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Hosam
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I stayed away from the actual lines where the channels need to be routed. This is my first time to use a router (actually a Dremel tool with a routing
attachment), I needed to get the feel of it. Maybe I will need to get a true router.
I will have to redo this on the actual lines. Here is a photo when the ribs are collapsed together
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Jameel
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This is intriguing, Hosam. Is your super-rib still attached at the middle? Can you post some more detailed shots of the area where the rabbet tapers
off? How are you making this transition? Try to get some brighter lighting so you dont have to use the strobe. That hot spot is killing the shot. Have
you thought about how you are going to do the geometric and vine inlay on the bowl yet?
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Hosam
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Yes, Jameel the super-rib is still attached at the widest part for about 2 inches. I will try to take better pictures without using the strobe. The
smaller ribs are separated by the width of the saw I used to do the partial cut. I will still need to do final adjustment for each rib side after the
final bending on the mould/spreader so the ribs will fit together. I will use a fine sanding paper and a very small drill bit that I got from my
dentist if the sanding does not do the trick.
Some of the ribs did springback about 10 mm at both ends. I will need to redo them again and keep them in the bending form for few days.
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Hosam
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I had a misfortunate accident for my left hand. The accident happened while I was not working on the oud. But, this is a reminder for all of us to
follow and take all safety precautions when working with both power tools and hand tools. I am looking at a possible hand surgery to reconnect damaged
nerves. So, I am not really sure when I will be able to resume working on this project. If I am lucky enough I will just have to wait until my hand is
healed. Maybe I will find something I can do using just my right hand (drawing inlay preparation, pattern for shams).
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Jameel
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That's terrible news Hosam. What an unfortunate incident. I hope it's not too bad. Let us know how it ends up. What did the damage? Table saw?
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mavrothis
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Hosam,
I'm very sorry about your injury. I hope everything goes well with the surgery so you can heal quickly and get back to building (and playing).
Take care,
mavrothis
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Peyman
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Sorry to hear about this. Hope you get well soon.
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Mike
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Hosam,
Wishing you all the best and a quick recovery.
Best,
Mike
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Hosam
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Thanks to everyone, you are all very kind. The accident was caused by a basement window that was suddenly shattered under the pressure of water due to
the resent rain we had here in northern Virginia. I just happened to be at the wrong place at the wrong time.
I would like to get your thoughts/ideas about the best way to transfer the inlay patterns for the vine and the bird on the back as well as the shams
design and calligraphy to a drawing paper. All I have is the photo below. I would also like to get your thoughts about the size for the shams, it seem
to be larger than any regular shams on other ouds.
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Jameel
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Hosam,
Here is a better version of that shamsa. If you have a tracing program, that should make you a nice drawing. I'd give you a copy, but I have yet to
make a vector drawing of this one.
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Jameel
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That sounds actually much better than a table saw injury, since I assume the glass made a clean cut. I once had my left thumb pulled into a spinning
2.5" Forstner bit, it cut through clear through the flesh into the nail bed, and then popped out the side. I still have some numbness, and the thing
looks like it went through a meat grinder.
Ok, back to your question. I'm still trying to get better pics of the back of this oud. I think you'll have to try to sketch that pattern by hand as
close as you can. There are parts of the back that I've never seen, so you'll have to just interpolate.
I spent some time last year disecting the geometric pattern that's found throughout the instrument, and I think I have a pretty good grasp on how it
was done. Actually making the pieces is another matter, and I'm still trying to figure that out. The base square is built outward from a octagon. The
four corners are the confusing parts. They are all the same shape, but each one is rotated 90 degrees from the previous one. See the pic. At the top
is the base square. You can also see the base square inlaid as it's own element (with more of the corner pieces) in bone in the bottom photo. I have
more to say about this later.....
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Jameel
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Here is a section of the back strip inlay. There are different clever ways to arrange the base square to achieve different patterns. Here the square
is arranged around a central octagon.
