I decided to make metal inlay on the box with butterflies (by the way, I decided this at the very end of the work). The second box is inlaid with wood:)






We will need:
1) Wooden or plywood blank.
2) Stain, all the colors you like. I have larch, oak, rosewood, mahogany.
3) PVA construction glue. The glue should be thick - this is important. Liquid glue will leak even under a glued stencil, and there will be no clear pattern; it will be smudged.
4) Spray for temporarily attaching the stencil.
5) Skin.
6) Stencils.
7) Acrylic varnish.
8) Stain brush and rubber spatulas.


We do not sand the workpiece. You can coat it once with a light stain, dry it and sand it to a light shade. Apply temporary fixing spray to the stencil. Glue the stencil and apply PVA with a spatula, leveling it so that there are no sagging. If you are not planning multi-layer staining, then make the layer thinner. And, as I already wrote, the glue should be thick. Otherwise, it will leak even under the pasted stencil, and there will be no clear pattern. Open places It’s better to seal the workpiece with construction tape so that the glue doesn’t get where it shouldn’t :)


Carefully remove the stencil and let it dry until transparent, drying each side. Wash and dry the stencil after each use.


Here you can already see that nothing is visible :) The glue has dried and become transparent.


Let's move on to the lid. We dry everything.


Cover the box with stain and dry it.


We sand, focusing on the pattern. Sand the stain from the pattern to a light color. If you want to get a glow effect, be sure to watch Anastasia Gella’s master class “Glow in Decoupage.”


Again we cover it with stain, dry it, sand it, gradually removing the amount of glue and removing the stain from it. And so on until you get the desired color of the wood, changing the color of the stain or enhancing it. At the very bottom of the picture the boxes are ready for varnishing.


But I didn’t stop there and decided to make one of the boxes with imitation metal inlay. We do not varnish this box - this is important.
For this we need:
1) Foil for hot gilding (transfer foil), I have old gold.
2) Iron.
3) Stationery erasers.
4) Hard brush, sandpaper.
We heat the iron, I used it on linen. We put erasers on it and heat it up. We place the foil on the pattern and press it with a hot eraser, gradually going over the entire pattern. Erasers need to be changed often - pressed once or twice... take a new one. The rubber bands get very hot and your fingers burn, it’s better to do this with gloves, but it’s uncomfortable for me, so I do it this way. We removed the foil, if we missed it somewhere, we’ll repeat the process :)




It turned out to be such a mess.


As soon as the box has cooled down, take a hard brush and begin to “comb out” the pattern, using circular movements. Without any extra effort, so as not to erase the gilding from the pattern. In those places where the brush does not reach (it cannot be reached), we carefully clean it with a corner of the sandpaper. You can, of course, do this through a stencil, but this is only for a large drawing. It will not be possible to make a small pattern through it, since the height of the stencil simply will not allow this to be done. After you have cleaned the entire pattern, you can still stain it to the desired color; simply remove the stain from the pattern with a napkin. The foil is not gold-plated - it does not oxidize. After drying, coat with varnish.
Well, here is the result with one layer of varnish:


Closer photo of the drawing:




And this is a photo of a box for coffee, it is not completely ready yet. I only photographed the side panel as an example. Plywood blank.

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Marquetry

Inlay- special type mosaics ; decorating an object made of one material by cutting into its surface shaped pieces of other materials, forming a pattern that does not protrude above the surface (various objects made of other materials are cut into material, in the form plates of various shapes with a decorated surface: metal, mother-of-pearl, etc.)

Marquetry or marquetry , is a decorative technique in which thin single-layer plywood, 1.6 - 3.2 mm thick, of various colored types of wood or other material is glued to the frame of a piece of furniture. This technique gained popularity in England in the late 17th century, where it was used as part of the new craft of cabinet making. The most popular type of marquetry has become a panel with floral floral ornament, which depicted a vase or bouquet of flowers. At first, the design was made from contrasting, dark and light woods, such as sycamore or evergreen boxwood with walnut; later, the panels with floral patterns acquired a magnificent brightness thanks to the inlay in them painted in green color ivory to imitate leaves or red to depict exotic birds.

