|Project by vipond33||posted 304 days ago||2141 views||24 times favorited||47 comments|
This is my last project at the end of one full year here, a simple one but one of my best.
Sometimes the last 5 percent of a project takes half your time to finish, sometimes you can’t remember where it began. This is a little of both.
After all the smaller things I’ve made recently, this is something more substantive though again quite belated. It being a cabinet to house my photography equipment. Open the doors, decide what you want for the day and go.
It is full frame and panel throughout, with quarter sawn bubinga trim taken from a single 8/4 board, wrapped around eastern white pine solid raised panels. Brusso hinges and threaded brass shelf pins. 28 dowels hold the sides and solid bubinga caps it with pine trim. Doors are shallow tongue and groove, shelves are a banded lay-up.
It’s a little hard to see but all solids are pattern matched too, side to side and top to bottom. Quite useless to the causal view. I guess we do it for ourselves.
The proportions are exact, 2 to 1 and 1 to 1.618. Thought I’d try using and combining some of the so called perfect proportions and see how it looked.
The pine is very heavily mineral streaked and was laid up from a small bundle about 22 years ago. I had only one spectacular board so I sawed very heavy slices from it and bonded them on to the lesser ones. (This is very evident from the interior shots.) I forgot about it and dreamed and forgot again and again for a couple more decades. Then I attacked it in a fury.
And then, then, the box languished on the bench for 6 weeks while I fooled around with handles. I’ve got a pretty good idea where a cabinet’s going in the build but when it comes time to figure out how to open doors or drawers I’m often paralyzed. What handles or pulls, where are they placed and what are they made of? I’m sure this is a common ailment and please write if you’ve found a good way to manoeuvre here.
After making shaped pieces in both pine and bubinga and photographing them placed dry in every imaginable position, I knew they were simply wrong.
I could have gone on trying different shapes in wood but finally, I got it. Wanting above all to leave the door faces undisturbed I cut small blanks from brass bar stock, machined a 2mm very sharp groove top and bottom for your fingers to grip and let them into the bottom edges.
The interior loose box was made with off cuts of the pine and stores the myriad batteries, cables, filters and small fittings that seem to collect. Drawers are mitred Baltic ply with extended masonite bottoms, covered in split leather, riding in saw kerfs. Really low mileage and weight when you think about it so no concerns about wear. Polished masonite is a fine little runner for small things.
I made a really stupid mistake adding fresh clear pine for the cabinet back and shelves without colouring it first (I ran out of wood). I know in time it will age and be fine and the gear will hide it for the most part but it’s glaringly wrong. That paneled back is simply tight fitted and screwed on, with it also being recessed to allow for a thin french cleat hanging rail.
Because of the raised panel side construction with rebated narrow stiles, shelf pin holes had to be pretty much at the extremes of the cabinet depth. Routing capturing eyebrows in the shelves will give piece of mind if you ever run into this.
Woodworking equipment is a lot like photography equipment as anyone in the know will tell you, You start off making mistakes, some big, then you get better and want and need better gear. You’re hooked. You buy good stuff, bad stuff, and stuff that might be good but mostly sits on the shelf. You get much better at what you’re doing and buy the ‘final’ stuff that will last you for many contented years. Then, in photography just like in woodcraft, the most comfortable and accurate of tools help smooth your daily endeavors.
Strangely enough though, I had to do several sessions of photography with different lighting before I could get the colours to come out even close to right. Even in Photoshop it eluded me. Wood is weird.
The title comes from a phenomena I have only seen twice in my life. It is late evening, the last half hour of the day. It is raining very, very, very hard with thick black clouds overhead and all is midnight dark around you. Then you turn and lift your eyes and off in the far west you see a small ellipse of bright blue sky appear on the horizon, sunny clouds and a light that simply pierces through the rain right up to your feet. Lift your eyes again and you see brightness and darkness together, all with no break. That is what I saw figured in the pine.
An alternate title for this work was the Convent at Dusk, because there in the streaked pine is one single drop of red grain, like a tear.
Finish is two coats of Minwax Tung oil (wiping varnish) for depth and clarity, followed by four applications of Tried and True oil with varnish. Goddard’s wax
About 58 hrs. of foolin around.
Build on LJ’s.
lock and load
-- firstname.lastname@example.org : dovetail free since '53, critiques always welcome.