hi-arts - craft development scoping study report (2007)

[ HI~ARTS – Craft Development Scoping Study 2007 ]

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Acknowledgement and many thanks to craft makers and retailers and the wide range of stakeholders who work with those in the craft sector who have given considerable time to contribute openly and honestly to this study.

Front cover images are taken from work by Allison Weightman (main image) and,

from left to right, Eileen Gatt, Lucy Woodley and Caroline Dear (inset images).

Prepared by:

Amanda BryanAmanda BryanAmanda BryanAmanda Bryan

Aigas Associates North View, Crask of Aigas, Beauly, IV4 7AD

Tel: 01463 782597 Email: [email protected]


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ContentsContentsContentsContents Acronyms ......... .............................................................................................................................................................................................. 4

1 Executive Summary....................................................................................................................................................................... 5

2 Introduction....................................................................................................................................................................................... 8

2.1 Background.............................................................................................................................................................................. 8

2.2 Context ..................................................................................................................................................................................... 9

2.3 Methodology........................................................................................................................................................................... 9

2.3.1 Desk Research .......................................................................................................................................................... 10

2.3.2 Stakeholder Interviews ......................................................................................................................................... 10

2.3.3 Craft Makers and Retailers Survey.................................................................................................................. 10

2.3.4 Telephone Interviews with Craft Association Representatives....................................................... 10

2.3.5 Focus Group Discussions .................................................................................................................................... 10

3 Report Format..................................................................................................................................................................................... 11

4 Issues Arising from Research and Consultation................................................................................................................. 12

4.1 Lack of Understanding of the Craft Sector .......................................................................................................... 12

4.2 Diversity of the Sector.................................................................................................................................................... 12

4.3 Lack of Audience Awareness...................................................................................................................................... 13

4.4 Variable Development Support for the Sector ................................................................................................. 13

4.5 What is Quality?................................................................................................................................................................. 13

4.6 Lack of Cohesion in the Sector.................................................................................................................................. 14

4.7 The Needs of Makers ..................................................................................................................................................... 14

4.8 The Challenge of Information Dissemination & Communications.......................................................... 14

4.9 Support for a Craft Development Initiative......................................................................................................... 15

5 Key Messages from Makers and Retailers Survey ............................................................................................................. 16

5.1 Description of Respondents........................................................................................................................................ 16

5.2 Experience to date of Current Support Organisations................................................................................. 17

5.3 Experience of Existing Websites ............................................................................................................................... 18

5.4 The Need For and Role of a Craft Development Officer........................................................................... 18

5.5 Makers Issues ....................................................................................................................................................................... 19

5.6 Retailers Feedback ............................................................................................................................................................ 21

6 Summary of Actions......................................................................................................................................................................... 22

7 Recommendations ............................................................................................................................................................................ 26

7.1 Strategic Support for Makers in the Highlands and Islands.......................................................................... 26

7.2 Support for the Makers in North and East Highland...................................................................................... 27

7.3 Strategic Development of the Craft Sector in the Highlands and Islands............................................ 28


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AcronymsAcronymsAcronymsAcronyms

AAS.......................................... Applied Arts Scotland

ABC......................................... Argyll and Bute Council

CEO ........................................ Cultural Enterprise Office

CnES........................................ Comhairle nan Eilean Siar (Western Isles Council)

H&I........................................... Highlands and Islands

HC............................................ Highland Council

HI~Arts.................................. Highlands and Islands Arts

HIE............................................ Highlands and Islands Enterprise

LEC(s)..................................... Local Enterprise Company/ies

OCIA ...................................... Orkney Craft Industries Association

OIC.......................................... Orkney Islands Council

SAC ......................................... Scottish Arts Council

SIC............................................ Shetland Islands Council

SLACA................................... Skye and Lochalsh Arts and Crafts Association

UHI .......................................... UHI Millennium Institute

WASPS.................................. WASPS Artists’ Studios (Workshop & Artist Studio Provision Ltd.)

Note: This study is based on organisational structures that were in place before the announcements by the

Scottish Government, on 26th September 2007, about changes to the Enterprise Network and before the

closure of An Tuireann in October 2007.


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HI~Arts in partnership with the Scottish Arts Council (SAC) identified that in relation to other

sectors of the arts the support for craft in the Highlands and Islands was patchy in nature and that this

was reflected in the variable take up of opportunities available to the sector. On this basis it was felt that

an appropriate next step would be to commission a ‘scoping study’ which would explore the potential

for providing a more co-ordinated development programme focused on craft.

The study while addressing the specific question of a HI~Arts based Craft Development Officer goes

much wider in terms of looking at the broader needs of the Craft Sector in the Highlands and Islands

both currently and in to the future and how these needs might currently be supported through existing

mechanisms. The study has also identified good practice and lessons learned from craft development

and other comparable initiatives, where they exist, across Scotland.

The study incorporated five methods of information collection: desk research; stakeholder interviews; an

on-line craft maker/retailer survey; telephone interviews with craft association representatives, and; two

focus group meetings. The study is largely qualitative in basis as it draws on both initiatives which are

extremely different in nature and in outputs and also on softer issues such as experiences, perceptions

and attitudes. There is however a quantitative element in the makers/retailers survey which enables

information to be gathered from a larger group.

The key issues arising from the research and consultation undertaken were:

• Lack of understanding of the craft sector;

• Diversity of the sector;

• Lack of audience awareness;

• Variable development support for the sector;

• What is quality?

• Lack of cohesion in the sector; and

• The challenges of information dissemination and communication.

The views on what the needs of makers were seem to be consistent from all those that have had

dealings with the sector. These are summarised below:

• Creative and Professional Skills Development:

• Low Cost Workshop Space

• Advice and Funds for Business Development

• Reducing Isolation

1 EXECUTIVE SUMMARY


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A total of 86 makers and/or retailers replied to the online survey 45 of which are craft makers, 3 are

craft retailers and 35 are craft makers and retailers (3 did not provide any information). 30% of the

makers were originally from the Highlands and Islands with the others having moved in.

From the consultations and the survey there was across the board support for a dedicated Craft

Development Initiative. The overarching expressed aim for the sector was that it should become more

confident, professional, cohesive, robust and self determining. To achieve this however the capacity of

individual makers has to be enhanced and it is widely recognised that this will not happen without a

dedicated initiative with dedicated staff and financial resources.

