"Art Box" Tutorial

Argyllshire said:

Intro

Updated 1/15/12

How to make an Art Box

by Andy Campbell

Safety

Be safe! Guards, etc…may not be visible in the pictures. This is written for woodworkers of all skill levels.
But, please keep in mind that this is not woodworking #101. I am writing this in a step by step manner that should be easy for a beginner to follow, but some basic understanding of tools and terminology is required.
I ask that the more advanced woodworkers be patient and not be offended. I don't wish to test your patience or appear to be condescending…just helpful to a mixed audience. I have my own way of doing things, but as a self taught woodworker, some of them are unconventional. I am not trying to teach you how to do things my way, but just showing you how I do things. Do each step in a way YOU are comfortable with.

Style
Definition of Art Box -A box with a medallion in the lid that resembles a picture in a frame. The body and lid may be shaped or not.
Let's take a look at a few styles, each with a slightly different lid and hinge set up. Note how the shaping varies on each one.
1) The first one hinges on brass pins allowing it to swing down into the box.

2) The main difference here is that the lid sets into a lip of the box body on only three sides. It uses barrel hinges so it does not drop into the box at the back.

3) This box is very different from the other two. It has a frame and panel style top, uses butt style hinges and does not set into a lip at all. The lid is sliced off the box after assembly. It uses butt style hinges. The shaping is very different and the bottom was raised up enough to allow cutouts to add a footed look.

The construction is very similar for all of these boxes, but at a certain point they head off into their own direction.

The Chapters will cover the following:
#1- Introduction
#2- Wood Selection
#3- Making the Box
#4- Corner Splines
#5- Cutting the Lip of the Box
#6- The Lid
#7- The Medallion
#8- The Handle
#9- It all Hinges on This
#10-The Pin Hinge
#11-Butt or Barrel Hinges
#12-Shaping
#13-Finishing
#14-Dividers

Andy

Click to expand...

Argyllshire said:

Wood selection

Updated 1/15/12

The "Art Box" concept came about when I was looking for a way to use small pieces of some figured Myrtlewood I had leftover, not large enough for a box, but not something I could not throw away either. I decided to feature it in the lid of a box, like a picture in a frame.
Keep that picture frame in mind when selecting the small piece for the medallion. You might select that picture piece first and then find a less figured wood to use for the lid and body, one that sets it off.

Consider

A) What YOU find appealing, which is totally subjective.
B) How you want to do the top, e.g., medallion or not, and type of hinges.
C) What material you either have on hand or have access to.
Here are two different approaches.
A) Contrasting the color or grain, or both between the body and the medallion is very eye catching.
B) Alternately, a tone on tone approach can evoke a calming effect, or in the right combination, it might even feel masculine.
Some suggestions
• A light colored wood such as maple for the sides and top and a figured piece of myrtle for the medallion is stunning.
• On the other hand, a darker body out of wenge works well with ziricote for the medallion.
• For a tone on tone effect, try using plain walnut for the body and figured walnut for the medallion.
Tip
To see how two woods look together, wet them with mineral spirits and lay one over the other, this brings out the color and does not raise the grain like water. Just lay one on the other to see if you like the effect.

Grain Matching
The body and top should to be out of the same board if at all possible so the color and grain match closely.
If you are using a figured wood and want the grain to appear to run contiguous from the face and up over the top, then you will need a wider board of about 11''. (That's how I did the Bad Moon secret box)
This isn't always necessary, as when using straight grained lumber, or when a lot of shaping is done, the shaping grinds away the top layer of matching grain anyway.
Parts

A. Body - For a contiguous look, matching the grain of the body with the top,
you will need a board about ¾ × 11×40.
B. Body - To grain match the body only, select a board about ¾ x 4 × 40
and a separate piece for the top about ¾ x 7 × 11
C.
Medallion- ¾ × 5×8
D.
Corner splines - I often rip these out of the same board as the medallion. You may wish to go for a stronger contrast. Play around and see what works best with your woods.

E. Handle - This will often come from the same board as the medallion or a scrap of wild figured wood.

F. Dividers - After I have completed the box, I work on the design for the dividers. I prefer to make a visual statement by matching them to the medallion or contrasting them with the body color.

Note.
There will not be a typical cut list for this box. You will cut parts for the body and size the bottom from that, and after you assemble the body, you will cut and fit the lid, and so on…
A sacrificial box
Depending on your skill level, and how clear my instructions are, I recommend making a second box out of an inexpensive wood, such as poplar or clear pine. This will give you a test subject for each set up. There are several steps where you may feel more comfortable practicing on wood that is less dear to you.
The first thing I do is mark out each part, showing its relationship to the others. This insures that each one gets cut in the proper sequence and is reassembled in order.

Note:
You may skip this part if you are using an even grained/colored wood or making a test box. However, it's a good idea to get in the habit of paying attention to grain orientation.
I will be using this piece of bubinga for the body and lid of my box.

Click to expand...

Argyllshire said:

Wood selection

Updated 1/15/12

The "Art Box" concept came about when I was looking for a way to use small pieces of some figured Myrtlewood I had leftover, not large enough for a box, but not something I could not throw away either. I decided to feature it in the lid of a box, like a picture in a frame.
Keep that picture frame in mind when selecting the small piece for the medallion. You might select that picture piece first and then find a less figured wood to use for the lid and body, one that sets it off.

Consider

A) What YOU find appealing, which is totally subjective.
B) How you want to do the top, e.g., medallion or not, and type of hinges.
C) What material you either have on hand or have access to.
Here are two different approaches.
A) Contrasting the color or grain, or both between the body and the medallion is very eye catching.
B) Alternately, a tone on tone approach can evoke a calming effect, or in the right combination, it might even feel masculine.
Some suggestions
• A light colored wood such as maple for the sides and top and a figured piece of myrtle for the medallion is stunning.
• On the other hand, a darker body out of wenge works well with ziricote for the medallion.
• For a tone on tone effect, try using plain walnut for the body and figured walnut for the medallion.
Tip
To see how two woods look together, wet them with mineral spirits and lay one over the other, this brings out the color and does not raise the grain like water. Just lay one on the other to see if you like the effect.

Grain Matching
The body and top should to be out of the same board if at all possible so the color and grain match closely.
If you are using a figured wood and want the grain to appear to run contiguous from the face and up over the top, then you will need a wider board of about 11''. (That's how I did the Bad Moon secret box)
This isn't always necessary, as when using straight grained lumber, or when a lot of shaping is done, the shaping grinds away the top layer of matching grain anyway.
Parts

A. Body - For a contiguous look, matching the grain of the body with the top,
you will need a board about ¾ × 11×40.
B. Body - To grain match the body only, select a board about ¾ x 4 × 40
and a separate piece for the top about ¾ x 7 × 11
C.
Medallion- ¾ × 5×8
D.
Corner splines - I often rip these out of the same board as the medallion. You may wish to go for a stronger contrast. Play around and see what works best with your woods.

E. Handle - This will often come from the same board as the medallion or a scrap of wild figured wood.

F. Dividers - After I have completed the box, I work on the design for the dividers. I prefer to make a visual statement by matching them to the medallion or contrasting them with the body color.

Note.
There will not be a typical cut list for this box. You will cut parts for the body and size the bottom from that, and after you assemble the body, you will cut and fit the lid, and so on…
A sacrificial box
Depending on your skill level, and how clear my instructions are, I recommend making a second box out of an inexpensive wood, such as poplar or clear pine. This will give you a test subject for each set up. There are several steps where you may feel more comfortable practicing on wood that is less dear to you.
The first thing I do is mark out each part, showing its relationship to the others. This insures that each one gets cut in the proper sequence and is reassembled in order.

Note:
You may skip this part if you are using an even grained/colored wood or making a test box. However, it's a good idea to get in the habit of paying attention to grain orientation.
I will be using this piece of bubinga for the body and lid of my box.

Click to expand...

Argyllshire said:

Wood selection

Updated 1/15/12

The "Art Box" concept came about when I was looking for a way to use small pieces of some figured Myrtlewood I had leftover, not large enough for a box, but not something I could not throw away either. I decided to feature it in the lid of a box, like a picture in a frame.
Keep that picture frame in mind when selecting the small piece for the medallion. You might select that picture piece first and then find a less figured wood to use for the lid and body, one that sets it off.

