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This is the first and quite possibly the only edition of The NorthernTool: a newspaper to report/ explain the activities of the community of practice that surrounds the Designers In Residence scheme at Northumbria University

www.designersinresidence.org

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The Designers in Residence scheme is a post-graduate initiative designed to support selected Northumbria graduates from BA(hons) 3D Design to develop professional design practice. In simple terms the scheme is the offer of enterprise support to encourage designers to view their practice not only as a creative activity but also as a commercial enterprise capable of generating income and employment for themselves and others. The success of the scheme over the last 10 years is easy to measure, one looks to the many businesses/ careers/ jobs created. The international reputation of the scheme has grown by showcasing products at the most prestigious trade fairs around the globe.

Equally noteworthy, but more complex to quantify is the community of design practice that has sprung up around the scheme. Designers that are learning the business of design by ‘doing it’ stay connected to each other, to Northumbria University and the North East. The developments of a project set to this network of designers will be shown at “The Dock” during the London Design festival 19/9/11 until 26/9/11. Set on an industrial waterside estate, the event hosted by Tom Dixon includes exhibitors such as Moooi and Aston Martin.

“A Tool for Daily life” special

Pages 2-11>>

The much awaited Tool of the MonthPage 11>>Enterprise support at Northumbria University Page 12>>Themed word search & classic jam recipepage 16>>

Designers in Residencee

Snow Global: Neil Conley

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The project was launched in May, 2011 at New York’s ICFF (International Contemporary Furniture Fair). Core77 interviewed Rickard Whittingham, the coordinator of the Northumbria University scheme.

Core77: What is the Designers in Residence Scheme at Northumbria and how did it come about?

Rickard Whittingham: The Designers in Residence scheme is a post-graduate platform that provides access to workspace, equipment and on-site mentoring for selected graduates of BA(hons) 3D Design at Northumbria University. Residents use the scheme to develop and grow their professional practice.

It came about because of an identified need to support graduates, not with a prescribed academic curriculum of business start-up but with a system of support that responds to their individual ideas for commercial enterprise. It means the scheme can support furniture and product designers working across all sorts of contexts. For example at the ICFF this year there was Neil Conley (limited edition pieces with political narratives) alongside David Irwin (displaying prototype dining chairs).

The benefit to the resident in basic terms is access to facilities and advice to start their professional practice. The benefit to the 3D Design undergraduate students is having exciting professional work happening alongside their study. The benefit to the North East region (Northumbria University is based in Newcastle upon Tyne) is retaining the very best of its graduates many of whom stay in the city to continue their work. Core77: How is the “Tools for Daily Life” project incorporated into the Designers in Residence scheme? What worked, and what, if anything, will you change in the future?

Rickard Whittingham: The “Tool for Daily Life” brief was set to the network of practice that now surrounds the Residency as a way of illustrating the fact that residents after they have ‘flown the nest’ of the scheme stay connected to it. The intention of the brief was to show how staff and residents continue to support each other. The idea of investigating “tools” was seen as a way of exploring a common thread amongst this community of designers. That thread is the exploration of craftsmanship in designed objects and the careful choosing of materials and processes for both functional and expressive goals. The intention of the brief set to this community of designers was to explore the potential beauty in functional tools.

In terms of how well the brief and the resultant products work, I think it succeeded in being an enjoyable process for the designers involved and a welcome pursuit that nourished their day jobs as designers and educators. The results first showed at the ICFF [and now further developed for the Dock] show a deftness of touch, strokes of humour and a deep appreciation of materials. I think there are some extraordinary products that are beautiful and desirable in a utilitarian way. Whilst there are some ‘finished’ products, the project is very much an ongoing process. We are currently looking at how best to commercialise some of the work.

Core77: Tools are obviously made to be used, and some would say that much of their beauty comes from signs of such: dings, dents, patina, etc. all constitute the ‘character’ of the object. Do the designers consider this notion of history during the design process?

Rickard Whittingham: The ‘character’ of tools was at the forefront of all our minds and indeed exploring the connection between the operator and the tool was the thrust of the brief. ‘Use’ in all cases was the defining issue. References to traditional hand-tools and utilitarian objects are clear not in a postmodern ironic way but with a genuine appreciation of the benefits an object gains from the scars of use. Material choices were without exception informed by a concern for longevity.