In response to the above a series of 12 recommendations have been made under three headings, these

are:

Strategic Support fStrategic Support fStrategic Support fStrategic Support for Makers in the Highlands and Islandsor Makers in the Highlands and Islandsor Makers in the Highlands and Islandsor Makers in the Highlands and Islands Recommendation 1: Develop a pilot training programme which will provide courses tailored for

craft makers delivered locally across the Highlands and Islands.

Recommendation 2: Develop a pilot ‘Go See’ programme of visits which will enable Highland and

Island makers to see the wider selling opportunities that exist.

Recommendation 3: Employment of a part time administrator who will lead on Recommendations

1, 2, 11 and 12 working with existing and new craft development staff and other organisations who

provide support to the craft sector.

Recommendation 4: HI~Arts to work with relevant organisations in parts of the highlands without dedicated crafts support to develop Crafts Initiatives in these areas.

Support for thSupport for thSupport for thSupport for the Makers in North and East Highlande Makers in North and East Highlande Makers in North and East Highlande Makers in North and East Highland Recommendation 5: Employment of a full time Craft Development Officer who will cover North

and East Highland which incorporates Caithness, Sutherland, East Ross, Inverness-shire, Badenoch and

Strathspey and Moray.

Recommendation 6: Employment of a part time administrator to support the work of the craft

development officer, supporting the delivery of the Makers Scheme, QA Assessment Scheme and the

Mentoring Scheme.

Recommendation 7: Delivery of a series of activities (e.g. Makers and Mentoring Schemes) which

will provide targeted support for Makers in North and East Highland and which can be used by the Craft

Development Officer in providing follow on support especially for Makers who currently fall through the

gaps for HIE and SAC assistance.


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Strategic Development of the Craft Sector Strategic Development of the Craft Sector Strategic Development of the Craft Sector Strategic Development of the Craft Sector in the Highlands and Islandsin the Highlands and Islandsin the Highlands and Islandsin the Highlands and Islands Recommendation 8: Commission an independent short study addressing the issue of the definition

of quality and the development of a consistent, widely acceptable and transparent quality assessment

process which can be used in identifying the type of support that makers may require in order to

develop. This should draw on the Shetland experience in this area.

Recommendation 9: Undertake a body of work which will improve ‘subscription’ activity that is

endorsement of the artistic product by such filters as curators, reviewers, peer advocacy, retailers,

collectors etc. Subscription activity will then help to improve the image of craft and help with market

segmentation.

Recommendation 10: Commission an independent study on the craft sector’s contribution to the

Highlands and Islands in socio-economic terms.

Recommendation 11: Review the craft highland website and rationalise in order to avoid

duplication of information provided on craftscotland.

Recommendation 12: Develop and maintain a comprehensive ‘communications’ database of all

craft makers in the Highlands and Islands in order to ensure improved information distribution networks

and accessibility.


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2.2.2.2.1 Background1 Background1 Background1 Background

HI~Arts is the arts development agency for the Highlands and Islands whose involvement to date in

the craft sector has been the development of the web-based ‘crafthighlands’ to pilot and complement

‘craftscotland’, the provision of small grants to craft makers and supporting the activity of Applied Arts

Scotland (AAS) providing networking events in the area.

HI~Arts in partnership with the Scottish Arts Council (SAC) identified that in relation to other sectors

of the arts the support for craft in the Highlands and Islands was patchy in nature and that this was

reflected in the variable take up of opportunities available to the sector. While some anecdotal evidence

from a limited number of sources was available to explain possible lack of take up there was also a

recognised demand from some within the sector who felt that their needs were not being fully

addressed.

On this basis it was felt that an appropriate next step would be to commission a ‘scoping study’ which

would explore the potential for providing a more co-ordinated development programme focused on

craft which would have a dedicated resource (human and financial). The programme would have the

potential to deliver the following:

• Support to individual makers, with the aim of growing the sector as a whole.

• Encouragement and assistance for new graduates to return/move to the area.

• Greater visibility for the sector through revitalising crafthighlands and/or through other marketing

initiatives.

• Better integration with national initiatives.

• Ensuring that the craft sector is properly represented in terms of access to studio spaces.

A further remit of the scoping study was specifically to consider the potential demand for, and role of, a

Craft Development Officer based within HI~Arts. Specifically the following issues had to be addressed.

• What should be the specific remit of a HI~Arts Craft Development Officer?

• How will this post complement, and work with, the existing Craft Development Officers in Skye

and Shetland?

• How should the post relate to, and extend the work of, craftscotland and crafthighlands?

• What geographical area can realistically be served by one officer (assuming that this would be

greater than a single LEC area and no larger than the full Highlands and Islands Enterprise (HIE)

area (excluding Skye and Shetland)?

• What achievable outcomes and benefits can be defined for an initial appointment?

• What are the skills and experience needed to undertake such a post?

2 INTRODUCTION


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2.2 Context2.2 Context2.2 Context2.2 Context

The craft sector is incredibly diverse and encompasses a broad range of craft media including:

Basketworking, Boatbuilding, Bookbinding, Ceramics, Furniture, Glasswork, Jewellery, Metalwork, Musical

Instrument Making, Paper Crafts, Stonework and Textiles. It involves both people who have a high

degree of training to those who are self taught. It also covers people who undertake their craft purely for

pleasure to those who make either all or part of their living from selling their products. Craft makers

have both varying degrees of both creativity and technical skill.

The majority of makers who make their living from their craft work on their own. Some collaborate with

other makers but often this is limited to joint marketing initiatives. A wide range of both area based and

craft medium based voluntary associations exist but there is no consistency in the type of activities which

these associations provide or the resources they have available to them. On the whole makers are

widely dispersed throughout the Highlands and Islands and most are isolated geographically from their

peers.

A large number of organisations can offer support to craft makers ranging from the Highlands and Islands

Enterprise network, Local Authorities, the Scottish Arts Council, HI~Arts, craftscotland, Applied Arts

Scotland and local arts based organisations such as Shetland Arts, An Tobar (Mull), An Lanntair

(Stornoway) etc. These organisations tend to interact with individual craft businesses on a one-to-one

basis and all have specific objectives or priorities for directing their assistance. There are clear

geographical variations in the support available. Two existing craft development posts currently exist

within the Highlands and Islands, based within Shetland Arts and An Tuireann, Skye. There is also part

time provision for craft support within An Tobar on Mull. In these areas there is greater support for

raising the profile of craft and in providing more proactive support for craft makers.