Consider

A) What YOU find appealing, which is totally subjective.
B) How you want to do the top, e.g., medallion or not, and type of hinges.
C) What material you either have on hand or have access to.
Here are two different approaches.
A) Contrasting the color or grain, or both between the body and the medallion is very eye catching.
B) Alternately, a tone on tone approach can evoke a calming effect, or in the right combination, it might even feel masculine.
Some suggestions
• A light colored wood such as maple for the sides and top and a figured piece of myrtle for the medallion is stunning.
• On the other hand, a darker body out of wenge works well with ziricote for the medallion.
• For a tone on tone effect, try using plain walnut for the body and figured walnut for the medallion.
Tip
To see how two woods look together, wet them with mineral spirits and lay one over the other, this brings out the color and does not raise the grain like water. Just lay one on the other to see if you like the effect.

Grain Matching
The body and top should to be out of the same board if at all possible so the color and grain match closely.
If you are using a figured wood and want the grain to appear to run contiguous from the face and up over the top, then you will need a wider board of about 11''. (That's how I did the Bad Moon secret box)
This isn't always necessary, as when using straight grained lumber, or when a lot of shaping is done, the shaping grinds away the top layer of matching grain anyway.
Parts

A. Body - For a contiguous look, matching the grain of the body with the top,
you will need a board about ¾ × 11×40.
B. Body - To grain match the body only, select a board about ¾ x 4 × 40
and a separate piece for the top about ¾ x 7 × 11
C.
Medallion- ¾ × 5×8
D.
Corner splines - I often rip these out of the same board as the medallion. You may wish to go for a stronger contrast. Play around and see what works best with your woods.

E. Handle - This will often come from the same board as the medallion or a scrap of wild figured wood.

F. Dividers - After I have completed the box, I work on the design for the dividers. I prefer to make a visual statement by matching them to the medallion or contrasting them with the body color.

Note.
There will not be a typical cut list for this box. You will cut parts for the body and size the bottom from that, and after you assemble the body, you will cut and fit the lid, and so on…
A sacrificial box
Depending on your skill level, and how clear my instructions are, I recommend making a second box out of an inexpensive wood, such as poplar or clear pine. This will give you a test subject for each set up. There are several steps where you may feel more comfortable practicing on wood that is less dear to you.
The first thing I do is mark out each part, showing its relationship to the others. This insures that each one gets cut in the proper sequence and is reassembled in order.

Note:
You may skip this part if you are using an even grained/colored wood or making a test box. However, it's a good idea to get in the habit of paying attention to grain orientation.
I will be using this piece of bubinga for the body and lid of my box.

Click to expand...

Argyllshire said:

Wood selection

Updated 1/15/12

The "Art Box" concept came about when I was looking for a way to use small pieces of some figured Myrtlewood I had leftover, not large enough for a box, but not something I could not throw away either. I decided to feature it in the lid of a box, like a picture in a frame.
Keep that picture frame in mind when selecting the small piece for the medallion. You might select that picture piece first and then find a less figured wood to use for the lid and body, one that sets it off.

Consider

A) What YOU find appealing, which is totally subjective.
B) How you want to do the top, e.g., medallion or not, and type of hinges.
C) What material you either have on hand or have access to.
Here are two different approaches.
A) Contrasting the color or grain, or both between the body and the medallion is very eye catching.
B) Alternately, a tone on tone approach can evoke a calming effect, or in the right combination, it might even feel masculine.
Some suggestions
• A light colored wood such as maple for the sides and top and a figured piece of myrtle for the medallion is stunning.
• On the other hand, a darker body out of wenge works well with ziricote for the medallion.
• For a tone on tone effect, try using plain walnut for the body and figured walnut for the medallion.
Tip
To see how two woods look together, wet them with mineral spirits and lay one over the other, this brings out the color and does not raise the grain like water. Just lay one on the other to see if you like the effect.

Grain Matching
The body and top should to be out of the same board if at all possible so the color and grain match closely.
If you are using a figured wood and want the grain to appear to run contiguous from the face and up over the top, then you will need a wider board of about 11''. (That's how I did the Bad Moon secret box)
This isn't always necessary, as when using straight grained lumber, or when a lot of shaping is done, the shaping grinds away the top layer of matching grain anyway.
Parts

A. Body - For a contiguous look, matching the grain of the body with the top,
you will need a board about ¾ × 11×40.
B. Body - To grain match the body only, select a board about ¾ x 4 × 40
and a separate piece for the top about ¾ x 7 × 11
C.
Medallion- ¾ × 5×8
D.
Corner splines - I often rip these out of the same board as the medallion. You may wish to go for a stronger contrast. Play around and see what works best with your woods.

E. Handle - This will often come from the same board as the medallion or a scrap of wild figured wood.

F. Dividers - After I have completed the box, I work on the design for the dividers. I prefer to make a visual statement by matching them to the medallion or contrasting them with the body color.

Note.
There will not be a typical cut list for this box. You will cut parts for the body and size the bottom from that, and after you assemble the body, you will cut and fit the lid, and so on…
A sacrificial box
Depending on your skill level, and how clear my instructions are, I recommend making a second box out of an inexpensive wood, such as poplar or clear pine. This will give you a test subject for each set up. There are several steps where you may feel more comfortable practicing on wood that is less dear to you.
The first thing I do is mark out each part, showing its relationship to the others. This insures that each one gets cut in the proper sequence and is reassembled in order.

Note:
You may skip this part if you are using an even grained/colored wood or making a test box. However, it's a good idea to get in the habit of paying attention to grain orientation.
I will be using this piece of bubinga for the body and lid of my box.

Click to expand...

Argyllshire said:

Wood selection

Updated 1/15/12

The "Art Box" concept came about when I was looking for a way to use small pieces of some figured Myrtlewood I had leftover, not large enough for a box, but not something I could not throw away either. I decided to feature it in the lid of a box, like a picture in a frame.
Keep that picture frame in mind when selecting the small piece for the medallion. You might select that picture piece first and then find a less figured wood to use for the lid and body, one that sets it off.

Consider

A) What YOU find appealing, which is totally subjective.
B) How you want to do the top, e.g., medallion or not, and type of hinges.
C) What material you either have on hand or have access to.
Here are two different approaches.
A) Contrasting the color or grain, or both between the body and the medallion is very eye catching.
B) Alternately, a tone on tone approach can evoke a calming effect, or in the right combination, it might even feel masculine.
Some suggestions
• A light colored wood such as maple for the sides and top and a figured piece of myrtle for the medallion is stunning.
• On the other hand, a darker body out of wenge works well with ziricote for the medallion.
• For a tone on tone effect, try using plain walnut for the body and figured walnut for the medallion.
Tip
To see how two woods look together, wet them with mineral spirits and lay one over the other, this brings out the color and does not raise the grain like water. Just lay one on the other to see if you like the effect.

Grain Matching
The body and top should to be out of the same board if at all possible so the color and grain match closely.
If you are using a figured wood and want the grain to appear to run contiguous from the face and up over the top, then you will need a wider board of about 11''. (That's how I did the Bad Moon secret box)
This isn't always necessary, as when using straight grained lumber, or when a lot of shaping is done, the shaping grinds away the top layer of matching grain anyway.
Parts

A. Body - For a contiguous look, matching the grain of the body with the top,
you will need a board about ¾ × 11×40.
B. Body - To grain match the body only, select a board about ¾ x 4 × 40
and a separate piece for the top about ¾ x 7 × 11
C.
Medallion- ¾ × 5×8
D.
Corner splines - I often rip these out of the same board as the medallion. You may wish to go for a stronger contrast. Play around and see what works best with your woods.

E. Handle - This will often come from the same board as the medallion or a scrap of wild figured wood.

F. Dividers - After I have completed the box, I work on the design for the dividers. I prefer to make a visual statement by matching them to the medallion or contrasting them with the body color.

Note.
There will not be a typical cut list for this box. You will cut parts for the body and size the bottom from that, and after you assemble the body, you will cut and fit the lid, and so on…
A sacrificial box
Depending on your skill level, and how clear my instructions are, I recommend making a second box out of an inexpensive wood, such as poplar or clear pine. This will give you a test subject for each set up. There are several steps where you may feel more comfortable practicing on wood that is less dear to you.
The first thing I do is mark out each part, showing its relationship to the others. This insures that each one gets cut in the proper sequence and is reassembled in order.

Note:
You may skip this part if you are using an even grained/colored wood or making a test box. However, it's a good idea to get in the habit of paying attention to grain orientation.
I will be using this piece of bubinga for the body and lid of my box.

Click to expand...

