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Career Pathways: Jenna Watson, Goldsmith at Hamilton & Inches

 

In the first of our career pathway stories, we chat with Jenna Watson, graduate of Duncan of Jordanstone College of Art and Design and Goldsmith at Hamilton & Inches to discover the journey that inspired her career as a maker.

Founded in Edinburgh in 1866, Hamilton & Inches (@hamiltoninches) is a premiere destination for fine jewellery and hand-crafted silver in Edinburgh. Since moving to their current location on George Street in 1952, Hamilton & Inches has housed a number of workshops above their showroom, where Jenna Watson and the Hamilton & Inches team of talented craftspeople work in specialisations ranging from polishing and engraving to silversmithing and goldsmithing.

 

Jenna in the Hamilton & Inches Workshops

Why did you decide to study jewellery?

I would say that it was with fate and a little bit of luck that I was fortunate to find my profession. From a young age, I have always been creative. Leaving school, I knew I wanted to go down a more creative path, but I wasn’t aware of what options were available. I had the opportunity to undergo an NQ qualification in Jewellery and Silversmithing at Cardonald College in Glasgow. I really enjoyed the course– it was practically led with lots of hands on experience. I stayed for a further 2 years (3 in total) and completed my HND qualification in Jewellery and Silversmithing.

Tell us about studying at Duncan of Jordanstone College of Art and Design. What drew you to select that course, and what did you enjoy most about studying there?

Cardonald College and DJCAD had an articulation agreement and I was fortunate to be offered a place to continue into the 2nd year Jewellery and Silversmithing course at DJCAD. (Cardonald College, now Glasgow Clyde College, Cardonald Campus, and DJCAD hold an articulation agreement which allowed Jenna to complete her HND Qualification in Jewellery and Silversmithing at Cardonald and then progress onto the degree programme at DJCAD in Jewellery and Silversmithing.) After I graduated in 2016, I wanted to further my knowledge within the industry working within a goldsmith workshop. I loved how practical the course was and their ties with the industry.

During my third year at university, we came on a tour of the Hamilton & Inches workshops, and I left with an aim of working at Hamilton & Inches one day. The atmosphere and level of talent within the company opened my eyes to the options that could be available to me if I applied myself. 

Tell us about your training at Hamilton & Inches, including key skills you have learned during your time there.

My training at Hamilton & Inches under Master Jeweller Chay McClory, Goldsmith Alan Sewell and the wider team has been exceptional. Not only have I been taught by some of the best artisans in the country, I have been given the freedom to explore my creativity and push myself. My most recent project has been overseeing the design of The Hamilton & Inches Engagement Collection, a range of of solitaire and three-stone rings and wedding bangs, inspired by the landscape of Scotland.

I have learned to be patient. I have learned the business of jewellery. I have learned countless technical skills that help me to continually improve. That is the wider attitude at Hamilton & Inches; we never stop learning.

 Why did you decide to focus on goldsmithing?

I wanted to create beautiful, unique pieces. When I was given a small insight into the world of Hamilton & Inches, I knew instantly I wanted to work in the workshops with the exceptionally talented team. I don’t think I had appreciated that it takes years and years to perfect the skills that it takes to become a goldsmith. There is no quick fix–it takes a lot of patience, blood, sweat and tears but it is all worth it in the end when you start to see the hard work pay off.

Jenna and her parents at her graduation ceremony earlier this year at Goldsmiths Hall, Edinburgh

Tell us about your work at Hamilton & Inches. What is your day like?

The workshops at Hamilton & Inches are like a different world. From the moment you step in the door in the morning, you are greeted with busy people, all with an incredible attitude. The pieces I work on range massively; from smaller intricate repair jobs, design projects, working on our exclusive 22ct Scottish Gold pieces–every day is different. 

Not only do I love my job, I love my workplace. With around 50 of us based at George Street, I have a great relationship with my colleagues. We learn together, have fun together–there is a fantastic sense of camaraderie. Even during the recent times, which have challenged us all, it is comforting to know my Hamilton & Inches family will always be there to help and support me.