The conditions for the emergence of marquetry appeared after its invention in the second half of the 16th century. machine for production sawn veneer
From that moment on, valuable types of wood became veneer: black, red, pink - they began to veneer furniture made from local inexpensive species.

There are two processes in marquetry (see figure below).

Intarsia-inset By a certain pattern in the background veneer are pieces of veneer of a different species or color of wood.
Cladding - applying the entire set to the surface of the product to be decorated.

Block mosaic . With block mosaics, blocks are glued together according to a selected pattern from multi-colored blocks or wood plates of different sections. Then they are cut crosswise into many thin plates with identical patterns. The plates can be inserted into recesses or glued to the surface of the product.

Parquetry - this is a set in which the mosaic is a simple pattern, such as a parquet of identical rectilinear geometric shapes. This set is made by gluing pre-cut elements along the edges, or by gluing them onto lined paper close to each other.

When the pattern fills the entire surface, the mosaic elements are cut in one by one and pasted into a sheet of thick paper (set in paper) on which the pattern is applied. contour drawing mosaics.

Gradually, all the paper is replaced with pieces of veneer. In order to get several ornamental sets of the same type, you need to simultaneously cut out the background and the design with a jigsaw. Veneer for the background and another for insertion are glued onto paper, placed one on top of the other, and secured in several places with glue. The outline of the design is applied to the top sheet of veneer and cut out with a jigsaw. The veneer sheet is separated, two nests and two inserts are obtained at once, from which two sets of opposite colors are made.

Vsechka is quite widely developed in Transcarpathian Ukraine, Dagestan, and some areas of the Baltic states. Various household products are decorated with the help of a notch: smoking pipes, canes, bowls, cups, staves, glasses and decanters, boxes, fruit plates, jewelry, as well as wall panels and even paintings.

Let's look at the technology for making a notch. The base is “textureless” wood, the surface of which has a high density and uniform hardness. Hardwoods are suitable for cutting: dogwood, hawthorn, apricot tree, pear, apple tree, Walnut and others, and for training work on notching you can use wood from softer species, such as birch, black and red alder, aspen, linden.

The wood must be well dried and free from cracks, knots and rot. If the humidity is high, over time the metal will be forced out and the product, as they say, will “bristle.” Interesting compositions obtained from end cuts of trees hard rocks, for example, oak, beech, etc.

Most of the species listed here have light wood, on which metal inserts will not “play.” To color wood, various stains and black ink are used.

Non-ferrous metals and alloys are used as metal inserts: copper, bronze, brass, aluminum in the form of wire, rolled wire (wire rolled in a roller) and narrow strips. In the most critical cases, you can use gold or silver in the form of wire or thin sheet.

Tools for notching are jamb knives, which are used by wood carvers, and cutter knives (Fig. 1). Longitudinal cuts are made with blunt knives, and cuts for round and shaped plaques are made with a butt knife-cutter. It is necessary to have several cutters with blades of different widths and with different sharpening of the cutting part.

To cut out recesses for round plaques, you can take cutter compasses (Fig. 2). If your composition contains a large number of identical round plaques, then to prepare nests for them you can use specially sharpened tubes of a given diameter or punches (Fig. 3).

Narrow strips of metal are cut from the sheet with scissors and “nails” from the wire - with wire cutters, side cutters, pliers or scissors. To drill holes you need a drill with a set of drills and several awls for making holes for the “nails”. You may also need pliers and tweezers to hold small parts.

The basics for a spherical or cylindrical shape - a cup holder, a vase, a plate or a jug - are made on a lathe, a flat one - with a plane, and more complex shape- knife, chisels and other carpentry tools. However, we must remember that the notch “looks better” when the surface is somewhat convex. If it is not possible to make a base or “linen” at home, as the craftsmen call it, then the base can be bought on the market.