2.3 Methodology2.3 Methodology2.3 Methodology2.3 Methodology

The study while addressing the specific question of a HI~Arts based Craft Development Officer goes

much wider in terms of looking at the broader needs of the Craft Sector in the Highlands and Islands

both currently and in to the future and how these needs might currently be supported through existing

mechanisms. The study has also identified good practice and lessons learned from craft development

and other comparable initiatives, where they exist, across Scotland. From this baseline recommendations

will be made on what support should over time be made available to the craft sector in the Highlands

and Islands and what specific elements of this could be delivered through a HI~Arts based Craft

Development Officer.

The study incorporated five methods of information collection: desk research; stakeholder interviews; an

on-line craft maker/retailer survey; telephone interviews with craft association representatives, and; two

focus group meetings. The study is largely qualitative in basis as it draws on both initiatives which are

extremely different in nature and in outputs and also on softer issues such as experiences, perceptions

and attitudes. There is however a quantitative element in the makers/retailers survey which enables

information to be gathered from a larger group.


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As indicated above the study involved five key elements of information collection as described below:

2.3.1 Desk Research

• Collation and examination of documentation on the craft sector and various craft initiatives.

Particular regard given to the types of support available for craft makers, craft development

initiatives and their outputs, lessons learned and socio-economic benefits. Analysis of the

documentation to inform possible recommendations.

2.3.2 Stakeholder Interviews

• A total of 49 interviews (33 face-to face and 16 telephone) undertaken between July and

September 2007 with a wide range of stakeholders.

• Interviews were semi-structured and qualitative in nature to explore organisational roles in

relation to craft development, experiences of working with the craft sector, particular issues to

address in the future, possible opportunities and challenges for the sector and how each

organisation might look to better engage with the sector.

• Initial list of approximately 30 stakeholders expanded to include an additional 20 + interviewees

recommended by participants. Interviews were however curtailed to meet reporting deadlines.

• Analysis of above to identify key issues affecting sector and possible options for future support.

2.3.3 Craft Makers and Retailers Survey

• On-line survey via the HI~Arts website targeting craft makers and retailers with an option

provided for hard-copy completion. Survey live for 4 week period during July and August 2007.

• Respondents sought by an email based announcement made in mid July 2007, followed up by a

postal flyer circulated in early August 2007 and final email reminder in mid August 2007. Mailing

list of over 200 respondents from craftscotland register, HI~Arts mailing lists and other sources.

Additional networks contacted via some stakeholders interviewed above.

• Analysis of 86 valid responses returned using Microsoft Excel.

2.3.4 Telephone Interviews with Craft Association Representatives

• 11 telephone interviews with representatives of craft associations. Semi-structured interviews

explored membership of associations, association activities and needs, challenges and

opportunities facing membership.

• Analysis of above to identify key issues affecting sector and possible options for future support.

2.3.5 Focus Group Discussions

• Facilitation of 2 focused discussions (1 in Helmsdale and 1 in Inverness), during September 2007,

on specific issues to provide a crosscheck and validation of findings from earlier phases. These

groups involved both craft makers and retailers, representatives form the HIE network and their

agents, craft associations and local authority staff.


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This report summarises the identified needs of the Craft Sector in the Highlands and Islands and key

issues that have arisen from the consultation process. A brief summary of the results of the makers and

retailers survey is also provided. A summary of suggested actions for the sector as a whole is presented

followed by detailed recommendations for HI~Arts in relation to the potential appointment of a Craft

Development Officer. The actions and recommendations have crystallised from the research carried out

and draw on the practical experiences of those stakeholders consulted.

More detailed results of the online makers and retailers survey and a summary of feedback from the

consultation can be found in a supporting document titled: ‘Craft Development – A Scoping Study: A

Summary of Findings from Desk Research, Makers and Retailers Survey and Stakeholder Consultations,

October 2007’. This accompanying document also provides a full bibliography, details of all of those who

participated in the interviews and focus group discussions and also a copy of the online survey used.

3 REPORT FORMAT


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The following issues provide a summary of some of they key findings from the desk research and

stakeholder consultations. More detail is provided in the supporting document referenced above.

4.1 Lack of Understanding of the Craft Sector4.1 Lack of Understanding of the Craft Sector4.1 Lack of Understanding of the Craft Sector4.1 Lack of Understanding of the Craft Sector The craft sector is poorly understood by those who are not directly involved with it and there is a

tendency to make sweeping generalisations about craft makers. Craft is often assumed to be of variable

quality and as being produced by people who are running lifestyle businesses or who are ‘creative’ and

not very business minded. It is often wrongly perceived as a sector of limited value and as such is not

viewed as a priority, although through carrying out the interviews there was a realisation by some

stakeholders of the potential significance of the sector particularly in more economically fragile areas and

there was an interest in exploring this further. The only parts of the Highlands and Islands where this

appears to be less the case is in Orkney and Shetland where there are strong indigenous craft traditions

which contribute to local distinctiveness.

4.2 Diversity of the Sector4.2 Diversity of the Sector4.2 Diversity of the Sector4.2 Diversity of the Sector Craft is very broad in terms of the range of media and skills that it covers – from basket making to

metalwork and from furniture making to textiles, makers can either be very highly qualified or self taught.

This is reflected in the range and type of businesses that exist with few being at the same point on each

of the scales identified below. This makes it a challenge to target support and assistance as one size does

not fit all. It also makes it quite difficult for those outwith the sector to know how to meaningfully add

value and supporting the sector can seem daunting.

Part Time ↔↔↔↔ Full Time

Hobby ↔↔↔↔ Commercial

Sole Trader ↔↔↔↔ Manufacturing Business

Limited Technical Skills ↔↔↔↔ Highly Skilled

Limited Creativity ↔↔↔↔ Highly Creative

Low Value Products ↔↔↔↔ High Value Products

Small Turnover ↔↔↔↔ High Turnover

Local Market ↔↔↔↔ International Market

Content with Scale ↔↔↔↔ Desire to Expand

Content with Income ↔↔↔↔ Desire to Increase Income

Highly Independent ↔↔↔↔ Networker/Collaborator

4 ISSUES ARISING FROM RESEARCH & CONSULTATION


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4.3 Lack of Audience Awareness4.3 Lack of Audience Awareness4.3 Lack of Audience Awareness4.3 Lack of Audience Awareness The audience for craft is still under developed. This relates in part to a lack of understanding of what

craft is about and a perception that it is handicraft/homemade rather than high quality hand crafted

contemporary design which in turn leads to a belief that craft should be low cost in order to be value for

money. Because of this many craft makers would not want to be associated with the term craft and

would rather promote themselves as artists which leads to further degradation of the sector’s image.

