Resignifying Pine

Beatriz Zuazo uses reclaimed wood from her own workshop to make a pair of jewellery boxes

As I settled into my new workshop, about a year ago, faced with the task of dismantling a pine mezzanine to reclaim precious space, I couldn’t bring myself to discard the pine beams that were left. Over the course of a year, I repurposed this seemingly humble wood into functional shop furniture, ingenious jigs and countless other essentials. These unassuming supports played a pivotal role during the early days of my new workshop. Yet, as I surveyed the remaining pine, a desire to do something truly special lingered. Could these unsung heroes find a second act beyond the workshop’s foundation? The answer took shape in Resignifying Pine – a modest project with a profound purpose.

With a design that celebrates the unexpected beauty of pine veneer, I embarked on crafting a pair of jewellery boxes that would not only defy convention but also carry with them the essence of my workshop’s evolution. The exterior, adorned with intricate pine veneer patterns, conceals a secret within – the inner trays, the heart of these boxes, were crafted from the very recycled pine that had once supported the workshop’s structure.

This project is a nod to the craftsmanship, resourcefulness and subtle beauty inherent in the ordinary.

The marquetry

Cutting the mitres

The next phase involves preparing for the construction of the outer box. Before cutting the sides of the box, attention is turned to quick-sanding the inner part of the veneered substrate, since this step becomes more challenging to address later in the process. A crucial step is marking where the corners of the box will be. This meticulous planning is essential for ensuring the seamless continuation of the marquetry pattern around the corners. To ensure accurate and repeatable cuts, I use a mitre tablesaw sled with a double stop system. The use of a double stop facilitates the consecutive cutting of pieces of different sizes. A backer on top of the veneer is crucial to maintain the integrity of the veneer.

Top and outer box glue-up

For the top I used a bookmatch pattern on the first box and a four-way bookmatch on the second. Using a mirror folded at a 90° angle allowed me to find and mark the design I intended to represent on the veneer. Four consecutive veneer leaves were used for this pattern. I felt the most suitable joint in this case would be a lapped mitre joint. I don’t have a dedicated router bit for this, so I used a V-groove one. I like this joint because it’s easy to make, strong, self-aligning and self-squaring.

I always finish the inner faces before gluing the pieces, this way any excess glue that squeezes out during the process is easier to address. I glued up the whole carcass in two phases: the sides first and then the top. I opted for hide glue this time. Initially I employed it only in veneering, but I decided to keep experimenting with it in general glue-ups, since it provides the advantage of potential reversibility. I prepare and store hide glue in plastic bottles and warm it up as needed by placing the bottle in boiling water.

Reinforced edges

To enhance the edges and create a distinctive look for each box, I incorporated contrasting wood strips. The primary box was decorated with wenge strips, while for the second one I used acajou wood. The acajou wood used for the second box was sourced from recycled cut-off pieces collected from my previous workplace a few years ago. When I planed the wood, a beautiful light orangey colour emerged, surprisingly complementing the reddish tone of the veneer. This unexpected harmony added a unique and pleasing aesthetic dimension to the project.

The process of adding the contrasting edges differed for each box. For the first box, I used a router to create a small rabbet along the perimeter. Routing the veneer can be risky, so I used a marking gauge to make a first cut and then ensured the edges were protected with masking tape to prevent tear-out. Subsequently, I glued wooden strips – cut slightly thicker than the routed recess – allowing for a final flush planing to achieve a seamless and even edge.

For the second box, I took a different approach. Instead of routing a rabbet, I edge-banded the acajou strips directly to the veneered top before attaching it to the carcass. This method simplified the process, requiring only a flush planing to achieve a seamless joint between the top and the box sides.

Making the inner trays and the base

nside each box, three stacked compartmented trays provide organisation and functionality. The lower tray is affixed to a base inspired by Japanese box designs. This base comprises a frame crafted from the same wood used for the edges, and quartersawn pine slats. Adding thoughtful details to this frame, such as chamfering the edges and incorporating a small recess at the bottom, contributes to a lighter visual effect. These enhancements bring an elegant touch and distinctive personality to the overall design of the box.

To achieve a uniform and continuous appearance, I aimed to craft all three trays from a single board. Selecting the ideal board required meticulous attention. I carefully discarded any wood with knots and specifically chose quartersawn material to ensure a perfect and stable fit. Stackability was accomplished by routing a rabbet on the three slats before cutting the mitres. This approach ensured not only a seamless fit but also a cohesive and visually pleasing presentation of the trays when stacked together.

To assemble the three trays, I used masking tape to hold them together during the gluing process. The addition of bottoms played a crucial role in maintaining squareness during this phase. To prevent the trays from unintentionally sticking together, I applied wax to the edges. Prior to attaching the lower tray to the base, I planed and adjusted the trays for a piston fit.

The compartments

With the jewellery box fully assembled and the trays fitting seamlessly, the final step involved preparing the inner compartments to enhance functionality. Despite initially dimensioning the compartments to standard measurements for common jewellery, I opted to make them removable. This decision allows the end-user the flexibility to accommodate unusual or larger pieces as needed, adding a customisable touch to the storage solution.

I prepared thin 4mm slats with varying widths, tailored to fit each specific tray. Two types of joints were employed to secure the pieces together: slot joints for the central tray, providing suitable slots for rings, earrings, and other small pieces, and V-groove joints to attach dividers to the outer slats, carefully fitted to facilitate the easy insertion and removal of the entire block from the tray. The finishing process can be challenging in this case due to the small nooks formed once the blocks are assembled, so I applied a coat of Osmo oil prior to the final gluing.

This project is a nod to the craftsmanship, resourcefulness and subtle beauty inherent in the ordinary.

Finishing

By this time, most of the parts had already been finished. Only the outer carcasses were pending. I prefer sanding the box outer sides before they are cut into pieces. It’s much easier and it prevents the edges being damaged. After the glue-up, the piece was almost ready for finishing. I checked for any marks left during the process and light-sanded it with a sanding block and 400-grit sandpaper. Finally, I finished the carcass with a few coats of shellac and a coat of wax.

PHOTOGRAPHS BY BEATRIZ ZUAZO