FishFry Decorative Inlay Kit EZInlays

FishFry Decorative Inlay Kit

$75
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Dimensions:

5-1/2" Tall, 6" Wide

Instructions to build the Decorative Inlay Kit FishFry

FishFry
Instructions

This Build

Image of FishFry Inlay shown in these instructions

Prototype Build

Image of the first FishFry decorative inlay built

Glitter Build

Glitter and epoxy used in this FishFry build.

What's Included in the Kit

For $75 you'll receive a decorative inlay kit FishFry, 7 templates. Each template builds another layer of the image designed to honor the Rainbow Trout of Yellowstone Lake. It takes about five hours to create your design.

By following simple and repetitive router based inlay techniques you're guaranteed to build an inlay that looks like something only the highest skilled craftspersons could make.

Best of all you don't need to be a master crafts-person to build this inlay. All you need is some wood and a few basic tools. Click here review the Router Based Inlay Tool List.

Never built an inlay before? Click here to Learn How To Build Any Wood Inlay.

Watch FishFry Being Built

Click twice to play

How It Works

Building an image in wood has never been easier thanks to an existing woodworking technique called Router Based Inlays. When equipped with a brass inlay kit, a plunge router acts like a hand-held CNC machine.

In this video we show how our decorative inlay kits do their magic and how templates provided by EZInlays makes it possible for you to create amazing works of art.

Select and Prepare the Inlay Materials

This is one of the best inlays to select inlay material for... IMHO of course!

I find it fun to search for that perfect grain pattern and color combination to fit in the perfect spot. Here you'll be injecting your personality into the design so take your time and have fun with it. The best tip I can give you is to consider how your fish would look in nature while you select materials for your creation.

You want the base material, the material FishFry will be inlaid, to be at least 3/8 of an inch thick, much thinner than that and chances are your inlay will warp!

INLAY MATERIALS THIS BUILD

    * Old Growth Redwood 7" x 8" x 5/8" - Base material (the lid)
    * Olive Wood 6" x 3" x 1/8" - Face, Fins, and Tail
    * Walnut 7" x 3" x 1/8" - Back, two pieces
    * Figured Maple 7" x 3" x 1/8" - Underside, two pieces
    * Purple Heart 6" x 3" x 1/8" - Stripe, two pieces
    * Red Heart 3" x 3" x 1/8" - Mouth and Eye

GENERAL GUIDELNES

The main thing you want to pay attention when selecting the material for any type of decorative inlay is contrast. There are two type of contrast to keep in mind, color and grain pattern / direction.

It's possible to get decent contrast from two similarly colored woods as long as there is a sharp contrast in grain patterns and direction. Without this contrast your inlay will not look it's best!

Low Contrast Inlays

Picture of inlay with high contrast eyes and ears

High Contrast Inlays

The biggest problem with the low contrast inlay is the dark streaks in the Goncalo Alves didn't provide enough contrast with the Walnut back of FishFry. The effect I was going for was the fish was about to take the bait. I like how that effect turned out, but to much of the rest of the fish is lost in the background.

The high contrast inlay I thought turned out pretty good. The only thing I'd change on this build is the eye. A black wood would have made this design really pop! I like the effect Lacewood provides for the face, tail and fins.

Cutting an Inlay Procedures

Configure your router by taking the BUSHING OFF and setting depth of plunge to cut all the way through the inlay material.

Align and, using double sided tape, affix the template to the inlay material.

Use quick release clamps to secure the inlay assembly to the workbench

Position the router inside the cutout shape, turn it on, and plunge it into the inlay material. Carefully guide the router around the perimeter of the shape keeping the bearing in constant contact with the template wall. After the pass is complete turn the router off, un-plunge it, and set it aside.

Ensure you cut all the way through the inlay material. If not readjust the depth of plunge and make another pass.

Carefully remove the template and the inlay from the backing material.

Click here review how to Cut Inlays.

Layer 1 Pieces 1, 2, and 3

Layer 1 Inlays

Layer 1 makes three of the inlays used as fins. I prefer to cut the head, tail and fins from the same material, but that is your choice! The picture of the Low Contrast Inlay (above) shows what the design looks like when one material was used for the fins and another for the head and tail.

For these pieces it's recommended the grain direction flow away from the body. Sometimes you can place the template and cut all three inlays at once, sometimes you have to reposition it each time to get just the right piece.

