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Time's up Rob, although I imagine that you have got this far already. The trick to the border strip is to use side grain so that each side of the rectangle is one piece of wood and shows its bright surface as opposed to endgrain which shows its dirty seams and pores. From there it's just a question of glueing up the two paralell lines with dark wood in between, cut each piece square and glue the closing lines. Often with side grain you have to forego using a plane on the squaring-up step because of the grain orientation but a sharp saw blade or a sandpaper block will do the job.
Thanks John, lol. Yeah, I pretty well saw right away that you were working with the grain, but had a heck of a time figuring out how you would do the layup in a way robust enough to facilitate ripping it into purfling strips. I *think* I’ve come up with something, but I have no idea if it’s how you did it. Also, thinking about doing something and actually carrying it out can often be two different matters.
Your border seems to draw some inspiration from the mosaic of FE17 and, perhaps to a lesser extent, SE113. Also, the square wave patterns that I associate with both of the Ramirez brothers, as well as Esteso and Santos, show the concept, but they tend to be executed on a larger scale. At any rate, I really quite like it.
For those who are curious about why I’m so impressed, I took a picture this morning of one of my rosettes with its components to illustrate a fairly typical way to make a border. What John has done brings it to another level, IMO, one which you’re not going to see every day. That he has executed it in such an understated yet confident manner also speaks volumes.
I’ll post the picture to a new thread, so as not to step on this one.
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