Training Bursary FAQ
FAQ Frequently asked questions
Do you have a question about our training bursaries?
This FAQ will hopefully provide clear answers for individuals considering applying for a Heritage Crafts training bursary for 2026.
On this page you’ll find answers to the most common questions. This page covers everything ranging from eligibility, assessment, support and more, so get yourself comfy and read on…
- One for your diary – We also will be holding a Live Zoom Q&A Session on Tuesday 20th January 2026 between 4:00pm – 5:30pm. This session will provide an overview of all of our funding opportunities. To attend, please register in advance here: Register for the Live Zoom Q&A Session.
– KEY POINTS –
What are the Heritage Crafts training bursaries?
These training bursaries offer financial assistance (up to £4,000) to individuals who want to start or further develop their skills in a heritage craft but are prevented from doing so due to cost. The aim is to support new entrants and early-career practitioners in the heritage crafts sector.
Who is eligible to apply for a bursary?
Bursaries are generally aimed at:
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- New entrants who are committed to starting a new craft career and need to acquire essential hand skills.
- Early-career practitioners (in the first five years of their professional practice) who have not yet attained the hand skills required for commercial success.
- Early or mid-career craftspeople who need to acquire distinctly different hand skills to develop new ways of achieving commercial success.
If this sounds like you – then read on for our full FAQ’s before applying:
When do applications open and when are the deadlines?
Though currently closed, we open applications for training bursaries twice a year.
Once in early spring, and again in early summer.
Application deadlines vary. It is crucial to check the Heritage Crafts training bursary page for the most up-to-date information on application opening and closing dates.
What is considered a "heritage craft"?
A heritage craft is generally defined as any craft that has been practiced for two or more generations, and which requires a high level of manual dexterity, specialised knowledge, and traditional hand skills to produce objects or carry out processes. Please look at our Craft Inventory for more information on the heritage crafts we support and if you are not sure if your craft is included, please do get in touch to ask.
Are there any specific types of bursaries available?
Yes, in addition to general bursaries, Heritage Crafts often offers ring-fenced bursaries for specific groups or areas, such as:
- Black and ethnically diverse trainees
- British military veterans
- Trainees who intend to work in specific regions (e.g., Scotland, Wales, Sussex)
- Specific craft categories (e.g., precious metals, fashion and textiles).
Applicants are automatically considered for all categories for which they qualify.
What can the bursary be used for?
Bursaries can cover or contribute towards the costs of:
- Apprenticeship-style training with a craftsperson/people.
- Attending specialist training courses (accredited or non-accredited).
- Undertaking a self-directed program of training with one or more craftspeople.
The actual training must make up at least 70% of your training budget.
The following types of expenditure can make up the remaining 30%:
- The cost of specialist tools or materials, books, or study materials.
- Supporting travel and accommodation.
What can the bursary NOT be used for?
Our training bursaries cannot be used for:
- General living expenses.
- Research.
- Promotional activities.
- Anything else not directly related to the acquisition of hand skills for the craft.
How much funding can I apply for?
You can apply for any amount up to £4,000. Applicants who apply for less than the maximum amount will not receive prefential treatment, and so should apply for what they need (up to £4,000) to maximize the impact on their skill development.
How do I apply?
Applications are typically made by completing an online application form available on the Heritage Crafts website before a deadline.
You also have the option to submit a video application (usually no more than 15 minutes) addressing all the questions in the form.
If neither of these methods works for you, let us know how you might prefer to apply (bearing in mind that you will need to tell us everything we need to know in order to fairly assess your application).
Please check the bursaries page to see whether or when we’ll be open for applications.
What information will I need to provide in my application?
You will be asked to provide details about:
- Your personal information (name, contact details).
- Your current financial situation (including ticking boxes to indicate your rough annual earned income, other income and household income).
- Your proposed training plan, including how the bursary will help you overcome financial and other barriers.
- The heritage craft you wish to pursue or develop.
- Contact details for a referee (e.g., from a craft organisation, a previous trainer/teacher, but not a family member or your intended trainer).
- Photographs of any work you have already produced.
- If you have applied to Heritage Crafts previously.
- Whether you are a Heritage Crafts member (though this is not a requirement).
Do I need to be a member to apply?
No, although we always welcome new members and we have a range of affordable options available – all with some excellent perks that you’ll love, such as being welcoming into an amazing community of makers and some useful members only resources too.
Check out our membership options here: Join Us
What makes a good application?
- Prepare in advance
- Clear focus or project
- Be specific
- Tell a story
- Is now the right time?
- Consider sustainability.
Do I need to have found a trainer before applying?
Ideally you will have a good idea of the training that you need to achieve your outcomes and a well planned application is more likely to be successful.
