Box 11 – 52 Boxes in 52 Weeks

I didn’t chose to make this box. I made it because a jeweler I met really liked my smallest round boxes and thought they’d be a great way for someone to present the engagement and wedding rings she makes. Within a week of her and I discussing the possibility, she sold one to a client. So, I had to make one. I’m happy I did. I didn’t have any of the round boxes on hand, and, to be honest, I couldn’t remember the exact dimensions of the smallest ones (the walnut with marigold yellow lid box in the photo at right). I found a reference to dimensions in a tweet from ages ago, so I went with those. (Originally, I wrote that it was in a blog, but I was wrong about that.)

Well, as it turns out (and this doesn’t surprise me) I wasn’t exactly precise with those dimensions in the blog. When I’m asked for dimensions, I typically round up or down, or just give something in the ballpark. Why? Well, I’m a bit protective of my eye for proportion. I put a lot of thought into the proportions of a box and I’d rather not just give that away so that there can be untold numbers of exact copies floating around. (If I publish something in the magazine, then there are precisely correct dimensions.) I suppose some might not like this dissimulation, but design in the hardest part of making furniture—and it’s the most personal. At any rate, that’s a long way of saying that this week’s box was bit of an accident, because I really did set out to make another box identical in proportions to the walnut and marigold box. But I tricked myself and made a different box altogether. Oh well. I’m happy the proportions work, because it means that if someone else used them, then they got a nice box, too.

This new round box, which is cherry and has a blue lid, is smaller in diameter and just a touch taller. I also made the lid thinner. And from the picture of the two side by side, you can see that the pulls are also different. I thought the walnut and marigold version was small, but this one is very delicate. I love it. Now I have four different sizes of the box. Actually, I’ve made one bigger than the blue body with cherry lid box in the photo above, but I made it only once. It’s nice, but requires too much work to make (glueing up blanks, hollowing out tons of wood, etc.).

Here’s a nice point about turning a box like this. Notice that the sides are not perfectly vertical. The box is actually slight smaller in diameter at the top than at the bottom. The even roll in slightly at the top lip. If the sides were perfectly vertical, the box would have the illusion of being slightly wider at the top. Tapering the diameter ever so slightly makes it appear straight. It also makes it seem more delicate. And delicate is a good thing on little boxes.

The pull is a variation on a shape I use for every pull that I make, no matter what it’s for. I love the shape. That asymmetric curve is lovely. Want to know how I came to it? It’s the perfect shape to fit between my thumb and forefinger when I grasp a pull with them. The first time I turned the pull I kept working that arc until it was nice and comfy between my fingers. That’s how I’d grasp a pull. If you grasp one differently, then you’d end up with a different shape to satisfy what’s comfortable for that grip. This is a great lesson in how function and use determines form. If you do it right, then the form will be graceful.

Finally, one of the great charms of milk paint is how variable it’s color can be. This little batch I mixed up is much paler than other batches I’ve mixed. Look at the deep blue of the box body in the photo above. That’s a lot richer blue than the lid of box 11. Still, both colors are great. Milk paint almost always look great. 

My goodness, did that run on (and is perhaps a bit disjointed). Let’s get to it. Random thoughts.

1. Mike Pekovich bought the walnut and marigold box and he keeps it in his office, so I was able to grab it for a quick photo. I believe that my moment of arrival as a furniture maker was the moment Mike asked to buy the box. If he liked it enough to want to own it, then it’s got to be good. It was a huge boost to my confidence. I had meant to measure Mike’s box before I left work for the weekend during which I made this one, but forgot to, so that’s how I ended up using dimensions from an old tweet.
   
2. You can read about the origin of these round boxes over at finewoodworking.com.
   
3. The body of this box is made from 12/4 cherry that I bought off a former Fine Woodworking editor (he left long before I came on the scene, even before Mike P. started almost 20 years ago), who was leaving Newtown, CT (where FWW is located) for the mountain west. I got quite a bit of it, and it’s all wonderfully beautiful.  I also bought my lathe from him. Thanks, Charlie! You made this box possible. And here’s the lesson: Never pass up the opportunity to buy a beautiful piece or stack of wood. Never.
   
4. I’ve very happy that this box will be used to hold an engagement ring. That’s why I added the fabric cushion to the inside. That burst of color when you open the box makes the interior less dark. It’s welcoming. But let’s be real. The person who receives the box is justifiably going to be far more taken by the ring it holds. I thought about tying the box’s purpose to Biblo, Frodo, and the one ring, but even I have a sentimental side. May the happy couple be as blessed as King Elessar Telcontar and Arwen.