‘Forgetting’ stereotypical forms and taking inspiration from the local environment is a big part of the design and making process used by Canadian woodworker, Réne LeBel.

Reflections from mentors and colleagues on the work and life of William Bayliss.

A citizen of the world, Rex Kalehoff is a multi-talented woodworker and sculptor. He tells about his journey and shows the making of his Fox Valet bench.

Inspired by the writings of Richard Flanagan, Kevin Perkins’ latest work is a love song to Tasmania and a testament to a long-standing friendship.

Time spent perfecting techniques and the influence of other makers have shaped John Shaw’s approach to woodworking.

Yutaka Iwata explains why he relocated to the source to launch a career in Spain as a luthier, and he also tells why Spain is so conducive to making fine instruments.

An interview with South Gippsland based woodcarver, Olivia O’Connor discusses her background and influences.

As a judge for Maker of the Year, presented by Carbatec, Pam Erasmus will draw on over 30 years making and mentoring others. Here are a few of her tips for entrants.

The final part of a series where makers discuss how and why they choose to ID their work. Here, Leon Sadubin and Terry Martin describe the evolution of their makers' marks.

"I’m not sure I’m at a stage in my career to start throwing advice around but I guess I’d just say stick to delivering work that is made to the best of your ability." 

Roy Schack and Rolf Barfoed tell us why and how they ID their work.

Richard Lovell’s life took a complete turn when he took up woodworking and studying design. We were curious to hear his story...

Acknowledging the identity of the maker is an essential part of the handmade story and the meaning of craft. Luke Batten explains.

I often woke up thinking “what have I done!?!” I left a career, a network of people, a reputation and a skillset I had spent a decade invested in developing.

“For me, woodworking is both a discipline and a language, and marquetry is one of its most poetic forms.”

I like my pieces to be honest about what they are, to not hide away from the flaws and imperfections, but to highlight them and make them central to the overall design.