However, if you are new to a craft and struggling to find a trainer, Heritage Crafts may be able to offer assistance, but please get in touch well before the deadline.
How are applications assessed?
All applications are assessed by a diverse panel comprising Heritage Crafts staff, trustees, experienced makers, and external craft experts. This panel rigorously evaluates each application against set criteria to ensure fairness and transparency in the selection process. Shortlisted candidates are typically invited for an interview via Zoom.
Is the assessment based on my writing skills?
No, the assessment is not about judging your skills at filling in forms or your literary prowess.
Whether you submit a written application or a video, the most important thing is to clearly and comprehensively communicate what you want to do, why you want to do it, and how the bursary will enable your training and development.
Focus on articulating your passion, your plan, and the impact the bursary will have.
What happens after I submit my application?
Applications undergo assessment, shortlisting, and final selection by the Heritage Crafts judging team. Interviews are typically conducted via Zoom for shortlisted candidates.
Successful applicants will often receive support from the Heritage Crafts team to develop an action plan and monitor progress.
Can I amend my application after I have submitted it?
No, you cannot manually amend your application after it has been submitted. If you need to make changes, please get in touch and we will send over a copy of your application for you to amend.
Can I save my application and come back to it?
No, once you have begun then you have to submit it or you will lose your changes.
We recommend that you draft your application in a separate document and then cut and paste it into the form when you are ready to submit.
Can I get a copy of the questions in advance?
When can my proposed training start?
Your proposed training must typically start within the next 12 months of the application period. Training can run over the course of a year to demonstrate learning and impact.
Unfortunately we cannot fund in retrospect for courses that have already started. Unless of course you are applying for a second or third year.
Can I apply for a course/ training I have already completed or started?
Training cannot be completed before our decision making date (which is typically 9-12 weeks after the deadline) as we are unable to fund retrospectively unless of course you are applying for a second or third year.
What if I apply for more than one course/training opportunity?
You are often permitted to apply for more than one course or training opportunity within a single bursary application, provided it aligns with your overall skill development plan.
Who can I contact for assistance with the application process?
If you have any questions or need assistance with the application process, you can email Rae who will be happy to offer guidance: [email protected]
When are the application deadlines?
Application deadlines vary, and new rounds open periodically throughout the year (e.g. Spring, Autumn, Winter). It is crucial to check the Heritage Crafts website for the most up-to-date information on application opening and closing dates. These are accurate once we have opened applications.
How competitive are the bursaries?
Please be aware that these bursaries are highly competitive. We typically receive a very large number of applications for a limited number of awards. While we wish we could support every deserving applicant, this is simply not possible due to funding limitations. We encourage all eligible individuals to apply, but please understand that success is not guaranteed.
If I am not successful this time, can I reapply?
Yes, if your application is unsuccessful, you can reapply in future rounds. We encourage you to review your application, consider any feedback you may have received (if applicable), and refine your proposal for subsequent submissions.
Please bear in mind that each new application is assessed independently by a panel of craft experts, so while addressing any previous feedback is certainly beneficial, it doesn’t guarantee success in subsequent rounds.
Timing is everything.
Can the training be undertaken overseas/ outside of the UK?
We say if the skills you need are available in the UK then we are unlikely to fund overseas travel. However, if you can prove that the training is only available overseas, then we would consider funding it.
Can I apply if I live outside of the UK?
Our funding opportunities are focused on preserving traditional hand skills within the British Isles, and therefore applicants must be based in the UK and intend to continue practicing their craft in the UK.
We are sorry if this means you are not eligible to apply. If in doubt, please email Rae: [email protected]
Can courses be online or do they have to be in-person?
The courses we look to fund through our training bursaries can in person tuition or online courses or a combination of the above, though in-person is preferable as the experience is likely to be richer.
Do Heritage Crafts have a Safeguarding Policy?
Yes we do. In any case of concerns or queries raised about the safeguarding or the Safeguarding Policy for either trainees or trainers, then please contact Mary who is our Safeguarding Lead by email on: [email protected]
Are there other opportunities I should consider?
There are further opportunities for you to explore. Check out the website for all the details here: Other Funding Opportunities
The Makers
Make sure to register for our next Live Zoom Q&A Session, dates can be found on our Events page.
Ready to apply? Find out when we are next open for training bursary applications here:
If you’ve read our FAQs and you still have some unanswered questions, then please do reach out to Rae, our Grants, Awards and Membership Officer – [email protected]
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This week’s #craftfocus is tile making (wall and floor tiles).
Tile making (wall and floor tiles) is the creation of clay tiles by hand or in small batches for functional or decorative purposes on walls and floors.
