The British Crafts Blog

From Bodger to Broomsquire – photographing traditional British craftspeople at work

Posted in Book development, Heritage Crafts by britishcrafts on March 24, 2011
Paul Felix, photographer for The Book of Forgotten Crafts

Photographer Paul Felix

The Book of Forgotten Crafts, published by David & Charles

Paul Felix has spent over forty years photographing traditional craftsmen and women across Britain.  The best of these photographs appear in a new book The Book of Forgotten Crafts, which reveals the fascinating history of British craftsmanship in a series of interviews with leading crafters at work in Britain today.  Here Paul explains how he became involved.

“Crafts have always been in my family; both my grandfathers worked with their hands, one with brick and stone and the other with wood, and so did my father. They would say they saw themselves as tradesmen rather than craftsmen – it’s a fine line where one stops and the other starts. l remember my father making a very fine model of a sailing warship,  cutting and carving the wood and even making the cannons and cannon balls.  I didn’t follow him. Instead l became a press photographer working on national daily newspapers in London. After a few years l moved on to magazines and colour supplements. l found myself on assignments photographing craftsmen all over the country and I became fascinated by their work. My early memories of watching my father in his workshop gave me an ability to appreciate the finer points of their work. As newspapers and magazines changed to focus largely on the world of celebrity, crafts and stories about real people were pushed off the pages; but I continued to seek out and photograph traditional craftsmen whenever l could find them.

In 1999 Tom Quinn and l produced the popular craft book “Last of the Line” published by David & Charles. This generated some interest in the craft movement, and most magazines that cover country matters now like to feature crafts. This can only help the craftsmen and women of this country, each of whom has a very special  skill, and a love of what they do. But they need the all the help and publicity we can give them.

With Siân Ellis and Tom Quinn, my long-time collaborators and fellow crafts fans, I have been meeting and photographing some of the best craftspeople in the country. Now we’ve produced “The Book of Forgotten Crafts” and, with the help of David & Charles, l hope and believe we can promote craft in Britain and around the world.

Dyer and Felt Maker from the Book of Forgotten Crafts

Jane Meredith, dyer and felt maker

Adam King, broomsquire

Adam King, maker of besom brooms

Julian Goodacre, bagpipe maker

Bee skep maker from The Book of Forgotten Crafts

David Chubb, bee skep maker



I never fail to be impressed by the commitment of craftspeople, their unrivalled knowledge, their tremendous skills, and the intense passion they have for what they do. In most cases they are continuing a long tradition that stretches back into the mists of time, often using the simplest of tools and methods that would have been familiar to their counterparts centuries ago. That’s not to say that in some cases they have not taken advantage of modern technology; however, that does not stop the products they make from being thoroughly hand crafted. My father showed me the way, just as the previous generation had shown him.

I think we are so lucky to have this large pool of craftspeople in this country – we could have filled this new book twice over! Now, I just hope we can support them, particularly by buying their goods. After all, a man making suits of armour has a very small customer base, but then he only needs one or two orders each year.  By contrast, importers of cheap goods are only interested in large quantities, and quality may not be a priority.

Craftspeople in this country can – and do – supply very high quality merchandise that you only get from handmade products, using only the very best materials. Over recent years people in Britain have got into the mindset that cheap is best, and they are perhaps reluctant to pay extra for good quality.

Another of the problems many craftspeople have is the difficulty of charging a realistic rate for their time, which tends to make their business uneconomic. One craftsman I knew, who made fine fishing rods, felt unable to charge a sensible rate, and a few weeks after l photographed him he decided to shut up shop. I’m sure his customers would have paid a little extra.  It’s a great loss to see all that skill wasted. However, some craftsmen have moved with the times, and do charge the going rate, while others run courses on their crafts, which have become very popular with the public. These have the benefits of providing craftspeope with income, giving them pleasure of passing on their skills and hopefully inspiring a new generation.

