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At the end of Design Domain part 1 I had developed a materials library which I wanted to continue using this semester; I aimed to find ways of combining my materials and discovering how they might interact and speak to one another.

The final outcome is a series of three ‘imagined coracles’. These stem from my own interests in the vernacular, heritage crafts and relationship to landscape. They are also a response to a childhood memory of a school trip where I remember watching a coracle builder at work- a process which I found captivating.

Currently designated as an ‘endangered craft’ by the Heritage Crafts Association, coracle making also fed into ideas around function and value which were discussed during Alkesh’s workshops. What use and what value is there to a skill which no longer serves us practically in the modern world? My coracles are not functional objects. Rather, they are a celebration and exploration of locality and childhood curiosity- which as discussed during the workshops imbues them with a different kind of value, not connected to monetary worth or functionality.

During my research I was interested to discover that even though coracles are generally specific to the small geographical area of Wales the West Midlands (where I am from), their design varies widely; each river in the region has their own variation which responds to the particular quality, rapidity and depth of the water. My three different designs, while I hope relate to each other, aim to reference this.

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Open studios set-up. Three 'imagined coracles' and three material samples which informed them

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Sketches

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Translucency/ opacity

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Coracle for rapid currents- Steam bent wood veneer, tea bags, plaster, cotton pads

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Boats and boating--Equipment and supplies

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Pierced hide coracle- Rubber, copper wire, tea bags, tea & plaster

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Leaky coracle. Bags for life, plaster, tea bags, pumice, cotton pads

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https://materialmatters.design/Simon-Hasan

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Simon hasan boiled leather 06.09.22. internet Simon Hasan made a name for himself when he graduated from the Design Products course of the Royal…

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Simon Hasan Vauxhall project. Work which examines heritage craft and memory

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Furniture by Simon Hasan for Vauxhall Collective | Dezeen

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London Design Festival 09: London designer Simon Hasan has created a collection of furniture and vases inspired by traditional British crafts. The collection includes three vases, two stools and a cabinet. Hasan made the oak stools by splitting timber along the grain and using the natural shape of t…

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Details about regionally specific coracle design

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As discussed on our About coracles page, there are many different types of coracle. From this page you can find out more information about the various types of coracle around the world

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Darren Appiagyei- vessels informed by place, heritage & material qualities of wood

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The Banksia Vessel Collection by Darren Appiagyei.
@renjoefilm

Darren Appiagyei's fascination with nature stems back to a young age, however, his passion for woodturning happened almost accidentally in his second year studying 3D Design at London's UAL Camberwell College of the Arts. Tasked with developing a new skill as part of his studies, Appiagyei saw an opportunity in working on the campus lathe which was freely available to use. "Initially I chose it because I realised the machine was empty and it meant I could get my work done as soon as possible and therefore pursue my other passion, table tennis!" He reveals, as he explains his route to creating the collections he has released over the past years.

However, thanks to YouTube tutorials and the technicians at UAL who observed his work, Appiagyei fell in love with the craft and found the process of woodturning to be therapeutic as well. While developing his skills, he became enamoured by the transformation of the material being honed into a functional design, encouraging him to investigate new techniques and to experiment with varying wood densities and grains.

Pictured in his studio, woodturner Darren Appiagyei is based in South East London and creates ... [+]
@_jermainemiller

Born to Ghanaian parents in Greenwich, London, Appiagyei gets inspiration for his work from the natural world directly. From the little details we grow accustomed to, such as the bark on a tree and the grain detailing through each piece of timber, he says the key is remaining open to such intrinsic, yet defining, elements. "I believe nature has a way of vandalising what has been manufactured," He says. "It's like a flower that grows through a concrete pavement. It shouldn't be there, but it is with its overpowering beauty which shines so bright in juxtaposition to its surroundings."

After finding his love for woodturning at university, Appiagyei established his own studio, InTheGrain, in 2017. Producing sculptural, functional designs, he seeks to showcase the natural features of the material in every piece he makes. Be it in the cracks, knots or unsymmetrical silhouettes, Appiagyei celebrates these imperfections and uses them to dictate and inform the finished result. Embracing these characteristics helps a strong narrative to emerge through each piece, as well as helping viewers to appreciate elements which would normally be discarded or removed. Also drawing on his own heritage, he takes stimulus from traditional Ghanaian wood carving techniques and the textural beauty they reveal.