Once the clay has been extracted from the ground, unwanted matter is removed and it is mixed to the right consistency. The clay is then shaped in a mould and sand is used to prevent sticking; it is vital that no air is trapped inside the clay. Excess clay is removed by running a wire over the mould. The tile is dried until it is ‘white hard’ and then fired.
Tiles can also be made in a mould with a pattern carved in relief to indent on the clay slab. The slab is dried and the impression is filed with white pipe clay, shaved flat after further drying, glazed and fired.
Tile colour is determined by the chemical composition of the clay, the fuel used to fire the tile and levels of oxygen available during the firing process. Iron oxide provides a red colour, very high levels of iron oxide give a blue colour, limestone and chalk added to iron gives a buff/yellow colour, magnesium oxide gives a yellow colour, and no iron or other oxides provide a white colour.
Wall and floor tile making is classified as viable on our Craft Inventory, but threats include a lack of courses at colleges. The market for handmade tiles comes and goes depending on fashion, and it is very difficult to make a living exclusively from the craft, especially as customers may opt for cheaper mass manufactured tiles.
Different regions have different traditional tiles depending on the local clay; some clay streams are at risk of disappearing. Similarly, certain types of tile are coal-fired to achieve the right finish and there are currently issues in the supply of coal.
Images: Tom Chamberlain
#heritagecrafts #craftfocus #wallandfloortilemaking #tilemaking
Over 36 posts we are profiling the recipients of our recent round of training bursaries.
Harri Emery, from Dorset, has a deep-seated passion for traditional wooden boat building, developed through a varied career in the marine industry. Having taught herself woodworking skills, her bursary will fund a place on the intensive course at the @boatbuildingacademy in Lyme Regis.
Harri’s bursary is supported by the National Lottery Heritage Fund, and made possible by National Lottery players.
Harri said: “I’m so grateful to be awarded this funding, it’s opening a door that otherwise would be unreachable for me. I can’t wait to start my training and make the most of this opportunity.”
This week’s #mondaymaker is Elizabeth Ashdown – a passementerie maker.
Elizabeth studied woven textile design at university and came to passementerie by chance, learning the craft through trial and error as there was no formal teaching available. Supported by training bursaries from Heritage Crafts and the Queen Elizabeth Scholarship Trust, Elizabeth has honed her skills through many years of learning and development. She has now been running her business for eleven years.
If you want to read an exclusive interview about Elizabeth’s work, become a member of Heritage Crafts and learn more in the members portal: https://www.heritagecrafts.org.uk/join-us/
#heritagecrafts #mondaymaker #passementerie
Over 36 posts we are profiling the recipients of our recent round of training bursaries.
Maria Herbert-Liew @mariaherbert_lw, from North Ayrshire, is a self-employed artist and illustrator who has recently taken up the craft of marionette making. Maria will use the bursary to undertake one-to-one training with Oliver Hymans at @littleangeltheatre in London and John Roberts at PuppetCraft in Devon.
Maria’s bursary is supported by the William Grant Foundation.
Maria said: “I am overjoyed to have received this funding, and looking forward to developing my skills in this wonderful craft with some of the best people in the industry. One leap closer to making this career a reality, and keeping the art of marionettes in the UK alive!”
Blacksmith Alex Sowden has won the second annual Robin Wood Changemaker Award, supported by the Maxwell/Hanrahan Foundation, including a £1,000 prize awarded at a special presentation at @wentworth_woodhouse on Monday 17 November 2025.
The award celebrates a maker whose unwavering dedication makes a lasting change to a heritage business, craft or sector in ways that will reverberate for years to come. It is dedicated to Heritage Craft’s first Chair @robinwoodcraft, who, prior to co-founding the organisation in 2010, revived the craft of pole-lathe bowl turning after seeing the lathe of the last maker George Lailey at the Museum of English Rural Life in Reading. Today pole-lathe bowl turning is on an upturn and was recently taken off the Red List, and Robin has turned his attention to toolmaking, including the first axe to be forged in Sheffield in over 30 years.
Alex Sowden @hammerandhoundforge is an award-winning blacksmith whose expertise has been recognised through appearances on television shows such as Sky Arts’ The Prince’s Master Crafters. He has used his skills to forge metal for the Ukrainian army, demonstrating an ethical framework and global civic duty to his young students. His pioneering policy of allowing accompanied minors onto his basic courses gives teens real-world experience at the anvil, working with high-temperature metal in a commercial, yet safe and controlled environment – helping young people discover their abilities, overcome adversity and develop their self-esteem.
The Maxwell/Hanrahan Foundation supports innovative people working in field-based science, art and craft, teaching and protection of the natural world.
Read more via the linktr.ee in our bio.