The workshops are extremely unique within Hamilton & Inches–it is rare to see a workshop creating pieces from the beginning to the end within a company and under one roof. Having the workshops above the showroom is another distinctive aspect of Hamilton & Inches.

Jenna designing The Hamilton & Inches Engagement Collection

Describe your design process. How do you begin creating a new piece?

Working as part of a bigger team, we begin by creating a comprehensive brief. Often, much of the design will depend on things like metal, structure, security, etc… When working on any new item, we identify key USPs and each department in the business will feed in with their requirements. From this initial meeting, my brain has already started working on what the finished result might look like. My design ideas, coupled with the technical excellence of my colleagues, Chay and Alan, are then developed and presented back to the wider team; it is a truly collaborative approach. Whilst I tend to be inspired by nature and the world around us, every colleague is inspired differently. For example, one of our silversmiths, Ruth Page, is inspired by urban landscapes and railways. That beautiful blend of inspiration works brilliantly at Hamilton & Inches.

What is your favourite piece you have made at Hamilton & Inches?

Our 22ct Scottish Gold Holyrood Palace Cuff is undoubtedly one of my favourites. it was a huge privilege to be able to create this piece and be involved with the full process from beginning to end. This was my first opportunity to create fine jewellery at a larger scale and it challenged different aspects of my skill set.

With thanks to Sarah Donaldson on our sales team, I met the lovely couple who purchased the cuff and talked them through the making process, showing them photographs at different stages. I was so ecstatic to see it going to a good home where they were as passionate about the process as the finished product.

However, in 2020 I have been incredibly lucky to work on and design The Hamilton & Inches Engagement Collection. I truly believe this collection of rings is special. Inspired by the natural landscape and the beautiful views from our workshop, each piece carries a little bit of Scotland; each tells a unique story of our jewellers.

Jenna inspecting a finished ring from The Hamilton & Inches Engagement Collection

What are your hopes for the future?

I hope more young people have the opportunity to discover and excel in a craft that has seen such a decline in numbers over the years. For years and years goldsmiths have been using the same processes, tools and techniques, and as long as they are still being passed on they will hopefully continue to be used. I hope our craft will continue to be aided by the digital side of things–with Computer Aided Design (CAD) being used a lot more within the industry, it allows the customer to see a fully rendered image of their design before they proceed. I think this aspect will continue to evolve and be used as a tool alongside the traditional techniques.

But the true skills of a goldsmith cannot be enhanced by technological advances. It needs people full of passion and talent to help grown and sustain our precious craft. It is also vital that spaces such as the Hamilton & Inches workshops continue to foster and develop future generations of craftspeople to ensure these skills are passed on from one generation to the next.

I think schools need to make their students more aware of the variety of creative industries that are available–I wish I had been given more knowledge at this stage of my life. Through social media we can make young people more aware of the craft and what it entails. Inviting groups of students to tour the Hamilton & Inches workshops will give them an insight into what we do and possibly plant a seed when considering their future studies and career.

Our thanks to Jenna Watson and the team at Hamilton & Inches. To learn more about Jenna’s work at Hamilton & Inches and their new engagement collection designed by Jenna, click here.

Images courtesy of Hamilton & Inches.

National Museums Scotland Supporting Emerging Silversmiths: Jessica Jue & Hazel Thorn

In the second of our guest blogs, Sarah Rothwell, Curator of Modern and Contemporary Design at National Museums Scotland, shares the story of the continued relationship between National Museums Scotland and the P&O Makower Trust.

As I mentioned in my last contribution to The Incorporation of Goldsmiths, the P&O Makower Trust has been supporting emerging silversmiths since 1974. The Trust’s commissioned pieces can be seen on display at the Victoria and Albert Museum (London), National Museum Wales (Cardiff) and our own National Museums Scotland here in Edinburgh. With over forty commissions being made, this remarkable Trust is responsible for helping introduce a wider audience to this age old craft, and placing some of the most renowned names within the craft into Museums at the very start of the careers. Recent commissions have included Ryan McClean, Clare Mallet, and as you have already read about, Hamish Dobbie.

