Candlebox

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CANDLEBOX
Roseand Copyright ©2004
MAKING T
HE CANDLEBOX
This simple but attractive candlebox is distinguished by its
sliding top. The lid has beveled edges tapering so they can
slide in grooves cut into the inside faces of the box's sides
and one end. A carved, inset pull adds a decorative touch
as well as providing a means for easy sliding of the lid.
After the lumber is milled to the required thicknesses,
widths and lengths, cut grooves to receive the top and
bottom panels. Next, cut the through dovetails at each
corner (this procedure is discussed in chapter twenty-five).
Bevel the top and bottom panels and assemble the case
around the bottom panel, which is left unglued so that it
can expand and contract across its width in response to
seasonal changes in humidity. Complete construction by
fitting plugs into the openings left at each corner at the
ends of the grooves.
The open top of the candlebox lid reveals the grooves the lid
rides in.
HAND-PLANING THE BEVELS
FOR THE
CANDLEBOX LID
2
1
First, make layout
Plane the bevel
across the end
grain first so that
any tearout occur-
ring at the end of the
plane's stroke will be
removed when the
adjacent bevel is
formed. Although a
jack plane can be
used to make this
bevel, it may be nec-
essary to finish with
a block plane which,
with its lower cut-
ting angle, produces
a cleaner surface
across end grain.
lines to mark the
limits of the bevel.
Make one line around
the edges of the lid %"
from the lid's bottom
surface. Make a second
line on the lid's top 1
'A"
from the outside
edges. The bevel will
connect these two
lines.
SHAPING THE PULL
1
2 Placing the tip of
a flat chisel in the
scored line, cut
along that line, an-
gling toward the arc.
Using a wide-sweep
gouge, make cuts
from the arc back
toward the scored
line. Carefully lever
up chips.
With a marking
gauge or a sharp
knife, make a line
parallel to and 1"
from the unbeveled
end of the lid. Posi-
tion the stationary
leg of a compass on
that line halfway
across the width of
the lid. Draw an arc
with the compass's
pencil point.
Roseand Copyright ©2004
SIDE VIEW
1/2
Roseand Copyright ©2004
SHAPING THE PULL
(CONTINUED)
MATERIALS LIST
A Side
2
pcs.
1/2X7X14
B End
lpc.
1/2X7X8 1/2
C End
lpc.
1/2X6X8 1/2
D Bottom
lpc.
1/2X
8X131/2
E Top
lpc. 1/2X8X13 3/4
F Plug
6 pcs.
1/4 X3/8X1/4
,
shaved to
fit
*These are net measurements,
tailed parts to allow them to
Surplus should be added to dove-
be sanded flush.
Once the depression has been formed, you can give the pull a
smooth surface, or, as I've done here, you can give it a bit of
texture.
SAM MALOOF'S
TWO-ST
AGE FINISH
could be anywhere from ten to sixty minutes.
Wipe the surface with clean rags to remove any excess
that has failed to penetrate into the wood.
As the finish dries, it lifts wood fibers and hardens
them producing a rough texture. (This first coat acts as
a sanding sealer.) Again, depending on temperature and
relative humidity, this could take anywhere from one
to three days. In humid Ohio, I've found it best to wait
three days before sanding that first coat. Otherwise, areas
of raised, roughened grain may not make their appear-
ance until after the last coat has dried.
I use 320-grit wet/dry paper soaked in mineral spirits
to cut away the raised grain. The thinner clots the re-
moved material into a slurry which may help to smooth
the surface; however, my reason for dunking the paper
in mineral spirits is to unload the grit in order to get
more mileage out of each piece of sandpaper.
Once you have sanded and thoroughly cleaned the
surface with a tack rag, apply a second coat of the three-
part mixture. It is particularly important that this coat
(and any subsequent coats) be wiped clean. Any residue
remaining on the surface will dry there and leave a
roughened area.
Sam Maloof tops this finish with a layer or two of
boiled linseed oil into which he's mixed enough shaved
beeswax to achieve the consistency of cream. He applies
the wax, allows it to dry, then buffs it out. You can
achieve similar effects with a number of commercially
prepared waxes.
Fifteen years ago,
Fine
Woodworking
(issue no. 25) ran
a profile of Sam Maloof, the California woodworker
best known for his magnificent rocking chairs. Included
in the article was a sidebar in which Maloof discussed
several technical issues, closing with the recipe for his
finishing mix.
My dad—who designed and built several of the pieces
displayed in this book, including the crotch-grained
chess table—began experimenting with MalooFs finish
and found it wonderfully adapted to the small shop.
After years of spraying lacquer, a toxic experience inevita-
bly preceded by the emotionally toxic experience of
attempting to vacuum every particle of dust from every
shop surface, he found in Maloof's formula a finish that
not only produced a very appealing surface but also, just
as importantly, was impervious to dust contamination.
Preparation is no different for this finish than it would
be for any other. Scrape the wood, then sand it with a
variety of grits, finishing with a thorough sanding using
paper no coarser than 220-grit. Then wipe the wood
clean with a tack rag.
Maloof's recipe calls for equal parts mineral spirits,
boiled linseed oil, and polyurethane varnish (an extra
dollop of varnish seems to add body to the dried film).
Brush on this mixture liberally with only minimal
concern for drips and runs—coverage is the focus at this
stage. Allow the finish to set until it gets a bit tacky.
Depending on temperature and relative humidity, this
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3
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