The skills

Over eight days we are profiling the recipients of our recent round of Endangered Crafts Fund grants.

Alan MacPherson @taneracamans, from Inverness, has been funded to install three-phase electricity to increase production of shinty camans and eventually host an apprentice.

Alan’s grant is funded by the William Grant Foundation.

Alan said:
“At present, we’re running on single-phase electricity, while all our machinery requires three-phase. I’ve been using an inverter to step up the power, but it severely limits what can be operated at the same time. As a result, the workshop is currently working at around 50 per cent capacity. Thanks to this grant, we’ll now be able to upgrade to full three-phase power, unlocking the full potential of our machinery. Future plans include improving dust extraction systems, essential for safety and efficiency, and installing a basic washroom and small T-hut, making it possible to host staff and, eventually, take on an apprentice. This is a huge step forward in ensuring that traditional shinty caman making not only survives, but thrives into the next generation. Tapadh leibh uile!”

Faced with the pressures of a harsh economic climate and other challenges of the modern world, traditional craft practices are declining in the UK, but there are promising glimmers of hope for even the most endangered crafts, says Jenny Oldaker jen_writes_things.

Have you seen the fantastic feature on endangered crafts in the current issue of @homes_antiques magazine?

Featuring @ewalkerglassart, @soanebritain, Maritima Woodcarving, @garrickwatchco, @stainesandsonorrerymakers, @cumbriacrystal and @copperworksnewlyn.

Robbie Williams display promotes endangered Stoke pottery industry

@countryandtownhouse magazine reports that global pop sensation, former Take That star and Stoke-on-Trent native Robbie Williams has designed four new ceramic artworks as part of a campaign to raise awareness for Stoke’s declining artisanal skills. His designs are currently on exhibit as part of the ‘100 Years, 60 Designers, 1 Future’ exhibition at Stoke’s @potteriesmuseum, alongside those of 60 other creatives. The exhibition is curated in collaboration with Emily Johnson @1882ltd.

This week’s #craftfocus is screen printing.

Screen printing is a printing technique that uses a mesh screen, ink, and a squeegee to transfer a stencilled design onto a flat surface.

The basic method involves creating a stencil on a fine mesh screen, then pushing ink (or paint, in the case of artwork and posters) through to create an imprint of the design on the surface beneath.

The way the stencil is created can vary depending on the materials used. Different stencilling techniques include using masking tape or vinyl to cover the desired areas of the screen, painting the stencil onto the mesh using ‘screen blockers’, such as glue or lacquer, and using a light-sensitive emulsion to create a stencil – then developed in a similar way to a photograph.

Some designs may use only one shade of ink, or many – in which case each colour must be applied in individual layers using separate stencils for each ink. One reason screen printing is so widely used is due to its ability to produce vivid colours, even on darker fabrics.

Issues affecting the viability of screen printing include competition with digital printing technologies, which offer quick turnarounds and the ability to print complex designs with low setup costs. This has also resulted in a reduced number of skilled practitioners.

Traditional screen printing uses inks and chemicals that can be harmful to the environment, which is why it is crucial for screen printing businesses to invest in environmentally friendly alternatives.

Images: Sarah Martinez @berkshire_printmakers

#heritagecrafts #craftfocus #screenprinting