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Jameel
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Here is a view of how I assembled the base squares to get the pattern. The yellow outline shows what part of the pattern makes up the inlay on the
back of the oud.
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Jameel
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And finally the arrangement of the base squares to make up the face inlays.
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Hosam
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Jameel, this is a much better way than the one I came up with. 
I was not really sure if the small triangles in the pattern are true triangles or they have a slight curve. Any way, I went with the slight curve
version. I used a long wallnut dowel and a very long strip of bass wood with a very small square cross section to test the pattern. I made two
triangle channels on each side of the dowel and glued the bass square strip to on of them. I sliced the dowel with the glued strip into smaller
cylendrical sections that will be inserted and arranged in a pattern into a pre drilled piece of wood that will be later sliced and used as the final
inlay. I will try to take some shots for my incompleted test inlay.
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Jameel
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Well, I just did mine with the computer. I haven't actually cut wood yet! I'd love to see what you came up with. Please do post some pics when you get
a chance.
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Hosam
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I will Jameel, On your previous post I am sorry to hear about your injury. I have created a thread for safety tips and tools here http://www.mikeouds.com/messageboard/viewthread.php?tid=3988&pa...
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Hosam
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Here is the shots, it is not properly arranged but you get the idea.
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Jameel
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Nice, Hosam. So you're doing a negative version of the inlay? Or are these just test pieces? Of course there's the issue of whether or not the
original is made up of so the show face is end grain or face grain. It's something I've tried to figure out, and I've consulted some expert
woodworkers and marqueteers in the process. They were stumped. It quite difficult to tell, but due to some of the chatoyance and end-grain-type
markings, I'm still stumped! Of course I'm only talking about the light wood. It wouldn't really matter if the dark wood was end grain, in fact, I
would choose end grain. Check the arrows in the photo. The top arrows point to areas that show stripes that are typical to end grain like maple,
granted, very dense, tight growth-ring maple, but it still looks like end grain, even lacking typical face grain chatoyance and luster. Now look at
the bottom arrow, pointing to an area that shows none of the stripes typical of end grain, rather showing chatoyance and luster, even a bit of
quartersawn ray-fleck that's common in maple. I know it's a small scale, but the difference is quite visible. Of course, making long sticks of short
grain would be quite the challenge. Heck it's even a challenge to make it with long grain! I admire your ambition and look forward to more of your
progress.
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Hosam
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These are just test pieces. I will use maple for the light wood, for the dark wood I will use either walnut or basswood that I will have to stain to
look like walnut. Basswood is very good to work with in small scale.
Could it be that Nahat used both end grain and face grain for some reason? I can clearly see the end grain also at the back of the neck inlay.
Maybe the answer will be in looking at other ouds made by Abdo Nahat around the same time period? Detailed inlay photos, anyone?
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oudipoet
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hi hosam hoare u doing? we haven t heard from u in a long time i was just wondering how is your project going? please let us know if u have more new
picts please share with us.
thanks.
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Hosam
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Hello oudipoet and everyone, I am ready to resume this project after the mandatory stop after my hand surgery.
I used this time to upgrade my work area from a small corner desk with very basic tools to a complete home workshop. I am expecting my router table to
be delivered next week, which was the last entry in my list of workshop tools. I also did an enormous amount of reading in general wood working,
instrument making and Islamic patterns and architect.
Stay tuned!
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Hosam
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Finally! resuming working back in this project. I will pick up where I left with the inlay. After looking at few books and extended staring at the
octagonal inlay pattern I found out that the pattern is based on large octagons touching at the edges and having a four pointed star in the gap
between them. The whole pattern is repeated in a square grid. The large octagon and the four pointed star are made up from a smaller patterns inside
each of them. I have outlined the large octagon with white line and the whole pattern square grid with yellow line.
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Hosam
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After another round of staring session at that pattern! This is what I came up with: the whole pattern can be made from the two basic shapes shown
here and outlined in yellow.
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Hosam
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Cutting the inlay strips.
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