Appiagyei's vessel collections showcase his love for the natural forms and imperfections found ... [+]
@_jermainemiller

For this year's London Craft Week, which now takes place on 30th September - 10th October having been postponed from its usual May dates, Appiagyei will be showcasing two collections. The first, titled Banksia, are signature pieces of his studio work and explore the fine details of the Australian wildflower which was originally discovered by Joseph Banks - a botanist who worked as part of Captain Cook's crew. Upon working with the material, Appiagyei embraced the three different layers he discovered. With an outer crispy texture, to a velvety second layer and then through to a smooth wood core, he has created a collection of vessels which emphasises the organic allure the material holds. These vessels will be on show as part of the 300 Objects Exhibition, hosted by St James Estate and curated by the Wood Society of the Arts.

The Banksia collection will be on display as part of this years London Craft Week, beginning on the ... [+]
@_jermainemiller

The second collection, Raw By Nature, again embraces the natural, and more common, attributes we witness throughout the environment we inhabit. Including woods such as brown oak burr and maple burr, Appiagyei has worked with local farms and wood surgeons across the country to source the materials he has used to craft his designs. "I have a real fascination for burrs and the unpredictability of the wood," he states. "Burrs are a tree growth in which the grain has grown in a deformed manner and is commonly seen on a tree in the form of a lump. While seen as imperfections, I would like my audience to be fascinated regardless of whether they understand it or not. For me it's about comprehending the origin of the material and recognising it's natural essence." Exhibiting this vessel collection for the first time at London Craft Week, they will be showcased in the Form_made_From event which features the work of the 2019 graduates of The Crafts Council's Hothouse programme, in which Appiagyei took part. The Form_made_From will be held at the Bargehouse, situated in the iconic OXO Tower on London's Southbank.

Darren Appiagyei's connection and love for nature radiates across each body of work he produces.
@_jermainemiller

Alongside his work with The Crafts Council, Appiagyei is also a 2017 awardee of The Cockpit Arts/ Worshipful Company of Woodturning. Cockpit Arts, a social enterprise & business incubator for craftspeople, provided Appiagyei with both business advice and a studio space for his first year in business. This, in turn, allowed him the space to develop and investigate his work further. "Without their support and guidance, I wouldn't be in the position that I am in now," He continues. "Not only providing me with vital tools, the programme has enabled me to develop public speaking skills through the open studio events which take place each year." This creative community is vital for many emerging makers in their early developmental years and, as Appiagyei has proved, can be the catalyst needed in taking a studio to the next step of its journey.

While his attention is currently focused on preparation for the upcoming London Craft Week events, he is excited to take his work further in the coming years. In 2021, Appiagyei will be involved in the Cove Park residency, situated on the west coast of Scotland. "The key to my success is my drive to continually educate and develop my practice," He comments. "Next year's residency not only allows me to focus on my craft but also challenges me to explore new methods, inspirations and techniques." This passion radiates through every collection Appiagyei creates and his love for the material itself takes precedence at every stage. "We all live fast paced lives, especially in the Western society, and it often stops you from appreciating smaller details and embracing the present moment," He concludes. "That's why the story behind my work is about living in the present and connecting with the past experiences you have had with nature which are calming and intrinsically beautiful." And, in a world of uncertainty, his work has never been more relevant. The relationship with natural ecosystems has become a focus for many, stabilising and grounding our journey towards a brighter and positive future ahead.

The London Craft Week Schedule can be accessed here.

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Darren Appiagyei To Showcase Two New Vessel Collections At London Craft Week 2020

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Darren Appiagyei's fascination with nature stems back to a young age, however, his passion for woodturning happened almost accidentally. Since developing his own studio, Appiagyei has crafted a number of designs and will be showcasing two collections at this year's London Craft Week.

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https://heritagecrafts.org.uk/coracle-making/

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The making of coracles (also known as 'currachs', 'bull boats', 'quffas' and 'parasils'), small, keel-less boats, traditionally used for fishing or transport. See the separate entry for general boat building. .

Current no. of professionals (sideline to main income)

Calico 25-30; Hide 3-4

2 current coraclemakers that sell Teifi (calico) coracles when they have surplus stock or commission builds

(see 'Other information' for further details)

Current total no. serious amateur makers

3 (Teifi coracle makers)

History

The coracle is a small keel-less boat with very little draft, and is usually light enough to be carried by one person. The name comes from the welsh word 'corwgl'. There is evidence of the use of coracles from the early Bronze Age, and perhaps as far back as the Ice Age. They are found all of over the world, and it is likely that such basic vessels came into use simultaneously in different regions.

