Not everybody succeeds at this.
You need hard work, perspiration, deep practice and inspiration.
We're each capable of unique, original design contributions.
We've got 12 people here all driving to change their lives, to make something new and to
learn something very intensively.
There are people here who are early 20s, people like me in their 50s.
Just everyone gets on because it's the overriding thing, as we want to learn how to work with
the wood.
Everything is done from day one to workshop standards, high quality.
And if you make a mistake, take a step back and do it again.
I'd say trim that one back, because that's uneven.
There's obviously David's furniture being made here as well, which is always really
amazing to see, you know, because you get to learn all these amazing techniques.
But that's a much more exciting shape than we've had before.
So is that because of the medullary raise we're going across?
Yeah, I think if we had, you know, sycamore or something a bit less grainy there.
OK, so we bought 100 quids as of the wrong wood.
Thank you for that.
That's a pleasure.
I get excited about how to do a design and how to make something that's worth making.
The process of being a designer maker, creating a new work of furniture, vaults, for a client,
specifically for them, and teaching people how to do that, how to provide that kind of
a design service, how to listen to a client.
I think the shapes and the forms that I use are just mine, because it's the things I've
seen and drawn and have been attractive to.
Drawing is profoundly important, draw, and draw, and draw, and draw.
And all drawing is looking at something very, very hard.
The drawing itself doesn't matter.
What matters is the process of looking, build up a vocabulary of visual images and shapes
that suddenly you start to see, unless you've got something in your memory system, you've
nothing to draw upon, so that's what you have to do in order to build up your own personal
set of images and shapes and forms.