The process is like any other creative process, begins with developing a sketch. You need to decide what you want to make: a small keychain for your girlfriend, a pipe or a stick for your grandfather, or maybe beautiful dish- for Mom. Based on this, they make or purchase the required product blank - “linen”. Then they determine the places for the notches, their sizes and shapes, and then make drawings for each area in the same style.

The prepared drawing is transferred to tracing paper, and from it to the base. Transferring the drawing onto a flat base through carbon paper with a pointed stick or ballpoint pen, which has used up all the paste. If the drawing is symmetrical, then you can draw only one part of it.

On a base with a convex surface, the drawing, transferred to tracing paper, is applied to the place where it needs to be transferred, and pressed, cutting along the edges for a tight fit. The notching process depends on the elements used.

To cut the ribbon, use a joint knife to make a slot with a width equal to the thickness of the ribbon and a depth slightly greater than the width of the ribbon. If several ribbons are connected at their ends in one place, then it is necessary to tap their ends with a hammer to reduce their thickness so that they connect into one sharp corner (Fig. 4).

The ribbon must be driven in very carefully with a light hammer so that it fits completely into the slot and its upper edge does not bend. If the edge does bend, then you need to remove the ribbon and lightly tap it with a metal hammer on a steel plate.

It will harden, that is, it will become stiffer and then fit into the slot better. When cutting short strokes, the slot is made with a butcher knife. The end of the metal strip is inserted into the slot until it stops. Using scissors or side cutters, cut it off from this plane and hammer it into the base (Fig. 5). The top edge of the insert must not be allowed to bend. Only the end of the driven metal should be visible at the base.

Carnations perform a dual role when cutting. Firstly, the main one, when dots are used to decorate any ornament. And, secondly, auxiliary, when metal plaques are attached with nails. In the first case, a hole is made in the base with an awl in the right place, the end of the wire is inserted into it and bitten off with a side cutter. After this, with a light blow of a hammer, the protruding end of the wire is driven into the wooden base.

The method of installing metal plaques into the base depends on their shape and size. If the shape of the plaque is round, then the recess is made with a drill, notch or punch to a depth of 2/3 of the thickness of the metal plaque. A plaque is placed into the socket and the required number of holes for the “studs” are pierced (or drilled).

To ensure that the carnations do not differ in color from the plaque, they must be made of the same metal. If the plaque is not round, but of a different shape, it is cut out with scissors, the burrs are filed off, placed on the base and carefully traced with a sharp scriber. Then, using a narrow chisel or chisel, a recess is made under it and secured in the same way as a round insert.

Plaques can not only be nailed, but also glued. In this case, it is necessary to allow time for the glue to dry, and therefore the work will proceed intermittently. For gluing metal to wood, we can recommend nitrocellulose glue, synthetic adhesives such as BF, 88, epoxy resin, and PVA.

The cutting process is quite complicated. Therefore, first you need to practice on some simpler designs: Christmas trees, snakes, meshes, and then move on to simple ornaments.

Having learned how to make them, you can move on to more complex ones (Fig. 6), and then to planar compositions. A more complex process of carving is working with volumetric bases such as bowls, dishes, cups, glasses, jugs and mortars. In this case, it is necessary to first deform the inserts according to the shape of the base surface.

You can enrich the “palette” of carvings by using combinations of several metals and alloys, for example, copper and aluminum, cupronickel and bronze. After the final notching of all metal elements, the product is ground with a personal file (a file with a fine notch), then sanded with sandpaper. After sanding, metal and wood dust is brushed off with a bristle brush. Under no circumstances should you brush off the dust with your hand, as this may cause cuts to your fingers.

The sanded surface should not be touched with hands, so that there are no grease stains left on it, which will prevent high-quality coverage of the base with coloring solutions.