There are a number of things that require to be done in order to change audience awareness. First there

is a need to change the image and understanding of craft, then there is a need to ensure that craft is

shown at a level comparable to other forms of contemporary art and design and finally there is a need

to ensure adequate accessible retail outlets promoting quality craft. Linked to this is a need to consider

how best to market craft and what role branding might have if any.

4.4 Variable Development Support for the Sector4.4 Variable Development Support for the Sector4.4 Variable Development Support for the Sector4.4 Variable Development Support for the Sector There are a number of organisations that provide different types of support for craft makers including

Scottish Arts Council, craftscotland, Highlands and Islands Enterprise, Local Authorities, HI~Arts and

various local arts organisations and arts and crafts associations. Research has however shown that the

support available in different geographical areas varies hugely with makers in Shetland for example

receiving considerably more dedicated advice and financial assistance than makers in mainland Highland.

In addition while there is considerable support for makers who are operating at the highest level

creatively and also for those makers just starting out there is a significant gap in the provision of support

for the vast majority of makers who lie somewhere in the middle. Some concern was also expressed

that the support that is sometimes made available is generic business support and is not hugely helpful to

craft businesses.

4.5 What is Quality?4.5 What is Quality?4.5 What is Quality?4.5 What is Quality? One of the key concerns within the sector is the issue of quality although it was difficult to obtain an

exact definition of quality as for some it relates entirely to the craftsmanship and skill involved, for others

it relates equally to the artistic or creative element and for others there is a more commercial angle

relating to saleability or aspects such as packaging and presentation. Whatever it is people are

preoccupied with it and a wide variety of quality assessment processes seem to be applied by everyone

from curators and retail stockists to makers themselves for collective marketing and funders wishing to

add value in the right way. There is a strongly expressed desire to have a more open transparent and

widely understood and recognised quality assessment process which could be consistently applied. This

may also help towards an improved public understanding of craft and its value. There is a good example

form Shetland of a quality assessment process which is valued both by makers and the organisations that

support the sector.

A further view in this area is that the network of subscription based activity (where there are third party

filters that provide an endorsement of the artistic product) is underdeveloped in the craft sector. The

abundance of wholesale activity direct from maker to consumer means that there is little differentiation


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in the craft marketplace in terms of type or quality of work. The absence on subscription activity means

that there is therefore no informal regulation of quality in the sector.

4.6 Lack of Cohesion in the Sector4.6 Lack of Cohesion in the Sector4.6 Lack of Cohesion in the Sector4.6 Lack of Cohesion in the Sector The sector is very widely dispersed, is not particularly well networked internally and is certainly not well

linked into the wider business world. In the likes of Orkney there is a sense that what is good for the

sector will be good for individual makers where elsewhere there is more a sense of competition and

every maker for his or herself. It is difficult for the sector to communicate as a unit its needs, aspirations

and what it has to offer and it is also difficult for others such as the tourism industry to engage effectively

with craft makers. Ideally such cohesion should be driven from within and would happen organically with

a number of strong local groups forming an umbrella organisation such as has happened for the Feis

movement. At this stage this is unlikely to happen without some external input or specific focus for such

activity. Local and national associations are very variable in what they provide for their members and

their aims, they do not receive a lot of external support and are reliant on voluntary effort which is a

limiting factor. In short they currently lack capacity to engage at a sector wide level.

4.7 The Needs of Makers4.7 The Needs of Makers4.7 The Needs of Makers4.7 The Needs of Makers The views on what the needs of makers were seem to be consistent from all those that have had

dealings with the sector. These are summarised below:

• Creative and Professional Skills Development: Specific business skills training

targeted at craft makers including information on trade fairs, working with galleries, costing and

pricing, photographing work and new market opportunities.

• Low Cost Workshop Space: A lack of low cost workshop space across the H&I exists

and there are various proposals to address this issue in early stages of development.

• Advice and Funds for Business Development: Advice and accompanying small

amounts of money to enable business to grow either through developing new market

opportunities, developing new products or by growing production.

• Reducing Isolation: Improved communications, new networking opportunities and events

and initiatives aimed at expanding makers horizons would enable makers to become part of a

more cohesive sector.

4.8 Challenges of Information Dissemination & Communications4.8 Challenges of Information Dissemination & Communications4.8 Challenges of Information Dissemination & Communications4.8 Challenges of Information Dissemination & Communications There is no comprehensive single way of communicating with the sector. A number of individuals and

organisations have their own email based distribution lists for sending out regular bulletins or

newsletters. Makers and those that work with them use a variety of information resources including

craftscotland, craft highland, Cultural Enterprise Office website, HI~Arts main website and crafts

associations’ websites amongst others. Some makers are receiving too much information – some of

which is duplicated and others are accessing nothing at all. The lack of clear contacts for the sector and

an inability to communicate clearly with all makers means that opportunities such as those available

through Six Cities and Highland 2007 are lost.


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4.9 Support for a Craft Development Initiative4.9 Support for a Craft Development Initiative4.9 Support for a Craft Development Initiative4.9 Support for a Craft Development Initiative The overarching expressed aim for the sector was that it should become more confident, professional,

cohesive, robust and self determining. To achieve this however the capacity of individual makers has to

be enhanced and it is widely recognised that this will not happen without a dedicated initiative with

dedicated staff and financial resources. There was strong support for employing at least one craft

development worker, if not several more, on the basis of both geography and number of makers. The

priority is to fill the current gaps in provision at a local level with local workers initially providing a link

between makers and those who can provide support or those providing potential development

opportunities. This should over time lead to a building of capacity with stronger maker led groups. There

is however a need also to co-ordinate some support activities e.g. training provision that can be made

available to makers across the Highlands and Islands, ensuring some consistency of support and reducing

duplication of effort at a local level. The point was also consistently made that adequate administrative

support is required for any such post(s).


