Every object is not just a shape or form. When a craftsman creates it, a definite design is worked out through basically organic or geometrical shapes. When the designs are repeated on a surface, a whole rhythmical composition emerges. A rhythm is worked out by relating the size of the motif to the surface by alternating positive and negative space or varying the size of the motifs. Design can be two- or three-dimensional, projected through texture, color, and the variations throughout created by the interplay of light and shade in an object. Man has always tried to accentuate certain basic qualities of materials through further ornamentation. These methods could be painting, carving, lacquering, planting, glazing, inlaying, etc.

This study examines a few examples of inlay craft from the past, their analysis for motifs and materials used, the origins of this craft in India, the types of inlay that were used, and specifically inlay on wood. Inlay work is very pleasing to the eye and can afford a good deal of aesthetic pleasure. This craft has been attempted on a variety of materials, including marble, metal, and wood, with inlay materials such as mother of pearl and coloured stones on marble, tortoise shell and sea shells, animal bones, gold and silver on metal, ivory, plastic, natural-colored wood, and so on.

It is interesting to understand this process of inlay and try to formulate a rule that will direct us to apply this technique to materials that have not been tried so far. Another important aspect is that in the present world of imitation, craft is losing its importance, which is not a positive sign. So it is important to develop this craft and find an application in the utility area that can be easily mass produced.