http://www.woodreview.com.au 33PROJECTwith 600 grit to clean up any errant leaf and char so tiny
‘islands’ of wood would show between the individual dots.For the final finish I chose Tried and True Original Wood
Finish. It is a non-toxic blend of polymerised linseed oil
and beeswax. It leaves a lovely satin sheen that I find
particularly pleasing and touchable. I want my work to be a
delight to the fingertips as well as the eyes!This piece had all of the elements of an ideal project
for me as a designer and craftswoman: a unique design,
a technically challenging build and engaging surface
embellishments. Plus I had a client who was delighted with
his new boxes!Finished and process photos: Kelly Parker
Portraits of Kelly: Penelope Cline
Illustrations: Graham Sands* See Kelly Parker’s story ‘Making Ideas’, AWR#89.
Learn more about Kelly at http://www.woodsongstudio.com and
Instagram @ kellyparker2017You can attend workshops with Kelly Parker at the Centre for
Fine Woodworking in New Zealand in February 2020.
See http://www.cfw.co.nz/- Offcuts were made narrower
and used as clamping cauls.
Glued-on strips of wood ripped
at 45° to each edge gave
parallel clamp surfaces where
corners met. - Assembly using the cauls
and cross-wise clamp pressure.
Tape was used to hold parts
in place while the clamps
were positioned. - Router table jig for chamfering
box lids. Cavities were cut in a
bit of MDF to hold the blanks. - The circle cutting jig used again,
this time on the disc sander.
Lids were mounted to circular
MDF templates before sanding
to final diameter. - Pencil lines defined boundaries
for the pyrography and ‘dots’
would be gilded. - In-progress shot of pyrography.
- Angular pulls and chamfered
sufaces were created for
the lids. - Each box has gilded details
as well as hundreds of dots
burned into the surface. - Showing the gilded box interiors.
Copper rod inserts
act as rests for the lids.
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