Relevant bibliographies by topics / Craftspeople

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Craftspeople'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 June 2025

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Journal articles on the topic "Craftspeople"

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Mamidipudi, Annapurna. "Constructing Common Knowledge: Design Practice for Social Change in Craft Livelihoods in India." Design Issues 34, no. 4 (2018): 37–50. http://dx.doi.org/10.1162/desi_a_00510.

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From a policy point of view, the nine million craftspeople in India are underdeveloped economically and in need of expert design interventions to adapt to the market. Within nationalistic projects those same craftspeople are transformed into a heritage that needs to be preserved, rather than having a trajectory into a promising future. Is there an escape from these discourses of poverty or museumization when thinking about craftspeople? In response, this article investigates how design can be key to achieve social change that craftspeople desire. I propose that designers intending to mitigate vulnerability in livelihoods of craftspeople have to design not towards a pre-determined set of desirable economic outcomes, but include social and cultural outcomes. Using empirical examination of designer narratives as base, this article extends constructivist STS concepts of “cultures of technology” to “cultures of design” to elaborate three lenses to analyze design practice: Intervention, which focuses on the economic impact of development; Interaction that focuses on symmetric social relations between actors, within socio-technical ensembles that respond to nascent aspirations and needs of craftspeople; and Mediation, which includes constructing cultural worlds where craftspeople's expertise is common knowledge—as active producers of culture, rather than passive consumers of design.
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Bellovin, Steve. "Seers and Craftspeople." IEEE Security & Privacy Magazine 5, no. 5 (2007): 88. http://dx.doi.org/10.1109/msp.2007.120.

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Narita, Chieko, Yutaro Shimode, Kazushi Yamada, and Noriyuki Kida. "Study on the Professional Identity of Japanese Traditional Craftspeople: Through Interviews with Maki-e Craftspeople." Advances in Anthropology 05, no. 04 (2015): 282–93. http://dx.doi.org/10.4236/aa.2015.54022.

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Djabarouti, Johnathan, and Christopher O'Flaherty. "Architect and craftsperson: project perceptions, relationships and craft." Archnet-IJAR: International Journal of Architectural Research 14, no. 3 (2020): 423–38. http://dx.doi.org/10.1108/arch-01-2020-0010.

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PurposeArchitects and craftspeople work together on complicated built heritage projects as part of a diverse multidisciplinary team. Effective interactions and collaborations between them can lead to a more successful project outcome; however, differing perceptions of each other can cause professional relationship tensions, communicative barriers and disharmony.Design/methodology/approachThrough the analysis of online surveys completed by architects and craftspeople, this study examines the contemporary relationship between the two groups, including the architect's perceptions of the function of traditional building craft within their day-to-day role.FindingsFindings suggest that whilst both groups agree that the craftsperson is an essential specialist on a built heritage scheme, there are contradictory perceptions with regard to the architect's role. Despite these differences, the results suggest that architects are open to accommodating more exposure to craftspeople and traditional building craft within their day-to-day role – believing they would learn more about building materials, make better practical decisions and understand craftspeople better. More importantly, this study proposes that a focus on craft would break down communicative and perceptual barriers, in turn improving relationships and project outcomes.Originality/valueThe study strongly suggests that traditional building craft can form an essential, tangible bond between architects and craftspeople by increasing focus on relationships and learning. The insights offered are relevant not only to those in the fields of architecture and traditional building craft but also to those involved in heritage management, as well as other professional roles, who may benefit from the use of craft as a method to repair professional relationships, as well as historic buildings.
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Solomon, Karey. "Bringing the outside in: Craftspeople share." Day Care & Early Education 16, no. 4 (1989): 26–27. http://dx.doi.org/10.1007/bf01619375.

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Fukuda, Ai, Yasufumi Uekita, Yoyok Wahyu Subroto, and Run Zhao. "Practice and Transmission of Batik in Wukirsari Village, Yogyakarta -Safeguarding Intangible Cultural Heritage in Indonesia-." Asian Culture and History 13, no. 1 (2021): 8. http://dx.doi.org/10.5539/ach.v13n1p8.

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The target of this research is to figure out the state of practice and transmission of Batik, an Indonesian textile dyeing Intangible Cultural Heritage, and necessary angles for its conservation. Knowledge related to Batik is shared and transmitted in craftspeople communities in Wukirsari Village, which is one of Batik centers in Indonesia. What’s more, Batik cloth production organizations play an essential role in the transmission of Batik technique through creating job opportunities, establishing selling systems and so on. Apart from that, these organizations also hold mutual aiding activities, which build strong relationship among craftspeople and support daily life of craftspeople financially. So it is can be concluded that 3 points are necessary for the transmission of Batik culture: building a knowledge-sharing environment, making Batik practice an occupation, offering values beyond financial benefits.
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Hughes, Hawksmoor. "Crafts Lives: oral history in the making." Art Libraries Journal 33, no. 4 (2008): 11–13. http://dx.doi.org/10.1017/s0307472200015558.