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A total of 86 fully completed responses to the makers and retailers survey were received. Detailed

analyses of these responses are provided in the accompanying document outlined in Section 2. Those

responses outlined below provide feedback on the key points which have a bearing on the support that

is required by the sector. Please bear in mind when reading the results that there may be some

anomalies and contradictions but these reflect the feedback from the survey. Also as the mailing list was

initially drawn from craftscotland a higher percentage than might otherwise be expected have direct

experience of using craftscotland services.

5.1 Description of Respondents5.1 Description of Respondents5.1 Description of Respondents5.1 Description of Respondents A total of 86 makers and/or retailers replied to the survey 45 are craft makers, 3 are craft retailers, 35

are craft makers and retailers and 3 did not provide this information. The geographical distribution of

respondents by LEC area is given in Table 1 below.

Area No. of Respondents

Argyll and Islands 18

Caithness and Sutherland 12

Inverness and East Highland 16

Lochaber 3

Moray 2

Orkney 7

Shetland 9

Skye and Wester Ross 13

Western Isles 6

Total 86

Table 1: Respondents by LEC Area

Respondents were also asked to identify what had drawn them to the area. Most respondents selected

three reasons but many of those who were ‘Originally from the Highlands and Islands’ selected this as

their only reason. A more detailed breakdown of the Top 8 from 13 reasons is given in Table 2 below,

with results presented in order of importance.

Reasons for Locating in H&I No. of Respondents

Inspiration of the Local Landscape and Environment 44

Originally from the Highlands and Islands 25

Other 20

Inspiration of Local Culture and Heritage 19

Family Connections with the Highlands and Islands 18

Welcoming Community 14

Market Gap/ Opportunity 12

Affordable Lifestyle 12

Table 2: Reasons for Locating in Highlands and Islands

5 KEY MESSAGES FROM MAKERS & RETAILERS SURVEY


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Those respondents who listed ‘Other’ as a reason cited a range of other reasons but many had to do

with relocating to the area for other reasons such as retirement or for a partner’s job.

5.2 5.2 5.2 5.2 Experience to date of Current Support OrganisationsExperience to date of Current Support OrganisationsExperience to date of Current Support OrganisationsExperience to date of Current Support Organisations A series of questions were asked about respondents’ awareness and interaction with a wide variety of

organisations in order to gauge the current situation. A summary of these responses are listed in Table 3.

HI~Arts LECs Local

Authority SAC AAS

Local Arts & Crafts Assoc.

National Craft Assoc.

craft scotland

Haven’t Heard of Them

2 1 0 2 24 22 25 5

Heard of But No Direct Contact

43 15 44 51 46 14 26 19

Member 6 31 15

Received Advice 11 41 24 12 3 6 8 8

Received Funding 13 52 15 9

Participated in Events 25 16 15 17 8 27 8 3

Participated in Training 4 23 7 4 1 2 4 1

Joined Register 58

Signed Up for ebulletins

34

Provided A Useful Service

33 35 Excluded

by Error 18 4 28 10 20

Table 3: Makers Engagement with Support Organisations

These figures show that in most cases at least half of the respondents had either not heard of or had not

had direct contact with the vast majority of support organisations. Detailed analysis shows that Local

Authorities were most engaged within the island groupings of Orkney, Shetland and the Western Isles

with the take up support from HIE Skye and Wester Ross the most significant overall with makers taking

advantage of advice, training and funding available from the LEC.


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Respondents in Argyll are most likely to be members of national craft associations. However in general

the Local Enterprise Companies faired the best however respondents still had problems in identifying

the support that was available and accessing it. When asked ‘Do you have any comments to make

regarding the support services available to you…?’ the following responses were typical.

“We have ohave ohave ohave only stumbled on H&I Enly stumbled on H&I Enly stumbled on H&I Enly stumbled on H&I Entntntnterprise through seeking support erprise through seeking support erprise through seeking support erprise through seeking support for a website…other organisations not exactly profor a website…other organisations not exactly profor a website…other organisations not exactly profor a website…other organisations not exactly pro----active.”active.”active.”active.”

“I feel little help is available directly to people on the islands, “I feel little help is available directly to people on the islands, “I feel little help is available directly to people on the islands, “I feel little help is available directly to people on the islands,

nononono----one to speak to for advice easily”one to speak to for advice easily”one to speak to for advice easily”one to speak to for advice easily”

“Usually the hoops that one has to go through to access“Usually the hoops that one has to go through to access“Usually the hoops that one has to go through to access“Usually the hoops that one has to go through to access support take support take support take support take too much time away from making my products for it to be worthwhile”too much time away from making my products for it to be worthwhile”too much time away from making my products for it to be worthwhile”too much time away from making my products for it to be worthwhile”

“Very helpful once contact is made. “Very helpful once contact is made. “Very helpful once contact is made. “Very helpful once contact is made.

Rather confusing knowing which body to approach”Rather confusing knowing which body to approach”Rather confusing knowing which body to approach”Rather confusing knowing which body to approach”

However it wasn’t all negative and many positive comments were made about the assistance that had

been received whether it was financial or advice.

5.3 Experience of Existing Websites5.3 Experience of Existing Websites5.3 Experience of Existing Websites5.3 Experience of Existing Websites A series of questions were asked about a number of websites and their usefulness. The responses are as

follows:

• Number of respondents who ‘use’ the craftscotland website: 50

• Number of respondents who ‘use’ the crafthighlands website: 23

• Number of respondents who ‘use’ other parts of HI~Arts’ website: 20

• Which bits of the crafthighlands website are most useful?:

Craft News (16), Makers Search (15), Bulletin Board (10), Craft Events (9), Makers Award

Scheme (6), Venue Search (5), Crafts Organisations (2).

5.4 5.4 5.4 5.4 The Need For and Role of a Craft Development OfficerThe Need For and Role of a Craft Development OfficerThe Need For and Role of a Craft Development OfficerThe Need For and Role of a Craft Development Officer Respondents were asked directly “HI~Arts and the Scottish Arts Council are investigating the potential

for a dedicated craft development officer in the Highlands and Islands – do you think there is demand

for this type of role?” Of the 86 respondents 78 said YES, 6 said NO and 2 did not indicate a preference.

Those who said no largely gave the reason that they were happy to work within their own network or

that support was already available and there was potential for duplication.