For this build I chose to cut out all three inlays at once. I should have just cut pieces 1 and 2, then repositioned the template and cut the third piece. The grain pattern on the fin under the belly flows with the fish body instead of away from it like all the other fins.

Layer 2 Piece 1

Layer 2 Piece 2

Layer 2 Inlays

With this template you'll cut the tail and the main portion of the fishes under belly.

For the tail I recommend the grain pattern flow away from the body. The best example I have is on the Glitter Build FishFry picture (above). The grain pattern on that tail came from Canary-wood and turned out perfect!!!

Look for a pronounced grain pattern that flows away from the body and, if possible, follows the shape of the tail fin itself. I've had good luck with Lacewood because it has a consistent honeycomb type of pattern that repeats.

For the belly I like a light colored wood with minimal grain pattern. For this build I chose a maple that had a light grain pattern but a pronounced figured water-board effect. I was pleased with how the Glitter Build FishFry turned out with it's Yellow Heart belly.

Make sure the grain pattern flows from left to right and somewhat follows the shape of the body. If you have a grain patten that arcs downwards towards the back curve your inlay won't look natural. It's better to find a grain pattern that flows up with the body of the fish than against it.

Layer 3 Piece 1

Layer 3 Piece 2

Layer 3 Inlays

With this template you'll cut the back stripe and the fishes mouth.

When selecting Layer 3 Piece 1, the back stripe, keep in mind it will be the inlay in the middle of the belly and back. Contrast is everything with these three pieces!

For this build I selected Purple Heart for the stripe. Most of my builds use Purple Heart because the Cut Throat Trout also has a purple stripe in it! The main thing to look for is contrast between the back and belly. Make sure the grain pattern flows from left to right too.

Layer 3 Piece 2 is the mouth of the fish. I almost always use Red Heart for the mouth. At first I played around with Padauk but it browned over time and the effect was lost. I have used epoxy and glitter for the mouth a few times with good results.

I've always use a left to right grain direction for the mouth. Main thing to remember is, once again, contrast with the belly and this time the face.

Layer 4 Piece 1

Layer 4 Piece 2

Layer 4 Inlays

This template is used to cut the front stripe and the rear under belly for the fish.

L4P1 is the rear portion of the fishes under belly Try to match this piece of wood with the wood used for the main belly L2P2. What I like to do is to select an area of wood where I can cut both the belly pieces so it looks like the grain patterns flow together.

Take a close look at the L4P1 picture and you'll see where the L2P2 inlay was cut. There was a little bend in the grain pattern in that area of the wood so the two belly pieces blended together well.

My recommendation, when selecting the two pieces that will be used for the belly, is to think of them as one inlay. That way when you select the individual pieces they will flow with each other.

The front stripe, L4P2, needs to match the same color and grain pattern that was used for the back stripe L3P1. Once again think of these two pieces as one continuous inlay just made up of two parts. :)

These inlays, much like the fins, are accent pieces. They need to flow together and mimic nature as much as possible. While these pieces are important they really can't "make" the inlay, but they can ruin it if done wrong. You don't want to draw the eye away from the focal points of the face and overall outline by something a little weird in one of the accent pieces.

Layer 5 Piece 1

Layer 5 Inlay

This template is used to cut the main back piece of the fish. This is a focal point piece so take time and select a cool looking piece of wood for this inlay!

This inlay works with the L6P1 inlay to create the fishes back. So once again, do your best to match up the grain patterns and directions with the two pieces.

In nature most fish backs are dark while the belly is a lighter color, so I'd recommend a dark colored wood for the back. Also a left to right grain pattern looks best.

For this build I chose a figured Walnut the had a little wave in the grain pattern. I really like how the grain pattern flows up and around the face and then rises towards the back of the piece.

Layer 6 Piece 1

Layer 6 Piece 2

Layer 6 Inlays

This template is used to cut the rest of fishes back and its face.

L6P1 is a continuation of the L5P1 piece. Focus on the grain patterns and make sure they look like there is continuity between the pieces.

You run into problems when you have the grain pattern on one piece going vertical while it's horizontal on the other. Unless you're building a fish for a Steven King novel make the grain patterns flow! :)

L6P2 is the fishes face, it looks best when made from the same material as the tail and fins. Select a grain pattern that makes sense for your fish.

The material used for this build was a bad choice because it's to busy. This build needed less grain pattern variations in the face, not more!

The Glitter Build has a great face. Notice how the grain pattern flows in an arc representing gills while still flowing with the shape of the body.