The history of coracle making is closely related to the uses to which they were put over the centuries. The Iceni would have used them in the shallow waters of the Fens and there is evidence that Caesar, having seen them in Britain, used them in his expedition against Pompey to transport his troops across the Segre when the bridges had been washed away. Pliny, in his account of Britain, speaks of a six day navigation in the open sea in coracles.

In the west of Britain coracles were sometimes used along the coast, but the majority would be found on the larger rivers of Wales and the border counties. Erasmus Philipps, recounts fishing on the Tywi in 1717 "in a sort of boat called a coracle which is made of hoops, and pitch'd blanketing and is portable." Many later tour reports record various types of construction of coracles. In 1760 W. Linnard "saw here the portable fishing boats made of horsehides, [coracles] which the inhabitants here use for their fishing in the springtime. It was one and a half yards long and one wide and so light that the man can put it on his back and carry it home with him together with his basket. It was rowed with one paddle which the man operated with his hands without supporting it against the boat. This was made inside of thin wooden laths, which hold the boat in its shape."

Where transport was needed to cross rivers, especially before there were toll free bridges, the coracle was larger, to accommodate the ferryman and his passenger. This was also true on the upper Dee near Llangollen, where landowners would employ coracle men to take their guests angling.

It was only at the beginning of the 19th century that coracles were adapted for net fishing, with a pair of boats stretching a net between them. Malkin tells us that, "There is scarcely a cottage in the neighbourhood of the Tivy . . . without its coracle hanging by the door." Jenkins reports an estimate that by 1861 there were 300 coracles being worked on the Teifi alone.
Ironbridge Coracles
In the Ironbridge Gorge coracles were widely used by poorer residents for transport across the river, in times of flood and for fishing (Hornell noted in the 1930s that most cottages had a coracle hanging on the wall).They were also used by the local group of poachers.

Coracles provided a necessary resource for crossing the river for people to go about their day to day without travelling considerable distances to reach a bridge and paying a toll for convenience of using it. Indeed it was a common sight to see coracles stabled outside residences in the area when they weren't being used - as described by James Hornell in 1933″... [nearly] every villager had his own coracle, hung in a tree when not in use..."

The uses for a coracle influenced it's shape and manoeuvrability. These are some of the uses for an Ironbridge Coracle:

Transporting people and property (both lawful and unlawful!)

Net fishing for salmon

Laying of eel lines

Securing driftwood

Rescuing people and animals

Recovering corpses

Poaching

Coracle Racing

The Cilgerran coracle races have been going for approx 75yrs in association with the Cilgerran festive week celebrations.

The Ironbridge Coracle Regatta was reported on as a well-established event by the Illustrated London News in 1881 with an illustration. The event was recreated in the 1980s and runs annually on the River Severn at Ironbridge.

Techniques

The earliest forms would have been made of green poles lashed together with twine made from animal hair, and covered with the skin of a large animal. The fat from the animal would have been used to waterproof the skin. The maximum size would be dependent on the size of animal used. In most areas the poles were replaced by thin laths, of either ash or willow. Originally they would have been cleaved and formed using hand tools, but now they are usually made in a saw mill. The laths are then interwoven or in some cases nailed together. The gunwale is either formed from more laths to hold the top of the frame together, or is made of woven willow or hazel rods. The seat is either worked into the gunwale weaving or is nailed on across the top. A carrying strap is fixed to the seat. The original twisted willow gave way to leather and rope, but has now sometimes been replaced by thick electricity cable.

By the 18th century hide covers were being replaced by flannel that had been soaked in a melted pitch. This was in turn replaced by calico or canvas that was painted in a pitch and turpentine mixture. The waterproofing is now usually done with bitumen paint. People are now exploring other coverings, and at least one maker uses the pvc coated fabric produced for the curtains on 'soft-sider' lorries, which does not require waterproofing.

There has been an increase in the production and use of fibreglass coracles. They have the advantages of lasting much longer than ones with canvas cover, being less likely to be damaged by rocks in the water, and being repairable. The remaining fishermen on the Tywi made their own mould from an original handmade coracle.

Instructions on how to build a coracle can be found on the website of the Coracle Society.

