National Tree Week is this week (23 November – 1 December) and what a perfect time to learn more about the connection between maker and their materials.
In this Q&A, Principal Tom Fraser, shares his thoughts on underutilised woods, the importance of how we source materials and how we can best utilise reclaimed materials.
What are your preferred wood types to work with?
Ash is a lovely material to work with. The grain has a coarse texture which is almost always straight, making it a great species for steam bending. Ash also has a very high resistance to shock and is one of the most stable species that we work with. Seasoning Ash takes less time than many other species and it responds well to the artificial environment of the kiln.
Olive Ash has an attractive contrast between the darker heartwood and the lighter material towards the outer edges of the trunk. When you come across an Olive Ash tree with curly or rippled figuring, like one we have in the workshop right now, it is hard to beat.
Historically, oak is the benchmark of strength and durability. When the tree is quarter-sawn, it reveals the stunning medullary ray which runs across the annual growth rings. It has a natural lustre to it, which when oil-finished, looks rich and golden.
Most of the Elm we have in the workshop is Wych Elm, with its green streak running through the board. It has a deep purplish brown hue to it, often with clusters of burr figuring. Elm burrs are often turned into gorgeous bowls. It is, however, not very stable so, as is common with most species, what you gain in character, you lose in stability. Unfortunately, due to Dutch Elm disease, it is becoming increasingly difficult to source this material.
If you were limited to using only one type of wood, which would you choose and why?
If I had to use just one species, then it would have to be ash. Sadly, the Ash tree has an uncertain future due to the devastating disease called Chalara Dieback which is raging in the UK currently. The Scottish Furniture Makers Association is currently putting on an exhibition called ‘Ash Rise’ at the Royal Botanic Gardens in Edinburgh, celebrating this wonderful material in its display of fine furniture, with the aim of highlighting the plight of the species.
Which underappreciated tree species do you believe deserves more recognition in the furniture-making industry?
I would like to highlight Beech as an under-appreciated species. Not that it’s lesser known, as it is widespread throughout Europe and thrives in our conditions here at the school. It is fantastically cheap considering its extensive properties; it is hard, bends well, has a good resistance to shock and spalts well. It sits at the bottom end of the price list on the wall in the workshop so many don’t consider it to be of value, but they would be wrong to underestimate this superb species.
Chippendale School has a tradition of planting a tree at the beginning of a new term. Could you explain the origins and significance of this custom?
Anselm Fraser, the school’s founder, planted many indigenous trees on the school grounds as soon as he arrived at this location in the mid-90s. Prior to that, there were no trees at all here, just empty fields on either side of the driveway. Now the school is nestled nicely within a young mixed-hardwood forest. It really is amazing to see, in such a short space of time, how well these trees have established themselves. I remember planting trees as a young boy with my father, I know exactly which ones I put in the ground, and it gives me great pleasure to see them so healthy today.
How does Chippendale encourage students to source sustainable woods and trees?
At the start of every course, the students are taught how to plant a tree and are strongly encouraged to continue the practice when they return home. Planting indigenous hardwoods is the right thing to do for multiple reasons; they are more likely to survive and thrive in the right kind of soil, and they will be better suited to the weather (rainfall and sunlight). Importing seeds or saplings from overseas can bring unwanted diseases that threaten the local species, which often have no genetic defence and always hardwoods over softwoods as they are the right choice for fine furniture. We will not get any use out of the trees that we plant but our great-grandchildren might, we are however making use of the trees that were planted or self-seeded centuries ago.
When sourcing species that don’t grow indigenously it is important to build a relationship with a reputable timber merchant in your local area. The timber needs to be FSC certified, which means that it comes from forests that are responsibly managed and meet the highest environmental and social standards. It is also important that the timber is kiln-dried at the source to reduce weight and kill off any unwanted woodworm and fungal issues.
In your experience, how does working with reclaimed or recycled wood differ from using freshly cut timber? What are the challenges and benefits of using salvaged materials in woodworking projects?
There has been an emphasis on upcycling over the past decade as it is an environmentally friendly practice. When designing fine furniture today, it is so important to consider the longevity of the piece. This means that the materials, joinery methods and aesthetics need to be long-lasting. A timeless design that will still be desirable one hundred years from now is what we are aiming to create. We also regularly have customers coming to us with their antiques, looking to have them conserved to extend their lifespan. Upcycling can involve reusing the wood from antiques that are no longer desirable, and this can be a good source of material from species that are no longer readily available like Mahogany, for example.
During National Tree Week, what activities or projects do you recommend for aspiring woodworkers to better appreciate the connection between trees and their craft?
In my opinion, National Tree Week comes a little too late in the year, as deciduous trees are entering their dormant phase. Most species have, by now, lost their leaves which makes identifying them that bit more difficult. However, as it is National Tree Week, I suggest we woodworkers should be getting out of the workshop to appreciate the beauty of the material we use in its natural habitat.
Good design is often inspired by nature so stepping out of the workshop regularly is a good idea, and for our health and well-being too. At this time of year we are using the bark, buds, crown and leaf litter to identify the species which can be aided by a guide book like the Collins gem pocket guide to British trees.
Are there any woods that are becoming increasingly popular / you see students use?
The high end of fine furniture has celebrated highly figured material like rippled sycamore, burr elm, or cat’s paw oak for some time. Now more than ever, customers are attracted to pieces made from locally sourced wild wood that you simply cannot find on the mass market.
We are seeing students drawn to this kind of material that we source locally more and more. It has more character than the material that has had to pass quality control sourced from a timber merchant.
By nature, it is more likely to warp so provides more of a challenge to the student trying to control it. Since it makes the material more valuable, most highly figured trees tend to be processed as a veneer to maximise the yield. Veneering also provides more stable results and lowers the material cost so tends to be the right choice.
Woodworking is so much more than just building furniture – it’s about understanding the stories behind the materials and crafting pieces that will stand the test of time. As Tom Fraser has shown, the beauty of the craft lies in its balance of skill, creativity, and sustainability.
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