I think all the designers that were represented consider the notion of history in their work. None of us explore novelty for novelty’s sake and are very aware of that which has gone before. The intention is never one of retro styling but one of acknowledging details and forms that communicate longevity.

Core77: Do the ‘Tools’ provide clues as to a given designer’s aesthetic, practical interests or future needs?

Rickard Whittingham: On an individual level it is clear how what the designers came up with reflects their broader practice. The ‘series’ of wedges by Colin Wilson illustrates his deep interest in the properties of materials and a boundless enthusiasm for searching out and working with experts on the projects he tackles. “Pencil works” by Trevor Duncan reflect clearly both his skill as a Craftsman and as a product designer.

Core77 is an online magazine dedicated to the practice and produce of the field of industrial design.

This interview in full can be found at: http://www.core77.com

What is the “Tool for Daily Life project”?

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The Brief

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Tools for Daily LifeThe following four pages contain reponses to the (Tools) brief and an interview with a master tool maker involved in the manuafcture of two of the projects.

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Trevor DuncanPencil Works # 00 - # 09

A celebration of one of the most ubiquitous every day toolsThis series of “pencil works” is inspired by the many secondary uses that people sometimes put these simple little devices to and focuses on developing a range of products that build real secondary functions by way of additional components.Each simple pencil is fitted with a threaded brass ferrule that accepts a tool from the series – cut, file, measure or mark.

CedarBrassCarbon steel

#00 ‘the level’ mk.1#01 ‘the rubber’ #02 ‘the blade’#03 ‘the saw’ #04 ‘the pick’#05 ‘the eyeglass’#06 ‘the file’#07 ‘the divider’#08 ‘the brush’#09 ‘the level’ mk.2

Philip LuscombeLuscombe’s Knurled Soap

Ingredients:Aqua, Propylene glycol, Sodium stearate, Sodium laureth sulfate, Glycerin, Sucrose, Sodium cocoate, Sodium xylene sulfonate, Sodium lauryl sulfate, Stearic acid,Tetrasodium EDTA, Tetrasodium etidronate, Titanium Dioxide.

info@pluscombe.co.uk

Danny Duquemin-SheilShoulder bag

“A ‘shoulder bag’ that acknowledges multiple contexts of use. It is able to carry heavy loads, such as groceries for those without access to a personal vehicle. However, it ‘folds down’ small enough to be used throughout the day, for example at work or university. It has a number of features to address common complaints that users have highlighted with existing bags on the market.

Materials: Recycled builders merchant sacks, camping roll mats and corrugated plastic signs, used in combination with conventional hardware and high-quality waterproof performance fabrics.”

Rickard WhittinghamTools for an open plan office #1 The Messenger

This is the first object from what will be a range of products that respond to the issues surrounding the curious place of work that is the open plan office.

The Messenger is a simple object placed on ones desk to draw attention to a communiqué you want to leave for co-workers, petty thieves, line managers etc… who might come calling when you are not there. Referencing products not necessarily found in an office environment, the intention is for messages to be easily spotted amongst the usual office desk debris.

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60 Second InterviewThomas Jones

Master Toolmaker. Age 34, 19 Years ExperienceTom’s skills and enthusiasm have been invaluable in the production of the Tradesman’s Wedges for Wilson & Benn and Neil Conley’s ‘MaudslayWalker’ Batchstick. Interview by Colin Wilson.

Q What is it you do? I am a toolmaker by trade but I am involved in both production and maintenance as well, so I look after all the machinery and maintain it. I also produce all the tools for the machinery as well as making prototypes and one off special items, so I do a good variety of things.

Q How did you get into this? What were your influences when you started out?When I was at school, we were asked what we wanted to do when we left school, I looked at what my father did and he was a miner and my brother was a wood machinist and my other brother was in the army, so I thought, pretty much, that since I liked building things out of Lego and this sort of thing, at the time, I would like to go into making things. So I thought I’d go into engineering. I was put into a placement in a little company, Sovereign Light Engineering, and I sort of took to it like a duck to water. After two weeks they offered me a job which was brilliant as it means I have never had an interview. So I worked there for 10 /11 years I suppose. In the end I bought the company and I had it for another 5 or 6 years. The reason I packed it in is, I just couldn’t get quality skilled people, So in the end I decided to wind the company up and work with Andy... at M-Machine Metals

Q Where /what is the satisfaction about doing what you do? Its a number of things really, I like having a problem and being able to solve it, so somebody can come to us and say, for example, can you make a press tool for something like this, I need to make the tool but there are a lot of problems in making it, because it’s bent and formed in different directions, even the original manufacturers part as you can see the metal has wrinkled in the pressing process, it’s just a difficult part to press. So to work on that and look at something you have made that is good quality or better quality than the original part is very satisfying.