19

When asked to highlight the three priority work areas for a craft development officer a significant

number of respondents listed more than three. However the results are presented in Table 4 below:

Priority for Activity No. of Respondents

Enabling Access to Funding for Business Development 52

Co-ordinating Marketing Activity 39

Co-ordinating Access to Exhibitions 39

Co-ordination of Networking 36

Access to Business Advice 33

Enabling Access to Funding for Training & Skills Development 32

Co-ordinating Access to Trade Fairs 29

Improving Availability of Studio Space 21

Signposting to Other Specialist Support Facilities 18

Table 4: Priority Work Areas for a Craft Development Officer

This gives a clear indication of makers’ priorities in terms of support for business development and also

in terms of increasing selling opportunities.

A further question was then presented asking what area could a craft development officer be reasonably

expected to cover however the responses were inconclusive in that respondents tended to indicate

that their own area should be a priority taking in perhaps a neighbouring locality but not much else.

5.5 Makers Issues5.5 Makers Issues5.5 Makers Issues5.5 Makers Issues At this point in the survey makers only were asked to complete a series of questions relating to their

business.

Firstly a question was posed on how makers currently sold their work and the responses are shown in

Table 5 below:

Method of Sales No. of Respondents

Website run by self 51

Retail outlets within area 41

Craft Shows 35

Retail outlets out with area 35

Own gallery 33

Mail order 17

Website run by others 7

Table 5: Methods of Craft Sales

A number of makers also sell by other methods including commissions and by word of mouth. 10

makers are dependent on sales through their own gallery, a further 14 are dependent on a combination

of craft shows and / or website sales. It would appear that there are makers who either sell through a

wide variety of outlets or those that have very limited selling opportunities.


20

Makers were then asked about the current challenges that were facing them in their work and the

responses given are listed in Table 6.

Challenges No. of Respondents Distance from Potential Markets 41 High Transport Costs 36 High P & P Costs 36 Distance from Material Suppliers 35 Turnover not High Enough 31 Lack of Working Capital 25 Lack of Funding for New Equipment 25 Seasonality of Demand/Income 21 Lack of Studio/Workshop Space 18 Lack of Suitable Retail Outlets 15 Isolation 15 Lack of Skills Development Opportunities 13 Lack of access to business training/support 5

Table 6: Makers Business Challenges

When further asked about what they might want help with makers responded as follows in Table 7.

Area of Assistance No. of Respondents

Finding New Retail Opportunities 32

Attending Trade Fairs 26

Finding Funding for New Equipment 23

Information on Business Skills Development Opportunities 22

Information on Craft Skills Development Opportunities 21

Access to a Co-operative with Greater Buying Power for

Raw Materials 19

Finding Funding for Training 18

Studio/ Workshop Space 17

Meeting Other Craft Producers 13

Establishing a Mail Order Business 12

Establishing a Website 8

Table 7: Assistance wanted by Makers

There are some discrepancies between the expressed requirements for a craft development officer,

what makers have identified as challenges for the businesses and what they have then identified as things

they would like help with. However it is still reasonably clear that the three areas where help is required

is in finding and developing new market opportunities for selling, in growing and developing their

businesses and in improving their skills.


21

5.6 Retailers Feedback5.6 Retailers Feedback5.6 Retailers Feedback5.6 Retailers Feedback

Retailers were asked where they obtained their stock from and the responses are set out in Table 8

below.

Source of Stock No. of Respondents

Own Craft Products Only 34

Elsewhere in Scotland 18

Elsewhere in UK 17

Local Area 15

Highlands and Islands 11

Overseas 6

Table 8: Where Stock in Retail Outlets is Sourced From

Those based in Caithness & Sutherland, Orkney and Shetland were most likely only to sell their own

products. Those based in Argyll sold items from the widest range of suppliers in other areas.

Only 11 respondents indicated that they used trade fairs to identify stock and those listed included Top

Drawer Spring and Autumn Fairs at NECL, SECC Glasgow Spring/Autumn Aviemore in April and

Harrogate.

Those who retailed craft ran the following: shop/gallery (36), website (43), Mail Order (23). 14

respondents either operate a mail order or website based retail business with no physical shop front or

gallery.

Retailers also provided feedback on their challenges and areas where assistance was required but this

mirrored the priorities identified by makers in Section 4.5, in part this can be attributed to the fact that

most retailers who responded were maker/retailers (35) as opposed to just retailers (3).


22

The table below highlights the needs of the craft sector that have been identified throughout the process

of the scoping study and proposes possible solutions and more specific actions required. Not all of these

are appropriate for HI~Arts to take a lead on at this time but those that are have been highlighted in

purple. These will then form the basis of any recommendations. Note due to the nature of this work

there is some duplication of actions identified.

Identified Needs

Issue/Challenges Possible Solutions

Initial Actions Required

Local Audience

Development

• Limited understanding

of quality craft product.

• Limited exposure to

high quality craft

product both locally

produced and

elsewhere.

• Encourage existing

publicly funded gallery

spaces to exhibit and

retail more craft.

• Expand number of

outlets where possible,

especially in areas

where no gallery

spaces.

• Encourage more

touring craft exhibitions

and educational work

to complement existing

activity.

• Training opportunities for

curators on the practicalities of

exhibiting and retailing craft, also

on how to find craft makers.

• Information for curators and

independent gallery owners on

the breadth and quality of craft

makers in the Highlands and

Islands.

• Publicly funded centre for

promoting craft at a suitable

location on East coast to

complement publicly funded

galleries in Islands.

Visitor Audience

Development

• No awareness of scope

for buying local craft

when deciding where

to visit.

• Lack of awareness of

how to buy local craft

products both in terms

of what’s available and

where to buy.

• Often mass produced

poor quality product

from elsewhere

branded as craft and

sold through tourist

outlets including TICs.

• Improve engagement

with Visit Scotland both

at local and national

levels to improve

advance marketing,

information available to

visitors once they arrive

and availability of local

products in TICs.

• Improve engagement

with local destination

marketing groups.

• Establish dialogue with Visit

Scotland at a national level to

explore possible opportunities

through sector development and

strategic marketing of sector.

• Establish better links with Visit

Scotland at a local/regional level

providing copy and images to be

used for promoting the sector to

visitors.

• Have dialogue with Visit Scotland

regarding exposure for local craft

products through TICs –

showcase or retail and facilitate

links between VS and makers.

• Identify local destination

marketing groups and host

workshop between

representatives of these and

makers to explore ways of

collaborative working.