In order for the product to look beautiful, it is coated with a dark mordant. The color of the coating can be selected by mixing several mordants.
Currently, the following colors are available for sale: black, crimson (mahogany) and brown (walnut). The paint is diluted with warm water and the color intensity is checked on a test board. If black mascara is used, it is diluted with warm water in a 1:1 ratio.

The selected coloring solution is applied with a wide brush, swab or piece of foam rubber to the entire surface of the product, including the metal pattern. It is necessary to cover the product evenly, avoiding gaps and being careful not to overly moisten it, as this may warp the product.
You can dry the product using any heating device: a lamp, an electric towel, etc.

After drying, wipe the product thoroughly with a damp cloth. At the same time, the stain deposits are removed from the inlay elements, the pile is smoothed, and the stain is distributed more evenly over the surface of the wood. After this, the product is left to dry at natural temperature for about a day.

After drying is complete, the product is carefully wiped with the finest sandpaper, reviving the shine of the metal pattern. The product is ready for a transparent finish.

If the product is small, it is varnished by dipping it into a vessel with varnish. Then hung to dry. It is necessary to immerse 2-3 times to obtain an evenly shiny surface. Each previous layer should be well dried and sanded with fine sandpaper. If the product is large and cannot be lowered into a bath of varnish, a transparent film is applied with a swab.

It should be borne in mind that it is better to rub products intended for interior use with wax mastic.
The coating protects the metal surface from oxidation and reveals the beautiful structure of the wood.

Based on materials from the magazine "Do It Yourself"

The art of inlay has been known to mankind since ancient times. You can use different materials for inlay (ceramics, marble, metal, etc.), but one of the most pliable materials is wood. That's why wood inlay on wood (marquetry And intarsia) is very popular among craftsmen.

Intarsia

Of the two types of inlay on wood, intarsia appeared earlier - it can rightfully be considered the “mother” of marquetry. When performing intarsia, wooden plates of different colors and textures crash into the wooden surface, which allows you to get a complex figured image.

It is believed that intarsia originated in Ancient Egypt , where wood was first used for inlay along with more “noble” materials. But intarsia reached its peak in Italy during the Renaissance. This technique was most often used to decorate church furniture and utensils.

Initially, the predominant patterns were geometric and floral, but gradually the complexity of the work done using the intarsia technique increased. Craftsmen began to make whole paintings made of wood. In order to make them more impressive, they used not only a “play” on the contrast of light and dark wood, but also firing, engraving, and etching of wood.

How is a product made using the intarsia technique? First, a drawing is selected and a sketch is made, which is divided into individual elements (plates) - like a mosaic. These elements are then cut from wood of different colors and textures. The main (background) for the product is solid wood, in which recesses for mosaic pieces are cut out using a special cutting tool.

The front side of the wooden plates is sanded and polished, and the back side is left rough so that it adheres better to the background. Then you need to tightly fit the plates along the edges, glue them and put them into the base array. The product is ready! If the mosaic pieces protrude above the base, this is called relief intarsia. And if they are on the same level with her, this is picturesque intarsia.

Marquetry

Marquetry is simplified technique intarsia. In fact, this is also a mosaic made of wood, but the mosaic pieces are made of thin veneer, assembled together along the edges, like a puzzle, glued and glued onto a flat base.

Marquetry is a less labor-intensive and expensive technique than intarsia, but this does not mean that it is too simple. For making a product using the marquetry technique, it is also important accuracy, patience and artistic taste.

Used for marquetry natural veneer- single-layer facing plywood, made from various types of wood. The thickness of the veneer can vary (from 0.5 to 1.2 mm), and its color and shade depend on the type of wood that was used to make the veneer. In addition, for painting wood they use chemical methods- for example, painting with stain.

As with the intarsia technique, you first need to think over the pattern and draw a drawing (template) on thick paper. Then, using special tools, mosaic pieces are cut out of the veneer and coated with wood glue. Then the “puzzle” needs to be glued onto a paper template-drawing, tightly fitted to each other. Having assembled the mosaic, it is turned over and pasted onto the base - the product to be decorated.