I hope that The Book of Forgotten Crafts will encourage more people of all ages to take an interest and get involved, and that it will re-kindle a desire for beautiful, handmade objects – and that the public will learn to appreciate their true worth.” Paul Felix, February 2011

The Book of Forgotten Crafts, published by David & Charles

The Book of Forgotten Crafts: Keeping the Traditions Alive by Paul Felix, Siân Ellis and Tom Quinn

Foreword by Robin Wood, Chair, Heritage Crafts Association

978 0 7153 3831 5    256 pages   colour photographs throughout

£20 hardback

Buy now at an excellent discount from RUBooks


Weaving a life in textiles – from Mastercrafts tutor Margo Selby

Posted in Book development, Heritage Crafts, Mastercrafts, Mentors, Weaving by britishcrafts on March 11, 2010

Award-winning woven textile designer Margo Selby with her loom

Margo Selby is the mentor in the weaving episode of the BBC2 series Mastercrafts.  This is an adapted extract from the interview with her that features in Mastercrafts the book

When she was a child, Margo, admits, she found it really difficult to concentrate either at home or at school. But one thing consistently captured her imagination: textiles.  She was delighted when her grandmother showed her how to crochet.  “That was my first memory of textiles and how to make them, and I loved it.” 

Margo’s first degree was in textiles, specialising in woven fabrics, and she then started an MA in constructed textiles at the Royal College of Art.  Having found her vocation, she was offered a two-year fellowship at the Ann Sutton Foundation, which conducted research into textiles.  This gave her a supported environment in which to set up her business.  “I was able to produce a project for industry – in other words a fabric that could be produced in a mill.  It gave me a real understanding of how the industry works.” 

At the end of her fellowship Margo set up her studio in London and opened a shop in Bloomsbury.  Here she sells the beautiful things she makes, and her 24-shaft dobby loom is set up in the basement.

 Developing a fabric can take years. “I use lots of different fibres because I’m interested in seeing how they react together – I use silk, lycra, cashmere, mohair, lamb’s wool, cotton and viscose.”  Combining different fibres which shrink and react differently in the finishing creates 3-D fabrics. 

Margo loves combining colours and textures

Margo’s great passsion is colour and texture.  “I’m driven by colour,” she explains, “but I want the colour and the structure to work together.  I create optical patterns of warp and weft that match and complement each other.  I create geometric patterns using a technique called ‘colour and weave’.  3-D colour surfaces are created with a double cloth fabric.  This means that the cloth is made from two layers of fabric which swap over to form patterns and raised surfaces.”

Margo designs and develops all her own fabrics, which are now sold all over the world, but the process of designing and making a new fabric begins when she sits alone in front of her loom.  “All my fabrics start as hand-woven ideas, even though they are often taken to industrial mills to make limited editions of fabrics which are more accessible.  We sell hand-woven items in the shop, but it is the collaboration between the handcrafted and industrial techniques which have made the business successful, and allowed interesting woven fabrics to be available to a wider market.”

Though weaving was once a big industry in Britain it has declined dramatically, but Margo’s enthusiasm and success show that there is a market – and a good one at that – for fabric designed carefully, beautifully and by hand.

For more information about Margo Selby, visit her website.

For more information about Mastercrafts the book, and to order at £6 off the RRP, visit

Mastercrafts episode 4 – stained glass artistry

Posted in Book development, Glass Making, Heritage Crafts, Mastercrafts, Mentors by britishcrafts on March 3, 2010

The art of stained glass making dates back at least to medieval times. It combines a range of craft skills with the skills of the painter. To many it evokes ancient church windows, but it is actually an important artistic discipline that has survived throughout the centuries intact and largely unchanged, though the colours and designs used by stained glass artists today would astonish and perhaps even delight their medieval counterparts. 