Argyllshire said:

Wood selection

Updated 1/15/12

The "Art Box" concept came about when I was looking for a way to use small pieces of some figured Myrtlewood I had leftover, not large enough for a box, but not something I could not throw away either. I decided to feature it in the lid of a box, like a picture in a frame.
Keep that picture frame in mind when selecting the small piece for the medallion. You might select that picture piece first and then find a less figured wood to use for the lid and body, one that sets it off.

Consider

A) What YOU find appealing, which is totally subjective.
B) How you want to do the top, e.g., medallion or not, and type of hinges.
C) What material you either have on hand or have access to.
Here are two different approaches.
A) Contrasting the color or grain, or both between the body and the medallion is very eye catching.
B) Alternately, a tone on tone approach can evoke a calming effect, or in the right combination, it might even feel masculine.
Some suggestions
• A light colored wood such as maple for the sides and top and a figured piece of myrtle for the medallion is stunning.
• On the other hand, a darker body out of wenge works well with ziricote for the medallion.
• For a tone on tone effect, try using plain walnut for the body and figured walnut for the medallion.
Tip
To see how two woods look together, wet them with mineral spirits and lay one over the other, this brings out the color and does not raise the grain like water. Just lay one on the other to see if you like the effect.

Grain Matching
The body and top should to be out of the same board if at all possible so the color and grain match closely.
If you are using a figured wood and want the grain to appear to run contiguous from the face and up over the top, then you will need a wider board of about 11''. (That's how I did the Bad Moon secret box)
This isn't always necessary, as when using straight grained lumber, or when a lot of shaping is done, the shaping grinds away the top layer of matching grain anyway.
Parts

A. Body - For a contiguous look, matching the grain of the body with the top,
you will need a board about ¾ × 11×40.
B. Body - To grain match the body only, select a board about ¾ x 4 × 40
and a separate piece for the top about ¾ x 7 × 11
C.
Medallion- ¾ × 5×8
D.
Corner splines - I often rip these out of the same board as the medallion. You may wish to go for a stronger contrast. Play around and see what works best with your woods.

E. Handle - This will often come from the same board as the medallion or a scrap of wild figured wood.

F. Dividers - After I have completed the box, I work on the design for the dividers. I prefer to make a visual statement by matching them to the medallion or contrasting them with the body color.

Note.
There will not be a typical cut list for this box. You will cut parts for the body and size the bottom from that, and after you assemble the body, you will cut and fit the lid, and so on…
A sacrificial box
Depending on your skill level, and how clear my instructions are, I recommend making a second box out of an inexpensive wood, such as poplar or clear pine. This will give you a test subject for each set up. There are several steps where you may feel more comfortable practicing on wood that is less dear to you.
The first thing I do is mark out each part, showing its relationship to the others. This insures that each one gets cut in the proper sequence and is reassembled in order.

Note:
You may skip this part if you are using an even grained/colored wood or making a test box. However, it's a good idea to get in the habit of paying attention to grain orientation.
I will be using this piece of bubinga for the body and lid of my box.

Click to expand...

Argyllshire said:

Wood selection

Updated 1/15/12

The "Art Box" concept came about when I was looking for a way to use small pieces of some figured Myrtlewood I had leftover, not large enough for a box, but not something I could not throw away either. I decided to feature it in the lid of a box, like a picture in a frame.
Keep that picture frame in mind when selecting the small piece for the medallion. You might select that picture piece first and then find a less figured wood to use for the lid and body, one that sets it off.

Consider

A) What YOU find appealing, which is totally subjective.
B) How you want to do the top, e.g., medallion or not, and type of hinges.
C) What material you either have on hand or have access to.
Here are two different approaches.
A) Contrasting the color or grain, or both between the body and the medallion is very eye catching.
B) Alternately, a tone on tone approach can evoke a calming effect, or in the right combination, it might even feel masculine.
Some suggestions
• A light colored wood such as maple for the sides and top and a figured piece of myrtle for the medallion is stunning.
• On the other hand, a darker body out of wenge works well with ziricote for the medallion.
• For a tone on tone effect, try using plain walnut for the body and figured walnut for the medallion.
Tip
To see how two woods look together, wet them with mineral spirits and lay one over the other, this brings out the color and does not raise the grain like water. Just lay one on the other to see if you like the effect.

Grain Matching
The body and top should to be out of the same board if at all possible so the color and grain match closely.
If you are using a figured wood and want the grain to appear to run contiguous from the face and up over the top, then you will need a wider board of about 11''. (That's how I did the Bad Moon secret box)
This isn't always necessary, as when using straight grained lumber, or when a lot of shaping is done, the shaping grinds away the top layer of matching grain anyway.
Parts

A. Body - For a contiguous look, matching the grain of the body with the top,
you will need a board about ¾ × 11×40.
B. Body - To grain match the body only, select a board about ¾ x 4 × 40
and a separate piece for the top about ¾ x 7 × 11
C.
Medallion- ¾ × 5×8
D.
Corner splines - I often rip these out of the same board as the medallion. You may wish to go for a stronger contrast. Play around and see what works best with your woods.

E. Handle - This will often come from the same board as the medallion or a scrap of wild figured wood.

F. Dividers - After I have completed the box, I work on the design for the dividers. I prefer to make a visual statement by matching them to the medallion or contrasting them with the body color.

Note.
There will not be a typical cut list for this box. You will cut parts for the body and size the bottom from that, and after you assemble the body, you will cut and fit the lid, and so on…
A sacrificial box
Depending on your skill level, and how clear my instructions are, I recommend making a second box out of an inexpensive wood, such as poplar or clear pine. This will give you a test subject for each set up. There are several steps where you may feel more comfortable practicing on wood that is less dear to you.
The first thing I do is mark out each part, showing its relationship to the others. This insures that each one gets cut in the proper sequence and is reassembled in order.

Note:
You may skip this part if you are using an even grained/colored wood or making a test box. However, it's a good idea to get in the habit of paying attention to grain orientation.
I will be using this piece of bubinga for the body and lid of my box.

Click to expand...

Argyllshire said:

Wood selection

Updated 1/15/12

The "Art Box" concept came about when I was looking for a way to use small pieces of some figured Myrtlewood I had leftover, not large enough for a box, but not something I could not throw away either. I decided to feature it in the lid of a box, like a picture in a frame.
Keep that picture frame in mind when selecting the small piece for the medallion. You might select that picture piece first and then find a less figured wood to use for the lid and body, one that sets it off.

Consider

A) What YOU find appealing, which is totally subjective.
B) How you want to do the top, e.g., medallion or not, and type of hinges.
C) What material you either have on hand or have access to.
Here are two different approaches.
A) Contrasting the color or grain, or both between the body and the medallion is very eye catching.
B) Alternately, a tone on tone approach can evoke a calming effect, or in the right combination, it might even feel masculine.
Some suggestions
• A light colored wood such as maple for the sides and top and a figured piece of myrtle for the medallion is stunning.
• On the other hand, a darker body out of wenge works well with ziricote for the medallion.
• For a tone on tone effect, try using plain walnut for the body and figured walnut for the medallion.
Tip
To see how two woods look together, wet them with mineral spirits and lay one over the other, this brings out the color and does not raise the grain like water. Just lay one on the other to see if you like the effect.

Grain Matching
The body and top should to be out of the same board if at all possible so the color and grain match closely.
If you are using a figured wood and want the grain to appear to run contiguous from the face and up over the top, then you will need a wider board of about 11''. (That's how I did the Bad Moon secret box)
This isn't always necessary, as when using straight grained lumber, or when a lot of shaping is done, the shaping grinds away the top layer of matching grain anyway.
Parts

A. Body - For a contiguous look, matching the grain of the body with the top,
you will need a board about ¾ × 11×40.
B. Body - To grain match the body only, select a board about ¾ x 4 × 40
and a separate piece for the top about ¾ x 7 × 11
C.
Medallion- ¾ × 5×8
D.
Corner splines - I often rip these out of the same board as the medallion. You may wish to go for a stronger contrast. Play around and see what works best with your woods.

E. Handle - This will often come from the same board as the medallion or a scrap of wild figured wood.

F. Dividers - After I have completed the box, I work on the design for the dividers. I prefer to make a visual statement by matching them to the medallion or contrasting them with the body color.

