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 Post subject: The itch or the flitch
PostPosted: Fri Aug 26, 2016 7:44 pm 
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Please note that The new puzzler ( 8/26- 9/2) is located in the Barley Twist post responses. My editorial skills (really bad) need work and refinement.


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PostPosted: Sat Aug 27, 2016 12:58 am 
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I have NO problem with your editorial skills. I applaud your support of the forum.


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PostPosted: Fri Sep 02, 2016 8:20 pm 
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I'll make sure you get the appropriate amount of shavings for this puzzler DENNIS S.
HOWEVER, lets start a controversy and find out which is a consensus response.
The ITCH is certainly important in directing passion to an idea and then to a design, so without the ITCH a project just wouldn't happen.
As DENNIS S suggests the FLITCH is very important in fabricating a fine piece of work.
A FLITCH as I understand it is sequentially cut pieces of wood wether straight from the tree/log or as veneer. Sequence to me means that the bottom face of a piece of wood is separated from the top face of the next piece of wood by the kerf of the cutting instrument. For instance a log cut and stickered so that it essentially maintains its "logishness" as each slab is separated by the kerf and the stickers. Thus, the flitch provides material with almost identical grain, color and moisture content. Those properties of the flitch make it essential for really superb projects.

O K lets have some agreement or other opinions :-D

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PostPosted: Sat Sep 03, 2016 2:59 pm 
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In a broadscope definition I'd agree, NT. However in my view, any ultra thin slice off a log would be considered a flitch. How they're assembled and matched on the substrate determines if the veneer is 1) book matched or 2) slip matched.

Book match as the term might imply consists of opening up the layer of flitches and arranging them like pages in a book. Starting with the top of the stack, the first flitch is turned over, or leafed, if you will so the left side of the back abuts the right side of the next one. It might look something like this:
||||||\ /\ /
where mating edges are kept together. Not the best illustration but the best I can do.

Slip matching, as I understand it, is where the flitches are laid edge to edge, same side always up:
........ _
....._
.._
_
_
_
Such that the left edges, in this case, abut the right edge of the next flitch.

Obviously, to me anyway, bookmatching yields the most attractive results with highly figured veneers. So what, if any, advantage is there to slip matching?

Having resawn and veneered a number of cabinet doors for my kitchen one thing I note about book matching - The, what I'll call, character of the grain can vary quite a bit between the back and front of a veneer. Chatoyance, how the fibers lay, ... I'm not sure what causes it. It's pretty subtle most of the time and depending on the species of wood, may not be noticeable. However with the white ash I was working with, it was quite apparent and didn't show up all that much until after I started finishing the doors. So if judicially done with care, slip matching can produce quite pleasing results especially with straighter grained not so figured veneers. (Again, my humble yet closely held opinion)

No, Tom, I'm not gonna strip, resand and refinish!

Did any of that come even close to making sense, NT?


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PostPosted: Sat Sep 03, 2016 9:26 pm 
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DENNIS S: Yes, perfect sense. The inspiration to use flitches either as a tabletop as TMS has done with that gorgeous Makore or as a veneer book matched or slip matched is where the itch and flitch collide. The flitch that TMS used was one board which he cut to 3 pieces and edge glued to make the top as shown in his post "Oh my, Makore"

Returning to the premise itch or flitch, to use the Makore flitch as a table top was an itch that resulted in that top. Which was more important? Hmmmm!


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PostPosted: Sun Sep 04, 2016 11:49 am 
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[quote="newtooth"]..., to use the Makore flitch as a table top was an itch that resulted in that top. Which was more important? Hmmmm![/quote]

What you claim to lack in editing knowledge is overshadowed by your sense of humor! (hehehe)


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