Sophie Lister Hussain, Mastercrafts mentor and stained glass artist

Sophie Lister Hussain, who features as the mentor in the fourth episode of Mastercrafts (BBC2, Friday 5 March, 9pm) is a talented stained glass artist who grew up on the Isle of Anglesey, off the coast of North Wales – a primary influence in her early artistic development.  “My earliest memories are of my grandmother. She taught me to knit and to sew and the combining of a multitude of different materials. She also instilled in me the self discipline to strive to do my very best with anything I made.” 

Sophie is fascinated by all types of glass work, but especially her own specialism of stained glass.

“The majority of my work is stained glass.  It’s always etched with acid or painted with kiln firing paints, silver stained or surface decorated by sandblasting stencil work; a combination of any or all of these techniques can give a detailed and rich texture to the surface of glass.  Sandblasting gives glass a frosted appearance, and can be used to shade areas of clear glass; painting can be done in many different colours straight on to the glass, and etching produces a range of interesting effects, melting away the surface of unmasked glass.”

After the client is happy with the design, the making of the glass follows the same procedure each time.  “First I measure the window frame – this has to be done accurately.  Then the designs are enlarged to a full sized working drawing.  Any indication of glass paint, silver stain and etching is marked, drawn to scale and even sketched on to the cartoon. 

“A cut line drawing is taken from the cartoon, which shows each and every piece of glass.  The lines indicate the heart of all the leads, lines that glass cutters know should not be crossed.  When the glass pieces are ready you ‘lead it up’ – start fixing all the pieces into their positions using a lead knife, pliers and horseshoe nails.”

By the time that the glass is fitted into the leads, the windows soldered and cemented, the old frame amended to fit again, or the new frame securely installed into the building, then the finished glass can finally be installed into the frame.

For Sophie it is not technique but personality, drive and enthusiasm that really transform a stained glass window into something unique and important.


For more information about Sophie Lister Hussain, visit her website






For more information about Mastercrafts by Tom Quinn, or to order your copy at a discount, visit RUBooks

Spinning roofs of gold

Posted in Book development, Heritage Crafts, Mastercrafts, Mentors, Thatching by britishcrafts on February 18, 2010

Long straw is distinguished by its slightly shaggy appearance. Neatly clipping the eaves and gable ends completes the job

Although it survives in parts of East Anglia, the tradition of long straw thatching had all but died out in Oxfordshire and surrounding counties until Matthew Williams and David Bragg set up Rumpelstiltskin Thatching, a company devoted to restoring the ancient tradition of long straw thatching to the region.  Matt and Dave feature in the second episode of the BBC2 TV series Mastercrafts, broadcast on Friday 19th February at 9pm, and this is an excerpt from the extended interview with them that appears in the Mastercrafts book.

Matt and Dave are eager to emphasise that long straw thatching is truly green.  ‘When we use wheat straw we’re using something that’s just a by-product of food production,’ says Matt. ‘We have eight acres of local wood that we coppice for our hazel spars and we’re negotiating with local farmers to get them to grow the sort of wheat we need (the older varieties) so we don’t have to transport it miles across country.

‘Straw thatch is, if you like, the ultimate green material – it’s a superb insulator, it uses a by-product of an important food crop and it looks great!’

In their pursuit of authenticity Matt and Dave have learned to look deep into the past when they start work on a roof.

‘We can read an ancient roof because under the top coat of thatch on a very old house you might find straw that dates back five hundred years or more,’ says Dave. ‘When we get down to that level we see ancient varieties of wheat straw and occasionally rye that might have been used in a year of bad harvest.  Whatever was used it had to be local because transport was slow and very expensive.’

Matthew Williams & David Bragg have revived the traditional methods of long straw thatching in Oxfordshire

Early on in their thatching careers both men noticed that the lower layers of thatch that had survived longest had been put on in a very different way from the method they had been taught. ‘Other thatchers in the area told us that doing things the old way was just too difficult,’ says Matt, ‘but having seen the unbroken long straw tradition that survives in East Anglia we learned by seeing how old thatch had been put on, and slowly abandoned the combed reed techniques we’d been taught.’

