8,835 research outputs found
Sarah Turner - eco-artist and designer through craft-based upcycling
Get PDFSarah Turner is an eco-artist and designer who practices craft-based upcycling with waste plastic bottles and cans to create lighting, sculpture and decorative home interior products. Since 1998, her enthusiasm, creativity and good will have allowed her to gain several high-profile client commissions and to win awards from design, innovation and business competitions. The aim of this portrait is to introduce Sarah’s work and shed light on the resources, knowledge and skills involved in her practice and on the barriers to and drivers for her craft-based upcycling. We consider that Sarah’s work could be one of the stepping stones for a shift towards more sustainable craft practice, both in the United Kingdom and beyond. By exploring the right ingredients for craft-based upcycling, barriers liable to be faced and key drivers that stimulate motivation, we hope that this portrait will inspire and attract more designers and makers to embed upcycling in their future practice
Can Niche Agriculturalists Take Notes from the Craft Beer Industry?
Get PDFThis industry-level case study focuses on the growth cycles of craft brewing, a niche industry. The research case is defined as the craft beer industry evolution including the surrounding institutional and consumer environments. The research goal is to provide insight for niche agriculturalists by examining the case of the successful niche craft beer industry. First, the environment surrounding craft beer reemergence is analyzed. We examine the current state of the craft beer industry with a focus on competitive and logistical forces. We then highlight critical success factors of the craft beer industry and suggests how these factors can be applied to niche agriculture. Conclusions regarding the craft beer industry are drawn from both published documents and craft beer industry discussions. The primary craft beer industry “success†factors deemed transferable to niche agriculture include: 1) indentifying a consumer-driven niche opportunity; 2) engaging in marketing strategies leveraging consumer “hobby consumption†within the niche; 3) leveraging established industry logistics; and 4) participating in unified advocacy regarding both marketing and regulatory lobbies.Agribusiness, Marketing,
Dangerous Liaisons: Relationships between design, craft and art
Get PDFThe introductory essay [co-authored] examines the background and current interconnections between design, craft and the fine arts. This Special Issue was able to expand the debate by showing how attitudes to materials – from 19C sculpture to current fashion – appropriate craftsmanship to reinvigorate notions of handmaking
Reprogramming the hand: bridging the craft skills gap in 3D/digital fashion knitwear design
Get PDFDesigner-makers have integrated a wide range of digital media and tools into their practices, many taking ownership of a specific technology or application and learning how to use it for themselves, often drawing on their experiential knowledge of established practices to do so. To date, there has been little discussion on how digital knitting practice has evolved within this context, possibly due to the complexity of the software, limited access to industrial machinery and the fact that it seems divorced from the idea of 'craft'. Despite the machine manufacturers' efforts to make knitting technology and software more user-friendly, the digital interface remains a significant barrier to knitwear designer-makers, generally only accessed via experienced technicians
Editorial: Craft and the Handmade: Making the intangible visible
No full textIn November 2014, the Department of Fashion and Textiles at the University of Huddersfield hosted the conference Transition: Re-thinking Textiles and Surfaces. The conference sought to scrutinize current and future developments in textile research and its applications within the wider context of the creative industries. With keynote presentations from Professor Becky Earley, Professor Jane Harris, Dr Subramanian Senthilkannan Muthu, publisher David Shah and Trend Union forecaster Philip Fimmano, this two day event brought together a myriad of theoretical perspectives and material approaches through four distinct tracks: Science and Technology, Sustainable Futures, Craft and the Handmade and Enterprise/Industry/Business.
This guest edited issue of Craft Research focuses on Craft and the Handmade and features articles that were first delivered as papers within this track
Craft in unexpected places
Get PDFWithin the shifting territories of craft practice, the handmade has become a relational form of contemporary activity that transforms our understanding of place through a hands-on, minds-on process of collective-making. The conceptual significance of craft is activated through a chance encounter with the handmade in daily life. During the article we aim to explore the confluence between crafting, social engagement, volunteering and the realms of education and creative practice that we have both experienced first hand. What will be revealed will be the voices of practitioners collectively exploring cloth’s potential as a metaphor for consciousness, carrier of narrative and catalyst for community empathy and cohesion. This will be informed by an enquiry into historical forms of communal crafting drawn from archival research at the Imperial War Museum London and Foundling Hospital Collection housed at the Foundling Museum in London and a primary case study of the workshop ‘Desconocida – Unknown – Ukjent’. We employ a method used in object-based research: a value system that can be applied to the consideration of cloth as an object of study – namely, the locational, iconographical, archival, aesthetic and transferral. Focusing particularly on the transferral and locational, we will examine the significance of the handmade gesture in particular artistic, political and social contexts. These visual and textual narratives will inform our perception of ‘Craft in unexpected places’ and bring visibility to a selection of craft interventions by making links between the wide-reaching possibilities for craft-based practices and their expressive potential within the social and political landscapes they inhabit
Conference proceedings of the 2nd Biennial International Conference for the Craft Sciences—BICCS 2023
No full textThe papers in this issue comprise the proceedings of the 2nd Biennial International Conference for the Craft Sciences, held 20–22 September 2023 in Mariestad at the Craft Laboratory, affiliated with the Department of Conservation, University of Gothenburg, Sweden.
