COMPLETED ON WORK PLACEMENT AT SMITHS ROW ART GALLERY LAST YEAR.
importance of the craft sector.
here are some of the results...
reative
Graduates Creative Futures (CGCF) (Ball, Pollard and Stanley, 2010).
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
Employment in contemporary crafts increased by 11 per cent between 1997 and 2006.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
These highly qualified makers
operate independently in an ever‐changing landscape of micro‐businesses and freelance work which characterise the crafts sector. Innovation, high quality, authenticity and aesthetic value are important characteristics of the contemporary crafts output
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
Crafts practice
combines personal enquiry with crafts knowledge, processes and skills -
often tacit in nature - and these are core business assets. Thus crafts making within a theoretical and critical framework (intelligent making) contributes to new processes, products and ideas.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
Working to deadlines, selfdiscipline and juggling priorities were felt by graduates to be important professional requirements that were fostered through their studies. Key career survival skills such as: independence, persistence, self‐motivation and a strong work ethic, were also felt to be important. -
Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
Some survival skills were felt to be less well developed, in particular understanding client needs, networking, IT and entrepreneurial skills. -
Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
only half felt prepared for the world of work on leaving their courses.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
Work experience and contacts established at university were essential career facilitators; and crafts graduates continued to develop and nurture networks as their careers.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
Selfemployment was an important form of working for crafts graduates relative to graduates in general. In their early careers, more than one in three crafts graduates had worked freelance, and at the time of the survey one in five were running a business and/or one in seven were working freelance. This was a serious expectation for the future with double this proportion saying that running a business was likely as their careers progressed.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
At the time of the survey, some four to six years into their careers, unemployment was low at three per cent, although one in three had experienced unemployment since graduating.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
The crafts sector is focused predominantly in microenterprises and sole trader businesses and this is reflected in our findings. Over half of crafts graduates worked alone and a further one‐third in organisations of 10 or fewer workers.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
In spite of the high levels of selfemployment, crafts graduates valued working with others, and this may reflect a need to combat the isolation of the lone worker. Crafts graduates are naturally collaborative; they come together to find work, work on multidisciplinary projects and pool resources. Collaboration crucially provides opportunities to discuss their work with others and seek critical feedback they need to progress.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
Crafts graduates are lifelong learners and are prepared to invest in their own development,
38 per cent were engaged in further study or some form
of CPD. - Crafting Futures, a Study of Early Careers of Crafts Graduates from
UK Higher Education Institutions 2010.
four in five crafts graduates had taken part in shows and exhibitions, and had been taught by industry practitioners. -
Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
Crafts graduates appeared to have greater opportunities to learn through shows and exhibitions, field trips, competitions and business or enterprise activities than graduates in other creative disciplines.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK
Higher Education Institutions 2010.
crafts graduates were more likely to be in permanent paid work than creative graduates as a whole, and slightly less likely to be working in the
creative sector or in creative roles, or in an area related to their
degree. - Crafting Futures, a Study of Early Careers of Crafts Graduates from
UK Higher Education Institutions 2010.
Old models for work, purposes of education, skills agendas and graduate employment are limiting, and prevent dealing with a new reality in which crafts practice provides the context for academic study, work experience, employability, professional development, innovation, enterprise and productive careers. In this new reality, work satisfaction is focused on measures such as personal fulfilment and opportunities for creativity and new learning.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
Higher Education Institutions (HEIs) provide an environment that fosters intelligent making and encourages important employability skills and key career survival skills. A distinctive characteristic of the crafts curriculum involves the interaction between creative ideas, materials and processes, personal direction and high-level intellectual skills within a theoretical and cultural context.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
The sector is largely made up of women, and they account for 91 per cent in the sample for the study. It is worth noting that more than half the respondents anticipated some form of caring or parental responsibilities over the next few years.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
For this
reason apprenticeships, paid internships, grants, loans and residencies – small
amounts of funding would have a positive impact on graduates, their markets and their creative ventures in their early careers is something to be explored.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK
Higher Education Institutions 2010.
Half the respondents felt unprepared for the world of work on graduation. There is work to be done to prepare graduates for the likelihood that they will be self‐employed and for the reality of crafts and other creative careers, with appropriate support for progression into work and continuing professional development into their careers.
- Crafting Futures, a Study of Early Careers of Crafts Graduates from UK Higher
Education Institutions 2010.
Makers’
gross craft-related incomes have declined moderately of late. – Craft in an Age
of Change, 2012.
More
than half of makers report making less than £5,000 a year. – Craft in an Age of
Change, 2012.
Craft
sales remain locally focused, with limited exports. – Craft in an Age of
Change, 2012.
61% of
UK makers had a degree in art, craft or design. – Craft in an Age of Change,
2012.
For
half of makers, craft was a second career. – Craft in an Age of Change, 2012.
88% of
makers are sole traders. – Craft in an Age of Change, 2012.
Average
turnover from sales of contemporary craft-related objects: £16,572. – Craft in
an Age of Change, 2012.
Estimated
number of contemporary craft-making businesses in the UK: 23,050 – Craft in an
Age of Change, 2012.