Dave and Matt both studied thatching at Knuston Hall, one of the few thatching schools in the world, where long straw thatching is still taught.  Matt and Dave discovered that long straw had traditionally been the dominant thatching style throughout the Midlands and the south of England.  But even within long straw thatching, different counties and areas had their own distinct and decorative styles. 

‘It was so fascinating and it made us determined to stick to the Oxfordshire style, which was relatively straightforward and unadorned – but it is the right style for our area.’

The process of drawing straw from the bed takes as long as fixing it to the roof

Matt and Dave have a simple explanation for their company’s unusual name: ‘If you remember the children’s story, you’ll know that Rumpelstiltskin was the only person who could spin gold from straw.  That’s what we like to think we’re doing!’

For more information and to order the Mastercrafts book at £6 off, visit

Don’t miss Mastercrafts with Monty Don, first episode tonight, BBC2, 9pm

Save £6 and buy the book online for £14 (RRP £20) from

Guy Mallinson, master green woodworker, talks about his contribution to the Mastercrafts TV series. Don’t miss him in the opening episode this Friday, BBC2, 9pm

Posted in Heritage Crafts, Mastercrafts, Mentors, Woodcraft by britishcrafts on February 8, 2010

I run courses in green woodwork, art and craft in a woodland workshop in West Dorset.  The courses are designed for all levels of ability and our guests come from all over to enjoy escaping to a beautiful and peaceful environment in which to enjoy the pleasures of hand-making and craftsmanship.  

The woodland workshop consists of a number of parachute shelters, tipis and canvas tents with log walls and huge open fire pits – it is warm and cosy in the winter and cool and shaded in the summer.  We work all year round in the woods using ancient techniques that require no electricity, glue or chemicals.

It seems like just yesterday that the film crew and trainees left the woodland workshop, but the production company (Ricochet Productions) and the BBC have since been busy getting everything edited and ready for airing. The ‘wood’ episode will be the first in the series to be aired, at 9pm on Friday 12th Feb on BBC2.

It was a fantastic experience and a joy to spend six weeks with the trainees working our way through our courses and discussing the role of traditional craft in the 21st century. Tom, Charles and Sarah worked incredibly hard and we were all delighted with their final projects, as well as being a tad proud of them all! It was strange to go from telling guests that our courses are non-competitive to finding myself having to stand back and let the trainees get on with their final project without helping – as it WAS a competition!

We were delighted to have Mike Abbott here on the final day to judge the work of the trainees. Mike has been working in green wood for many years and wrote the books that helped me on my transition from cabinet-making to green woodwork. We could not have had a more respected green woodworker to decide the winner. I was also pleased not to have to pick between them at the end of six weeks working together!

Our neighbours at Forde Abbey were also incredibly helpful and we were able to spend some time in their woods to select suitable ash trees for felling for their final project – using horses of course. The winning chair (still top secret!) will be on view to the 50,000 members of the public that visit Forde Abbey this year. Quite an accolade for the winner.

Another bonus for me was during my research to get to know and correspond with Robin Wood who, as well as being being a fine and respected craftsman making bowls on a pole lathe amongst other green wood skills and writing books and teaching, also helps run the Heritage Crafts Association. This was founded a year ago and has recently been granted charitable status. With the Mastercrafts series and other public exposure for traditional crafts, I am sure the Association’s establishment has been very timely and will help further spread the word about the value of traditional crafts – be it for heritage, leisure, product, therapy or education.

I hope that you enjoy the series and, if you feel inspired, do sign up for one of our courses and see how you get on compared to the trainees! You can even make exactly the same chair as they did in their training on our ‘Make a chair from a tree’ masterclass course, or for the less ambitious try ‘Carving a wooden bowl’ or ‘Pole lathe turning’: they’re both very popular and great fun!  There are lots of other courses for all levels of experience.

We don’t want to spoil the surprise so we’re keeping tight-lipped about the goings-on in the woods but you can see a preview of the series here and read an interview with Monty Don on the BBC website here

We also felt very honoured to be asked to contribute to the fantastic new book being published by David & Charles to accompany the ‘Mastercrafts’ series, which will be launched on 12th February as well.

