back to school

 From the off I have to apologise for neglecting the Blog yet again. My only excuse is the one I always use - which is time.

Some years ago, when I scaled down my furniture making operation,  my grand plan was to write and teach. The writing side of things came together pretty well, with regular magazine copy rolling in. The teaching side of things proved a taller order. After completing a very enjoyable teacher training course at a local college I started to send out my C.V to any relevant school, college or university. Unfortunately my timing wasn't great. A combination of changes to the higher ed structure and major funding cuts meant very few institutions were recruiting. In fact, most were letting people go. So I shelved the teaching plan and focused instead on the writing.

Three weeks ago I had a call from an old friend telling me a temporary lecturing job had come up at one of the local universities and was I interested? Suddenly I was jolted back into the idea of teaching. The previous lecturer had left without warning two weeks before the start of a new year, which left me just two weeks to get timetables and lesson plans together, hence the lack of blogs.

A few hectic weeks in and I'm starting to feel a little more on top of things. I have two groups of fifty students on my course which is titled Profesional Practice, the aim of which is to prepare and equip craft and design students for the tough buisness world beyond university.

The staff and students have been both patient and welcoming to me, and I have to say the challenge and experience so far has been one of the highlights of my working life so far.

Hope to be back on track with the blog.   

market forces

  

I had to purchase three cubic meters of Cedar this week, and once again I was rendered speechless at the cost. I know its a common grumble from all woodworkers, but timber prices are increasingly becoming unaffordable. There was a time when I would over order by a few cube when getting timber for a project, just to have a  small surplus in stock. But now running a smaller workshop space is of a premium, and having a large wood pile is uneconomical. So I buy my timber as I need it, and in a quantity that just gets the job done. This works fine on the larger projects but when it comes to smaller jobs I'm forced to pay a premium for my wood. The larger wood yards aren't interested in the small end user, there's just isn't enough profit in it for them. So we get charged top dollar for the runt end of a timber stack, and we get clobbered with a delivery charge!

That's if you are lucky enough to get your timber in the first place, most yards carry such a small stock now, for the same reason I don't, that when ordering you may find you have to wait weeks for your timber to come in.

The last time I ordered Cedar I made the mistake of listing on the quote at the same cost as a average soft wood, as this is what I had been paying, only to get a call from my supplier informing me that due to a union dispute at the docks the timber was too be shipped from, the cost had now trebbled.....and there would be a four week delay.

It must be rememberd that timber is a commodity and as such it is affected by market forces, so it is important that we protect ourselves. One trick I've learned is to state on any clients quote that the price has a four week shelf life, so if they take three months to decide to have the table then they have to except the price may have to alter. Also I'm part of a group of local woodworkers who keep in touch on the orders we are making, and when possible order together. This way we can cut a better price and half the delivery charge.

Let me know how you are getting on.

you can't force it!

  Firstly appoligies for the lack of blogs for the last two weeks, this was not planned. After a full on year that left little time for me and my family, a decision was taken to head off to the east coast of  Italy for two weeks. The plan was to relax, get to know each other again and soak up enough sunshine to get us all through the winter. Not one to enjoy being too idle, I had taken along my IPad, and sketch pad with a mind to post two blogs and start outlining projects for the next book.

All these good intentions went out the window as I was once again seduced by the scenery and pace of life in Italy. Each time I went to pick up my sketch pad I was overcome with a unrelenting need to take a swim in the Adriatic sea, or go on a bike ride with my kids. 

If this is sounding like a travel blog I'm sorry, but my point is sometimes the brain just stops wanting to work. I think my mind was battling fatigue on one hand and then being bombarded by the beauty of its surroundings on the other. The last thing it wanted was to control a pencil around a blank sheet of paper, and who can blame it. There is a time and place for this stuff and we have to respect that.

One unexpected benefit of my uncreative holiday was to be witnessed at a meeting with my publishers this week, I was on fire! Ideas and schemes were comming thick and fast. And in the workshop, problems that had been on my mind for sometime were quickly found solutions.

