Inlay Arabesques. Lumix M4/3 14mm

The fun stuff is just starting!  This is the design for the inlayed Imbuia arabesques which will adorn the Olive-Ash-veneered door panel - here - of my Cape Dutch cabinet. 
Curved Imbuia inlay doesn't just grow on trees... well, strictly speaking, it does, but one has to give the desired shapes a little guidance.  So, a plank of Imbuia was marked out with a half circle a few millimetres wide.  The curves are sawn out with a fret saw, then they are faired to the marked lines with files and scraper.  Once there is enough stock for the project, the next part is to lay out the curves on the drawing, cut the mitres with a chisel where they intersect, and then glue everything together.  Once all the patterns are assembled, everything is trimmed at the joints, final adjustments for uniform width are made, and then the arabesque is taped down to the burl panel at the spot where it will be inlayed.  This is the scariest part: taking a sharp knife and scribing around the arabesque into the burl.  The arabeque is then removed, and a razor sharp chisel is moved along the scribe line, punching through the veneer.  The material where the arabesque will be, is hollowed out to a uniform depth, and, if all has gone to plan, the arabesque will fit perfectly into the hollow created for it.  When the glue has dried, the inlay is scraped flush with the surface of the burl, and the tree looks like it grew that way.
As a side note, the clutch pencil in the photograph is a recent acquisition.  I bought one just like it in 1983, a Koh-i-Noor made in Italy, which is still in everyday use.  I was astonished to find that they are still made, and are unchanged in almost 40 years.  How often does that happen?