Guy is on twitter: @guymallinson
His blog
facebook: woodland workshop fan page
and website 
Find out more about the book and pre-order here.
Stonemason Andy Oldfield features in this book

The Mastercrafts book

It’s not about the money

Posted in Book development, Heritage Crafts, Mastercrafts by britishcrafts on February 2, 2010

From Stephen Bateman: 
Reading through responses and comments on facebook last week, I was struck by how important the sense of satisfaction and reward are from physical exertion amongst those pursuing a rural craft. Robin Wood and Adrian de Montfort both spoke about the gratification they gained from physical effort and contrasted this with “office folk, (…) sweating it out at the gym” which, evoked, for me, the sentiment expressed so well by Monty in a recent interview where he says: “manual work today is channeled into gyms – people going nowhere fast.” Wow, those words are powerful!
It seems an overriding sense of satisfaction in rural crafts is derived from achievement. Crafting something out of nothing and fashioning it into a tangible, well-made and lasting article is what gives purpose, integrity and satisfaction to a craftsman’s work. Colin Broadbent, on facebook last week, gave a wonderful insight into this when he testified that: “seeing a project through from start to finish allows me to sit down tired at the end of the day but with a smile on my face… (and) I earn much (…) less working for myself, but the job satisfaction is priceless.”
Again I see a parallel with Monty’s own admission that “while (a craft) may not be particularly well-paid, the personal rewards in terms of a sense of satisfaction are something you just can’t buy” and “to make a chair from a tree that’s growing – it’s enough to change your life.”  
I am sure there is much more we could say to nourish this topic of discussion and I look forward to your testimonials – I am sure we will get some perspectives on this from the commentary in the show, both from the mentors but also from the apprentices – keep your ideas coming, I am eager to hear your stories.


For more information about the book or to pre-order, click here

Stonemason Andy Oldfield features in this book

The Mastercrafts book

Stephen Bateman, Publisher of the Mastercrafts book, asks ‘Why give up a comfortable office job to pursue a traditional craft?’

Posted in Book development, Heritage Crafts by britishcrafts on February 1, 2010


Stephen Bateman

Dear Mastercrafts friends

In less than 2 weeks the long-awaited Mastercrafts series and book will broadcast and publish simultaneously. 
The TV series, which we have already glimpsed here, promises to disclose the serene quality of another, more creative, forgotten but re-emerging and reasoned way of life; a way of life that is being rediscovered by everyday people in rural communities where traditional rural crafts are being embraced in favour of meaningless office jobs on the end of frenzied commuter lines.
Following my post on the Mastercrafts Facebook page  a week ago, I have set out to uncover the personal motivations that are driving so many people to reassess their working lives and opt to pursue a craft skill they value, even when the financial rewards are slimmer than they are used to.
Responses to my post last week helped me establish a clearer understanding of the higher drivers in people forcing this change to occur, and, over the course of the next 10 days, I will endeavour to broaden and extend the ideas on these motivations which, I hope, will help answer some the questions so many of us ask ourselves everyday, like: “How can I reach fulfillment and still earn money?” and “What will I have to show for myself when my working life is over?” I will post one thought a day until the program airs and hope that you, my fellow craft enthusiasts, will respond with your opinions, testimonials and anecdotes.
This is my first thought: Permanence  
I believe that people who excel in a rural craft do so and love their craft because they achieve and enjoy a greater sense of permanence from connectedness. Working with their hands and minds, thinking and shaping with hands and tools simultaneously to transform materials, releases, I believe, a deeper sense of connectedness. It is hard to describe to anyone who has not experienced this symbiosis but the feeling is truly addictive and is capable of putting one into a sort of trance.
I can vouch for this. When I have worked wood for a long time and feel I have achieved some measure of mastery, I feel myself after some hours, enter a state of contemplation and ecstasy, in which I shut off from the world outside and happily forget to do the mundane things such as eat and rest.
The feeling I am describing is something similar to that which I believe T.S Eliot describes in The Four Quartets, when, in his poem, he talks about being “At the still point of the turning world.”
A similar evocation comes from another author and craftsman I had the pleasure of reading this summer in the lovely little book titled “Delight”,  and published exclusively as a exclusive collection for Waterstone’s. In this little book, David Linley, the bespoke furniture maker and chairman of Christie’s, reminds us wisely that “you don’t need constant change to be happy, you just need things to last.”
Likewise the modern philosopher Alain de Botton, in his book “The pleasures and sorrows of work” points to the satisfaction that comes from reshaping a part of the world into an object of permanence which he describes as “the stable repository of (…) skills and an accurate record of (the) years, (…) collected together in one place, rather than strung out across projects which long ago evaporated into nothing (that) one could hold or see.”