Local forms

The size, shape and materials used in coracles vary across the UK, and the Coracle Society identifies more than twenty different coracle types in the UK. The types are usually named after the rivers they were used on, although those from rivers with several types tend to be named after their locale.The Coracle Society identifies the following types - Teifi, Tywi (Towy), Taf, Cleddau, Llwchwr, Usk, Wye, Dyfi, Welshpool, Dee, Llangollen, Conwy, Dwyryd, Severn - Ironbridge, Severn - Shrewsbury, Teme (derivative of the Ironbridge), Avon, Bewdley, Spey, Boyne, Donegal.

The Teifi coracle is the easiest to identify, with its flattish prow coming in to a 'waist' at the central seat and a smaller semicircular stern. It sits deeper in the water than most other coracles as the user has to cope with some very turbulent water. Other varieties are more saucer shaped allowing the boat to 'skim' across the more gentle waters of rivers such as the Tywi.

The Ironbridge and Shrewsbury varieties tend to be the staple of coracle making courses. They are simple craft for beginners to make in a weekend, and are ideally suited for first time coraclers on the water.

Dimensions varied considerably, as each traditional coracle was originally made for a particular fisherman, whose height and weight had to be taken into account. This will still be done for specific commissions, but the coracle made on a weekend course will be from laths pre-cut to a standard length.

Further details about coracle types can be found on the website of the Coracle Society

Sub-crafts

Issues affecting the viability of the craft

As the coracle is a purely functional object, the viability of coracle making is totally dependent on the uses to which it can be put in the foreseeable future. The issue is complicated by the growing use of fibreglass coracles. Whilst coracle making itself may not be endangered, the skills involved in producing a traditional vessel may well be in danger of being lost.

Regulation: Commercial netting of migratory fish provided the main demand for coracles until the mid-19th century. In 1863, the introduction of the licence fee greatly reduced the number of coracles made and used on the rivers of west Wales. During the 1930's, the river authorities decided that angling as a sport would be more profitable if there were no nets on non-tidal sections of west Wales rivers. At this time, a licence lasted the holder a lifetime, and could be passed down from father to son. As each holder died, these licences were revoked, but it would take 40 years to clear the fishermen and their nets from the upper reaches of these rivers. Only 12 licences are now issued per season to fish the tidal sections of the Teifi. Eight are issued for the river Tywi, and only one licenced pair can fish the river Taf from St Clares. The season on all rivers is limited to five months - between 1st March and 31st July. If angling interests succeed in removing all netsmen from the rivers, the commercial need for coracles will disappear. At the moment young people are still following the family tradition of coracle fishing, but there is no longer the possibility of making a living from the occupation, so it has at best become a secondary source of income, and mostly a hobby that pays for itself. For example, there now only about 750 fish landed from the Tywi each year. Viability is partly dependent on what one fisherman remembers about his own involvement: "When I was young and not particularly interested in coracle fishing, my father said to me, 'It's in your blood and it will come to you.' When I was approaching my 40s it 'claimed' me."

New markets: Interest in coracle making has been revived recently due to the efforts of a few individuals and organisations such as the Coracle Society and the Carmarthen Coracle & Netsmen's Association. These and other groups organise regattas and races (as well as attending events around the country publicising coracles). They are also keen to engage with the media, writing articles and giving talks. The Coracle Society believes that, thanks to these efforts, the future of coracles in the UK is now pretty much assured.

New markets: There is a small market for one-off projects for the TV and film industry, with an increasing emphasis on authenticity in period dramas.

New markets: Outdoor activity centres are making increasing use of coracles as an alternative to kayaks, but these are all made of fibreglass. Even so the interest created may lead to some individuals becoming more interested in making traditional coracles.

Dilution of skills: Courses are also now available in many parts of the country. These are mostly two day weekends, but some last four days for wickerwork boats. These should be monitored and encouraged in order to maintain interest. However there are few people learning all the skills to make traditional coracles. There are maybe six people in South Wales who could go to the woods, select the timber and withies, cleave the wood, form the laths, make the frame, weave the gunwale, cover the boat, and seal it with a pitch and turpentine mixture. There is only one skilled craftsman in the South Wales area, but there are 6 people learning the skill. The total number of people making coracles in South Wales is twelve.

Support organisations

The Ironbridge Coracle Trust is one year into a 3 year heritage fund project, which involves the restoration of the Rogers Family Coracle shed, creation of an exhibition and interpretation about coracles and coracle making. Part of the funding will be used to subsidise places on coracle making and traditional paddle making courses.

