This was the first resolved prototype using levitation, in this case the glass bottom also acts as the drawer pull via the hole bored in the front. Flat magnets were glued onto each corner of the glass, opposing the magnets fixed to the drawer sides below. This arrangement gives the bottom a very springy, playful quality that's difficult to describe. Every object placed or removed gives feedback that you can hear, see and feel.
I wanted to incorporate this idea into something a bit more refined so I decided to make a small veneered box, simple in design with clean minimal lines. The box proper to be made from English Yew, laid with Macassar Ebony.
And so it begins! Thicknessing the sides by hand - far more accurate than machine for short thin stock like this. I should probably mention this post won't be an exhaustive how-to, just a few processes showing some work that goes into making an aparently simple object.
The substrate dovetailed, glued and the first of the veneer layup in place. On veneered carcase work I would typically do some form of mitre joint on the corner, however in this instance I have decided on through dovetails for strength, i.e. the box has no fixed bottom thus zero corner bracing. Maybe its a bit overkill, I think on the next run straight mitres with veneer keys will do just fine.
This is my method for gluing on box edge veneers. The prepared veneers are carefully positioned on a (dead) flat surface and fixed with a dab of hot melt glue, from there its a simple matter of applying glue to the faces, laying the box on top and clamping it down.
After all overhanging veneer/glue has been trimmed flush a mitre is carefully cut to final size on each corner. A mating piece is cut from a separate leaf to lay the remaining two edges using the same method.
Showing the lid's top face, which is veneered all over. I haven't shown that process because to be honest its pretty boring. However, the inlaid mother of pearl star is not! Held in position with a needle file, the outline is traced using a scalpel and waste subsequently removed using a ridiculously small chisel (at it's widest point the star measures 4mm...) before being glued into place.
Gluing up thin stock. Having never seen this method documented anywhere before maybe its worth sharing. The two pieces to be jointed are shot in perfectly and masking taped in position, but not in the usual manor - you have to stretch the tape to its limit before sticking it down, as the tape tries to shrink back it creates tension pulling the stock into a shallow V shape.
Turn it over and run a narrow bead of glue down the newly created gap.
When you fold the two back into a flat surface the tape will snap the edges tightly together, expelling excess glue, wipe this away and cover the joint line with a spare shaving to keep glue from getting on your weight, here I'm using a bench plane. Simple but very effective.
This is the stock after it's been thicknessed to 1mm and glued to a piece of pre dimensioned glass. Viewed from above all you see is timber, yet when handled feels incredibly rigid in comparison to the thickness. As a maker I handle wood every day, I guess thats why it feels so unnatural: your eyes are telling you one thing but your hands another.
A great many hours sanding later and its ready for its first coat. ahhhh! The finish is 80% sheen Pre-Cat lacquer followed by a coat of paste wax. If used correctly these aerosols can create an identical finish to a properly set gun.
The completed piece, note the veneer layup allowing the wide pale band to match at every corner.
The tiny star on the lid sets it off perfectly, any larger would make it visually overpowering.
Macassar Ebony really is a beautiful timber. The yew interior is finished with a blended wax-oil, this gives it a subtle satin sheen, balancing the exterior.
Fun isn't it?