So I appoligise again for the missing blogs, but believe me it was worth it.

woodworking for the weekend

 As of yesterday you can, if you wish, order a copy of 'Woodworking for the weekend' in the UK. The American edition with the slightly different title of 'Woodworking in a weekend', will be published by Chronicle in October of this year. By stripping away the need for a large tool kit, and suggesting an alternative to the daunting prospect of a visit to the timber yard, the hope is that the reader will be encoraged to tackle a woodworking project for the first time. I've attempted to write it in a style that feels a bit like an old friend dropping by to help you build that garden chair.  So far the reviews have been very positive, which is a huge relief. It's easy to lose sight of the fact that a project that has been absorbing all of your time and attention, will eventually be out there in the public domain. And these days when any event however small can achieve global exposure, and any person can write a reivew, good or bad, that has the potential of being read by thousands, putting your work out there is a little more daunting. This is the case for all creative works, from books to music to painting and of course furniture design.

Over the years I've received positive reviews along with the negative for my furniture, and its more than likely this new book will not meet approval of everybody. However the fear of a little criticism must never be allowed to steer you from a  course chosen.  Your individual design style or 'voice' will not be discovered if you concern yourself with the opinion of others. Nothing you create will ever meet with the publics unconditional love, but show a healthy disregard for critics and you may end up with something that meets with yours. 

"To avoid criticism say nothing, do nothing, be nothing".

Aristotle.

1. Please buy my book. And any positive criticism welcomed. 

review: Estwing, an American icon

 I always welcome an opportunity to review my tool box. Knowing I would soon be undertaking on a large timber building project, I took time to check through my equipment and see if anything needed up dating. All was looking fine until I came to my hammer, this veteran of many a years hard service was looking tired and beaten. And considering it had come free with a tub of nails, I think it had served well. 

So a new hammer was needed. I don't know why it is, but I hold hammers in such low esteem. I'm always happy to had over an unreasonabley large amount of money for a chisel, saw or bless them a new plane. But for some reason I've never felt the same excitement for the humble hammer. To be fair its not a tool that I reach for that often, and then it's only to tap home a wall fixing, or a packing wedge. However this new venture was going to call for some serious framing work, so I decided to treat myself to a hammer with a bit of credibility, that would hopefully ignite a new respect and passion for striking tools.

Part of the pleasure of purchasing a new tool for me is in the research that has to be done. I'm not someone who can just pop into a hardwear shop and pick up the first example I see, no I like to spend hours reading reviews and cross referenceing other opinions. Online woodworking forums and blogs (I would say that) are great for this sort of thing.

After much research one name stood out above all others, and that was Estwing, in particular the Estwing 16oz  leather handle framer. Not one to go againsted public opinion I promptly placed an order for this hammer, and I have to admit the new tool buzz was kicking in.

When it arrived my first impression was, how can I hit anything with this, and then casually throw it in my tool box after? For the Estwing is truly a thing of beauty. It has the grace and style of an object that has be engineered to preform its task with no pretentions. Pick up a new Estwing and compare with one from the sixty's, there is no difference. This is because this design works and needs no refinement.

Estwing was founded by Swedish immigrant Ernest O. Estwing in 1923. The family run business, which is still based in Rockford Illinois, produces a large range of specialist striking tools. 

Using the Estwing framer you soon become aware just why its the choice of many a woodworker. The leather handle, which covers the hammers body, cast from  single piece of tool steel, moulds to your grip and doesn't slip when wet from rain or when your working up a sweat. The hammers balance is perfect as it delivers all of its 16oz to the nail head. Turn up on site with this hanging from your belt and you will have the respect of all around. 

Now I must go and study the Estwing catalog, my eyes have been open to the beauty of striking tools.

"stay focused!"

 

 I remember when I first became self employed, and all I would hear from people was 'that's great, now you're free to take time off when ever you want'. And I have to admit the same thought had crossed my mind. But then the stark reality of running a small business soon became clear. Your boss is replaced by the bank manager and the landlord, who both 'encourage' you to work lots of long unsociable hours, with no mention of overtime.