Q what do you need in terms of fulfilment relaxation?Oh I have Loads of hobbies; I do photography, I have a web site that I look after and enjoy programming and I go down old lead mines in Wear Dale. The land is peppered with mines all over. It’s a play ground for me.

Q Which bit is the addiction? I think quality and precision because a lot of people say ‘that’s near enough’ I get pride in things being exactly dimensionally correct or being highly polished and looking nice. So when the customer collects the job, opens the box and sees the part, he is really surprised to see how good it is, that’s the standard that I always aim to produce.

Q How do you feel about developing technology in your trade?Technology, well up until 4 yrs ago I had never seen a CNC machine, I always thought they were the work of the devil but now....! I used to design and build racing car gear box’s that’s what I did before this. I got to the point where you could not do it manually you had to use a CNC machine; you were making them out of billet. Gone were the casting, the jigs and fixtures. You then had to machine out of a solid piece of aluminium. So I thought we should invest in a CNC machine and it was the best move I had ever made. It was so easy, up until recently, I have not been using CAD, I have been programming in pure ‘Fanuc’ if you like. I just find them brilliant, very quick, very efficient. It’s like having 10 men working for you.

Q Would you do it all againYes definitely

Contact http://www.m-machine.co.uk/

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Colin WilsonThe Tradesman’s Wedge. Series 1The wedge is one of the six simple Machines (A simple machine is a mechanical device that changes the direction or magnitude of a force) and has been in use for millennia. This series of wedges are wrought from Brass, Phosphor Bronze, and Gunmetal. They represent a genre of tool that for the most part are overlooked and quite often discarded after they have served their purpose.The intention is to give these objects worth and value by design, concentrating on, use, fit for purpose, proportion, material and craftsmanship.The series consists of; Plain Wedge, Adjustable Wedge, Pivot Wedge. The Wedges are first and foremost tools to be used, however now they are a tactile precision instrument that can be appreciated as an object of value.

www.wilsonandbenn.co.uk

Tatsuya AkitaTape dispenser

Made from Concrete, spun copper and steel, this product is taken from a range of desktop products that explore the marks (scars) of production.

Rickard WhittinghamHodPowder coated steel, oak and nickel plated bolts

Ellen ThomasFilesLike so many other products, Files have changed from Products designed to be kept to products designed to be thrown away.

This collection of files was designed to illustrate the compromises made in manufacture.

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Neil ConleyThe MAUDSLAYWALKER BATCHSTICKHenry Maudslay and John Walker circa 1800

Humans are defined by their ability to use tools; we are the only species to make tools, which are in turn, used to make further tools. At present, the digital tools for daily life; email, text, tweet; have replaced the most traditional and longstanding tools of communication. The Batchstick, however, is the revival of the written document. The ‘notification from postmaster’ replaced once more by the postman.

The Batchstick is primarily a tool for sealing letters. Each steel canister contains multiple ‘batchstick’s’; friction matches encased in a sleeve of sealing wax. Each match contains enough wax to seal an envelope, no more, no less. The matches can be struck on the knurled steel shaft, dripped, stamped and then discarded.

The use of standardized raw materials, along with hand crafted elements demonstrates the equilibrium between the industry and the artisans - and the return to overtly British made products.

“A decline in tool use would seem to betoken a shift in our relationship to our own stuff; more passive and more dependant” Matthew B. Crawford (Shopclass as Soulcraft :An Inquiry into the Value of Work)

David IrwinModelling Tools for Swann-Morton

As Tribute to the relentless commitment to quality of the British Manufacturer Swann Morton, Industrial designer David Irwin has created a range of highly crafted model making tools to perform tasks that require the upmost in accuracy and skill. Housing the company’s precision ground carbon steel blades the tools have been designed to function as task driven objects and as frames to showcase the exacting manufacture of each individual blade - from the angle of the grind to the pressed product number.