I would be interested to hear anyone’s personal account of their communion in work. 

If you would like to, do leave a comment below, or join in the discussion with over 500 other supporters of traditional crafts on the Mastercrafts Facebook page

Find out more about the book and pre-order here

Stonemason Andy Oldfield features in this book

The Mastercrafts book

Snapshot of a master blacksmith

Posted in Book development, Heritage Crafts, Mastercrafts, Mentors, Metalwork by britishcrafts on January 20, 2010

Don Barker, master blacksmith, features in the third episode of BBC2 TV’s Mastercrafts, shown on Friday 26 February 2010.  This article is adapted from the chapter on metalwork in the Mastercrafts book by author Tom Quinn:

Think about the traditional blacksmith’s forge and what immediately come to mind are the sensations of working with iron – fierce heat, glowing red-hot metal, the ringing sound of the hammer beating iron on iron, perhaps a horse being shod in the yard…..    There is still a huge demand for the skills of a blacksmith, although what they make is often more decorative than functional these days.

Interestingly, the derivation of the word ‘blacksmith’ has nothing to do with the tendency of   metalworkers to become covered in grime during the course of their work.  Blacksmiths work with black metal – iron – and the work the metal by hitting it: ‘smith’ probably derives from ‘smite’. 

Don Barker is a blacksmith with a passion for his work.  He is a medal holder and Fellow of the Worshipful Company of Blacksmiths and is very proud to be the first working smith to become Prime Warden of the Company for 200 years.  His forty-year love affair with blacksmithing has never waned and he continues to work in the forge, shaping metal into beautiful things. 

‘My male ancestors seem to have mostly been blacksmiths going right back to about 1700’, he explains, ‘and I really believe that I’ve been drawn towards the work because it’s as if it’s there in my genes.’

Don in fact trained as an engineer, but in his mid-thirties he decided to quit his job and become a full-time blacksmith.  He trained through CoSIRA (Council for Small Industries in Rural Areas), a government quango that ran workshops up and down the country.  By the time he qualified, his years of hobby blacksmithing were paying off, and commissions were already coming in steadily.   He set up a limited company and has never looked back.  In addition to many local commissions for gates and railings, curtain rails and even shackles, Don has worked on some major blacksmithing projects.  ‘I did a really important job for the front of Westminster Abbey – a set of traditional gas lamps.  I also made four six-feet high bronze lamps and sixty-five metres of bronze handrailing for the Queen Mother’s memorial in the Mall.’

Don Barker at work

Watching a blacksmith at work is a remarkably satisfying experience.  With a minimum of fuss and seemingly effortlessly he can turn a plain bar of metal into something complex and decorative.  ‘Apart from getting the forging temperature right,’  says Don, ‘there’s an art in striking the metal in just the right way.  And it’s this creative skill that I believe I’ve inherited from my blacksmith ancestors.’

You’ll be able to see more of Don and his work in the BBC2 TV series Mastercrafts in February, and find out more about the craft of metalwork in the book Mastercrafts (pre-order here).  Contact Don via his own website.

Book jacket image for Mastercrafts