And this is why on a day when a radiant sun set in clear blue sky has kept the temperature at a constant 81 degrees, when most of my frends are heading off to a free local music festival, my wife and kids have gone swimming, and my beautiful sea kayak is calling to me to take it out on the mirror flat ocean, to cool down, this is why I am working. And working on my own, trying to raise a framed wall on a structure I'm currently building, in the hope it will bring in a new revenue stream that will keep the aforementioned bosses happy.

Working for yourself is no easy ride, the personal sacrifices that a business demands are something you, and your loved ones have to be aware of before you head off along this path. 

However in a few weeks time I will spend an evening sharing a glass of wine with my friends, as I show them around this finished creation. And all those hot hard days, when all I wanted to do was down tools and head to the beach, will seem worth the commitment.

be inspired.

  

With the launch of 'Woodworking in a weekend' looming, I've been asked to give a few pre-review interviews. The questions put to me follow a similar line, "how long have you been working with wood, what do you like about working with wood, what is your favourite wood"? Some charmer asked "did you do the writing in the book too"? Obviously assuming the ability to use a hammer supplants the ability to use a pen. 

There is however one question I'm always asked either in interviews, at exhibitions, by clients or just at dinner party's, and that question is "where do you find your inspiration"? A simple enough question, but my answer is always an incoherent  ramble about street art, syfi books and films, films, books, music, talking to my kids, walking through my home town. As my list grows ever longer, I watch the eyes of my interigator glaze over, all they wanted to hear was "I'm inspired by nature". I know nature plays a big part in my designs, living out in the country and close to the sea as I do, mother nature will always get under your skin and covertly work her way into your creations. Personally I feel hitching a ride with her is an easy option, lets face it she has come up with some classic designs that when incorporated into any art form will rase its aesthetic value. 

It's something I fail at far more than succeed in, but my starting point on any idea will come from a man made astetic. It's a challenge, but there's a lot of beauty out there. These pictures are taken from my ideas board for a new book, I don't follow them in literal sence, but they help give me a feeling for where I want to go. 

As Philip Stark once said "why look for inspiration in an object, look for it in life".  

my first book!

  

Sitting out in the sun today the winter seems a long time back. And for me, when I think of last winter, the whole season was dominated with creating a book. Starting in November, the books deadline was for the end of January. In this time frame I had to design, make and write up twenty projects that could be completed by a novice woodworker in a weekend. Oh yeah, I also had to take step by step photographs of each project for an illustrator to reproduce. The only way to get it done was to say farewell to the family for three months, lock myself away in the workshop and drink never ending cups of strong coffee in order to keep going.

We all got through it in the end, mostly due to the publishing company I was working for, who were very supportive, encouraging, and generally held my hand through the whole process.

Over the years I've turned in a lot of copy for various woodworking publications, but this was my first experience of working on a book, and although it entailed a lot of hard work, It was also great fun to do.

The reason I'm blogging about this today is that this morning the first copy's of my book were deliverd to my door. After months of proof checking and editing, I thought I was bored of the sight of the thing. But seeing what a amazing final job the publisher had turned in, I have to say I was a bit overcome.

I'm hoping this won't be the last book I write, in fact I'm in the process of putting together two more ideas, however I can't see how any future publication will match the feeling I had from holding my first published book in my hands.

review: Bessey Kliklamp

  A workshop can never have too many cramps. That's been my personal excuse for amassing a veritable arsenal of the things over the years. However I can always find space for another, especially if they offer something new to attract my attention. So it was I stumbled apon the Kliklamp from Bessey, a Canadian tool manufacturer I have to confess I have never come across before. 

Classed as a lever clamp, the Kliklamp comes in five sizes 160, 200, 250, 300 and 400mm, and has a throat depth of 80mm. 

Even before removing the packaging the build quality was obvious. Made from Magnesium the Kliklamp is able to exert a force of up to 1,200N or 260lbs, yet the small cramp only weighs in at 260g. The Vibrafix ratchet mechanism that holds the pressure on the jaws is vibration proof, making it a great cramp to use on machinery. After witnessing a G cramp work loose on a spindle, and get all 'mixed up' with the rotating cutter block, I'm sold on vibration proof cramping.