6 SUMMARY OF ACTIONS


23

Identified Needs



Raise Understanding

and Awareness of

Craft Sector within

Public Sector

• Lack of understanding

of craft sector’s

contribution to

economy leads to

patchy support for

development.

• Belief that sector is

hard to engage with.

• Raise awareness of

sector’s contribution to

social and economic

wellbeing of the H&I.

• Raise awareness of

sector’s needs as

identified through

scoping study.

• Provide easy access

points for craft sector.

• Commission an independent

study to quantify the value of the

craft sector in the H&I with local

breakdowns.

• Prepare a 2 page information

sheet summarising craft sector in

H&I providing details of key

contacts.

• Develop a detailed database of

all craft makers in the H&I.

Improve sector

cohesion

• Makers dispersed and

no sense of shared

purpose.

• Varying perceptions of

quality and other issues

across sector.

• Need to overcome

sense of competition

within sector.

• External organisations

find it hard to engage.

• Development and

marketing

opportunities missed.

• Associations

unconnected,

unsupported and

feeling volunteer strain.

• Build capacity and

confidence within the

sector through building

relationships &

promoting joint

working.

• Improve sector based

networks.

• Provide training and

support for those

involved with craft

associations.

• Establish a joint vision

for the sector.

• Employ craft development

workers in areas where this

support not currently available –

suggested areas are Lochaber &

Argyll, Western Isles and North

& East Highland (Caithness,

Sutherland, East Ross, Inverness-

shire, Badenoch & Strathspey

and Moray).

• Provide networking

opportunities linked in to training

and other events.

• Explore longer term structures

for self organisation of the sector.

Information &

Communications

• No single database of

makers in H & I.

• No clear points of

contact for craft sector

on H & I.

• Duplication of

information and

guidance on craft.

• No definitive source

for craft information.

• Provide easy access

points for craft sector.

• Better co-ordinate web

based provision of

information and

guidance for craft to

minimise duplication at

a local, regional and

national level.

• Prepare a 2 page information

sheet summarising craft sector in

H&I providing details of key

contacts.

• Develop a detailed

communications database of all

craft makers in the H&I.

• Undertake a review of web-

based provision and propose a

tiered approach with appropriate

links between national, regional

and local levels.

Quality • Meaning of quality is different to different people.

• Different quality assessment processes used by different groups.

• Quality assessment not always open and transparent.

• Quality assessment can lead to conflict within sector

• Secure sector wide agreement on what definition of quality is and how it should be applied.

• Develop a quality assessment process that can be consistently applied and is widely recognised by agencies aiming to support the sector.

• Commission an independent study to consult with the sector and the range of bodies that interact with it from curators to public sector funders and to propose a definition of quality and a well defined and easily applied assessment process. The study should also identify how the assessment could be used and who might be suitable to undertake the assessment.


24

Identified Needs



Marketing & Branding

• Craft is marketed by individual makers, groups of makers and associations, through open studios and other means. Lack of consistent message.

• Craft has an uncertain and variable image.

• There are conflicting views about whether brands for craft should be developed and whether this should be at a local or H&I wide level.

• Establish a clear understanding of the role of subscription activity and what role this might have to play in improving the image of craft and in developing market segmentation.

• Identify who best to lead on marketing at different levels.

• Take advantage of opportunities for collective selling.

• Develop a series of events engaging those who have a role to play in subscription type activity in order to develop this area in the H&I. This should be done in partnership with SAC and craftscotland.

• Investigate scope for collective marketing and selling, whether at a local level or at a Highlands and Islands level at key exhibitions and events e.g. The Gathering 2009 as part of Year of Homecoming.

Low Cost Workshop Space

• Lack of low cost workspace provision.

• Need for clear demand and concentration of makers to ensure viability.

• Requires strong lead from craft sector to promote.

Development of craft workshop space in 4-5 locations over time, taking advantage of opportunities as and when they arise.

• Facilitate the development of workshop space in Inverness area, working with makers, WASPS, HI~Arts and Inverness City Partnership.

• Interested parties in Orkney, Lewis, Fort William, Caithness and Skye to progress their ideas with WASPS.

Skills Development • Lack of targeted

skills courses for makers within H&I.

• Clearly defined skills needs.

• Widely dispersed makers but issues largely same across H&I.

• Links to networking opportunities.

• Need also to broaden horizons.

• Delivery of targeted training programme across H & I.

• Engage with Cultural Enterprise Office to provide initial one to one tailored advice.

• Facilitated mentoring scheme to provide more tailored one to one support, for specific needs.

• Greater exposure of H & I makers to exhibitions and trade fairs elsewhere.

• Put in place necessary support structures (new and existing craft development posts) and referral systems to ensure craft makers can access specialist business advice through HIE, Development Partners and Cultural Enterprise Office.

• Engage with Development Partners and Cultural Enterprise Office and existing craft development staff to develop and deliver a pilot co-ordinated programme of training across H & I.

• Develop ideas for a mentoring scheme within North and East Highland building on Shetland experience as a pilot for other areas.

• Pilot 2-3 Go See Visits for Highland makers to suitable exhibitions/trade fairs.


25

Identified Needs



Business Development

• Lack of financial support for business development for majority of makers due to small scale.

• Fragmented approach to support available – difficult for makers to decipher.

• Some lack of understanding from makers of where best to invest in their business.

• Inconsistencies of support across H & I.

SAC and partner funded Makers Schemes to be consistently implemented at comparable levels across H & I. Makers Schemes to cover potential support for all aspects of makers business developments. Advice and signposting to be provided to makers on what is available to them.

• Provide expanded and supported Makers Scheme in North and East Highland.

• Provide dedicated Makers Schemes in Argyll & Lochaber, Orkney and also in Western Isles.

• Ensure consistency of Schemes across Highlands in terms of types and levels of support offered.

• Employ craft development workers in areas where this support not currently available – suggested areas are Lochaber & Argyll, Western Isles and North & East Highland (Caithness, Sutherland, East Ross, Inverness-shire, Badenoch & Strathspey and Moray).


26

Based on the questions set out in the scoping study brief, outlined in Section 1.1, and on the actions

identified above it is therefore recommended that HI~Arts take a lead on the following activities. These

can be defined under three headings; Strategic Development of the Craft Sector in the Highlands and

Islands, Strategic Support for Makers in the Highlands and Islands and Support for Makers in North and

East Highland.

The overall objective of HI~Arts intervention is to build capacity within the craft sector, raise awareness of its value and to provide a range of tools which will enable the sector to actively engage with others.