Note.
There will not be a typical cut list for this box. You will cut parts for the body and size the bottom from that, and after you assemble the body, you will cut and fit the lid, and so on…
A sacrificial box
Depending on your skill level, and how clear my instructions are, I recommend making a second box out of an inexpensive wood, such as poplar or clear pine. This will give you a test subject for each set up. There are several steps where you may feel more comfortable practicing on wood that is less dear to you.
The first thing I do is mark out each part, showing its relationship to the others. This insures that each one gets cut in the proper sequence and is reassembled in order.

Note:
You may skip this part if you are using an even grained/colored wood or making a test box. However, it's a good idea to get in the habit of paying attention to grain orientation.
I will be using this piece of bubinga for the body and lid of my box.

Click to expand...

Argyllshire said:

Wood selection

Updated 1/15/12

The "Art Box" concept came about when I was looking for a way to use small pieces of some figured Myrtlewood I had leftover, not large enough for a box, but not something I could not throw away either. I decided to feature it in the lid of a box, like a picture in a frame.
Keep that picture frame in mind when selecting the small piece for the medallion. You might select that picture piece first and then find a less figured wood to use for the lid and body, one that sets it off.

Consider

A) What YOU find appealing, which is totally subjective.
B) How you want to do the top, e.g., medallion or not, and type of hinges.
C) What material you either have on hand or have access to.
Here are two different approaches.
A) Contrasting the color or grain, or both between the body and the medallion is very eye catching.
B) Alternately, a tone on tone approach can evoke a calming effect, or in the right combination, it might even feel masculine.
Some suggestions
• A light colored wood such as maple for the sides and top and a figured piece of myrtle for the medallion is stunning.
• On the other hand, a darker body out of wenge works well with ziricote for the medallion.
• For a tone on tone effect, try using plain walnut for the body and figured walnut for the medallion.
Tip
To see how two woods look together, wet them with mineral spirits and lay one over the other, this brings out the color and does not raise the grain like water. Just lay one on the other to see if you like the effect.

Grain Matching
The body and top should to be out of the same board if at all possible so the color and grain match closely.
If you are using a figured wood and want the grain to appear to run contiguous from the face and up over the top, then you will need a wider board of about 11''. (That's how I did the Bad Moon secret box)
This isn't always necessary, as when using straight grained lumber, or when a lot of shaping is done, the shaping grinds away the top layer of matching grain anyway.
Parts

A. Body - For a contiguous look, matching the grain of the body with the top,
you will need a board about ¾ × 11×40.
B. Body - To grain match the body only, select a board about ¾ x 4 × 40
and a separate piece for the top about ¾ x 7 × 11
C.
Medallion- ¾ × 5×8
D.
Corner splines - I often rip these out of the same board as the medallion. You may wish to go for a stronger contrast. Play around and see what works best with your woods.

E. Handle - This will often come from the same board as the medallion or a scrap of wild figured wood.

F. Dividers - After I have completed the box, I work on the design for the dividers. I prefer to make a visual statement by matching them to the medallion or contrasting them with the body color.

Note.
There will not be a typical cut list for this box. You will cut parts for the body and size the bottom from that, and after you assemble the body, you will cut and fit the lid, and so on…
A sacrificial box
Depending on your skill level, and how clear my instructions are, I recommend making a second box out of an inexpensive wood, such as poplar or clear pine. This will give you a test subject for each set up. There are several steps where you may feel more comfortable practicing on wood that is less dear to you.
The first thing I do is mark out each part, showing its relationship to the others. This insures that each one gets cut in the proper sequence and is reassembled in order.

Note:
You may skip this part if you are using an even grained/colored wood or making a test box. However, it's a good idea to get in the habit of paying attention to grain orientation.
I will be using this piece of bubinga for the body and lid of my box.

Click to expand...

Argyllshire said:

Wood selection

Updated 1/15/12

The "Art Box" concept came about when I was looking for a way to use small pieces of some figured Myrtlewood I had leftover, not large enough for a box, but not something I could not throw away either. I decided to feature it in the lid of a box, like a picture in a frame.
Keep that picture frame in mind when selecting the small piece for the medallion. You might select that picture piece first and then find a less figured wood to use for the lid and body, one that sets it off.

Consider

A) What YOU find appealing, which is totally subjective.
B) How you want to do the top, e.g., medallion or not, and type of hinges.
C) What material you either have on hand or have access to.
Here are two different approaches.
A) Contrasting the color or grain, or both between the body and the medallion is very eye catching.
B) Alternately, a tone on tone approach can evoke a calming effect, or in the right combination, it might even feel masculine.
Some suggestions
• A light colored wood such as maple for the sides and top and a figured piece of myrtle for the medallion is stunning.
• On the other hand, a darker body out of wenge works well with ziricote for the medallion.
• For a tone on tone effect, try using plain walnut for the body and figured walnut for the medallion.
Tip
To see how two woods look together, wet them with mineral spirits and lay one over the other, this brings out the color and does not raise the grain like water. Just lay one on the other to see if you like the effect.

Grain Matching
The body and top should to be out of the same board if at all possible so the color and grain match closely.
If you are using a figured wood and want the grain to appear to run contiguous from the face and up over the top, then you will need a wider board of about 11''. (That's how I did the Bad Moon secret box)
This isn't always necessary, as when using straight grained lumber, or when a lot of shaping is done, the shaping grinds away the top layer of matching grain anyway.
Parts

A. Body - For a contiguous look, matching the grain of the body with the top,
you will need a board about ¾ × 11×40.
B. Body - To grain match the body only, select a board about ¾ x 4 × 40
and a separate piece for the top about ¾ x 7 × 11
C.
Medallion- ¾ × 5×8
D.
Corner splines - I often rip these out of the same board as the medallion. You may wish to go for a stronger contrast. Play around and see what works best with your woods.

E. Handle - This will often come from the same board as the medallion or a scrap of wild figured wood.

F. Dividers - After I have completed the box, I work on the design for the dividers. I prefer to make a visual statement by matching them to the medallion or contrasting them with the body color.

Note.
There will not be a typical cut list for this box. You will cut parts for the body and size the bottom from that, and after you assemble the body, you will cut and fit the lid, and so on…
A sacrificial box
Depending on your skill level, and how clear my instructions are, I recommend making a second box out of an inexpensive wood, such as poplar or clear pine. This will give you a test subject for each set up. There are several steps where you may feel more comfortable practicing on wood that is less dear to you.
The first thing I do is mark out each part, showing its relationship to the others. This insures that each one gets cut in the proper sequence and is reassembled in order.

Note:
You may skip this part if you are using an even grained/colored wood or making a test box. However, it's a good idea to get in the habit of paying attention to grain orientation.
I will be using this piece of bubinga for the body and lid of my box.

Click to expand...

Argyllshire said:

Wood selection

Updated 1/15/12

The "Art Box" concept came about when I was looking for a way to use small pieces of some figured Myrtlewood I had leftover, not large enough for a box, but not something I could not throw away either. I decided to feature it in the lid of a box, like a picture in a frame.
Keep that picture frame in mind when selecting the small piece for the medallion. You might select that picture piece first and then find a less figured wood to use for the lid and body, one that sets it off.

Consider

A) What YOU find appealing, which is totally subjective.
B) How you want to do the top, e.g., medallion or not, and type of hinges.
C) What material you either have on hand or have access to.
Here are two different approaches.
A) Contrasting the color or grain, or both between the body and the medallion is very eye catching.
B) Alternately, a tone on tone approach can evoke a calming effect, or in the right combination, it might even feel masculine.
Some suggestions
• A light colored wood such as maple for the sides and top and a figured piece of myrtle for the medallion is stunning.
• On the other hand, a darker body out of wenge works well with ziricote for the medallion.
• For a tone on tone effect, try using plain walnut for the body and figured walnut for the medallion.
Tip
To see how two woods look together, wet them with mineral spirits and lay one over the other, this brings out the color and does not raise the grain like water. Just lay one on the other to see if you like the effect.

Grain Matching
The body and top should to be out of the same board if at all possible so the color and grain match closely.
If you are using a figured wood and want the grain to appear to run contiguous from the face and up over the top, then you will need a wider board of about 11''. (That's how I did the Bad Moon secret box)
This isn't always necessary, as when using straight grained lumber, or when a lot of shaping is done, the shaping grinds away the top layer of matching grain anyway.
Parts

A. Body - For a contiguous look, matching the grain of the body with the top,
you will need a board about ¾ × 11×40.
B. Body - To grain match the body only, select a board about ¾ x 4 × 40
and a separate piece for the top about ¾ x 7 × 11
C.
Medallion- ¾ × 5×8
D.
Corner splines - I often rip these out of the same board as the medallion. You may wish to go for a stronger contrast. Play around and see what works best with your woods.

