36 BCD SPECIAL REPORT ON HISTORIC CHURCHES 32nd ANNUAL EDITION ‘Alf Webster’s windows have a wonderful depth of field, where he uses tone and shading to create a well-defined foreground, mid ground and background. The modelling on the faces particularly interested me. Attending a recent glass painting course run by the glass artist Petri Anderson gave me some clues as to how he may have achieved the modelling on the faces. Using a mixture of vitreous paint, gum Arabic and vinegar, we were able to produce a very similar stipple effect. When this mixture is lightly but vigorously brushed with a badger brush, the vinegar and gum Arabic separate. The more it is brushed, the deeper the stipple. ‘When examining Webster’s painted faces, the viewer can see he has created highlights by scraping the wet stipple with a wooden stick. He may also have used bitumen to mask small areas before firing. These clues have been really important in helping me understand how the windows have been rendered. ‘Now nearing the completion of my Craft Fellowship, I can reflect on how important and valuable this opportunity has been in contributing to my skills, knowledge and experience of working in a small, busy stained glass studio. I would like to thank Rob for welcoming me to assist with his stained glass work and for passing on his knowledge.’ SUPPORTING ENDANGERED SKILLS AND MAKING CONNECTIONS Demand for skills like these is growing rapidly, partly because of the urgent need to retrofit historic buildings to help meet national net zero targets. However, there is a serious lack of training opportunities for people who want to learn these skills, and low awareness about them being viable career options as recognised by The Heritage Crafts Association. Ageing workforce: many skilled artisans are nearing retirement age, and the younger generation has not been entering the trade at the same rate. This skills gap threatens the transmission of traditional techniques and knowledge crucial to production. Lack of training opportunities: none of the Scottish Art Schools offer the specialist skills development required for stained glass making. HES support through the Craft Fellowship Programme, and forward-thinking stained glass studios like Rob’s and Rainbow Glass Studios Ltd invest in bringing people into the craft. Economic pressures: higher costs of materials, along with limited funding opportunities have seen many artisans struggle to maintain sustainable practice. Moreover, larger mass-produced glass alternatives have flooded the market, making it difficult for traditional crafts people to compete. Preservation concerns: historical stained glass is at risk due to environmental factors and sometimes inadequate preservation efforts. As these windows deteriorate without proper conservation, the unique techniques and styles may become lost. This poses a serious ‘threat to our cultural heritage. Limited public awareness: there has been a general lack of public awareness regarding the value and significance of stained glass making and its rich history in Scotland. Again, HES has been instrumental in the advocacy and funding for its preservation and promotion, ensuring that this unique and historically rich art form continues to thrive in Scotland. HES offers the opportunity to learn building conservation trades like stained glass, thatching, blacksmithing and many more. During these fellowships HES also offers training and opportunities to develop other skills which will help us in the future, such as accounting, time management and social skills. Most importantly, they provide the rare opportunity to interact with and share knowledge with likeminded individuals. Further information Find out more about Craft Fellowships at http://bc-url.com/hc25_skills1 or get in touch if you’re interested in hosting and collaborating on a Craft Fellowship in Scotland. Craft Fellowship, Trainee and Apprenticeship vacancies, when available, are advertised on the HES Current Vacancies page – see http://bc-url.com/hc25_skills2. AMY STILES is Technical Conservation Skills Manager at Historic Environment Scotland A detail from one of Alf Webster’s window at Lansdowne, showing the extraordinary detailing with highlights made by scraping the wet stipple with a wooden stick (Photo: Gordon Muir) A detail from Gordon Webster’s work in the same church in the 1950s, some 20 years after his father’s windows (Photo: Gordon Muir)
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