Candlebox.pdf

CANDLEBOX

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

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

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.

SIDE VIEW

1/2

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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