E. Handle - This will often come from the same board as the medallion or a scrap of wild figured wood.

F. Dividers - After I have completed the box, I work on the design for the dividers. I prefer to make a visual statement by matching them to the medallion or contrasting them with the body color.

Note.
There will not be a typical cut list for this box. You will cut parts for the body and size the bottom from that, and after you assemble the body, you will cut and fit the lid, and so on…
A sacrificial box
Depending on your skill level, and how clear my instructions are, I recommend making a second box out of an inexpensive wood, such as poplar or clear pine. This will give you a test subject for each set up. There are several steps where you may feel more comfortable practicing on wood that is less dear to you.
The first thing I do is mark out each part, showing its relationship to the others. This insures that each one gets cut in the proper sequence and is reassembled in order.

Note:
You may skip this part if you are using an even grained/colored wood or making a test box. However, it's a good idea to get in the habit of paying attention to grain orientation.
I will be using this piece of bubinga for the body and lid of my box.

Click to expand...

Argyllshire said:

Making the box

Part 3
updated 1/15/12

Regarding size:
Size and proportions are important…to a point.
We will be building a box that will start out at 11 1/8 W x 7 D x 4 1/2 H. (After shaping it will finish out at about 10 3/4'' x 6 3/4'' x 3 1/8 h depending on how much shaping is done.)

I like the proportions of this box, they just look good to my eye. They are loosely based on the Golden Ratio which is a ratio of 1.618. There is much more to it than that, but simply put, here is how it works in relationship to this box. We multiply Height x GR= Width.

The height is 3 1/2 plus the lid and medallion add another 3/8 each, for a total of about 4 ¼ for the overall height. We multiply x 1.618 =6.875 and if we multiply that x 1.618 we get 11.125''.
As you can see this box is very close to the Golden Ratio. After shaping it is going to be a little more off of that ideal, but it is only a guide. It will be up to you to decide what pleases your eye, and for the intended purpose of the box,and the material you have on hand.

But just so we are all on the same page from start to finish, lets work with these dimensions.

Lets start cutting some wood.

Make sure your board is flat. Any twist will not allow your mitered corners to come together.
Start by milling the board to 3/4'' thick.
Rip a strip 3.5'' wide and 38'' long minimum.
Orient the grain direction from left to right and mark out your pieces just to be sure you cut each piece in proper order. Its easy to flip the board front to back and miter the wrong side.
Make sure and mark the front and top of the board for the lid and set it aside for now.

Next step is to cut a dado to receive the bottom. I use 1/4'' plywood and size the kerf to fit the actual thickness, since it varies. I make the kerf about 1/4'' deep which will allow for more shaping.

Next step is to miter your 4 box sides. I prefer to use a miter saw with a simple jig to make repeatable cuts.
There are many ways to get the same results, including a table saw with a sliding cutoff sled. I just prefer this setup because I get great results and its simple.

The photo below shows cutting a miter using the first stop.
The saw is always kept at the same position for every cut.

Then flip front to back and trim away just enough to get a full miter, that ensures the grain on the face will continue unbroken.

The flip front to back for the next cut using the second stop.

Its a good idea to use backer boards to prevent tearout, but you will need to take that in to account when setting up a jig like this. They will push your board away from the fence which will change where the saw enters your board,making each piece longer. I prefer putting wide masking tape on the entire back. I did not use any here because I just had this 96 tooth sharpened.

As you can see in this last picture, my cuts dont land on my orientation marks. They are only there to keep me from doing something boneheaded. The preset stops are what determine the length of each cut.

Here are all four sides ready to assemble.

Next we want to temporarily tape the box together so we see how well we did with our miters.
I either use my table saw fence for a backstop or a board screwed to by bench to keep all the pieces in line for taping them together.
I use 3/4" yellow masking tape, it really takes the strain and doesnt leave a lot of gunk behind to clean off. I personally dont like blue tape, it doesnt allow me to get enough pressure on the joints, and it will often slacken off without me realizing it. Some people use duct tape or clear packing tape. Find what works best for you.

This photo is simply showing the faces taped tightly together, edge to edge. The orange highlighted circle shows how I let the edges ride over a little bit, so when its folded it up to form the box this really pulls it tight since its trying to stretch the tape even more. But, just a little overlap is plenty, or the tape may break.

This photo is of the inside after its all taped together.

Next,
we are going to measure for our bottom and fit it, then we will glue and tape up the box.

Cut the bottom so it fits snug but wont interfere with the closing up of the miter joints.
I allow about 1/8" gap. I glue in the bottom, its plywood so its dimensionally stable and wont cause the box to split. You dont need to glue it in if your joints are tight and especially if you add corner splines. I just prefer to, for the added strength and the solid sound the bottom makes when tapped on. Its a personal thing-)

NOW is the time to tape the box up tight and see that everything fits nicely together, the miters should be snug and the bottom should fit right and it should be square. If not, you will see if you can tweek it where needed or recut everything.

Bottoms Up
When you have your bottom prefitted, add two new bands of tape to act as your clamps. The bands of tape you have been sticking and un-sticking for your dry fitting, are getting pretty sad looking but are ok to just leave on for the actual glue up.

Be prepared.
This all needs to be done fairly quickly! The glue starts grabbing within a few minutes, so work fast. If its very warm, you will need to move quickly or the glue will start to skin over and your joints will not close up tightly. This will cause them to be very noticeable. I use Titebond 3 because it has a little longer open time.
If the miters dont pull up tight you will need to coax them a little with some screw clamps, so have them handy.
Have a damp rag at hand for drips.

Brush a thin layer of yellow glue on each miter face and while that soaks in, brush glue into the dado groove for the bottom if you wish. Then go back and put another coat of glue onto each miter face if has soaked in all the way. This will of course depend on the woods porosity and the glue you are using. Move quickly but dont be sloppy.

Now you can slip the bottom in and fold up the box pulling it closed with the tape.
Check your miters and add more tape as need to tighten it up.

Flip the box over and check the top edges of the miters too. Clean any excess glue off and place the box on a perfectly flat surface, like your table saw and make sure it doesn't rock. If it rocks much at all, then it is out of square. I use a block of wood and a mallet and smack it hard on the high corner to level it out. You will then need to put another band of tape around it to tighten up that joint and keep it in that position. A little rocking is acceptable as long as your joints look good. I will show you how I get the bottom flat later on._

Check from corner to corner with a tape measure to double check that its square. But be sure the miters are tight!

Click to expand...

Argyllshire said:

Making the box

Part 3
updated 1/15/12

Regarding size:
Size and proportions are important…to a point.
We will be building a box that will start out at 11 1/8 W x 7 D x 4 1/2 H. (After shaping it will finish out at about 10 3/4'' x 6 3/4'' x 3 1/8 h depending on how much shaping is done.)

I like the proportions of this box, they just look good to my eye. They are loosely based on the Golden Ratio which is a ratio of 1.618. There is much more to it than that, but simply put, here is how it works in relationship to this box. We multiply Height x GR= Width.

The height is 3 1/2 plus the lid and medallion add another 3/8 each, for a total of about 4 ¼ for the overall height. We multiply x 1.618 =6.875 and if we multiply that x 1.618 we get 11.125''.
As you can see this box is very close to the Golden Ratio. After shaping it is going to be a little more off of that ideal, but it is only a guide. It will be up to you to decide what pleases your eye, and for the intended purpose of the box,and the material you have on hand.

But just so we are all on the same page from start to finish, lets work with these dimensions.

Lets start cutting some wood.

Make sure your board is flat. Any twist will not allow your mitered corners to come together.
Start by milling the board to 3/4'' thick.
Rip a strip 3.5'' wide and 38'' long minimum.
Orient the grain direction from left to right and mark out your pieces just to be sure you cut each piece in proper order. Its easy to flip the board front to back and miter the wrong side.
Make sure and mark the front and top of the board for the lid and set it aside for now.

Next step is to cut a dado to receive the bottom. I use 1/4'' plywood and size the kerf to fit the actual thickness, since it varies. I make the kerf about 1/4'' deep which will allow for more shaping.

Next step is to miter your 4 box sides. I prefer to use a miter saw with a simple jig to make repeatable cuts.
There are many ways to get the same results, including a table saw with a sliding cutoff sled. I just prefer this setup because I get great results and its simple.

The photo below shows cutting a miter using the first stop.
The saw is always kept at the same position for every cut.

