I’ve applied glue to the exterior kumiko frame and to the exterior Cherry frame and clamped it up. I used gentle clamping pressure, just enough to bring everything together. In past experience with gluing mitered frames, my 45 degree angles were never quite right so I compensated with increased clamping pressure. This invariably resulted in frustration. With these corners my accuracy was significantly better, i.e. less need for strong clamping and less colorful metaphors. I also used four of the small clamps to assist in setting the kumiko frame adjacent to the exterior frame.
As you can see from the following image, there are some gaps. I’m not as bothered by them as I would normally be-this piece leaves plenty of room for error. The biggest gap/error is about 1/16″ – 1/32″. Were this a piece for anyone but myself, it wouldn’t be acceptable. None-the-less in learning how to build this transom, I’ve accepted that parts of it would not be perfect. The main challenge has instead been understanding how the myriad pieces relate to one another and assemble to create the whole.
And now that the kumiko and frame have been assembled, I added the diagonal pieces of the three asanoha patterns. This is probably my favorite part of the process. For these 12 pieces I had to create the 45 degree angles on each end and then plane my way up to get a precise fit. It takes patience but gets a little quicker with practice.