This cellarette was my first piece that used the joinery technique of complementary curves, and since then I have made many more pieces, like this and this. They are complex things to make and the longer the pieces of timber, the more the complexity. It would be more accurate to say the more challenging it becomes to retain the accuracy you need.
I didn’t see any point in only making little bits here and there, so I went full on instead. Accuracy is the most important aspect with this joinery, particularly template stability. It is imperative that the template does not move during the process. Should the template move, you will be re-cutting the piece. Even 0.2mm is too much movement.
There is one of the advantages to this style of joinery. It allows you to use boards that may not be absolutely perfect. So, if you have boards with unusable areas you can design your template to account for bad and unusable areas in any particular board.
The dark timber in the cellarette is Brown Bloodwood. I got that off of my neighbour. Prior to this piece I’d never used it before. And were my photography any better you’d see how stunning it is. Because of it’s density it finished like glass, beautiful.
The handles at the top of the doors are undercut with a finger grab. I thought blending the handles in like this was the best idea. It works for me.