📷 @robertwadephotography and @yvonneconchie
Northern Ireland plasterer Bernard Cunningham @bcs_plastermoulding_71 has won the third annual Emerging Metalworker of the Year Award, supported through a donation by Lucy and Laurence Butcher @lucyloo37, including a £1,000 prize awarded at a special presentation at @wentworth_woodhouse on Monday 17 November 2025..
The award, now in its third year, celebrates an emerging metalworker who has made an outstanding start to their craft career. The winner is highly skilled amongst their peers, whilst raising the perceived value of their craft through sharing and awareness raising. They have given themselves a fantastic chance of achieving long-term success, perhaps overcoming disadvantage or setbacks along the way.
Bernard Cunningham is a traditional plasterer with 37 years’ experience, but his nomination was for his emerging business crafting bespoke, stainless-steel metal tools for heritage and fibrous plastering. The tools, which include hard-to-find items for scagliola and pargetting, cannot be bought in shops, and he is now expanding his range and planning to open a training facility for the next generation.
The three other finalists for the award were Claire Collier @smeltdownblacksmiths, an exceptional blacksmith who successfully transitioned careers from primary school teaching to pursue her passion for metalwork, and who has appeared on BBC Make it at Market, @rebeccaoldfieldjewellery, who blends traditional silversmithing with contemporary design to create innovative, high-standard pieces, as well as serving on the committee of Contemporary British Silversmiths, and Bradley Stuart Wills @b.w.blacksmithing, an artist blacksmith who has been named ‘one to watch’ by both the Guild of Enamellers and the Goldsmiths’ Centre, and has starred on Sky Arts’ Bill Bailey’s Master Crafters.
Read more via the linktr.ee in our bio. We will be posting about each of our awards over the next few days.
📷 @robertwadephotography
Embroiderer Sophie Boylan @soyasophie has won the 2025 Emerging Embroiderer of the Year Award, supported by the Broderers’ Company, including a £1,000 prize awarded at a special presentation at @wentworth_woodhouse on Monday 17 November 2025.
The award, now in its second year, celebrates an emerging embroiderer who has made an outstanding start to their craft career. The winner is highly skilled amongst their peers, whilst raising the perceived value of their craft through sharing and awareness raising. They have given themselves a fantastic chance of achieving long-term success, perhaps overcoming disadvantage or setbacks along the way.
Sophie Boylan is currently completing the prestigious @chanelofficial and @kingsfoundation Métiers d’art Fellowship, and has already contributed to high-profile projects for designers including Simone Rocha and Erdem. She is pioneering the development of bio-based sequin alternatives, ensuring the future of luxury embroidery is technically refined and environmentally responsible.
The two other finalists for the award were @_katerinaknight, a needleworker who received the prestigious Burberry Design Scholarship for her MA, was selected as a New Order of Fashion Graduate of the Year, and is distinguished by her commitment to slow craft and working in harmony with nature, and @alicelong.studio, whose developed exceptional hand embroidery skills at the Royal School of Needlework and on the CHANEL and King’s Foundation Métiers d’art Embroidery Fellowship, and whose work has been showcased at Selfridges and featured in Vogue.
Sophie is pictured here with award judge @hannynewton.
Read more via the linktr.ee in our bio. We will be posting about each of our awards over the next few days.
📷 @robertwadephotography
Charcoal sculptor @billieirelandart has won the second annual Wales Maker of the Year Award, supported by @silverliningfurniture, including a £1,000 prize awarded at a special presentation at @wentworth_woodhouse on Monday 17 November 2025..
The award celebrates a heritage craftsperson in Wales who has made an outstanding contribution to their craft within the previous year. It recognises a contribution that is far beyond the ordinary, either in pushing their craft to new levels, contributing to its promotion or continuation in an exceptional way.
Billie Ireland is a sculptor and sustainable craft practitioner who is radically redefining the heritage craft of charcoal making. Working at the intersection of ecology and material transformation, she converts waste paper and biomass into large-scale, beautiful carbon sculptures. Billie is using her art to spark national dialogue on climate and craft, ensuring this ancient Welsh heritage is relevant to contemporary environmental challenges.
The two other finalists for the award were Hannah Cantwell @hiraeth_y_goedwig, a dedicated craftswoman committed to reviving and sharing the cultural and therapeutic benefits of traditional straw craft by delivering engaging workshops through partnerships with mental health support services and social prescribing networks, and Alan Jones @alanjones3464, a master thatcher with over forty years experience in vernacular Welsh thatching who uses experimental archaeology and scientific methods to advance understanding of historical techniques.
Founded in 1985, Silverlining has built a reputation for innovation and excellence at its base in Wrexham, blending traditional hand skills with cutting-edge techniques to make one-of-a-kind furniture that is known for creativity and performance.
Read more via the linktr.ee in our bio. We will be posting about each of our awards over the next few days.
📷 @robertwadephotography
