UNDERLAY®
by Sengee
The New Art of Inlay
These are examples of the possibilities of what is now being
called "Underlay" and can only be done with thin shell veneers like our
MicroVeneer®.
This process was first used over 30 years ago by a master inlay artist who is
knows as Sengee (pronouced: See N gee or CNG). Sengee isn't as well know as the
likes of Harvey Leach or Larry Robinson but is every bit as good as either of
them. He has always maintain a very low profile so he could work as an artist
and not as a "contract inlay artist". As he put it "...I don't want to make
money, I want to make inlay art..." We have been fortunate enough to get his
permission to use some of his early underlays that were original designed and
produced in the early 90's and are now being copied by artist world wide.
Sengee is really the father of shell veneers because he was the first to grind
full thickness "Blanks" down so they were as thin as today's MicroVeneers. that
way he could put his artwork on the back side (mounting side) of the shell inlay
and they won't wear off, be felt when touched and the design could be more
precisely control. That is, with underlaying the artwork is on the mounting side
of the nacre (shell) and unlike "topside" artwork as done on full thickness
shell blanks it will not wear off over time or create a roughness in the
surface that can be felt from the blanks being etched and then colored (blacken)
in to create detail in the inlay work.
A Picture is worth a 10,000 words!!!.
The inlay above was done with just Silver-Lop MOP and color enhanced and
controlled using colors that are "back tinted" (underlayed). The inlay really
"pops" with the addition of of the scrimshaw (black lines) detailing that is
actually outlining even the very thin vines and used to add details in the
leaves and flowers as well. On full thickness blank inlay it is impossible to
control the colors and the scrimshaw are etched into the top of the shell blank
so the etch lines can be felt as you rub across the blank with your finger, but
not with underlaying!!! Where even "tiny details" can not only be added, but
safely added with little risk of damaging the inlay piece (cracking or breaking)
during production. Sengee has always used hand etching tools (scribes) but with
today's high speed Dremel tools etching is easy, more easy controlled and
faster.
This inlay is done with multi-veneers (MOP, Pink Ab, Red Ab and Paua) and
without the underlaying scrimshaw this artwork won't be nearly as dramatic.
Truly the beauty is in the details! Sengee claims he can teach anyone who isn't
blind and has a steady hands to do inlay work just like this! It's true too and
if you examine the picture closely, looking at the individual pieces use, you
will begin to see how simply this inlay really is and how just a little
underlaying make the roses just come alive.
Done during his "Oriental Period" in the mid-80's, this piece really show what
underlaying scrimshaw can do to an inlay! The cats comes alive, with every
muscle being created by scrimshaw etching making the cat look like it's really
ready to pounce on the ball of string! Please note that this picture really
don't do justice to the real beauty of this inlay and all the details can't be
seen in this 'wide angle' picture. Sengee spent 120 hours doing the scrimshaw
with a jeweler's eye piece and microscopic details (that can't be seen in this
picture) exist in the inlay!
You have seen what Sengee has done using our
MicroVeneer®
now it your turn! Stop doing production inlay and let the artist out and not
just produce ho hum two dimensional inlays but raise the bar to create three
dimensional inlays that will have you selling your work faster then you can make
it and at higher prices!
With enough time and practice maybe you will be the next Sengee and be the one
who raise the bar in inlay work in the years to come. It is a brave new world and
the art form of Underlay®
is still in its infancy