In shaping these recommendations to meet this objective it has been recognised that at this stage effort

needs to be applied to supporting individual craft makers both in terms of building their capacity and

confidence and helping them to form networks. This will provide a solid basis for sector led initiatives

and developments in the future.

7.1 7.1 7.1 7.1 Strategic Support for Makers in the Highlands and IslandsStrategic Support for Makers in the Highlands and IslandsStrategic Support for Makers in the Highlands and IslandsStrategic Support for Makers in the Highlands and Islands

Recommendation 1

Develop a pilot training programme which will provide courses tailored for craft makers delivered locally

across the Highlands and Islands. Courses will be provided through the Cultural Enterprise Office and

others but co-ordinated locally in terms of selecting content, identifying dates and venues and registering

participants. The funding and management of the training contract should be undertaken centrally but

the local management of the courses would be undertaken by lead partners such as HI~Arts in North

and East Highland, Shetland Arts in Shetland, An Tobar in Argyll & Lochaber. These events will also

provide networking opportunities.

Recommendation 2

Develop a pilot ‘Go See’ programme of visits which will enable Highland and Island makers to see the

wider selling opportunities that exist. This should help build networks and also seek to raise the bar in

terms of quality and professionalism as makers experience competition form other areas and consider

presentation and pricing issues. It is proposed that this be targeted at makers at different levels with

different styles of event in Scotland, Harrogate and London attended.

Recommendation 3

Employment of a part time administrator who will lead on Recommendations 1, 2, 11 and 12 working

with existing and new craft development staff and other organisations who provide support to the craft

sector. It is envisaged that the post be combined with that in Recommendation 5 to form a full time craft

administrator post.

7 RECOMMENDATIONS


27

Recommendation 4

Work with organisations in Argyll, Lochaber and the Western Isles to develop targeted Craft Initiatives

covering these geographical areas. Help raise awareness of the needs of the craft sector in these areas

and endeavour to work collectively with appropriate organisations to find solutions. In the meantime

ensure that organisations such as An Tobar, An Lanntair, Taigh Chearsabhagh etc. can enable craft

makers in these areas to participate in and benefit from some of the strategic interventions for the

sector that HI~Arts will lead on.

7.2 7.2 7.2 7.2 Support for the Makers in North and East HighlandSupport for the Makers in North and East HighlandSupport for the Makers in North and East HighlandSupport for the Makers in North and East Highland

Recommendation 5

Employment of a full time Craft Development Officer who will cover North and East Highland which

incorporates Caithness, Sutherland, East Ross, Inverness-shire, Badenoch and Strathspey and Moray. This

area should be manageable geographically and should provide a suitable number of craft makers to

provide the necessary critical mass for a craft worker. This is also on the basis that Shetland and Skye &

Wester Ross are currently covered by existing posts and that other organisations are perhaps best

placed to support workers in other areas. The post will focus on growing the capacity of individual

makers and in establishing a more cohesive and confident sector in North and East Highland. The

worker will also link with other existing craft development officers and others supporting craft and will

help co-ordinate some Highland wide activities as identified in Recommendations 1 and 2.

Recommendation 6

Employment of a part time administrator to support the work of the craft development officer,

supporting the delivery of the Makers Scheme, QA Assessment Scheme and the Mentoring Scheme. It is

envisaged that the post be combined with that in Recommendation 3 to form a full time craft

administrator post.

Recommendation 7

Delivery of a series of activities which will provide targeted support for Makers in North and East

Highland and which can be used by the Craft Development Officer in providing follow on support

especially for Makers who currently fall through the gaps for HIE and SAC assistance. Initially an

expanded Makers Scheme should be designed and promoted which after Year 2 will link in with a

Quality Assessment scheme which will help target Makers needs for support. This expanded scheme will

be wider in scope than the one currently operating and will offer grants to a higher financial value in line

with schemes elsewhere. Finally it is suggested that some form of Mentoring Scheme be developed

which will provide more one to one specialist support for makers focussing on the craft skills rather than

business skills side which can be met through other means.


28

7.3 7.3 7.3 7.3 Strategic DevelopStrategic DevelopStrategic DevelopStrategic Development of the Craft Sector ment of the Craft Sector ment of the Craft Sector ment of the Craft Sector in the Highlands and Islandsin the Highlands and Islandsin the Highlands and Islandsin the Highlands and Islands

Recommendation 8

Commission an independent short study addressing the issue of the definition of quality and the

development of a consistent, widely acceptable and transparent quality assessment process which can be

used in identifying the type of support that makers may require in order to develop. This should draw on

the Shetland experience in this area.

Recommendation 9

Undertake a body of work which will improve ‘subscription’ activity that is endorsement of the artistic

product by such filters as curators, reviewers, peer advocacy, retailers, collectors etc. Subscription activity

will then help to improve the image of craft and help with market segmentation. This will involve a series

of events and activities which will bring potential ‘filters’ together and engage them with the need to

improve subscription activity and to look at how this could be achieved across the Highlands and Islands.

Recommendation 10

Commission an independent study on the craft sector’s contribution to the Highlands and Islands in

socio-economic terms. It would identify the number of makers, geographical distribution of makers, the

economic value of craft businesses in total and also as a contribution to the micro economies in which

they are based, economic multipliers, social benefits including links with formal and informal education

and other spin off benefits. This study would provide a breakdown at a level appropriate to HIE areas

and a comparison with other key sectors in these areas and if possible a level of return based on public

sector funds invested per annum. This study should be undertaken in Year 3 of the Initiative in order to

be informed by its work and any data gathering that will have taken place.

Recommendation 11

Review the craft highland website and rationalise in order to avoid duplication of information provided

on craftscotland. Liaise with providers of local craft information and websites and develop an improved

tier structure for provision of craft information.

Recommendation 12

Develop and maintain a comprehensive ‘communications’ database of all craft makers in the Highlands

and Islands in order to ensure improved information distribution networks and accessibility. Linked to

this the development of information and/or events aimed at retailers/curators and the provision of an

information sheet providing a summary of the sector and main contacts to potentially interested parties.

This activity should be co-ordinated with craftscotland in order to minimise potential for duplication.

hi-arts - craft development scoping study report (2007)

Documents

craft makers

craft sector

crask of aigas

retailers survey

cover images

telephone interviews

stakeholder interviews

desk research