‘Fractal Warp Vase’ by Ryan McClean

P&O Makower Commission for Victoria and Albert Museum, London, 2018

Image by Ryan McClean

The Company of Old Roads, 2017by Claire Malet

P&O Makower Commission for National Museum Wales, 2017

Image by Claire Malet

As the relationship between the Trust and the Museum was still quite new, they felt it would be nice to do something a little different for the Commissions going forward for National Museums Scotland that they had not done with the other organisations. And following on from the success of Hamish’s commission, we started talking about how we could work together to create a collection of commissions which would represent the diversity of the silversmithing craft today in its explorations of traditional process, artistic expression and embracing of new technology.

So after more thought and discussion on the area we would like the new commission to highlight, I consulted with art schools from across the UK to gauge if our idea would be embraced by those who were graduating or had in recent years. It was important to discuss ideas with peers who have a specialism or are placed at the centre of developments within the area I’m researching. This not only brings assurance that the project will be well received, but also creates a platform of advocacy that will spread the word about a new opportunity, and in this case, can lead to applications from some of the younger smiths who may not think that a competitive call out for a Museum is for them.

Following the consultation period we resolved our idea and a call out was published seeking those silversmiths whose practice considers the use of colour in metal, be that through the use of patination, mixed metals, or enamelling. The call also stated that we were looking for work that reflected an artistic application in this area and demonstrated the continuing excellence within the craft of silversmithing. And for this year’s jury panel we invited the enamellist Sheila McDonald to sit alongside the Makower family, our former Keeper of Art & Design Dr Xavier Dectot and myself.

‘Lace Sphere’ of patinated silver by David Huycke, 2006 (L.2007.169)

Silver and enamelled cylindrical vase by Maureen Edgar, 1989 (H.MEQ 1616)

Example of works of silver that show the different ways colour is applied within the National Museums Scotland Collection

Images by National Museums Scotland

As with the previous call out we had an extremely high level of entrants whose practise embraces colour within their silversmithing. So it took quite a while, and a lot of discussion to decide upon the four silversmiths who we would invite to present a proposal for the Commission. Amongst these we saw how some were approaching the application of colour through natural chemical patination, traditional processes, and one that challenged the jury to consider how reflection and refraction can create colour change. After a wonderful day meeting these makers, hearing their proposals and debating which we should go ahead with, the group was split between two very different proposals. One that exemplified traditional process whilst the other experimental. It was at this juncture that the Trust felt as we were all so passionate about them both, and after reviewing the funding set aside for the Museum’s commission, that they very generously agreed to support two awards.

The first awardee was the London based maker Jessica Jue, whose practise follows themes of balance and harmony, drawing inspiration from organic forms which she displays to great effect in her highly crafted pieces. These themes are created using a wide range of traditional techniques such as raising, chasing and repoussé to craft contemporary designs. A graduate of Edinburgh College of Art, Jessica impressed the judges with her proposal to create a striking, almost shell-like fluid form, that would feature beautiful surface decoration with the added extra of the Korean technique of Keum-Boo to colour the edges with gold.

Jessica Jue cradling her piece when it was full of pitch.

Jessica Jue’s studio desk at Goldsmiths’ Centre.

Images by Sarah Rothwell

I was lucky enough to visit Jessica at her base within the Goldsmith’s Centre in London last year on a number of occasions when I found myself in the capital for work, to see how things were progressing and discuss the commission and how we planned to display the piece alongside the previous recipient, Hamish Dobbie, and her fellow awardee. This, as you can see from the image, or if you have watched the wonderful film that was created by Jessica whilst she has been in Covid-isolation that features the piece, is the biggest work she has created to date. The commission has challenged her skills as a silversmith as well as her strength, as, after holding the piece she is cradling, I can tell you it wasn’t light filled with all of that pitch. Being placed within Goldsmith’s Centre has allowed Jessica to not only take advantage of their wonderful studio facilities, but also the expertise of her fellow makers based there, and the highly regarded team of technicians. In fact on talking about the piece, Jessica told me that she had received advice from Hamish, so it was lovely to hear that he had been helping mentor her as he himself had.

The work as it is currently, with chasing complete.

Detail of where Jessica envisages where she will apply the Keum-Boo.