Estimated
total income of £457m – Craft in an Age of Change, 2012.
Future
market for UK craft will become increasingly concentrated at the higher end. –
Craft in an Age of Change, 2012.
More
specialist craft courses have closed. – Craft in an Age of Change, 2012.
Craft-making
is often imagined as a small scale, ‘authentic’ form of production. – Craft in
an Age of Change, 2012.
It uses
modern thinking and technology to build on skills. – Craft in an Age of Change,
2012.
The
value of distinctiveness, a pride in quality and the worth of craftsmanship. –
Craft in an Age of Change, 2012.
Most
makers – 68% - worked with just one material, with 20% working two and 8% in
three. – Craft in an Age of Change, 2012.
25.7%
work with ceramics – Craft in an Age of Change, 2012.
22.9%
work with textiles – Craft in an Age of Change, 2012.
1.9%
work with weaving. – Craft in an Age of Change, 2012.
A
typical craft retail business has been in existence for just under 20 years,
and employs 4.5 people. – Craft in an Age of Change, 2012.
Percentage
of makers that sell their work online. 35.3. – Craft in an Age of Change, 2012.
Percentage
of makers that use digital technology on making or designing. 35.5. – Craft in
an Age of Change, 2012.
Percentage
of makers that have change their practice due to environmental concerns. 31.4.
– Craft in an Age of Change, 2012.
Percentage
of makers whose work has been sold to a public collection. 28.6 – Craft in an
Age of Change, 2012.
The
sector emphasises the authenticity and uniqueness of its products and services.
– Craft in an Age of Change, 2012.
Large
numbers of consumers willing and able to but branded and ‘luxury’ goods. –
Craft in an Age of Change, 2012.
There
is a strong ‘localist’ strain in craft. – Craft in an Age of Change, 2012.
Building
on local traditions. – Craft in an Age of Change, 2012.
Art and
design courses have strong international reputations, and have participated in
this international outreach. Many of these foreign students stay in Britain
after graduation, and it was suggested by some participants in the focus groups
that this has contributed to a more cosmopolitan culture in British craft, as
different national traditions come together, mix and influence each other. –
Craft in an Age of Change, 2012.
Amongst
makers, 43% thought tourism was very or fairly important to their business. –
Craft in an Age of Change, 2012.
Tourism
was more significant for retailers; two-thirds of them said that is was fairly
important to their business. – Craft in an Age of Change, 2012.
31% of
makers changed their practice in response to environmental concerns. Of those
who had done so, more than half were trying to use more environmentally
sensitive or sustainable materials, while just under a third had changed their
production process to make them more environmentally sensitive or sustainable.
A fifth were using local suppliers in a bid to reduce transport miles. Makers
using textiles and glass were more likely to have carried out such changes than
other makers in other materials, though the differences were modest. – Craft in
an Age of Change, 2012.
Many
makers recognised that adapting to the new economic climate would require them
to make changes. Developing new or different products was the most popular
option, with 63% saying they intended to do this while 58% wanted to find new
markets, and 49% were looking to use different materials. – Craft in an Age of
Change, 2012.
In
England, 69.3% of makers were female (UK 68.6%). – Craft in an Age of Change,
2012.
The
average age of makers is 49.4 years. – Craft in an Age of Change, 2012.
Makers
from England described their ethnicity as; 82.5% White British (81.0% UK) and
9.8% White other. – Craft in an Age of Change, 2012.
68.3%
of makers described their national identity as British, 23.7% chose English,
and 1.6% said Welsh. – Craft in an Age of Change, 2012.
In
England, 12.6% of makers described themselves as dyslexic (11.5% UK), while
4.7% described themselves as disabled, excluding dyslexia (4.1% UK) – Craft in
an Age of Change, 2012.
These
cuts are likely to end up being counterproductive. Arts Council England
estimates that for every pound that the government invests in the arts, the UK
economy grows by £4 (Guardian 2014) – March of the Modern Makers 2014.
the
creative sector has done too little to explain and promote the employment
opportunities available to students in schools and colleges. – March of the
Modern Makers 2014.
Ensuring
that students in years 12 and 13 understand the options open to them, and the
requirements that would be expected of them by employers in parts of the
creative sector, remains a challenge yet to be addressed by a number of
industries. – March of the Modern Makers 2014.
The
links between the arts and cultural industries and the commercial creative
industries need to be better articulated and valued. Museums, archives and
galleries provide vital inspiration for designers. – March of the Modern Makers
2014.
Art
and culture play a vital role in society and as well as driving regeneration
they can be crucial in helping with education and even fighting crime. –
‘The Power of Creativity, Don Foster 2010
“In
particular we want to see a greater emphasis on creativity in our education
system. We will bring an end to the stifling impact of Labour’s
over-prescriptive curriculum and meaningless targets. –
‘The Power of Creativity, Don Foster 2010
After my individual tutorial, I thought I have better decide on a specific title,so I can actually get on with my research! I feel that my research possible has not been as focused as I would like it, I would like to prove that I can do it, that I can create some respectable research of my, that I haven’t lost my research edge from sixth form!