The finished product is covered with paper and left for several hours. put under a press. After two days, the marquetry is polished and covered with several layers of varnish or special mastic. After a day, the mosaic is polished using polishing paste and fabric (cloth, felt, drape).

You can do marquetry a little differently, embedding mosaic elements into a veneer background. The resulting mosaic is secured with paper coated with glue and pasted onto the surface of the product to be decorated. This type of marquetry is closer in technique to its “parent” - intarsia.

Marquetry and intarsia are used to decorate furniture, in the manufacture of original paintings, panels and souvenirs. In order to learn how to work in these techniques, you need not only accuracy and artistic taste. It is very important to know how certain types of wood will “behave” when processed, varnished, etc. But if you try really hard, you can end up getting a real work of art.

Often in books or articles you can find the words “inlaid” or “inlay”. Often they say about furniture and various objects of art: “inlaid with gold”, or “silver”, or “precious stones”. But what does this mean? You will find the answer in the article, and in addition, you will learn how to do the inlay yourself.

What does this mean

Inlay is a type of mosaic when patterns from plates of another material, most often precious metals, are applied to a wooden base by cutting into it. The name of this art form comes from the Latin word incrustatio, which means “covering”.

When inlaying, inserts must be flush with the wooden surface of the product. A wide variety of materials are used for coating:

• metals;
• gems;
• marble;
• ceramics;
• tree;
• Ivory;
• nacre.

Inlay is a phenomenon known since ancient times and successfully developing to this day.

In antiquity

In many countries Ancient East inlay served as a complement to architectural elements and decoration of statues (in particular, eyes were made using this technique).

The craftsmen of Ancient Egypt were famous for their ability to decorate various objects with inserts precious stones, ivory, blue and white earthenware. This is how richly inlaid furniture was produced, as well as sarcophagi, chests, caskets, etc.

IN Ancient Greece and Rome, ivory was mainly used, which was a very valuable and very difficult material to process. Plant and animal ornaments, sometimes human figures, were carved from it. Typically, objects made from a single-color material were decorated in this way.

In the Middle Ages

Not only metals and stones

Inlay is a multifaceted area of ​​decoration, and it has its own subtypes. These include the following surface decoration techniques:

• notch (metal to metal);
• marquetry (veneer, or single-layer plywood, on wood);
• intarsia.

We will dwell on the last variety separately. Intarsia is an inlay. Plates from a different type of wood are cut into the base, which must differ in color and structure. The base is usually dark wood, and the decoration is light.

A similar technique originated in Ancient Egypt, and reached its peak in medieval Italy. This art was used mainly for mosaic decoration of church architecture and interior decoration.

IN contemporary art Intarsia decor is widely used along with other types of inlay.

A separate, most modern type of inlay can be called. There are three methods of applying shiny rhinestones:

• hard surface (plastic, metal, glass, ceramics);
• textiles (clothing, shoes, bags, etc.);
• human body (crystal tattoos).

Each case has its own characteristics and limitations, but all three methods are united by the use of a special glue, onto which miniature crystals are attached.

Inlaying with rhinestones is a very painstaking and delicate work, for which a variety of tools are used, from tweezers to toothpicks.

We inlay ourselves

If you have an interest in artistic craft, you can take it up yourself. Inlay done at home is not very difficult.

Craftsmen use two methods, depending on the size and complexity of the insert.

The first method is for a simple drawing:

1. Determine the size, shape and location of the insert.
2. Cut out the part.
3. Place it on the surface of the product and draw an outline with a sharp tool.
4. A recess (nest) is made according to the drawing.
5. They put an insert there.

The second method is for an openwork ornament, when the insert is small in size and complex in shape:

DIY wood inlay can be done without any special tools. But the process is difficult and time-consuming. The result does not disappoint: you get an unusually and stylishly decorated product, be it furniture, kitchen utensils or decorative items.

The craft of inlaying, which originated in Ancient world, remains relevant and in demand in modern decorative art.