Material knowledge
Materials
The choice of woods decides the contrast, reflection, response to finish and workability of an intarsia, whether geometric or free. These pages describe the woods Reihax works with: pore structure, colour and how it changes in the light, how each responds to finish and what to watch for in cutting and assembly, along with the question of where the wood comes from. Pages not yet translated are marked and lead to the German original.
- Wood species for intarsia An overview of veneer species that suit intarsia and how their properties work in contrast.
- Wenge Large open pores, strong contrast and dark sanding dust: wenge veneer under finish and in sanding.
- Oak Open pores, rays and how oak veneer takes up finish in an intarsia.
- Ash A light, cool base tone and strong figure: ash as the light partner to dark woods.
- Walnut Warm brown, medium pores and a lively figure: walnut as the warm partner in contrast.
- Mahogany Warm red-brown, a striped figure and darkening: mahogany as a trade name and as a warm partner to ash.
- Maple Almost white, very fine-pored and calm: maple as a light ground for fine lines and lettering, with curly and bird’s-eye maple.
- Cherry A warm, reddish wood with a silky surface that darkens strongly in the light, and what that means for contrast and planning.
- Wood and sustainability How little wood veneer needs, where the Reihax veneer comes from, what happens to offcuts and where wenge and mahogany stand.