The Tools:Machined from Brass and solid Walnut (chosen to reference a key production stage during blade manufacture, the walnut shell is used along with ball bearings and wax to debur, clean and polish the punched steel blanks after work hardening) the tools utilise specific blades from the arts, crafts and modellers (ACM) range and consist of the following;

Mitre joint cutter - ACM Blade number 2.Used to cut consistent lengths of card with a 45 degree angled edge for the formation of mitre joints.

Plane - ACM Blade number 18.For fine surface finishing, material removal and edging details on timber.

Strip cutter/Fold Scorer - ACM Blade number 24.This can be used either to cut equal width strips or to lightly score card for folding nets.

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Process of Exchange is an exhibition, which provides an insight into collaborations between industrial designer David Irwin and the professionals he engages with on a daily basis. In order to capture this process photographer Mark Slater provides visual documentation of work in progress in varying manufacturing landscapes as well as portraits of the people who bring the pieces into existence.

Presented as a combination of Irwin’s three-dimensional pieces and Slater’s photography, Process of Exchange aims to highlight how the inherent desire to work with people we know and like is a strong one. The exhibition shows professional collaboration within the field of design is not only essential practice for creating physical objects but also an enjoyable social aspect of work.

Open15 – 22 Oct10.00 – 17.00Arch 15Forth Goods Yard, Newcastle upon TyneNE1 3PQ

www.davidirwin.cowww.markslaterphotography.com

entry is FREE

This exhibtion is part of the 2011 Design Event festival the theme of which is Happiness. For full details of all the exhibtions, talks and workshops that make up the festival see:www.design-event.co.uk

Process of Exchange

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Hammer dos and don’tsWhen choosing a hammer the first consideration should be balance – the correct head-to-handle weight distribution is very important. A hammer with good balance will feel like it swings itself. Good balance results in less stress on muscles and tendons, helping to eliminate common injuries associated with swinging a hammer.To avoid tiring and painful handle vibration choose a hammer with a hickory handle, next fiberglass and then solid steel hammers. Ensure the handle is gripped at the end of the shaft as in fig1. Holding a hammer further up the shaft is not only inefficient, but also potentially dangerous due to reduced control (fig 2).When nailing always ensure that the hammer head is brought down squarely onto the nail head as in fig 3 as striking the nail off-square will result in bent nails, damaged work and potentially a bruised thumb (fig 4).

Hammer HistoryThe hammer is widely regarded as man’s first real tool - being derived from the earliest pounding tools that eventually evolved into hammers with stone heads bound to simple wooden handles with animal sinew or plant material. It was much later before a hole or “eye” was bored into the head to enable a secure fit to the handle. The head evolved through the Stone, Bronze and Iron ages into the modern Industrial age with its steel and metal alloys, but the basic principle remained – a heavy striking head fixed securely to a handle which creates a balanced lever capable of delivering huge amounts of force efficiently. As our manufactured world developed so did the range of tools designed to fashion it and the hammer was very much at the forefront of this development. Specialist hammers were created for all sorts of activities - coopers hammers for making barrels, silversmith’s hammers, carpenters mallets, farrier’s hammers for horse-shoes, blacksmith’s hammers and shoemaker’s hammers, to name a few. Even in today’s mechnised world the US company Estwing still produces 250 different patterns in its range and of these perhaps the most universally recognisable is the claw or framing hammer.

Claw Hammer AnatomyFace - this is the striking face, the business end of a hammer. High quality hammers have a crowned striking face that ensures nails can be driven without damaging the surrounding wood.Throat - on a strong curved neck enables powerful strikes.Eye - should be deep and tapered, providing a secure head-to-handle assembly.Neck – opposite to the throat and is usually octagon-shaped in its design.Cheeks - frame the face and are often stamped with the hammers weight. Claws - should be double beveled to provide clearance for nail heads and allow a firm grip on nails of any size.Head - encompasses all of the above and should have a clean polished finish. Handle – forms the lever and should be balanced, if timber then usually hickory.

Hammer innovations originally all hammer handles were made of wood, but today they also available in steel and fiberglass. Purists still largely prefer the wooden handle above other handle types as it’s more shock absorbent, lighter in weight and provides good balance. Steel shafted hammers have become increasingly popular, due to their strength and durability although many have the drawback in causing handle “sting” when used aggressively. Recent technology has improved on this, with wood and rubber implants placed in the head designed to reduce vibration and make the feel of using these steel hammers almost the same as wood.