Craftspeople currently known

Peter Faulkner, Shropshire (hide covered)

Kevin Grimley, Small Woods Association, Shropshire - ​modern (calico covered)

Alistair Phillips, South East England - modern (calico/PVC covered)

Mark Aplin, Overwater Boats, North West England - modern (calico covered), laths or willow

Fred Gillam, The Wild Side of Life, South West England - modern (calico covered), willow

Rebecca Oaks, Cumbria Woodlands, North West England

Claidh O'Gibne, traditional Boyne Currach maker (Republic of Ireland)

Teifi Coracle Makers (contact via Teifi Coracle Netsmen's Association, link below)

Other information

Response from Jude Pilgrim after consulting with colleagues in the Coracle Society:

Minimum no. of craftspeople required to maintain the viability of coracle making: there are sufficient numbers teaching, demonstrating and practising calico coracle making - around 20-30 across the country. There is currently only one person teaching and practising hide coracle making, and there are rumours that he is retiring.

Current no. of trainees: Current courses are training around 20-25 people every year in calico covered coracles. There are no current courses or trainees in making hide coracles.

Current no. of skilled craftspeople: The calico covered types of coracle are generally well catered for in numbers having skills, as several courses are run each year. However, we have a severe shortage of people with the skills to make a hide covered coracle, with perhaps only 3 or 4 remaining active with the skills to teach this craft, including sourcing and treating hides and sourcing willow or hazel for the frame.

Current total no. of craftspeople: The Coracle Society has around 110 members, with about half of those being active in practising the craft through teaching courses, demonstrations at events or regattas, or making coracles for sale. There may be a similar number (50) of non members

References

Arnold, J, (1968) The Shell Book of Country Crafts

Badge, P, (2009) Coracles of the World

Blakemore, P, (2009) Gentlemen of the River

Linnard, W, (1981-2) 'A Swedish Visitor to Flintshire in 1760', Flintshire Historical Society Journal, 30, (1981-2), p. 145-149

Malkin, B H, (1804) The Scenery, Antiquities and Biography of South Wales

Philipps, Erasmus, Description of a tour in 1717 through counties Carmarthen and Brecon and the south-west of England to London

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The making of coracles (also known as 'currachs', 'bull boats', 'quffas' and 'parasils'), small, keel-less boats, traditionally used for fishing or transport. See the separate entry for general boat building. . Current no.

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Pastel & ink

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Pastel & ink

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Charcoal

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Charcoal drawing

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Skin of coracle in progress

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Rubber & copper sample

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Rope, plaster, tea sample. Did not develop further- rope did not hold rigidity

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Combining tea bag skin from DD pt. 1 with rubber sheet. Found that lightly scorching rubber gave it a blistered, almost leathery effect, which I liked as it references the skin which is stretched over the wood frame of a coracle

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Starting to think about how to combine materials generated in DD pt.1

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Traditional coracles' frames made of woven willow. Considering this when steam bending offcuts of verneer (in a colander over pan of water)

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Second, more succesful bending attempt. Using strips to create frame

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First unsuccesful steam bending attempt- wan't wrapped tightly enough round former & not much curve achieved

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Rubber sample- starting to think about combining elements of transculency with opacity

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Another early test in combining materials. Did not develop further

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Turmeric dyed cotton make-up pads, shredded & ready to be mixed with plaster. Final block strong, but easy to cut, file & carve into. Slices from this became coracle benches

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Attempt 1 at sculpting paster/ tea mix. Using hands and moulding round found objects

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Trial & error. Attempt 1 didn't work well- too high tea to plaster ratio. Meant it had a lightness I likes, but much too crumbly

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Pierced card samples

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Initially planned to have benches different colours- onion dyed cotton pads ready to making into a pinkier block. Decided this colour didn't work as well & wanted the consistency of the yellow across the final objects

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Before committing to theme of coracles, I was also thinking about other endangered rural crafts. Horseshoe in reference to farriery

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Paper models from workshop with Alkesh. Pierced flaps developed further in rubber later in self-directed project

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Reattempting plaster/ tea mix. More successful. Greyer in colour, but sculpted ridges held their shape much better, and doesn't fall apart! Became "seat" in coracle 1.

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Abandoned attempt at using egg as plaster moulds- couldn't peel the shells of after plaster had gone off!

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Sample from Alkesh's 'monuments' exercise. Kickstarted thinking process around memory, countryside, heritage & value

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Continuing to explore process from DD pt. 1. Bag for life prepped for melting, and then cut into thin slices ready for forming into hollow hull shape

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Rope helix sample