Images by Jessica Jue

Once Covid restrictions are lifted, Jessica will be able to return to the Centre and complete the application of the Keum-Boo, which I’m very excited to see.

Hazel Thorn

Image by James Baster

The second awardee was the Edinburgh-based maker Hazel Thorn, who utilises a combination of base and precious metals with chemical patination to produce contrasting colours. These material experimentations inform the artistic output of her forms, creating dramatically sculptural vessels and wall pieces that often reference the landscape and geology of her childhood home in the highlands. Hazel has dedicated her practice to refining her craft in the pursuit of what is now her trademark technique. Hazel is also a graduate of the renowned silversmithing course at Edinburgh College of Art, and carries on her dedication for education within the craft as a visiting tutor at the college.

Visiting Hazel, I saw how she combines the metals, and how these look before she creates the patination.

Using these samples, Hazel created a paper model to visually explain her proposed wall piece.

Images by Sarah Rothwell

Hazel proposed to create a dramatic wall piece using her now trade-mark method of combining silver and copper wire, which are then exposed to her own secret chemical patination process to create blue greens and black surface colour. As you can see in the image of her experiments at the bench, these combined wires are manipulated to create sections, almost like tendrils or branches, which would then be interwoven to create a form. She used prints taken directly from these wire experiments to create a paper model to give an understanding of the shape, texture and colour that would be achieved. And though it was not an exact representation of what the final work would look like, it captured the panel’s imagination.

Hazel Thorn’s installations within Future Heritage at last years’ Decorex Fair, Olympia, London.

Images by Hazel Thorn

Her sculptural proposal has an ethereal and botanical quality, which is something that she has been striving to achieve in her silversmithing for a number of years. This was reflected in the pieces she created for last year’s Future Heritage exhibition within Decorex where I was able to see at first hand the quality of her patination. I personally feel that these experiments, partially made possible by the Makower commission, have really taken Hazel to the next stage in her practise, and I am very excited about seeing how the commissioned wall piece develops.

Both commissions were due to be unveiled this summer, however with the unprecedented times we now find ourselves in, we will have to wait a wee bit longer to see them sat side by side with Hamish’s. These wonderful pieces, thanks to the continuing generosity of the Trust and their advocacy of contemporary silversmithing, will become part of the Making & Creating gallery which features other pre-eminent silver and metal smiths such as Michael Rowe and Simone ten Hompel, highlighting how this age old craft continues to develop and challenge our perception of this beautiful material.

 

Sarah Rothwell

Curator, Modern & Contemporary Design

National Museums Scotland

Our sincere thanks to Sarah Rothwell, National Museums Scotland, Jessica Jue, Hazel Thorn and the P&O Makower Trust.

National Museums Scotland Supporting Emerging Silversmiths: Hamish Dobbie

In the first of our guest blogs, Sarah Rothwell, Curator of Modern & Contemporary Design at National Museums Scotland, shares the story of the relationship between National Museums Scotland and the P&O Makower Trust.

 

Back in 2015 the P&O Makower Trust approached National Museums Scotland to become part of their now over 45 year journey to support emerging silversmiths with an opportunity to be commissioned to create a work that would be displayed within significant museums across the UK, which include the Victoria and Albert Museum, the Ashmolean and National Museum Wales. So it was an honour for me to be asked to participate alongside my former colleague Rose Watban, then Senior Curator of Modern & Contemporary Design and the Trust, in developing a brief for the Commission, interviewing the candidates, and then supporting the winner during their commission.

 

Pope and Oliver Makower, founders of the Trust, relaxing in their Bishopsland garden.

Image by P&O Makower Trust

During this period the National Museum of Scotland building was undergoing a series of restorations and redevelopments of 10 galleries which would reopen in the summer of 2016. One of these galleries, Making & Creating, would focus upon the development of the Studio Craft movement and design world from the mid-twentieth century to the present day. And we had one very specific display in mind. The section entitled Pushing the Boundaries would showcase those artists, designers and makers within the National Collection whom have either challenged the perception of their chosen mediums by utilizing cutting edge technologies and processes, or create works that advance traditional skills in new and exciting ways. A perfect location for a new commission to be placed which celebrated the contemporary developments of silversmithing.

