Friday, November 11, 2011
Final fit
Parts puzzle
Pressing matters
Once the veneers are jointed and edge taped into their layout for each door- I'm ready to glue the veneer to the curved and edged door substrate.
I like to use rollers to apply an even glue surface- too much glue and I will have a lot of leak through that needs to be sanded- this adds time and risks sand through, so even is best, too light and I risk bad adhesion..........watch it! roll it! lay it on there, cover with properly sized glue resistant covers, and bag it! Is it lined up? Is it slid over too far? Will it get pressed firmly? Is my system ok, no holes, good machine......normal press time is 30 mins but with he curves and my desire for good sticky I'll leave them in for 1 hour each press cycle.
Smart choices
Cut for parts
I'll take the veneer sheets and slice them in sequence for each door or drawer bank thats taped with a little masking tape and marked for location: front door and drawer for island, front surface, back surface. I am going to need enough for twice the overall surface area because each door gets veneer front and back for structural balance. One of the overall woodworking rules is to treat both sides of a board the same, same sanding, same finish, same air flow while stacked and so on, this keeps wood stable. Veneered doors are no exception, so I balance the layers of veneer and hopefully the door will stay flat and true.
Sheets
The veneer comes in a stack of slices from the same board- its my job to sort it out and create a pattern for the grain as it relates to the whole job- in this case we are using three widths of veneer book matched and oriented to be horizontal throughout the kitchen. Each door and section of cabinet needs to be in sequence to the overall pattern and layout- this requires a little planning and organization.
Adventures with veneer
This is the species of veneer I am using:
Santos mahogany veneer-
Myroxylon is a genus of two species of Central American and South American trees in the Fabaceae (Leguminosae). The tree is well known in the western world as the source for Peru balsam and Tolu balsam. The tree is often called Quina or Balsamo. Other names include Tolu in Colombia, Quina quina in Argentina; in lumber trade, sometimes named Santos Mahogany.
Its sweetish scent, reminiscent of vanilla and green olives, has caused it to be used in the manufacture of perfumes as a source for Balsam. Balsam of Peru is used as a flavoring and fragrance in many products and can cause allergic reactions.[2]
They are large trees growing to 40 m tall, with evergreen pinnate leaves 15 cm long with 5-13 leaflets. The flowers are white with yellow stamens, produced in racemes. The fruit is a pod 7–11 cm long, containing a single seed.[3]
The wood is dark brown with a deep red heartwood. Natural oils grant it excellent decay resistance. In fact, it is also resistant to preservative treatment. Its specific gravity is 0.74 to 0.81.
As regards woodworking, this tree is regarded as moderately difficult to work but can be finished with a high natural polish; some tool dulling.