Then flip front to back and trim away just enough to get a full miter, that ensures the grain on the face will continue unbroken.

The flip front to back for the next cut using the second stop.

Its a good idea to use backer boards to prevent tearout, but you will need to take that in to account when setting up a jig like this. They will push your board away from the fence which will change where the saw enters your board,making each piece longer. I prefer putting wide masking tape on the entire back. I did not use any here because I just had this 96 tooth sharpened.

As you can see in this last picture, my cuts dont land on my orientation marks. They are only there to keep me from doing something boneheaded. The preset stops are what determine the length of each cut.

Here are all four sides ready to assemble.

Next we want to temporarily tape the box together so we see how well we did with our miters.
I either use my table saw fence for a backstop or a board screwed to by bench to keep all the pieces in line for taping them together.
I use 3/4" yellow masking tape, it really takes the strain and doesnt leave a lot of gunk behind to clean off. I personally dont like blue tape, it doesnt allow me to get enough pressure on the joints, and it will often slacken off without me realizing it. Some people use duct tape or clear packing tape. Find what works best for you.

This photo is simply showing the faces taped tightly together, edge to edge. The orange highlighted circle shows how I let the edges ride over a little bit, so when its folded it up to form the box this really pulls it tight since its trying to stretch the tape even more. But, just a little overlap is plenty, or the tape may break.

This photo is of the inside after its all taped together.

Next,
we are going to measure for our bottom and fit it, then we will glue and tape up the box.

Cut the bottom so it fits snug but wont interfere with the closing up of the miter joints.
I allow about 1/8" gap. I glue in the bottom, its plywood so its dimensionally stable and wont cause the box to split. You dont need to glue it in if your joints are tight and especially if you add corner splines. I just prefer to, for the added strength and the solid sound the bottom makes when tapped on. Its a personal thing-)

NOW is the time to tape the box up tight and see that everything fits nicely together, the miters should be snug and the bottom should fit right and it should be square. If not, you will see if you can tweek it where needed or recut everything.

Bottoms Up
When you have your bottom prefitted, add two new bands of tape to act as your clamps. The bands of tape you have been sticking and un-sticking for your dry fitting, are getting pretty sad looking but are ok to just leave on for the actual glue up.

Be prepared.
This all needs to be done fairly quickly! The glue starts grabbing within a few minutes, so work fast. If its very warm, you will need to move quickly or the glue will start to skin over and your joints will not close up tightly. This will cause them to be very noticeable. I use Titebond 3 because it has a little longer open time.
If the miters dont pull up tight you will need to coax them a little with some screw clamps, so have them handy.
Have a damp rag at hand for drips.

Brush a thin layer of yellow glue on each miter face and while that soaks in, brush glue into the dado groove for the bottom if you wish. Then go back and put another coat of glue onto each miter face if has soaked in all the way. This will of course depend on the woods porosity and the glue you are using. Move quickly but dont be sloppy.

Now you can slip the bottom in and fold up the box pulling it closed with the tape.
Check your miters and add more tape as need to tighten it up.

Flip the box over and check the top edges of the miters too. Clean any excess glue off and place the box on a perfectly flat surface, like your table saw and make sure it doesn't rock. If it rocks much at all, then it is out of square. I use a block of wood and a mallet and smack it hard on the high corner to level it out. You will then need to put another band of tape around it to tighten up that joint and keep it in that position. A little rocking is acceptable as long as your joints look good. I will show you how I get the bottom flat later on._

Check from corner to corner with a tape measure to double check that its square. But be sure the miters are tight!

Click to expand...

Argyllshire said:

Making the box

Part 3
updated 1/15/12

Regarding size:
Size and proportions are important…to a point.
We will be building a box that will start out at 11 1/8 W x 7 D x 4 1/2 H. (After shaping it will finish out at about 10 3/4'' x 6 3/4'' x 3 1/8 h depending on how much shaping is done.)

I like the proportions of this box, they just look good to my eye. They are loosely based on the Golden Ratio which is a ratio of 1.618. There is much more to it than that, but simply put, here is how it works in relationship to this box. We multiply Height x GR= Width.

The height is 3 1/2 plus the lid and medallion add another 3/8 each, for a total of about 4 ¼ for the overall height. We multiply x 1.618 =6.875 and if we multiply that x 1.618 we get 11.125''.
As you can see this box is very close to the Golden Ratio. After shaping it is going to be a little more off of that ideal, but it is only a guide. It will be up to you to decide what pleases your eye, and for the intended purpose of the box,and the material you have on hand.

But just so we are all on the same page from start to finish, lets work with these dimensions.

Lets start cutting some wood.

Make sure your board is flat. Any twist will not allow your mitered corners to come together.
Start by milling the board to 3/4'' thick.
Rip a strip 3.5'' wide and 38'' long minimum.
Orient the grain direction from left to right and mark out your pieces just to be sure you cut each piece in proper order. Its easy to flip the board front to back and miter the wrong side.
Make sure and mark the front and top of the board for the lid and set it aside for now.

Next step is to cut a dado to receive the bottom. I use 1/4'' plywood and size the kerf to fit the actual thickness, since it varies. I make the kerf about 1/4'' deep which will allow for more shaping.

Next step is to miter your 4 box sides. I prefer to use a miter saw with a simple jig to make repeatable cuts.
There are many ways to get the same results, including a table saw with a sliding cutoff sled. I just prefer this setup because I get great results and its simple.

The photo below shows cutting a miter using the first stop.
The saw is always kept at the same position for every cut.

Then flip front to back and trim away just enough to get a full miter, that ensures the grain on the face will continue unbroken.

The flip front to back for the next cut using the second stop.

Its a good idea to use backer boards to prevent tearout, but you will need to take that in to account when setting up a jig like this. They will push your board away from the fence which will change where the saw enters your board,making each piece longer. I prefer putting wide masking tape on the entire back. I did not use any here because I just had this 96 tooth sharpened.

As you can see in this last picture, my cuts dont land on my orientation marks. They are only there to keep me from doing something boneheaded. The preset stops are what determine the length of each cut.

Here are all four sides ready to assemble.

Next we want to temporarily tape the box together so we see how well we did with our miters.
I either use my table saw fence for a backstop or a board screwed to by bench to keep all the pieces in line for taping them together.
I use 3/4" yellow masking tape, it really takes the strain and doesnt leave a lot of gunk behind to clean off. I personally dont like blue tape, it doesnt allow me to get enough pressure on the joints, and it will often slacken off without me realizing it. Some people use duct tape or clear packing tape. Find what works best for you.

This photo is simply showing the faces taped tightly together, edge to edge. The orange highlighted circle shows how I let the edges ride over a little bit, so when its folded it up to form the box this really pulls it tight since its trying to stretch the tape even more. But, just a little overlap is plenty, or the tape may break.

This photo is of the inside after its all taped together.

Next,
we are going to measure for our bottom and fit it, then we will glue and tape up the box.

Cut the bottom so it fits snug but wont interfere with the closing up of the miter joints.
I allow about 1/8" gap. I glue in the bottom, its plywood so its dimensionally stable and wont cause the box to split. You dont need to glue it in if your joints are tight and especially if you add corner splines. I just prefer to, for the added strength and the solid sound the bottom makes when tapped on. Its a personal thing-)

NOW is the time to tape the box up tight and see that everything fits nicely together, the miters should be snug and the bottom should fit right and it should be square. If not, you will see if you can tweek it where needed or recut everything.

Bottoms Up
When you have your bottom prefitted, add two new bands of tape to act as your clamps. The bands of tape you have been sticking and un-sticking for your dry fitting, are getting pretty sad looking but are ok to just leave on for the actual glue up.

Be prepared.
This all needs to be done fairly quickly! The glue starts grabbing within a few minutes, so work fast. If its very warm, you will need to move quickly or the glue will start to skin over and your joints will not close up tightly. This will cause them to be very noticeable. I use Titebond 3 because it has a little longer open time.
If the miters dont pull up tight you will need to coax them a little with some screw clamps, so have them handy.
Have a damp rag at hand for drips.

Brush a thin layer of yellow glue on each miter face and while that soaks in, brush glue into the dado groove for the bottom if you wish. Then go back and put another coat of glue onto each miter face if has soaked in all the way. This will of course depend on the woods porosity and the glue you are using. Move quickly but dont be sloppy.

Now you can slip the bottom in and fold up the box pulling it closed with the tape.
Check your miters and add more tape as need to tighten it up.