 

Works of metal art within the Pushing Boundaries display. Parametric Bowl, silver plate on copper, by Peter Musson, 2007 (K.2008.39).

Image by National Museums Scotland

Campionissimo milled aluminium, by Drummond Masterton, 2009 (K.2009.262).

Image by National Museums Scotland

So the call out went out that National Museums Scotland and the P&O Makower Trust were looking for emerging silversmiths whose practice pushed the boundaries of silversmithing. And as the applications filtered in, we brought together an eminent selection panel which included the Makower family, leading patron of the arts Elizabeth Salveson, silversmith Grant McCaig, as well as Rose and myself, to judge who should be worthy of the inaugural award. The mixing of specialists for a judging panel is important to create open and candid discussions. Though an understanding of the craft or subject in question to gauge the potential of the concept is helpful, it isn’t necessary for a judge to have; however, an unbiased approach and keen eye to be open to the right proposal which fits the brief outlined, is needed.

Meeting together late in that year, we interviewed a selection of wonderful makers from across the UK, who all approached the brief in very different ways. Some more traditional, others conceptual, and excitingly for me personally, a couple that were challenging the craft experimentally. After much discussion and debate, we came to a unified decision that the proposal from Glasgow based silversmith Hamish Dobbie would be the winning concept.

 

Hamish Dobbie

Image by Hamish Dobbie

Scottish silversmith Hamish graduated from the Glasgow School of Art in 2013 with a BA (Hons) in Silversmithing and Jewellery Design, and has since gone on to be widely respected for his pieces which are inspired by the geology and landscape of his country of birth. His proposal was to create a vessel that combined both traditional silversmithing processes, and new 3D printing technology. The panel were particularly excited to see how these two were to be combined, in the creation of an almost brutalist style crown, which would seemingly float from the body of a much more minimalist, clean lined, column. Personally I was also thrilled that we were able to support, in our first Commission with the Trust, not only a Scottish based maker, but also a graduate of one of the fantastic silversmithing courses we have within the Scottish art schools.

Part of a P&O Makower Trust commission is to support the young graduate with education and mentoring. We were extremely grateful that the wonderful John Creed agreed to support Hamish. Creed, as I’m sure readers are all aware, is internationally renowned for his innovative approach to metalsmithing; often employing a combination of materials with a range of techniques from traditional to the technologically innovative. Likewise he is well known for creating works from small domestic pieces, to large scale public artworks. So this mentorship, from such an experienced maker, would be invaluable to Hamish throughout the commission. And it was lovely to see the friendship that developed between the two as a result of working together.

 

The stunning geology of Fingal’s Cave on the Isle of Staffa

Images by Hamish Dobbie

Hamish’s practice, as I mentioned, is inspired by the geology and dramatic landscapes of the Scottish Highlands. And he choose for this commission to concentrate upon the hexagonal basalt rock formations found within Fingal’s Cave on the Isle of Staffa as inspiration for his desired crown.  To be able to achieve the look of these basalt columns, he first created a series of sketches, models and 3D rendered designs, before 3D printing the spiky components to create his silver casts. These, once he had achieved the desired configuration, were then plated with Black Rhodium to create the darkened effect. The interweaving and flowing hexagonal forms of the crown would not have been achieved to the same effect without the use of digital technology. Yet it was Hamish’s skill as a silversmith, and John’s patient mentorship and knowledge of process, which saw the combination of traditional hand skills in the casting, forging and finishing, as well as digital technology being brought together successfully in the creation of such a spectacular piece.

 

Hamish working on the configuration of the crown.

Image by Hamish Dobbie

The finished piece with its black rhodium crown floating above the silver vessel.

Image by Thomas Dobbie

You can learn more about the piece by visiting National Museums Scotland’s website and reading our Collection story around the commission, and watch a short video where Hamish explains the processes he used to create the work and his inspiration:

Hamish Dobbie P&O Makower Trust Commission at National Museums Scotland

In my next contribution for the Incorporation, I will tell you about our second collaboration together to support emerging silversmiths, and the wonderful opportunity to commission not one but two makers thanks to the P&O Makower Trust for National Museums Scotland.