Although it doesn't call itself a one handed cramp, I did find with a bit of practice I could attach it single handedly, its light weight being a real advantage. The trigger pressure handle feels positive and robust to use. And when releasing the cramp you don't get the nasty kick back which seems to be a standard feature on many others.

The jaw pad on the trigger is pivoted, enabling it to have the ability to grip angled or uneven surfaces.

Overall I found this strong well built little cramp a useful addition to the workshop. I just hope this will be my last clamp purchase for sometime, Maybe I should start looking for something new to collect like ties?

the learning curve

 

 For the most part, the artisan woodworker will be producing one off unique pieces of furniture in their workshops. Okay there will be the odd item that follows the design of another, the same moulding cutter or assembly detail will be reused.  However for the most part as a new project is started, the process of learning starts too.

About a year ago I took on a commission to make a simple bridge to span a water feature in a clients garden. After the usual design consultation over a glass of wine, it was desided to make the bridge in Europeian Oak with Iron fish of diffrent sizes set in to the timber in a random pattern. This project was actually featured in my first ever blog. 

Any of you who have combined Iron and Oak before, and then added water will know of the chemical reaction that takes place. A deep purpleish stain will spread into the area around the Iron, which is impossible to remove. Even Oak kitchen worktops that have had their finish cut back with wire wool will be affected by tiny flex of Iron stain.

To counter this reaction I spent many hours researching a suitable heavy duty chemical coating for both the Oak timber and the Iron fish, which would seal each and prevent any reaction. In the end I found two separate finishes that I felt would be up to the task. One was a timber treatment used in the marine industry, the other a metal coating found in vehicle production.

Unfortunately,as the pictures show, neither product lived up to the manufactures promise, or maybe I was expecting too much of them. After trying a few other products we finally decided we weren't going to achive a long term solution to making this design work, and a radical rethink was called for. The solution was a bridge made from reclamed Teak timbers from a local pier. The surface of the wood had a lovely sea worn texture, but was tough and durable. The fish were turned into  an atractive garden sculpture.

All was well in the end, the clients had a bridge they loved and we had learned a lot along the way. That's what the jobs all about.

review: Wurth Amo111 screws

  I'm not proud to say everytime I spot a Rep's shiny company car pulling up in the workshops yard my heart sinks. It's not that I don't like the guys that have been assigned with the near impossible job of attempting to part me from my hard earned cash, its just they always seem to arrive just as I'm in the middle of an important task. Or even worse they turn up just as I have put the kettle on, forcing me to be polite and offer a cup of tea, even though I know this will result in a wasted hour  spent listing to tails of their last family holiday in Disneyland!

Just sometimes though the pain is worth it. For example this week I had a visit from my Wurth rep Gary. Poor Gary has been dealing with my uninspiring account for years, yet still comes in with a positive smile. I had been bleating on to Garry about I project I had comming up that required lots of wooden battern's being fixed to a concreat wall, this would take time and lots of messing about. He suggested useing Wurth Amo 111 fixing screws, these were new to me.

The beauty of the Amo 111 is its simplicity, just drill a 6.2mm hole (yes you need to get a 6.2mm bit) into the wall and drive the self tapping screw straight in. No need for nylon plugs. Design mainly for installing windows, the Amo 111 creates zero tension with no spreading force when fixing, so on corners of walls there is no danger of  walls cracking and breaking out. A milled screw head will countersink into wood plastic and aluminium, with a white and brown cover cap available if needed. The 7.5diameter screw is available in six sizes from 72mm through to 152mm, all of which have a thread which extends right up to the head, and are available in yellow chromate and stainless steel. 