The Claw hammer

A hammer with one side of the head split and curved, used for extracting nails.

Tool of the Month

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fig.2

fig.3

fig.4

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throat

face

neck

head

cheek

claw

eye

handle

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Not all “Designers are Wankers”The 9th International European Academy of Design Conference (EAD9) in Porto, Portugal.

Not all “Designers are Wankers”: Connecting Design, Enterprise and Regional Cultural Development was the title of a paper presented at the EAD9 May 4-7, 2011 by Northumbria University’s Trevor Duncan Head of Industrial Design.

The ever so slightly disruptive and consciously attention grabbing title of the paper is reference to the book “Designers are Wankers” by Lee McCormack a premise of which is to bemoan British design education for failing to properly equip graduates for the ins and outs of the business of design.

The paper by Trevor Duncan and Rickard Whittingham reported on how the Designers in Residence scheme supports entrepreneurial design practice. The paper examines the initiative’s contribution to the cultural and economic regeneration of the design sector in the North East of England. The paper acted as a case study reflecting on how the scheme’s practitioner mentoring has created significant community of practice through the collaboration of a design school, Enterprise Campus and regional development agencies. The title of EAD9 was The Endless End, the focus on examining the implications of the broadening scope of design beyond traditional, easily defined, disciplines.

Trevor did not come back from Portugal with a tan.

The full paper can be found in the DiR drop box: https://public.me.com/designersinresidence

“Encouraging enterprise skills and enterprise start-up at Northumbria University is a big corporate priority for us. We are a professional university, and most of our degree programmes have vocational and enterprise elements,” said Roger Candy from Enterprise Campus at Research and Business Support.

Since 2003, Enterprise Campus has worked with thousands of students and graduates at the university to help them build up their entrepreneurial skills or even start up their own business. “We have supported hundreds of new companies, providing a flexible and bespoke process to support each one through to full trading,” says Roger “For those who are wanting to set up on their own, Northumbria University can provide them with effective business models, business plans, self-evaluation skills and advice on how to get and manage customers.

“Due to the practical nature of many of the degree programmes, enterprise skills can be directly integrated into the learning programme. Depending on the academic discipline, we provide different enterprise curricula , activities, outside speakers and other learning experiences.“A lot of students, especially those on media, IT and design courses recognise that they have committed themselves to self-employment or working in a portfolio context and we can support that.”

While Roger does recognise that not everyone wants to be their own boss, he sees the enterprise skills they learn as valuable, whatever career path they choose. “Even if students aren’t looking to set up their own business, a lot of the skills we teach are essentially about employability – how to deal with other people in uncertain situations.”

In a wider sense, the start up scheme contributes heavily to the local economy and encourages students to stay in the region“. A lot of people who come here to study aren’t local, so we are keen to work with them to help them set their businesses up in the region and, more importantly, to ensure they survive here too. “For a lot of them it is in their interests to stay here – it is far easier to run a business here than in London or Leeds and, as well as profiting from their idea, they can enjoy the relaxed lifestyle which comes with living in the North East.”

Roger has considered hundreds of potential businesses over the past few years and cites a “clear and straightforward idea” as the main thing students need to focus on.

“An idea doesn’t have to be advanced – most successful entrepreneurs began their businesses with a really simple plan. “What potential businesspeople need to focus on instead is rather, ‘can I meet the needs of the customer’ and ‘could I make money out of it now’, as these are the factors which are going to determine the success of their business.”

Roger Candy was interviewed by Ruth Mitchell for bDaily

Roger Candy on Enterprise

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Current Designers in Residence

Neil Conley Designer in Residence 2010-

Neil is the producer of two and three dimensional pieces that place a heavy emphasis on narrative. Aiming to re-inject relevance to this level of storytelling through innovation and environmental awareness, Conley’s pieces often reflect a bleak and ominous view of the world around us. Neil recently won the ‘One Year On” award at New Designers 2011.

