David C":1xfpjb5n said:
xy,
When examining fine work, I like to look at the fit of the shoulder lines on the inner surfaces of a dovetailed corner.
A 0.1mm or 4 thou" gap is quite apparent to the eye. This is about the thickness of a good quality piece of writing paper.
No matter what the application, it has always been accepted practice to keep the bevel of the knife, to the waste side of the line wherever possible. If we think of marking out grooves for inlay lines, two cutting gauges with the bevels of their knives set in opposite directions will give a crisper result.
best wishes,
David Charlesworth
David, I don't disagree that under the circumstances you describe such a gap or shadowline would be visible. We could talk long about the reason for its existance, whether it be inaccuracies in marking up, sloppy workmanship, work being done to an acceptable standard at the time or a result of timber shrinkage over time. No-one, who was not there, can know the right answer. If that test is used to judge the 'fineness'' of a piece of work then so be it.
I agree entirely about the use of the knife, indeed I stated that I had been taught to use a knife mark across the grain, this eliminates tearing and also provides guidance for the chisel if such is required.
If marking out grooves for inlay lines, I would regard this in the same category as trimming veneers and use a cutting gauge to achieve a deeper mark, a cut in fact.
For the vast majority of my work a scratching marking gauge gives me acceptable results, perhaps my standards are not the highest.
Thanks for your interest,
xy
Ed, Thanks for clearing up the use of your gauge in terms of the direction of stroke. I feel I would be in personal danger using a gauge like that, but I have a leaning to try one. I have a spare stock.
I wholeheartedly agree:- "I know we all strive for accuracy /perfection but this is furniture not space rockets. "
I read your reference to Joel Moskowicz's blog with interest. I shall be trying to keep track of that.
Thanks again,
xy