Invisible glue line

[Nick Gibbs]

Does anyone know the best glue for an invisible glue line using pear wood, which is a mid-brown pink colour?

Thanks

Nick Gibbs
Quercus Magazine

 

[Sgian Dubh]

If this question relates to making a wider panel from narrower boards I think it's less to do with adhesive type choice and significantly more to do with good edge preparation and firm clamping pressure to close the gap, plus being able where you can, to create an 'ideal' or seamless grain match at the joint line. The latter option is relatively rare there usually being something in the grain pattern to give away the position of the joint line.

If you're talking about shoulder lines such as those where tenon shoulders meet the morticed member's face, again, I think the adhesive is generally less important than the match at the shoulder line.

Apart from my comments above, in my opinion white PVA or an aliphatic resin type would be a good choice. Slainte.

 

[thetyreman]

I did some tests recently doing just this, but with scraps of pine, my conclusion was that white PVA and hot hide glue gave me the best results, some luthiers say that hot hide glue gives the absolute best joint but I'm not entirely convinced, so would just use PVA as it's far easier to use and you don't have such a short open time.

 

[Reffc]

For invisible glue lines on veneer edges and inlays, I always use a D4 white PVA and ensure gaps are practically non existent. The D4 I use is thinner than my usual D3 brand which helps a bit (I use the stuff rebottled by Rutlands or the equivalent Everbuild D4).

 

[johnnyb]

I like titebond 3 because it's thin. I find pva a bit thick. it also is a bit brown but the quality of the joint matters most.

 

[Reffc]

I have TB3 (which is just a Yellow PVA D4 class glue) but it sets too brown. D4 white PVA is as strong imho and sets clear but is also similar consistency.

 

[profchris]

Hot hide glue, but I come from the luthiery camp so ...

For a small joint, kitchen gelatine crystals (ultra refined hot hide glue) give a super-clear glue, but it gels in seconds so won't work to joint boards.

 

[sawtooth-9]

I like a glue line that is almost invisible.
That means good joint preparation.
Every time I sand a new timber I collect the dust - then mix this with an epoxy glue.
Gives a very strong joint and "blends" with the parent wood.
I have saved several jars of ebony dust so I can adjust the depth of colour. It's just like mixing paints to get the desired shade

 

[Citracal]

If this question relates to making a wider panel from narrower boards I think it's less to do with adhesive type choice and significantly more to do with good edge preparation and firm clamping pressure to close the gap, plus being able where you can, to create an 'ideal' or seamless grain match at the joint line. The latter option is relatively rare there usually being something in the grain pattern to give away the position of the joint line.

If you're talking about shoulder lines such as those where tenon shoulders meet the morticed member's face, again, I think the adhesive is generally less important than the match at the shoulder line.

Apart from my comments above, in my opinion white PVA or an aliphatic resin type would be a good choice. Slainte.

What he said.

 

[recipio]

For some reason I get an invisible joint straight off the tablesaw - much better than using a plane. After that it's a question of nipping up with sash clamps. The joint line should be invisible so the colour of the glue shouldn't matter. However Titebond 3 will dry to a caramel colour - wait for it to become ' rubbery ' before removing the excess.

 

[BillK]

I used pear for a guitar body once, with central laminations. Titebond original, all was good, no visible lines.
The pear looked pretty boring dry but showed patches of flame & more character when wetted, also seemed to bruise very easily, like any slight dink showed dark under a finish.