“Throughout my education I was always obsessed with the natural environment – so inevitably, as both a designer and illustrator, the work I have produced has often placed a heavy emphasis on this. I have also been heavily influenced by artists such as Stanley Donwood - whose sinister interpretations of the world around us have always driven me to create a similar level of storytelling and emotion through my pieces. ”

www.neilconley.co.uk Ellen ThomasDesigner in Residence 2010-

Ellens work brings a contemporary twist to iconic products and furniture. She is concerned that attitudes towards products and furniture today are too disposable. Her focus is to create beautiful contemporary designs with added value encouraging the user to form an attachment to her work. In doing so she hopes that her pieces will be kept and cherished.

www.epthomas.com

Tatsuya AkitaDesigner in Residence 2011-

Tatsuya is just starting his two year residency at Northumbria after graduating in July 2011. The “Tape Dispenser” is one of several products from his final year project titled “Scars of production”.

www.at-studio.net

Danny Duquemin-SheilDesigner in Residence 2011-

A 2011 graduate from the 3D undergraduate programme at Northumbria, Danny’s degree show submission (The Bag) now forms part of the ongoing Tools for Daily Life project. He has just begun the residency.www.coroflot.com/dduququemin-sheil

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Past Residents

James UKDesigners in Residence 2005–7

James UK is an award winning contemporary British furniture brand primarily supplying the contract market with unique, high end, design led furniture and interior products.

“Our products are made in the UK using specialist manufacturers who combine traditional woodwork and upholstery techniques with modern technology. Using British suppliers and manufacturers allows us to offer customers total flexibility in their choice of fabrics and finishes and peace of mind that materials are responsibly sourced and products are built to last”

James Kinmond & James Harrisonwww.jamesuk.co.uk

Reeves DesignDesigner in Residence 2003–4 The idea of experimenting and pushing production techniques is very much a part of Reeves Design. Whilst John’s Reeves signature collection is the Louis range distributed via Heals in the UK, his studio and workshops in Vietnam supply North America via ABC Carpet and Home and Henry Hall Design.

“Living in a world that seems to be focused more and more on “the moment”, I believe designing with a respect and reverence for what has gone before keeps us mindful of where we’ve come from and what we really need. Ensuring that design evolves not only through materials and production processes but also under the direction of culture.”

John ReevesReeves Design Founder and Director

www.reevesd.com

DeadgoodDesigner in Residence 2003-5

Deadgood is the award winning partnership of Elliot Brook and Dan Ziglam. Designers and entreprenuers they both create lighting and interior products and commission work from some of the UK’s most talented young designers. Based in studios in Newcastle and London Deadgood sell direct from their website and via retailers around the globe.

“Our vision is to develop a leading British design brand that produces the very best furniture and interior products. We offer an excellence in design, an uncompromising commitment to quality and an outstanding level of customer service and on top of this we apply our unique sense of passion, fun and enjoyment into everything we do.”

Elliot BrookDan Ziglam

www.deadgoodltd.co.uk

Over the past 10 years the Designers in Residence scheme has supported over thirty designers in setting up their professional practice. Profiled here are a selection of past residents.

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David IrwinDesigner in Residence 2007–10

David Irwin is a designer working within the spectrum of furniture and product design.

His design focus is founded on a deep interest in material manipulation through the appropriate use of both traditional and contemporary processes. The goal with all his work is to combine a strong concept with a fundamental usefullness.

www.davidirwin.co

Jon Aspinall Designer in Residence 2007-9

Jon’s approach to design is to take everyday situations and events and create products based around them, often by injecting humour. The result is a range of quirky and original products sold through his website and via Therlamonthupton.

www.jonaspinalldesign.co.uk www.therlamonthupton.com

Philip LuscombeDesigners in Residence 2009–11

With an irreverent approach to current issues, Philip’s products have examined the role design can play in creating a vision of the future. To bring the vision to life, Philip designed the products for the Museum of Modern Britain’s (MOMB) 2050 retrospective exhibition that looks back on the years 2008 – 2038. By designing and exhibiting products that will satisfy an imagined future market, Philip’s work engages and entertains whilst arousing debate.

info@pluscombe.co.uk

Philip is currently working towards a PHD

Christine MisiakDesigner in Residence 2007-9

Inspired by the nation’s love of tea, Christine Misiak utilised the Designers in Residence scheme to turn the UK’s unwanted tea sets into a desirable range of eco-friendly, contemporary home ware products.

“As an eco-friendly person, I hate to think of any product going to waste, especially such valuable symbols of English heritage. However, my products are much more than a recycling project; my tea sets fuse the best of both worlds by respectfully preserving traditional design elements and mixing them with contemporary craftsmanship and customisation. The nature of my tea set design appeals not only to antique collectors, but also those who appreciate modern design.”

