Working with Veneer
Many people think the same way about veneered furniture. Even some folks that make furniture professionally think of veneer as just a way to cover something cheap with something expensive-looking, often covering shoddy work and technique in the bargain. Shuddering at the mere thought, they say "Veneer? I never touch the stuff! I only use solid wood!" Their tone of moral rectitude is clear.
Solid wood, of course, is a wonderful material for furniture, and we've got museums full of it to prove the point. You can shape it and carve it and texture it, and when your kid sticks a fork into it you can repair that surface, often many times over. A well-made piece of furniture which is built from solid wood will last many generations over; of course, a poorly made piece built of solid wood will end up in the dumpster just as fast as anything you buy at Ikea. Here's an example of the good stuff:
People who know good furniture, though, know that some of the most beautiful furniture ever made was veneered; our museums are full of that stuff, too. There are some things you can do with veneer that you just can't do with solid wood. Take these panels from a set of passage doors we just made: this is a parquetry pattern called "Louis Cubes", so-called because it was used in French furniture during the reign of Louis Quatorze. The pattern is built with diamonds of anigre, mahogany, and padauk, and shifts as you stare at it.
Or if you look at the first photo in this post, the swirling wood pattern that spreads uninterrupted across 14 drawer faces and two doors would be impossible to replicate in solid wood. Or consider this desk we made a few years ago; the checkerboard pattern on the drawer and chair back were only possible with veneer, and it made the circular drawer case and chair sides a heck of a lot easier to build in a way that will withstand seasonal humidity variations:
Another reason I really like to use veneers is that an entire table-top can match perfectly from one end to the other -- the color, the figure, everything. Here's an example of a figured cherry dining table that matches the entire length, even when all the leaves are in -- and then it's ten feet long:
Or if you wasted a few minutes and read my last post, you'll know that I used a very rare wood to build that sideboard; building it out of solid stock would have been, in my opinion, extraordinarily wasteful. I could also carefully control the look of the piece by selecting quartersawn veneer, and know the entire piece was going to look the same from nose to tail.
So why don't we just build everything out of veneer? Well, there are many pieces where solid wood just makes more sense, either structurally or aesthetically. And just as there are some things that solid wood can't do, there are many things that veneer can't do: it can't be carved or shaped, for instance. And I've done enough antique restoration in the past 32 years to know that the glue that hold all that veneer on can sometimes fail (although that's mostly due to bad construction), and then you've got a lot of little pieces of really thin wood floating around in your sock drawer waiting to be stuck back on your dresser. And last, to really lower the tone of this post, there's the question of filthy lucre: for small shops, using veneer is more expensive than using solid wood because there's so much more labor involved. Unless you're using pink ivorywood (very rare, indeed), it's less expensive to build in solid wood than to use good veneer work. A friend of mine likes to say that every time he turns on his vacuum veneer press, it sucks all the money right out of his pocket.
The moral of this story? There's a time to use solid wood, and there's a time to use veneer. And veneer can be pretty good stuff indeed if you know the work of the person building your dresser.