Craft is an integral aspect of daily life and work, activated in all the knowledgeable processes of making and transforming ideas into artefacts and services. Craft is commonly anticipated as a form of production, but it may also be practiced as a social and political activity and as a way of knowing and being in the world. Craft is omnipresent and multi-folded. Consequently, craft research is diverse, conducted across and within different disciplines and academic contexts, and operates with distinct perspectives and approaches.
The Biennial International Conference for the Craft Sciences provides an international platform for the exchange and communication of craft research between different fields and across the borders
www.FormAkademisk.org 1 Vol.16 Nr.4, BICCS 23, 2023, Editorial1, 1–9
https://doi.org/10.7577/formakademisk.5589
Gunnar Almevik
PhD, Professor Conservation, University of Gothenburg [email protected]
Géraldine Brun
MSc, Doctoral student Conservation, University of Gothenburg [email protected]
Anneli Palmsköld
PhD, Professor Conservation, University of Gothenburg [email protected]
Katarina Saltzman
PhD, Associate Professor Conservation, University of Gothenburg, [email protected]
Gunnar ALMEVIK, Géraldine BRUN, Anneli PALMSKÖLD & Katarina SALTZMAN—Editorial. Conference proceedings of the Biennial International Conference for the Craft Sciences—BICCS 23
of faculties and disciplines. Craft sciences offers a community of shared interest in craft and research, and the conference aims to expose the variety of topics, source material, methods, perspectives and results that reside in this transverse field. The inaugural BICCS conference was held 4–6 May 2021 (Groth, Westerlund & Almevik 2021). Although technically based in Mariestad, the first edition of the conference was held online due to the Covid-19 pandemic. Thus, this second edition of BICCS provides the first opportunity to use this platform to meet, mingle and exchange experiences on site
Talking Craft - Ceramics II
No full textPresented on March 8, 2018 at the Technology Square Research Building (TSRB) Auditorium, Georgia Tech.The Talking Craft series provides a platform to discuss particular craft practices and histories. Each event centers around a particular material, an invited speaker, and a panel discussion among designers, crafters, and scholars.Moderator, Darien Arikoski-Johnson is known for incorporating the “glitch” aesthetic into ceramic vernacular. His work address thoughts of memory, technological integration, mark making, and the significance of rendering. He found clay to be a relevant medium to explore the relationship of illusion and form, thought and physicality. A-Johnson has continued the exploration of these ideas and processes through multiple relocations, including time spent as a visiting artist at the College of Creative Studies in Detroit, and an Assistant Professor at Buffalo State College. He most recently transitioned from being a full time studio artist in Copenhagen, Denmark to join Georgia State University, Atlanta, GA as an Assistant Professor. A-Johnson’s work has been recognized nationally and internationally through awarded grants, exhibitions, and residencies. In 2012 he was awarded the Emerging Artist Award through NCECA, and most recently received an exhibition grant from the Danish Cultural Ministry to complete a residency and exhibition opportunity through C.R.E.T.A. Rome.Panelist, Jeff Campana is Assistant Professor of Art at Kennesaw State University and a nationally exhibiting ceramic artist working primarily in functional pottery and sculptural vessel form. He was a long-term artist in resident and Windgate Fellow at the Archie Bray Foundation for Ceramic Art in Helena, Montana. As an active exhibitor, Jeff Campana has had work in more than 100 exhibitions of national or regional scope and has been featured in numerous magazines and books on the topic of ceramic art. In the summer of 2016, He returned to Helena, Montana as a resident artist at Studio 740 where he completely reinvented his studio practice. The new work, a product of a deconstructed mold system, debuted in the Fall of 2017 in the international exhibition Breaking the Mold at Eutectic Gallery in Portland Oregon. A master of wheel throwing and mold making, Jeff Campana's major research interests are now based in computer aided design and the transformation of digital file to ceramic production via a variety of additive and subtractive tools such as SLA 3D printing and CNC milling.Panelist, Rachel K. Garceau received her B.A. in Fine Arts from Franklin Pierce College (NH) in 2003, she
continued her ceramic education through studio assistantships, workshops, and residencies at
various studios, schools, and museums including Haystack Mountain School of Crafts (ME) and
Vendsyssel Kuntsmuseum (DK). Rachel completed the Core Fellowship at Penland School of Crafts (NC)
in 2013 where she engaged in a two-year material exploration, shifting her focus from clay to
include metal, paper, and fiber. As a 2013- 2014 Artist-in-Residence at Arrowmont School of Arts
