with advances in manufactured board technology and improved adhesives. As materials continue to improve, veneering makes more sense than ever. Furniture that would be prohibitively expensive to craft from solid exotic woods can be veneered with the same woods at a much more reasonable cost.
And, of course, veneering today offers the same esthetic advantages it always has. With veneers, woodworkers are free to create stunning grain patterns with such techniques as bookmatching or slip-matching; they can arrange veneers in an
array of appealing configurations—herringbone and reverse-diamond among others. They can also take full advantage of such beautiful but unstable wood cuts as crotch and burl, which are impossible to work with in solid form.
The old masters veneered over a solid-wood base, or substrate, using hot glue made from animal hides, blood and bones. They smoothed the veneer and pressed out air bubbles with special hammers. While hammer-veneering is still practiced, today’s craftsmen may choose a more modern veneer press; they can also choose from a much wider selection of glues and substrates. The glue maybe an aliphatic - or plastic-resin type; the substrate may be any one of a number of manufactured boards, most popularly plywood, particleboard or medium-density fiberboard. The introduction of these manufactured boards revolutionized furniture design: Because the boards are dimensionally stable—they neither swell nor shrink with seasonal changes in humidity—traditional frame-and-panel designs can be replaced by large unbroken veneered surfaces.
Of the variety of manufactured boards, cabinetmakers probably make the most use of plywood, itself a product of veneer construction. Plywood is available in many grades for many uses; always buy the best you can afford. Cabinet-grade hardwood plywood, which is already faced with attractive veneers, is a cost-effective alternative to solid wood—ideal for such projects as wall and floor cabinets, bookcases and drawer fronts.
Manufactured boards offer the solidity of hardwood along with greater dimensional stability. Clockwise from lower left is a sampling of the most popular cabinetmaking types: softwood plywood, medium-density fiberboard, particleboard, hardboard and Baltic birch plywood.
A GALLERY OF COMMON DECORATIVE VENEERS
VENEER |
COLOR AND FIGURE |
CUTS AVAILABLE |
SUPPLY |
TEXTURE AND WORKABILITY |
Avodire |
Golden yellow to gold; mottled figure |
Quarter cut |
Plentiful |
Medium textured; easy to work. Stains unevenly |
Black walnut |
Light gray-brown to dark purple - brown; striped figure |
Crotch, butt, flat, quarter cut, burl cut |
Plentiful |
Medium texture; grain difficult to work. Takes finish well |
Brazilian rosewood |
Chocolate to violet and black to brick-red; striped figure |
Flat cut and quarter cut |
Rare |
Medium texture and oily; difficult to work. Resists finish |
Carpathian elm |
Brick red or greenish-brown to light tan; burl figure |
Burl |
Plentiful |
Medium texture; easy to work. Takes finish well |
Imbuia |
Rich chocolate to olive-brown and gold; burl and striped figures |
Burl, flat cut and rotary cut |
Rare |
Medium texture; easy to work. Takes finish well |
Lacewood (Silky-oak) |
Silvery pink to reddish-brown, fleck figure |
Quarter cut, flat |
Moderate |
Medium texture; easy to work. Takes finish well |
Mahogany |
Light pink to reddish-brown, striped and fiddleback figures |
Quarter cut, flat cut, crotch, butt |
Plentiful |
Coarse texture, difficult to work. Takes finish well |
Maple |
Creamy white sapwood with tan heartwood; curly and bird's - eye figures |
Quarter cut, flat cut, crotch, rotary, burl |
Plentiful |
Fine texture; difficult to work. Takes finish well |
Myrtle burl |
Golden brown to yellowish-green; mottled and burl figures |
Burl |
Moderate |
Fine texture; moderately difficult to work. Takes finish well |
Olive ash burl |
Creamy white with dark brown streaks; burl figure |
Burl, stump |
Rare |
Coarse texture; easy to work. Takes finish well |
Pearwood |
Rosy cream; straight-grained figure, sometimes curly |
Quarter cut, flat cut |
Rare |
Fine texture; easy to work. Takes finish well |
Purpleheart (Amaranth) |
Deep purple with light gray sap - wood; striped figure |
Quarter cut, flat cut |
Plentiful |
Coarse texture; hard to work. Takes finish well |
Sapele |
Reddish brown; mottled and ribbon stripe figures |
Quarter cut |
Moderate |
Medium texture; easy to work. Takes finish well |
Ceylon satinwood |
Golden yellow; mottled figure |
Flat cut, quarter cut |
Rare |
Fine texture; easy to work. Takes finish well |
Yew |
Warm orange with darker streaks; burl figure |
Flat cut |
Rare |
Fine texture; easy to work. Takes finish well |
Zebrawood |
Cream background with dark brown lines; Striped figure |
Quarter cut |
Rare |
Medium texture; moderately difficult to work. Takes finish well |
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