Flip the box over and check the top edges of the miters too. Clean any excess glue off and place the box on a perfectly flat surface, like your table saw and make sure it doesn't rock. If it rocks much at all, then it is out of square. I use a block of wood and a mallet and smack it hard on the high corner to level it out. You will then need to put another band of tape around it to tighten up that joint and keep it in that position. A little rocking is acceptable as long as your joints look good. I will show you how I get the bottom flat later on._

Check from corner to corner with a tape measure to double check that its square. But be sure the miters are tight!

Click to expand...

Argyllshire said:

Making the box

Part 3
updated 1/15/12

Regarding size:
Size and proportions are important…to a point.
We will be building a box that will start out at 11 1/8 W x 7 D x 4 1/2 H. (After shaping it will finish out at about 10 3/4'' x 6 3/4'' x 3 1/8 h depending on how much shaping is done.)

I like the proportions of this box, they just look good to my eye. They are loosely based on the Golden Ratio which is a ratio of 1.618. There is much more to it than that, but simply put, here is how it works in relationship to this box. We multiply Height x GR= Width.

The height is 3 1/2 plus the lid and medallion add another 3/8 each, for a total of about 4 ¼ for the overall height. We multiply x 1.618 =6.875 and if we multiply that x 1.618 we get 11.125''.
As you can see this box is very close to the Golden Ratio. After shaping it is going to be a little more off of that ideal, but it is only a guide. It will be up to you to decide what pleases your eye, and for the intended purpose of the box,and the material you have on hand.

But just so we are all on the same page from start to finish, lets work with these dimensions.

Lets start cutting some wood.

Make sure your board is flat. Any twist will not allow your mitered corners to come together.
Start by milling the board to 3/4'' thick.
Rip a strip 3.5'' wide and 38'' long minimum.
Orient the grain direction from left to right and mark out your pieces just to be sure you cut each piece in proper order. Its easy to flip the board front to back and miter the wrong side.
Make sure and mark the front and top of the board for the lid and set it aside for now.

Next step is to cut a dado to receive the bottom. I use 1/4'' plywood and size the kerf to fit the actual thickness, since it varies. I make the kerf about 1/4'' deep which will allow for more shaping.

Next step is to miter your 4 box sides. I prefer to use a miter saw with a simple jig to make repeatable cuts.
There are many ways to get the same results, including a table saw with a sliding cutoff sled. I just prefer this setup because I get great results and its simple.

The photo below shows cutting a miter using the first stop.
The saw is always kept at the same position for every cut.

Then flip front to back and trim away just enough to get a full miter, that ensures the grain on the face will continue unbroken.

The flip front to back for the next cut using the second stop.

Its a good idea to use backer boards to prevent tearout, but you will need to take that in to account when setting up a jig like this. They will push your board away from the fence which will change where the saw enters your board,making each piece longer. I prefer putting wide masking tape on the entire back. I did not use any here because I just had this 96 tooth sharpened.

As you can see in this last picture, my cuts dont land on my orientation marks. They are only there to keep me from doing something boneheaded. The preset stops are what determine the length of each cut.

Here are all four sides ready to assemble.

Next we want to temporarily tape the box together so we see how well we did with our miters.
I either use my table saw fence for a backstop or a board screwed to by bench to keep all the pieces in line for taping them together.
I use 3/4" yellow masking tape, it really takes the strain and doesnt leave a lot of gunk behind to clean off. I personally dont like blue tape, it doesnt allow me to get enough pressure on the joints, and it will often slacken off without me realizing it. Some people use duct tape or clear packing tape. Find what works best for you.

This photo is simply showing the faces taped tightly together, edge to edge. The orange highlighted circle shows how I let the edges ride over a little bit, so when its folded it up to form the box this really pulls it tight since its trying to stretch the tape even more. But, just a little overlap is plenty, or the tape may break.

This photo is of the inside after its all taped together.

Next,
we are going to measure for our bottom and fit it, then we will glue and tape up the box.

Cut the bottom so it fits snug but wont interfere with the closing up of the miter joints.
I allow about 1/8" gap. I glue in the bottom, its plywood so its dimensionally stable and wont cause the box to split. You dont need to glue it in if your joints are tight and especially if you add corner splines. I just prefer to, for the added strength and the solid sound the bottom makes when tapped on. Its a personal thing-)

NOW is the time to tape the box up tight and see that everything fits nicely together, the miters should be snug and the bottom should fit right and it should be square. If not, you will see if you can tweek it where needed or recut everything.

Bottoms Up
When you have your bottom prefitted, add two new bands of tape to act as your clamps. The bands of tape you have been sticking and un-sticking for your dry fitting, are getting pretty sad looking but are ok to just leave on for the actual glue up.

Be prepared.
This all needs to be done fairly quickly! The glue starts grabbing within a few minutes, so work fast. If its very warm, you will need to move quickly or the glue will start to skin over and your joints will not close up tightly. This will cause them to be very noticeable. I use Titebond 3 because it has a little longer open time.
If the miters dont pull up tight you will need to coax them a little with some screw clamps, so have them handy.
Have a damp rag at hand for drips.

Brush a thin layer of yellow glue on each miter face and while that soaks in, brush glue into the dado groove for the bottom if you wish. Then go back and put another coat of glue onto each miter face if has soaked in all the way. This will of course depend on the woods porosity and the glue you are using. Move quickly but dont be sloppy.

Now you can slip the bottom in and fold up the box pulling it closed with the tape.
Check your miters and add more tape as need to tighten it up.

Flip the box over and check the top edges of the miters too. Clean any excess glue off and place the box on a perfectly flat surface, like your table saw and make sure it doesn't rock. If it rocks much at all, then it is out of square. I use a block of wood and a mallet and smack it hard on the high corner to level it out. You will then need to put another band of tape around it to tighten up that joint and keep it in that position. A little rocking is acceptable as long as your joints look good. I will show you how I get the bottom flat later on._

Check from corner to corner with a tape measure to double check that its square. But be sure the miters are tight!

Click to expand...

Argyllshire said:

Making the box

Part 3
updated 1/15/12

Regarding size:
Size and proportions are important…to a point.
We will be building a box that will start out at 11 1/8 W x 7 D x 4 1/2 H. (After shaping it will finish out at about 10 3/4'' x 6 3/4'' x 3 1/8 h depending on how much shaping is done.)

I like the proportions of this box, they just look good to my eye. They are loosely based on the Golden Ratio which is a ratio of 1.618. There is much more to it than that, but simply put, here is how it works in relationship to this box. We multiply Height x GR= Width.

The height is 3 1/2 plus the lid and medallion add another 3/8 each, for a total of about 4 ¼ for the overall height. We multiply x 1.618 =6.875 and if we multiply that x 1.618 we get 11.125''.
As you can see this box is very close to the Golden Ratio. After shaping it is going to be a little more off of that ideal, but it is only a guide. It will be up to you to decide what pleases your eye, and for the intended purpose of the box,and the material you have on hand.

But just so we are all on the same page from start to finish, lets work with these dimensions.

Lets start cutting some wood.

Make sure your board is flat. Any twist will not allow your mitered corners to come together.
Start by milling the board to 3/4'' thick.
Rip a strip 3.5'' wide and 38'' long minimum.
Orient the grain direction from left to right and mark out your pieces just to be sure you cut each piece in proper order. Its easy to flip the board front to back and miter the wrong side.
Make sure and mark the front and top of the board for the lid and set it aside for now.

Next step is to cut a dado to receive the bottom. I use 1/4'' plywood and size the kerf to fit the actual thickness, since it varies. I make the kerf about 1/4'' deep which will allow for more shaping.

Next step is to miter your 4 box sides. I prefer to use a miter saw with a simple jig to make repeatable cuts.
There are many ways to get the same results, including a table saw with a sliding cutoff sled. I just prefer this setup because I get great results and its simple.

The photo below shows cutting a miter using the first stop.
The saw is always kept at the same position for every cut.

Then flip front to back and trim away just enough to get a full miter, that ensures the grain on the face will continue unbroken.

The flip front to back for the next cut using the second stop.

Its a good idea to use backer boards to prevent tearout, but you will need to take that in to account when setting up a jig like this. They will push your board away from the fence which will change where the saw enters your board,making each piece longer. I prefer putting wide masking tape on the entire back. I did not use any here because I just had this 96 tooth sharpened.

As you can see in this last picture, my cuts dont land on my orientation marks. They are only there to keep me from doing something boneheaded. The preset stops are what determine the length of each cut.