and Crafts (TN), Rachel returned to ceramics through mold making and slip casting. Utilizing these
processes, she produces series of large porcelain forms and then introduces them to found
environments, inviting others to experience these altered spaces.Panelist, Michelle Laxalt earned her MFA in Ceramics as a Welch Fellow at Georgia State University, and her
BFA from the University of Nevada, Reno. She creates sculptures using an array of materials, many
of which serve as reminders of the body. She has exhibited nationally in both invitational and
juried exhibitions. In July 2016 she was an artist in residence at the Vermont Studio Center, and
her work was showcased at Aqua Art Miami in December 2016. She recently had a solo exhibition at
the Holland Project Gallery in
Reno, Nevada, and is currently working and living in Atlanta.Runtime: 90:14 minute
Supporting Craft Sense in Early Education
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The research task was to describe and construct theoretical background for Craft Sense in early education. Craft Sense represents a learner’s skill for obtaining Sloyd (Craft, Design & Technology) related knowledge, skills and understanding. The development of Craft Sense is based on producing artefacts and evaluating the production process. In this research, the concept of Craft Sense is based on the integration of Sloyd and meta-cognitive regulation of learning activities. Based on theoretical information, an empirical research question was formulated: “What kind of Craft Sense do children have in early education Sloyd?” The method of study was assessing picture supported learning on a Sloyd course for young children. The data was analyzed by qualitative content analysis and Child Behaviour Rating Scale (CBRS). Findings indicate that the development of children’s Craft Sense can be supported with pictures. Furthermore, the CBRS can be used to evaluate and understand children’s Craft Sense.
Keywords: Craft Sense, Sloyd, Sloyd Education, Meta-cognition
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Makers in the classroom:Understanding ‘the real making of true practice’ through craft collaborations
Get PDFThere is resurgence of interest in design education in recent years, yet only a handful of studies are available on craft education, and specifically on teaching and learning methodologies exploited in class rooms (Venla Moilanen et al 2012). What might safely be assumed is that the existing art and design teaching -learning techniques in class room practices will increasingly become more complex in the context of multiculturalism. An area of specific interest is how students get associated with these vivid socio cultural discourses, and how they integrate them into their learning practices, if the efficacy of such relationships is determined by the modes of practices and the contents of instructions. This paper brings to our attention ways in which we might change current design pedagogy in the class room context by identifying the modes of engagement students prefer, and by suggesting which instrumental approach could be used as a spring board when interacting with peer students, teachers and external artisans on a cross cultural knowledge exchange. The study uses a twofold methodology placing students on a restricted and a non restricted design context enabling to capture the more subtle and overt practices of design, reinterpreting work when responding to cultural influences. It is part of an artists’ residency exchange programme(ReSide) funded by Creative Scotland where a group of three artisans shared their experiences of culturally rich Indian textile craft making in Kutch Gujarat with two groups of students studying arts and design in two Scottish schools. The paper discusses methodologies employed in the workshops to study and analyse the probable outcome of students’ cognitive and behavioural approaches, level of engagement, their individual and collective learning styles including methods of capturing knowledge and materialization using their own creativity and imagination in response to the distinctive design paths they employed in capturing the cross cultural experiences. The data gathering employed a qualitative driven approach using creative interviewing, participant observation and audio and video recording of conversations. Findings reveal that students appreciate a freedom of choice when they engage in creative practices as they not only respond to a cultural exposure as a practice of work but that they also build links between their immediate culture and backgrounds creating an expanded awareness of construction of knowledge and practice. Whilst building a sustainable discourse on creative craft practices a new model of pedagogy could be achieved through a more haptic mode of design engagement, suggesting that spontaneity would fuel students’ lateral thinking and problem solving skills through a practiced based curriculum with wide ranging consequences for a future generation of designers. <br/
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