Graham Laird:
Master Cabinetmaker

Graham Laird will be a familiar name to many of us in the UK woodworking community. For several years now he has written for Good Woodworking as well as designing and making beautiful examples of both domestic and church furniture. He has demonstrated regularly at shows, and run a number of short courses.

Graham was born in New Zealand, the son of a doctor. His love of woodworking probably began at the age of 5, when his father gave him a piece of wood, some nails and a hammer as a present. From here, he moved on to model boat making - one example of which he still has, perched on his computer monitor. Then in 1945, still just a teenager, he moved to England and his hobby continued. Throughout his adult life Graham made furniture in his spare time, but it was only comparatively recently that he turned professional. He trained with Robert Ingham, former principal of Parnham College and one of the finest British designer-makers, and studied three dimensional design at Kingston University.

This beautiful altar table combines rugged strength
with openness and deceptive simplicity

Types of Work

Graham's work comprises a mix of domestic and church furniture, and he has produced many outstanding pieces.

I asked Graham about the most satisfying project he had undertaken, which turned out also to be his most challenging. It was an altar for Holy Trinity church in Claygate (see photo below). Inspired by existing furniture there, Graham proposed an inverted octagonal pyramid for the supporting pedestal and an extended cross for the base. He produced drawings and the vicar readily agreed. It was only when he came to try to build the altar that he realised how difficult it was going to be. "The angles on the sides meant that there was nowhere to attach cramps for gluing up, so I had to glue on extra blocks before assembly, and plane them off afterwards." This wasn't the only problem though. Fitting the final side was also tricky, as it needed pulling outwards to hold it in place. This was solved by drilling tiny holes either side of the panel, feeding through wires and wrapping the internal ends around small waste blocks. The other ends were then pulled tight outside the pedestal, and the final section thus held firmly in place. Once the glue had dried, the wires were cut and pushed back inside and the holes filled.

Altar table for Holy Trinity church, Claygate,
with unusual tapering octagon pedestal

Commissions

Graham approaches new commissions with the same care and thoroughness he applies to every aspect of his work. When describing the process, he actually begins with a warning - about how the whole process can take some time and should not be rushed. But he then explains how he will meet the client, discuss their ideas, see the room where the finished piece will go, produce draft designs, review them with the client... all before he goes anywhere near a tool. And if the piece is to include veneer, he may even invite the clients to come with him to help choose it - as was the case with this beautiful dresser:

Graham invited the clients to come with him
to help choose the veneers for this dresser

Technology and Materials

Graham has always been keen to embrace new ideas and technology. He makes extensive use of computers in his design work, creating both 2-D plans and 3-D visualisations to help clients get a feel for how things will look. Indeed, while I was there Graham showed me a 3-D picture of a chair he had made - immediately recognisable as the one I was sitting on.

Another hi-tech area in which Graham has experimented has been laser etching and engraving. This involves the use of lasers to cut extremely accurate inlays of almost any size and complexity. He produces the design on the computer, comprising text and/or graphics, and takes it to the laser company, along with the timber base and veneer. First they etch the design into the piece of solid wood, to exactly the right depth. Then they temporarily mount the veneer upside down on a plastic laser-proof substrate before cutting out a mirror image of the inlays. The unwanted pieces of veneer are peeled off and the remainder inserted directly into the etched base. The results are quite stunning.

Whilst he prefers to use European hardwoods, Graham will work with any timber from renewable sources.  And he is also willing to incorporate new materials into his projects. One of the most interesting designs that he is currently working on is a set of new choir stalls for a well-known boarding school chapel. This is an ornate Victorian structure, and furnished accordingly. But in conjunction with the school architect, Graham is looking at a thoroughly modern alternative combining the traditional beauty of wood with cast glass and polished aluminium.

Graham's approach to new technology and materials is indicative of his approach to woodworking in general: boldness and rigour. He is always willing to try something new, and to experiment, but everything he does is carefully researched and thought through to give the best possible chance of success.

Working Environment

Graham works on his own, but does bring in extra help for some larger projects, such as recently when he was asked to provide new choir seating and other items for a church renovation project. He is always careful only to use makers whose work he knows.

In the past he has worked in an extended wooden summerhouse at the end of his garden, but now enjoys a large double garage with office over. One particular benefit is having central heating in the garage... which the previous owner of the house had installed to keep his Porsches warm in the winter!

Multi-talented

Over the years, Graham has broadened his range of work from pure making. He now provides design services, writes for Good Woodworking magazine, has demonstrated at various shows, and has recently started teaching short courses on cabinet-making at West Dean College near Chichester.

Read the second part of this article here.