The material is half the work. A good piece of timber tells you what it wants to become. I spend a lot of time sourcing interesting wood, and I keep a stockpile of metals, resins, and stone so I always have options when a new project comes in. Here is what I work with most often.
British Hardwoods
Almost everything I make starts with native timber. I get most of it from three sources: a local joinery workshop that saves me their offcuts, a tree surgeon who lets me know when something interesting comes down, and demolition sites where old beams and floorboards turn up.
Oak
The workhorse. Dense, strong, takes a beautiful finish. English oak has wider grain than European oak, which makes it more interesting to turn. Old oak from demolished buildings has a colour and depth that new timber cannot match. I use it for bowls, boxes, and anything structural.
Ash
Pale, straight-grained, and forgiving to work. Excellent for turning because it responds well to sharp tools and does not tear easily. The grain is subtle but attractive, especially when oiled. Sadly getting harder to find as ash dieback takes its toll.
Elm
Wild, unpredictable grain that makes spectacular bowls. The heartwood ranges from mid-brown to almost red. Difficult to work flat because it moves a lot, but brilliant on the lathe where the grain patterns really show. I only use salvaged elm from old trees.
Sycamore
Almost white when fresh-cut, with a silky texture. Excellent for kitchen items because it does not taint food. Takes detail well for carving. The rippled figuring that sometimes occurs in sycamore is beautiful but rare enough that I hoard it when I find it.
Burrs
A burr is a growth deformity on a tree that produces incredibly dense, swirling grain. Any species can produce them but oak and elm burrs are the most dramatic. They are hard to work, prone to cracking, and absolutely stunning when finished. I use them for feature bowls and resin combination pieces.
Metals
I use metal as an accent rather than a primary material. Copper, brass, and mild steel for different purposes:
Copper
Soft enough to work cold, develops a beautiful patina over time. I use it for inlays in wooden surfaces, rivets, and decorative bands around turned pieces. Easy to polish to a mirror shine or leave to age naturally.
Brass
Harder than copper, with a warm golden colour. Good for hinges, catches, and small functional fittings on boxes. I also use brass rod for pinning joints and making small sculptural details.
Mild Steel
Tougher than both but still workable without welding. I use it for tool-making (custom marking knives, turning tools), bases for sculptures, and rough industrial-style brackets. It rusts beautifully if you let it, which works well with reclaimed wood.
Epoxy Resin
Resin is having a moment in the craft world and I understand why. The combination of clear or tinted resin with natural wood grain produces results that neither material could achieve alone.
I use it in three main ways:
- River tables and boards: Filling the natural gap between two pieces of live-edge timber with coloured resin. The contrast between organic wood edge and smooth resin is striking.
- Void filling: Natural cracks, knot holes, and bark pockets in timber become features rather than flaws when filled with clear or tinted resin.
- Jewellery encapsulation: Small pieces of burr wood or interesting natural objects cast in clear resin and shaped into pendants or rings.
I use a low-VOC epoxy that cures clear and does not yellow over time. It takes about 24 hours to cure properly, which is why the resin jewellery course runs over a weekend.
Stone
I use stone less often than wood or metal, but it shows up in certain pieces:
- Welsh slate: For bases under turned bowls and sculptures. Flat, dark, and elegant. I cut it on the bandsaw with a diamond blade and polish the edges.
- Limestone: Local oolitic limestone for carved pieces and inlay work. Soft enough to carve with hand tools, hard enough to take a smooth finish.
- Pebbles and flint: Occasionally used as found objects embedded in resin or set into wooden surfaces. The beach is about 40 minutes away and I rarely come back empty-handed.
Stone grounds a piece. It adds weight, literally and visually. A turned bowl sitting on a slate base feels more considered than one sitting directly on a shelf.
Want to work with these materials yourself?
My workshop courses give you hands-on time with proper tools and interesting timber. No experience needed for the beginner sessions.
See upcoming courses