The High and Low Contrast pictures are also examples of good grain selection. The Cedar lined up well with the Wenge used for the fishes back. And the non-pattern pattern of the Lacewood works well as a face.

Layer 7 Pieces 1 and 2

Layer 7 Inlays

Fins... Fins... Two more fins! These are the last of the inlays to be cut from the same material as the fins from Layer 1.

The grain pattern on the front fin, L7P2, should flow from the upper left hand corner of the fin to the lower right hand corner of the fin.

The grain pattern in the top fin, L7P1, needs to flow from the lower left hand corner of the fin to the upper right hand corner of the fin. The best example of a grain pattern that suits this fin is on the Glitter Build FishFry.

Most of the time you have to cut out one fin, reposition the template, and then cut out the other fin to get the desired effect.

Cutting Voids And Assembly

Configure your router by putting the BUSHING ON and setting depth of plunge to cut a void as deep as the inlay material without cutting all the way through the base material.

Use the circular alignment marks to align the template to the base material, then use double sided tape to affix the template in place. Use quick release clamps to secure the assembly to the workbench.

Position the router inside the shape, turn it on, and plunge it down. Guide the router around the perimeter of the shape and then move it back and forth to remove the material. After the majority of the material is removed turn the router off, un-plunge it, and set it aside. Clean out the debris then make another pass to get clean edges for the inlay to fit into and to remove any remaining knobbies.

Carefully remove the template from the base material.

Pre-fit the inlay into it's void and sand to fit if necessary. Once the fit is satisfactory smear glue on the bottom of the inlay and in the void. Place the inlay in it's void and use a soft mallet to tap the inlay until it's fully seated.

Click here review how to Cut Voids and Assemble the Inlays.

Layer 1 Voids

Layer 1 Assembled

Layer 1 Voids

Layer 2 best reflects FishFrys overall shape so use that template to decide where you're going to build the inlay. After positioning the template, trace the two circular alignment marks and the outline of the template on the base material. You can review the alignment procedures here.

Using the registration marks, not the template outline, position and secure the Layer 1 template to the base material with double sided tape. Route the voids for the three fins using the Cutting a Void procedure. DO NOT ROUTE THE ALIGNMENT MARKS!!!

After the voids have been routed, use a paint scraper to gently pry the template off the base material. When finished the voids should look similar to the Layer 1 Voids picture.

Assemble the three inlay pieces into their respective void. When finished the inlay should look similar to the Layer 1 Assembled picture. The picture shows the base material has been prepared for the next layer. The outlines provide a visual indication of where to place the double sided tape.

After the pieces are assembled let the glue dry for fifteen to twenty minutes. The drying time isn't required, just a recommendation. The voids routed on Layer 2 removes a fair amount of material in and around the lower fin. Letting the glue dry will prevent movement of the already inlaid piece.

Layer 2 Voids

Layer 2 Assembled

Layer 2 Voids

For this layer you'll cut the fishes belly and tail. After this layer is assembled you'll start to get a good feel as to how the overall design will turn out too. :)

Using the registration marks, not the template outline, position and secure the Layer 2 template to the base material with double sided tape. Route the voids for the belly and tail using the Cutting a Void procedure. DO NOT ROUTE THE ALIGNMENT MARKS!!!

When cutting voids make sure you pay attention to the depth of cut. If your inlay material has different thicknesses you'll have to reset the depth of plunge for each thicknesses.

After the voids have been routed, use a paint scraper to gently pry the template off the base material. When finished the voids should look similar to the Layer 2 Voids picture.

Assemble the inlay pieces into their respective void. When finished the inlay should look similar to the Layer 2 Assembled picture.

After the pieces are assembled let the glue dry for fifteen to twenty minutes. The drying time isn't required, just a recommendation. Letting the glue dry prevents movement of already inlaid pieces. While the glue dries prepare for the next layer by figuring out where to place the double sided tape.

Layer 3 Voids

Layer 3 Assembled

Layer 3 Voids

Now that the glue has dried it's time to add a couple of accent pieces to the design. For this layer you'll inlay the fishes mouth and the rear stripe.

Using the registration marks, not the template outline, position and secure the Layer 3 template to the base material with double sided tape. Route the voids using the Cutting a Void procedure. DO NOT ROUTE THE ALIGNMENT MARKS!!!

When cutting voids make sure you pay attention to the depth of cut. If your inlay material has different thicknesses you'll have to reset the depth of plunge for each thicknesses.