This straight forward wall fixing system was a great find, Garry earnt his cup of tea that day.

the ever evolving workshop

  

Spending the afternoon cutting out some tenon joints for a small church table gave me the opptunity to re-plan the workshop. When I underwent my buisness down sizing project the plan was to work from one small space, which would combine workspace and office, at a low premium. All was working well untill a large kitchen project came up. This was to be the type of project that had promised myself not to take on, but the clients had given me a steady supply of work over the years, and I was very fond of them. So I rented another small studio next to mine, with the intention of storing the kitchen components until the project was completed, and then letting it go. The kitchen project was completed a year ago, and yes I still have the studio. It is now full of timber, tools and the projects made for my next book. I have resigned myself to the fact that the extra studio is here to stay, like it or not. Furniture making always requires space, a lot of joinery and carpentry work can be carried out on site useing a well equipped van, however when making furniture you need a good bench, a few basic machines, somewhere to properly store expencive timbers and veneers and an area to apply finishes. All of which is hard to fit in a van.

One condition i have for keeping the studio is that it must earn its keep. Right now it's a handy storage area and that's it. My plan is to turn it into the machine shop, this will have the twin benefits of freeing up space in a very cramped workshop, and it will also mean a lot of dust and noise can be contained in one place. 

So as I chop away at my tenons, my mind is planing how the new workshop will look and work.

bandsaw tune up

  



On a trip to a local sawmill last week I came apon a Rep from a woodworking machine manufactures. With the aim of shifting a few items from the catalog, he was giving a demonstration on how to get the best from your bandsaw. It was basic stuff, but the coffee was free, so I sat in with the intention of warming up a bit before strapping my timber to the truck.

It wasn't long before I was experiencing that old sensation that what I had simply written off as information for the novice was in fact a direct lesson to the woodworker, so long in the tooth, that they have forgotten  wisdom passed to them an age ago. The message was clear, the only way to achive accurate results with a bandsaw was to constantly insure it is correctly set up. And apart from having a sharp blade with the right amount of teeth centred on the wheels, the main area of adjustment is to be found on the bandsaws guide post set up. Located above and below the bandsaws table, theses will normally consist of two guide blocks, which need to be set about a sandpapers thickness, either side of the blade. I make my blocks out of hard Maple which I pre-soak in a lubricating solution to reduce friction. I have one fellow timber man who swears by his method of microwaveing the blocks for two minutes after a 24hour soak in lubricant. 

The other part of the guide assembly is the Thrust bearing found behind, but NOT touching the blades edge. I have lost count of the old hard worked bandsaws I have seen with the Thrust bearing frozen, unable to turn due to overheating when run too close to a rotating blade. These sorry bearing will usually carry the tell tale deep scares of miss use.

My coffee break lecture was a lesson to us all, if we want the best from all of our woodworking machinery then we have to put in the effort with constant matinance and respect. 

must the show go on?

  

Its that time of year again when the invites to exhibit work start to pop up in the email in box. Last year I threw myself into a exhibiting fury. After making the investment in time and money to make three purpose built pieces to an exhibition standard, I decide to show them at a many events as possible. From the exclusive and beautifully set up 'Celebration of Craftsmanship and Design' held annually in Cheltenham, through to the 'Open house exhibition' which runs along side the Brighton festival in May, and a few others in between. After all of the hard work the sum total of orders from my shows was a big nothing. Now I'm the first person to stand up and say that its not about sales, but about all important exposure. For it is exposure that gets who you are and what you do out there, and these days you need to be out there to survive and thrive as a small business. Also by showing your work you have an opportunity to get connected with the general public, where you can see how they react to your work, and get to know what they like.....or don't.

However my lack of success last year has left me feeling a little jaded about the whole experience. I know the thing to do 

is take it on the chin, buy in some timber and get on with this years show pieces. Instead of this I have decided it will be 'no show' for me this year, which I can tell you is a great relief. But I will not be hiding away in a dark workshop, far from it, instead I am determined to look at new was to get my work and name out there in the public eye. I will keep these pages up to date with my successes and failures at this new course. Wish me luck 

beware unstable timber

  

Rushing on with the daily challenge of bringing in new work, and then trying to deliver that work to the deadlines promised, it is easy to miss important lessons and patterns that are right under your nose. This was the case a few days ago, when making adjustment to some doors I had fitted some months back, It hit me just how many of my projects this year have been plagued by timber movement and shrinkage. It is in the very nature of wood to be unpredictable and prone to structural change over the years. It's this part of its charictor that make wood both a challenge and a joy to work with. However the level of movement I was seeing was beyond what I would normally expect, and allow for.