Christine won the Peter Walker Award for Innovation in Product Design at New Designers 2007. Her Tea Sets were then displayed at Liberty of London and also featured in the New York Times.

16 The NorthernTool

R I I R M Q T I R N V G F A E T E E T A G P U X M H V E E W T I O P E G B R M B O V I E N Q K R G A J G R K W B T G N Y X A R V L M B R A D A W L J D P P A U N P A J A H U A U O N H M V V L P M B V Y C G E N Y X P U I I S E S A V X Q O T H S R E P I L L A C L A N R E T N I Q O P Z T M N E L B G S M H C N E R W I D H R E V A R G N E S H S U M J E D M S S L D N U H N M P R R W Y C H P U R T W R G C E R T C A Z G V I M E F T P K B Y Y D V R N L G V A W E X R J J S E W S G H O P Q D H U S F M I C G A E Z P S D J T I Y I L G R T S U Y E E X O C J U W U A V R X N T Y A K B R J W U U I R A I Z R A C W D O S N O V K O X D T H S X A G A D A A E B J R L C F E V V F D P G O B L O A D P C P L O A U Z G Y H N I E R Z Y R B Z X I W L A T I W O I W G O I O B Q R H X F Y F A H P F Y N C M B N K X E C P E U B F P X V H E Z L G K I W G P J X Q G D S G S E Q N Y H Q B Y T F V O I P R J B N B P N K D J G V S C R E W D R I V E R E X A Z N T S U T K G P F K B V X J G I L D F V A G K U B R X M X R U Q R J G I R I C L J R B W Q Z G B X C P X Q T J Y K A E H L M O Q M G M R A J T A U C T V K G G H L U F C M A C V T P K X A H I O Z Y Z X F R Q M B H N V F I L F N P Q G X L M A H U L G G A N Z K W V Q F F Y U S A V S K B S C Z L A T H E C X U B S N B E P I I K E S R P F A R E B P Y O H D I A L W H U D A L X I G S R N N T B Z U F E R L B R N G E P A J R B I U M H R W E W F E S M P J R V I I P W B E X Q L G N F U M L B T C F Y P M R C C U G S I E W R G K M O U P M F C Z U Y E Z C L U D Z Y B U N P E K K I X O G A I S X A W G Z E M G Q N U R N K R Q Z T E E W L U O J G R R O S K W C A B L Y R R F A X Z K L A T T Z I N A C N Q K Q M T D Y N V G Q L J D B N L C P W Y Q L E F N H N D N E Z P M P M A X Y F Z S K F X G H N J Z A O Q R K K X K S R S L T D K M F F B J L J G C T A W Q C N Z U J S P I C R C

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toolsearch The last word...

Mrs. Irwin’s Classic Blackcurrant and Blueberry Jam™800g/ 1.5 lbs blackcurrants200g/ 0.5 lbs blueberries900ml/ 1.5 pts water1.5kgs / 3lbs Jam sugar

1.Put the fruit into a heavy bottomed saucepan or preserving pan and add water

2.Bring to boil, reduce the heat and simmer gen-tly until the fruit is tender (30-45 mins.) stirring occasionally

3.Add the sugar and stir until dissolved. Bring to boil and boil briskly until setting point is reached (approx. 5mins)

(to test for set pour a small spoonful of Jam onto a cold saucer. Leave for 1 minute. If the surface wrinkles when pushed with a finger the setting point has been reached)

4.Remove the pan from the heat. Spoon off scum from the surface of jam.

5.Put into warm sterilized jars.

“The satisfactions of manifesting oneself concretely in the world through manual competence have been known to make a man quiet and easy. They seem to relieve him of the felt need to offer chattering interpretations of himself to vindicate his worth. He can simply point: the building stands, the car now runs, the lights are on. Boasting is what a boy does, because he has no real effect in the world. But the tradesman must reckon with the infallible judgment of reality, where one’s failures or shortcomings cannot be interpreted away. His well-founded pride is far from the gratuitous “self-esteem” that educators would impart to students, as though by magic.”

— Matthew B. Crawford (Shop Class as Soulcraft: An Inquiry Into the Value of Work)

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This months themed search was compiled by Trevor Duncan