each case, the panel compositions provide a more interesting visual than a single slice of wood. My first experience with parquetry was as a student in the Fine Furniture Program at College of the Redwoods. When I was not satisfied with various traditional veneering approaches (such as bookmatching and slipmatching) in making a veneered top for a Side Table (below), I turned to my wood for some guidance: “How can I use the chatoyance as part of the design?” The answer was joining pieces of wood to make a geometric pattern. I had a flame-like graphic at the end of my board, and I thought it a shame to destroy its potential by slicing it into smaller pieces. Instead, I cut a template window that framed this part of my board, which allowed me to notice a wedge shape that evoked a petal-like form, or a blade on a windmill rather than a symmetrical wedge suitable for a starburst. I liked this shape, so I used the window to search for other areas on the veneer that would work with this same shape. I found a total of three petals per veneer leaf. Using the chatoyance inherent in the wood to accentuate the already implied movement, a pinwheel pattern emerged for this piece. I documented the creation of this table in a recent article in Popular Woodworking (December, 2012, issue #201). You can further explore this technique with Andrew Wallace and myself, in a summer workshop (Introduction to Parquetry) at College of the Redwoods, June 3-7.
Heather Trosdahl Side Table Walnut
Sarah Marriage, Desk English Sycamore
André Ekström Dressing Mirror Mahogany, Yellow Cedar
Mollie Ferguson End Table Madrone
May-June, 2013
Woodworker West
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