Just taking glancing out of the workshop window gave me one pice of the puzzle. This year has been the wettest on record, with near constant heavy rainfall. My second problem is the moden house with its double glazed and draft sealed doors and windows, thermostats cranked up to a constant 21degrees and no natural air flow. 

Generaly the timber I work with has been felled, machined into planks and then stacked in a kiln for a few days, where its original 200% moisture content is reduced to a more acceptable 12%. At this point  it is delivered to my unheated, well ventilated timber store, ready to be transformed into furniture. And this is where the problems start. Kiln dryed timber will start to absorb moisture within a few weeks, so if not placed in its new centrally heated inviroment soon, the moisture content will start to rise, causing potential problems at a later date.

So my solution will be, create a timber store with an inviroment more inline with the clients home, leave the purchasing of timber until the last possible moment and finally ask my supplier to reduce my timbers moisture content to a more realistic 8%. Also some better weather would help, but I'm afraid that's a little out of my control.

the Wood Store

  



Final photo shoot for the new book today, and joy of joys it was at The Wood Store in Brighton. I've been spending a lot of time here of late, picking up materials for the books 'up cycling' projects, but any excuse to loiter around for a morning sifting through reclamed timber is always welcome. 

Set up in 1998, the Wood Store is a charity which encourages local building projects to donate any left over materials, or any salvaged timber, which can then be sold on. And it's not only the building trade that are encouraged to donate, anybody with an old door or a few worn out floor boards, are welcome to drop them in. And all are welcome to buy any of the very reasonably priced wood. For those who find buying small quantitys of timber from a trade building supplyer a bit intimidating, the Wood Store offers the opportunity to rummage around unbothered, while you hunt out just the bit of stock you need. 

Although not wide spread as yet, I think, and hope, that we will be seeing more and more projects like the Wood Store in the future as the cost of raw materials increases. It offers a win win situation where the builder is able to cut down on his waste bill, the hard pressed woodworker has a economical alternative to the large timber supply company's and the Wood Store charity get much needed funds.

As well as selling raw timber the Wood Store offer items of furniture made in their workshops by a band of trainee woodworkers all looking for a new start in life. There is even a gallery showing sculpture and other art projects made by the team.

See if there is a project like the Wood Store in your area, its well worth supporting this admirable cause.

the deadline from hell

 

 Three weeks before Christmas I get some great news from my publisher that a book idea we had has been picked up by a publisher in San Francisco. The only problem was the deadline was for the end of  January! That's making, photographing, writing up and supplying basic illustrations for twenty woodworking projects. What we have here is a lame excuse for not blogging for the past few weeks. My Christmas was spent holed up in the workshop day and night, frends and family assumed I had been abducted by furniture loving aliens or some such thing. As we approach the end of the month I find that I am thankfuly on target to finish the book with only the last four thousand words to write, all the projects compleat and only one last photo shoot. I promise to get back on track with the Blogg with a posting next Friday about a fantastic local reclamed timber yard in my local town. Thank you for sticking with me. 

Worth a look http://www.youtube.com/watch?v=KrfDAIqn6KE&sns=em

reivew: Osmo Polyx oil

I have been hearing only good things on the grapevine about Osmo products for a long time, however when you have found a finish that works for you it's all to easy to stick with it. While on a trip to a supplier to pick up a few litres of my preferred brand of oil, I found that they had started to stock products by Osmo. Flicking through the product bumf one line jumped straight out at me 'No need to sand between coats'. Personally for me the worst part of any finishing prosses is the rubbing back. Not only is it mind numbingly boring but there is all that wiping down of the resuedue dust, which if not done effectively can ruin the quality of the finish. I decided to buy a small 750lt tin and try it out. 

Manufactured in Germany, Osmo's Polyx oil has very environmentally friendly credentials, being chiefly made from vegetable raw materials including Carnauba and Candelilla wax and Sunflower, Soybean and Thistle oil. But don't let it's natural ingredience fool you as Polyx is resistant to wine, beer, cola, coffee, tea, fruit juice, milk and water while being safe to humans and animals.