Sarah Rothwell 

Curator, Modern & Contemporary Design

National Museums Scotland

 

Our sincere thanks to Sarah Rothwell, National Museums Scotland, Hamish Dobbie and the P&O Makower Trust.

 

Student Registration Package at The Edinburgh Assay Office

Image from The Edinburgh Assay Office

The Edinburgh Assay Office offers full-time students of Jewellery and Silversmithing a chance to register for their Student Package.

This package includes the registration of a sponsor’s mark, valid for 10 years, free laser sponsor mark artwork and a discounted hallmarking punch. The package is valued at over £180, with students only paying the discounted cost of a basic initial punch up to 0.50mm at the rate of £72 (inclusive of VAT).

This offer is supported by The Scottish Goldsmiths Trust, and is open to all students on a full-time recognised Jewellery and Silversmithing course who study in the UK. Click here to register with The Edinburgh Assay Office.

 

#GetInvolved with the Incorporation of Goldsmiths

As we continue to live and work in lockdown, we are looking far more at the digital space to support and promote Jewellers and Silversmiths in Scotland.  We want to learn about and share the incredible things Makers are doing during this time, or indeed the struggles you are facing. This time is challenging for everyone in different ways, pushing people to create in places and spaces they may never have considered before. By sharing with us, we can celebrate these unique stories of this time and bring a wider audience to your work.  Below are the ways you can keep us, and the wider community updated.

 

#IOGinspired

What is it that inspires your work or latest collection? Using #IOGinspired, post an image of a piece you are working on or finished alongside the source of your inspiration that started that design journey.

 

#IOGbenchstories

Where are you making and creating during lockdown? Are you creating a new collection, working on a commission, or just taking this time to sketch and work on ideas? Using #IOGbenchstories, share images of your workspace, sketches, pieces in progress and more.

 

#IOGcommunity

Are you participating in campaigns like the #artistsupportpledge, fundraising, or hosting a digital workshop or event? Using #IOGcommunity, keep us updated on the connections you are building within the wider creative community.

 

We’ll be using these tags to celebrate the work within our creative community long after lockdown ends. To get in touch, send us a message on Instagram @incorporationofgoldsmiths or send us an e-mail to eda@incorporationofgoldsmiths.org.

Image Credit: Hannah Louise Lamb in the studio by James Robertson

Resources for Makers During COVID-19

 

With all the uncertainty happening around the world and the continual changing of restrictions due to the spread of COVID-19, we know just how difficult the coming weeks may be to navigate for Makers in Scotland and across the UK as exhibitions, markets and fairs continue to be cancelled and shops are ordered to close. With so much information available, we have put together a guide of helpful resources for Makers.

We will continue to update this page as we learn and discover more. Please get in touch at eda@incorporationofgoldsmiths or send us a message on Instagram @incorporationofgoldsmiths with any resources, news, online workshops and recommendations you would like to share.

 

Resources for Makers and Businesses

Crafts Council (@craftscouncil) has put together a resource for Makers that they will continue to update as guidance changes, including funding and essential information for businesses. Follow @craftscouncil on Instagram as they continue to update their Craft Business Edit on stories with any new information that develops, and to learn more about their virtual Crafts Council Maker Meet-Ups on Zoom.

Craft Scotland Resources

 

Culture Counts has created an online survey for individuals and businesses in the arts, screen, heritage and creative industries to learn more about how COVID-19 will effect their lives and work. The results of this survey will be used on a rolling basis to provide feedback for Culture Counts to advocate on behalf of Scottish Makers to the government and parliament. Culture Counts operates as the collective voice of Scotland’s cultural industry, collaborating to provide guidance to the government on how to sustain and support the creative field in Scotland.

Culture Counts COVID-19 Impact Survey

 

Creative Scotland (@creativescots) is continuing to update information on funding, government resources and their response to COVID-19 as the situation develops. There are now 2 funding categories designed to provide support to sustain the creative community during the COVID-19 outbreak that silversmiths and jewellers can apply for through Creative Scotland.