Here are all four sides ready to assemble.

Next we want to temporarily tape the box together so we see how well we did with our miters.
I either use my table saw fence for a backstop or a board screwed to by bench to keep all the pieces in line for taping them together.
I use 3/4" yellow masking tape, it really takes the strain and doesnt leave a lot of gunk behind to clean off. I personally dont like blue tape, it doesnt allow me to get enough pressure on the joints, and it will often slacken off without me realizing it. Some people use duct tape or clear packing tape. Find what works best for you.

This photo is simply showing the faces taped tightly together, edge to edge. The orange highlighted circle shows how I let the edges ride over a little bit, so when its folded it up to form the box this really pulls it tight since its trying to stretch the tape even more. But, just a little overlap is plenty, or the tape may break.

This photo is of the inside after its all taped together.

Next,
we are going to measure for our bottom and fit it, then we will glue and tape up the box.

Cut the bottom so it fits snug but wont interfere with the closing up of the miter joints.
I allow about 1/8" gap. I glue in the bottom, its plywood so its dimensionally stable and wont cause the box to split. You dont need to glue it in if your joints are tight and especially if you add corner splines. I just prefer to, for the added strength and the solid sound the bottom makes when tapped on. Its a personal thing-)

NOW is the time to tape the box up tight and see that everything fits nicely together, the miters should be snug and the bottom should fit right and it should be square. If not, you will see if you can tweek it where needed or recut everything.

Bottoms Up
When you have your bottom prefitted, add two new bands of tape to act as your clamps. The bands of tape you have been sticking and un-sticking for your dry fitting, are getting pretty sad looking but are ok to just leave on for the actual glue up.

Be prepared.
This all needs to be done fairly quickly! The glue starts grabbing within a few minutes, so work fast. If its very warm, you will need to move quickly or the glue will start to skin over and your joints will not close up tightly. This will cause them to be very noticeable. I use Titebond 3 because it has a little longer open time.
If the miters dont pull up tight you will need to coax them a little with some screw clamps, so have them handy.
Have a damp rag at hand for drips.

Brush a thin layer of yellow glue on each miter face and while that soaks in, brush glue into the dado groove for the bottom if you wish. Then go back and put another coat of glue onto each miter face if has soaked in all the way. This will of course depend on the woods porosity and the glue you are using. Move quickly but dont be sloppy.

Now you can slip the bottom in and fold up the box pulling it closed with the tape.
Check your miters and add more tape as need to tighten it up.

Flip the box over and check the top edges of the miters too. Clean any excess glue off and place the box on a perfectly flat surface, like your table saw and make sure it doesn't rock. If it rocks much at all, then it is out of square. I use a block of wood and a mallet and smack it hard on the high corner to level it out. You will then need to put another band of tape around it to tighten up that joint and keep it in that position. A little rocking is acceptable as long as your joints look good. I will show you how I get the bottom flat later on._

Check from corner to corner with a tape measure to double check that its square. But be sure the miters are tight!

Click to expand...

Argyllshire said:

Making the box

Part 3
updated 1/15/12

Regarding size:
Size and proportions are important…to a point.
We will be building a box that will start out at 11 1/8 W x 7 D x 4 1/2 H. (After shaping it will finish out at about 10 3/4'' x 6 3/4'' x 3 1/8 h depending on how much shaping is done.)

I like the proportions of this box, they just look good to my eye. They are loosely based on the Golden Ratio which is a ratio of 1.618. There is much more to it than that, but simply put, here is how it works in relationship to this box. We multiply Height x GR= Width.

The height is 3 1/2 plus the lid and medallion add another 3/8 each, for a total of about 4 ¼ for the overall height. We multiply x 1.618 =6.875 and if we multiply that x 1.618 we get 11.125''.
As you can see this box is very close to the Golden Ratio. After shaping it is going to be a little more off of that ideal, but it is only a guide. It will be up to you to decide what pleases your eye, and for the intended purpose of the box,and the material you have on hand.

But just so we are all on the same page from start to finish, lets work with these dimensions.

Lets start cutting some wood.

Make sure your board is flat. Any twist will not allow your mitered corners to come together.
Start by milling the board to 3/4'' thick.
Rip a strip 3.5'' wide and 38'' long minimum.
Orient the grain direction from left to right and mark out your pieces just to be sure you cut each piece in proper order. Its easy to flip the board front to back and miter the wrong side.
Make sure and mark the front and top of the board for the lid and set it aside for now.

Next step is to cut a dado to receive the bottom. I use 1/4'' plywood and size the kerf to fit the actual thickness, since it varies. I make the kerf about 1/4'' deep which will allow for more shaping.

Next step is to miter your 4 box sides. I prefer to use a miter saw with a simple jig to make repeatable cuts.
There are many ways to get the same results, including a table saw with a sliding cutoff sled. I just prefer this setup because I get great results and its simple.

The photo below shows cutting a miter using the first stop.
The saw is always kept at the same position for every cut.

Then flip front to back and trim away just enough to get a full miter, that ensures the grain on the face will continue unbroken.

The flip front to back for the next cut using the second stop.

Its a good idea to use backer boards to prevent tearout, but you will need to take that in to account when setting up a jig like this. They will push your board away from the fence which will change where the saw enters your board,making each piece longer. I prefer putting wide masking tape on the entire back. I did not use any here because I just had this 96 tooth sharpened.

As you can see in this last picture, my cuts dont land on my orientation marks. They are only there to keep me from doing something boneheaded. The preset stops are what determine the length of each cut.

Here are all four sides ready to assemble.

Next we want to temporarily tape the box together so we see how well we did with our miters.
I either use my table saw fence for a backstop or a board screwed to by bench to keep all the pieces in line for taping them together.
I use 3/4" yellow masking tape, it really takes the strain and doesnt leave a lot of gunk behind to clean off. I personally dont like blue tape, it doesnt allow me to get enough pressure on the joints, and it will often slacken off without me realizing it. Some people use duct tape or clear packing tape. Find what works best for you.

This photo is simply showing the faces taped tightly together, edge to edge. The orange highlighted circle shows how I let the edges ride over a little bit, so when its folded it up to form the box this really pulls it tight since its trying to stretch the tape even more. But, just a little overlap is plenty, or the tape may break.

This photo is of the inside after its all taped together.

Next,
we are going to measure for our bottom and fit it, then we will glue and tape up the box.

Cut the bottom so it fits snug but wont interfere with the closing up of the miter joints.
I allow about 1/8" gap. I glue in the bottom, its plywood so its dimensionally stable and wont cause the box to split. You dont need to glue it in if your joints are tight and especially if you add corner splines. I just prefer to, for the added strength and the solid sound the bottom makes when tapped on. Its a personal thing-)

NOW is the time to tape the box up tight and see that everything fits nicely together, the miters should be snug and the bottom should fit right and it should be square. If not, you will see if you can tweek it where needed or recut everything.

Bottoms Up
When you have your bottom prefitted, add two new bands of tape to act as your clamps. The bands of tape you have been sticking and un-sticking for your dry fitting, are getting pretty sad looking but are ok to just leave on for the actual glue up.

Be prepared.
This all needs to be done fairly quickly! The glue starts grabbing within a few minutes, so work fast. If its very warm, you will need to move quickly or the glue will start to skin over and your joints will not close up tightly. This will cause them to be very noticeable. I use Titebond 3 because it has a little longer open time.
If the miters dont pull up tight you will need to coax them a little with some screw clamps, so have them handy.
Have a damp rag at hand for drips.

Brush a thin layer of yellow glue on each miter face and while that soaks in, brush glue into the dado groove for the bottom if you wish. Then go back and put another coat of glue onto each miter face if has soaked in all the way. This will of course depend on the woods porosity and the glue you are using. Move quickly but dont be sloppy.

Now you can slip the bottom in and fold up the box pulling it closed with the tape.
Check your miters and add more tape as need to tighten it up.

Flip the box over and check the top edges of the miters too. Clean any excess glue off and place the box on a perfectly flat surface, like your table saw and make sure it doesn't rock. If it rocks much at all, then it is out of square. I use a block of wood and a mallet and smack it hard on the high corner to level it out. You will then need to put another band of tape around it to tighten up that joint and keep it in that position. A little rocking is acceptable as long as your joints look good. I will show you how I get the bottom flat later on._

Check from corner to corner with a tape measure to double check that its square. But be sure the miters are tight!

Click to expand...