When applied Polyx oil penetrates the timbers surface leaving a microporous surface which will not crack, blister or flake. And becouse their is no sanding between coats, if you need to make a repair to the finish at some later stage there is no problems with colour change, just slap it directly on to the original coat.

I applied the oil with a long synthetic bristle brush. The consistency feels very different from a Danish oil, more like a thick Linseed. You are advised to keep the coats thin and allow at least eight houses in normal conditions before applying the next. As recommended I only applied two coats, with no rubbing down between. When dry I went to town testing the finish with everything from hot wet tea cups to kitchen cleaning chemicals, and I have to say the Polyx oil proved incredibly tough. I felt guilty looking at the deep shine produced when I reflected on what little effort I had put into it. 

The oil had great coverage too, the small tester pot I originally brought almost was enough to finish the internal carcasses of a kitchen going through the workshop currently.

I'm now keen to try out a few of the other Osmo products, and will try in future to be a little more inquisitive.

put your back into it!

Some of you may have noticed the lack of blog last week, for this I appoligise, however I do have a reasonable excuse. For about the past ten years I have suffered from a recurring back injury. Mine thankfully cannot be listed amongst those countless gruesome bad back story's involving slipped and ruptured disks or twisted crumbling spines that require treatments straight from the inquisition, with stretching racks and lumber injections. My own back issues are simply caused by years of misuse and neglect, and manifest as painful muscle spasms which can last for weeks.

After one such episode which put me out of action for six weeks I finally decided to act. Countless sessions with various different therapists over the years had helped relieve the pain, but not prevented the same thing happening again a few months down the line. The plain truth was the problem lay in the way I worked and took care of myself. It was an acupuncturist, who while struggling to get needles into my locked up muscle without them bending, put it best, he said "Tell me the most expensive, most used and most vital piece of equipment you have in your workshop?" with a bit of thought I replied "I think I would have to say my table saw" pulling another buckled needle from my back he said "WRONG! It's you." It was a was a good lesson that set me on a path to try to take a bit more care of my rapidly ageing self.

It's in our youth that we punish our bodies with little concern. I recall all the winter days I worked outside on sites, rain soaked and numb with cold with just a T shirt for protection. When young you brush this stuff off and recover quickly, but the neglect is slowly taking its toll and will return to torment you in old age.

So to get myself back on track I started by getting a work environment expert in, who taught me how to lift correctly, best posture for machining and setting the workbenches at a non slouching height. Along with this I invested in efficient heating for the workshop, joined a gym with a good pool and lastly signed up for a weekly Pilates class.

All very well you say, but your back is still out of wack. Unfortunately twenty odd years of wear and tear is hard to correct, however this latest episode is the first in about two years, it only lasted for a week and even at the worst of it I wasn't forced to hobble around on my stick like Yoda.

Unlike a table saw,  the body can't be replaced and upgraded when worn out, so my advice is show it a little tenderness.

Ash Die Back

The news came through this week of the first cases of a disease called Ash die back being found in our native woodland. Although only found in young trees in a small area of East Anglia, this fungal infection is airborne and can potentially travel up to 20km. Discovered on the continent over twenty years ago the disease has claimed 90% of the Ash population in Denmark. Ash trees account for more than 30% of British woodlands, so the effect on our landscape would be devastating. As a young boy I remember seeing countless trees being felled where I grew up, when I asked why I was told it was to stop Duch Elm disease. Well it did stop it, but only after we had felled most of the Elm's in the country. As with all diseases of this nature once they are establish it is near impossible to halt the destruction. 

The shocking part of this sad story is that none of this needed to happen, yet again it's a case of our insane import/ export culture. This disease was introduced to this country from imported Ash saplings, even though up until now they grew in abundance here. And now the thing that is stopping our government from an all out import ban is the worry of a slap on the wrists from Brussels.

Apart from its beauty and iconic status in our country side the Ash tree offers a strong, versatile timber with a striking grain pattern that will be much missed by both domestic and green woodworkers alike. Let us all hope it's not too late to act this time.