  • Creative Scotland Bridging Bursary Fund
    • Fund for individual artists and freelancers who have lost income from their creative work/practice due to COVID-19. Funding is a one-off bursary between £500-£2,500, with a total budget of £2m. Awards are non-competitive and application decisions are aimed to be made within 4 weeks. Applications for this fund are open now, and more details can be found on Creative Scotland.
  • Open Funding: Sustaining Creative Development
    • Applications for new open funding will begin on 3rd April 2020. Funding is available between £1k-£50k, with an overall budget of £7.5m. This fund aims to support individuals and organisations to sustain themselves during COVID-19. There are no deadlines for applying, and this fund can support activity for up to 12 months.

Creative Scotland Resources

Creative Scotland Funding Opportunities

 

Craft Scotland (@craftscotland) is maintaining a guide for Makers in Scotland regarding studio practices, workshops, contracts and more.

Craft Scotland Guide to Coronavirus

 

Crafts Magazine (@craftsmagazine) has opened up the entire archive of their magazine for free, spanning from the 1970s to their most recent issue.

Crafts Magazine Archive

 

Creative Edinburgh (@creativeedinburgh) has put together a statement, helpful tips for your business and list of resources for makers and those in the creative industry in response to COVID-19

Creative Edinburgh Coronavirus Resources

 

Creative Industries Federation (@creative_fed) and IPSE (@teamimpse) have put together a letter to Parliament and petition to create a temporary income protection fund for freelancers.

Creative Industries Federation Petition

 

The Association of Independent Professionals and the Self-Employed IPSE (@teamipse) are continually updating news, webinars and resources regarding COVID-19.

IPSE Advice for Freelancers

 

Citizens Advice Scotland has organised a list of resources on what Coronavirus might mean for you.

Citizens Advice Scotland Coronavirus Resources

 

UK Government Self-Employment Income Support Scheme has been developed for the self-employed experiencing a loss of income due to disruption from COVID-19. The scheme allows you to apply for a taxable grant worth 80% of your trading profits up to a maximum of £2,500 per month for the next three months.

Self-Employment Income Support Scheme

 

The South London Craft Fair (@solocraftfair) will be hosting a Virtual Craft Market on Saturday, 28th March 2020 from 12pm to 2pm for Makers whose main source of income is their handmade business. In this two-hour window, Makers can post one story featuring a piece and its price with the tag #solocraftfair. These stories will be posted up to 100 at a time, and visitors can screenshot Maker information and get in contact directly about purchasing pieces.

The SoLo Craft Fair

 

Creative Resources for Makers

Lyon & Turnbull Jewellery (@lyonandturnbulljewels) is starting the #bejewelledbookclub. Each of the jewellery specialists at Lyon & Turnbull will be sharing their favourite jewellery-related reads on Instagram over the next few weeks—follow along to see their picks!

 

Makers Food Bank Raffle is being organised by a large group of Scotland-based Makers to benefit the Glasgow South East Foodbank. Tickets are sold for £2 each, and eighteen different prizes will be drawn on 19th April 2020 from those who donate.

Makers Food Bank Raffle

 

The Edinburgh Craft Club (@theedinburghcraftclub) is hosting The Edinburgh Craft Swap. Send them a DM to join in and find a new craft project—you don’t have to be from Edinburgh, and the only cost is UK postage.

 

Reading List

Please get in touch on Instagram @incorporationofgoldsmiths to send us your reading recommendations.

 

Jewels: A Secret History by Victoria Finlay

Gem: The Definitive Visual Guide by the Smithsonian Institute

Queen’s Jewels by Vincent Meylan

Gemstones of the World by Walter Schumann

Contemporary Jewellery in Perspective by Damian Skinner

Rings by Rachel Church

Brooches and Badges by Rachel Church

Pearls Before Poppies: The Story of the Red Cross Pearls by Rachel Trethewey

On Craftsmanship by Christopher Frayling

Why We Make Things and Why It Matters by Peter Korn

Thinking Through Craft by Glenn Adamson

 

Image Credit: Tools in Sally Grant’s Studio by James Robertson