The workshop nestles in a small valley just outside Totnes and is light, airy and spacious: ideal for making furniture. It is fully equipped with all the necessary machinery and I have an ever expanding collection of quality hand tools. Next to the workshop are two timber sheds where I keep a plentiful supply of seasoned / seasoning wood, in particular oak, cherry and ash.

There is also a design room/office where I keep my drawing board and paperwork. The collection of books on the shelves are a useful source of inspiration, from a history of English oak furniture through Art Deco to current makers. Some days are quiet and thoughtful whilst others are filled with the hum of machinery, the air hazy with wood dust.

The organic nature of wood can make it unpredictable but with the right seasoning and proper construction it is an extremely durable and beautiful material. It will mellow with age often developing a patina all its own and the variety both within, and between, timbers means that there are endless possibilities in design. I am not, however, prepared to use wood from unsustainable sources. There are several local suppliers of English hardwoods and I sometimes use North American species for example maple, cherry or walnut. We have planted over 50 trees in our garden and I am enjoying watching the saplings grow slowly but surely, gaining in strength each year.

Timber choice is crucial to the success of each piece and I make careful choices regarding grain and colour as well as creating as little waste as possible. Studying a three-metre length of rough sawn English ash it can be hard to imagine the final design but once the first cut is made the process takes on a momentum of its own. As the early days pass the pieces of timber become smaller and smoother, initially through machine use and then hand tools. Sharp blades are imperative and I must admit to the great pleasure derived from seeing a perfect shaving emerging from my freshly honed plane. Cutting and fitting joints can be one of the most challenging areas of furniture making but the satisfaction of a well fitting dovetail makes the effort worthwhile.

I make constant reference to my working drawing but find that I must also be prepared to make changes along the way. What seemed right in the drawing/model stage may need subtle adjustment during the making process.

The finish applied to the wood is the important final step. I use natural waxes and oils as a rule and these can provide considerable protection with the building of several layers. A good finish completes the piece; a bad one ruins it.