After the voids have been routed, use a paint scraper to gently pry the template off the base material. When finished the voids should look similar to the Layer 3 Voids picture.

Assemble the inlay pieces into their respective void. When finished the inlay should look similar to the Layer 3 Assembled picture.

In the Assembled picture, notice how the shapes from the Layer 4 template was used to determine where to place double sided tape.

After the pieces are assembled let the glue dry and prepare for the next layer.

From a process perspective... same old... same old... Still it's pretty cool watching your inlay come to life!

Layer 4 Voids

Layer 4 Assembled

Layer 4 Voids

Two additional accent piece will be added with this layer. Layer 4 adds the back half of the fishes belly as well as the main stripe.

Using the registration marks, not the template outline, position and secure the Layer 4 template to the base material using double sided tape. Route the voids for the belly and stripe using the Cutting a Void procedure. DO NOT ROUTE THE ALIGNMENT MARKS!!!

When cutting voids make sure you pay attention to the depth of cut. If your inlay material has different thicknesses you'll have to reset the depth of plunge for each thicknesses.

After the voids have been routed, use a paint scraper to gently pry the template off the base material. When finished the voids should look similar to the Layer 4 Voids picture.

Assemble the inlay pieces into their respective void. When finished the inlay should look similar to the Layer 4 Assembled picture.

After the pieces are assembled let the glue dry. Prepare for the next layer.

Now is when I start to get excited about the inlay because I know I'm about to add a main highlight piece to my design! The design is starting to show signs of life!

Layer 5 Void

Layer 5 Assembled

Layer 5 Void

Layer 5 adds the first highlight piece to the design, the fishes back!

Using the registration marks, not the template outline, position and secure the Layer 5 template to the base material using double sided tape. Route the void for the back using the Cutting a Void procedure. DO NOT ROUTE THE ALIGNMENT MARKS!!!

After the void has been routed, use a paint scraper and gently pry the template off the base material. When finished the void should look similar to the Layer 5 Void picture.

Assemble the inlay into its void. When finished the inlay should look similar to the Layer 5 Assembled picture.

This is a pretty big piece so let the glue dry for fifteen to twenty minutes while you prepare for the next layer..

Now you can see what your design will look like. If the face and back portion of the back inlays are already cut you can place them on the base material and see what the fish will look like!

Layer 6 Voids

Layer 6 Assembled

Layer 6 Voids

Layer 6 adds the back half of the fishes back and the face.

Using the registration marks, not the template outline, position and secure the Layer 6 template to the base material using double sided tape. Route the voids using the Cutting a Void procedure. DO NOT ROUTE THE ALIGNMENT MARKS!!!

After the voids have been routed, use a paint scraper to gently pry the template off the base material. When finished the voids should look similar to the Layer 6 Voids picture.

Assemble the inlays into their respective void. When finished the inlay should look similar to the Layer 6 Assembled picture.

Let the glue dry and prepare for the next layer.

Only one more layer to go and your design will be complete!!!!

Layer 7 Voids

Layer 7 Assembled

Layer 7 Voids

Last layer!!! Time to add the top fin, front fin, and eye.

Using the registration marks, not the template outline, position and secure the Layer 7 template to the base material using double sided tape. Route the voids using the Cutting a Void procedure. DO NOT ROUTE THE ALIGNMENT MARKS!!!

After the voids have been routed, use a paint scraper to gently pry the template off the base material. When finished the voids should look similar to the Layer 7 Voids picture.

Assemble the inlays into their respective void. When finished the inlay should look similar to the Layer 7 Assembled picture.

After the pieces are assembled let the glue dry for a few hours or overnight is better. Glue drying is critical now because the next step involves sanding and finishing the inlay.

After the glue is completely dry proceed to the final sanding and finishing procedure.

Final Sanding and Applying Finish

To fix any gaps in the inlay smear a small amount of glue into the gap, wipe off the excess glue, then sand over the area. The sanding action will cause sawdust to mix with the glue in the gap blurring it out.

After all the gaps have been filled sand the entire inlay until it's flat. This process is best done after the glue has completely dried!

Once sanded apply the finish of your choice. Personally I like to apply three coats of Tung Oil followed by three coats of a polyurethane finish that has a UV inhibitor in it. The UV protection will help keep the woods from changing color over time.

Click here for more information about Sanding and Finishing Tutorial.