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Crafts Lives, an oral history project for National Life Stories at the British Library, records in-depth life stories of Britain’s craftspeople exploring both their personal and their working lives. This new archive will provide a well of new information for academics, historians, students and craftspeople to draw upon. It should also contribute to a definition of British crafts that will give them their proper place in relation to the fine arts.
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Søraa, Roger Andre, Håkon Fyhn, and Jøran Solli. "Energy consultants calculating sustainability for residential buildings." Facilities 37, no. 11/12 (2019): 825–38. http://dx.doi.org/10.1108/f-02-2017-0014.

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PurposeThis paper aims to investigate the role of a particular energy calculator in enhancing the energy efficiency of existing homes by asking how this calculator was developed and how it is domesticated by craftspeople working as energy consultants.Design/methodology/approachThe study is based on qualitative interviews with users and producers of the energy calculator (n= 22), as well as participation in energy consultation training.FindingsThe paper finds that, in the energy calculator, there is a striking lack of connection between the domestication and script because of lack of energy consultants’ involvement in the design and implementation process.Practical implicationsThe enrolment of energy consultants as energy calculator users earlier in and throughout the design process could be valuable in making the transition to an energy-efficient and environmentally friendly building sector.Social implicationsThe paper argues for recognition of the role of energy consultants, especially craftspeople, as participants in the design process for tools of governance. This is a call to acknowledge the value of particular skills and experiences possessed by craftspeople doing home consultation.Originality/valueBy understanding the intricate developer–user synchronicity in tools developed for upgrading the building sector, energy mitigation can be made more effective.
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Ouaknine-Yekutieli, Orit. "NARRATING A PENDING CALAMITY: ARTISANAL CRISIS IN THE MEDINA OF FES, MOROCCO." International Journal of Middle East Studies 47, no. 1 (2015): 109–29. http://dx.doi.org/10.1017/s0020743814001470.

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AbstractA crisis narrative dominates current public discourse about the artisanal sector in Fes, Morocco. Through historical and ethnographic research on Fessi crafts and craftspeople, this article elucidates the rise of the crisis narrative and its relationship to modernity and moral and political economy. Sustained analysis of the dialectical relationship between craftspeople's practical knowledge and public narratives highlights the existence of a “pool” of multiple and cross-cutting storylines from which the artisans draw to depict their profession. These storylines are marked by intertextual reverberations of precolonial Islamic philosophy, colonial Orientalist discourses, modern governance, and liberal and neoliberal economic policies. This article claims that the current, widespread crisis narrative took precedence over other storylines with the arrival of colonialism and modernity in Morocco. Drawing on the analytical framework of colonial modernity, it argues that from the colonial period to the postcolonial present, rulers and ruled alike have produced, maintained, and enhanced the crisis narrative, which is deeply rooted in modernity.
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Søraa, Roger Andre. "Crafting environmental policies into action: Energy consulting practices of craftspeople." Craft Research 9, no. 2 (2018): 255–72. http://dx.doi.org/10.1386/crre.9.2.255_1.

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Dissertations / Theses on the topic "Craftspeople"

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Norwood, Karen. "Propensity of West Virginia craftspeople to use electronic media for marketing their products." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2746.

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Thesis (Ed. D.)--West Virginia University, 2002.
Title from document title page. Document formatted into pages; contains vii, 165 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 118-124).
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White, Taylor Lauren. "A Study of Non-Profit, Ethical Fashion and the Employment of Artisans." Kent State University Honors College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1620334912734504.

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Chen, I.-Chi, and 陳奕岐. "Exploring the collaboration between designers and craftspeople-case studies of "Craft and Design Cross-border R&;D Cooperation Program"." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/92440941584755029049.

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碩士
國立臺灣科技大學
設計研究所
101
The collaboration of craft and design is emerging design praxis in Taiwan. The complement between craft and design inspires designers and craftspeople to create works with more commercial and cultural values. The fruitful results of the collaboration have positive impacts on both sides. Under the collaboration, designers acquire knowledge of craft techniques and materials, and obtain inspiration to further their creation. On the other hand, the designers play a catalytic role to empower the craftspeople and assist them in designing products to meet modern market needs. The craft-design collaboration not only brings value-added to each other but also contributes to knowledge for both sides. Collaborating with craftspeople has become a new trend of design praxis, the collaboration pattern is still under development and needs more exploration to achieve the better success. This study aims to get insight of craft-design collaboration by conducting case studies via Craft and Design Cross-border R&;D Cooperation Program（hereafter be shorted as Yii）, which was conceived by National Taiwan Craft Research Institute and Taiwan Design Center. The objectives of this study are：（1） to understand the development process of Yii project, （2） to discover the factors facilitating craft-design collaboration, （3） to indentify the roles and the required capabilities of the designers in craft-design collaboration. The findings of this study are outlined as follow: 1. The development process of Yii includes：Matching stage, Co-creation stage, Prototyping stage, and Feedback stage. 2. The enabling factors that enhance the cooperation include：same motivation, mechanism of exchanging ideas（workshop）, international exhibition opportunities, face to face communication, interesting design ideas, convincing arguments, heterogeneity members（design director）, and good relationship between members. The barriers include： vague sketches, poor communication, bad attitude, lack of project leader, project outcomes not for sale, and insufficient time for collaboration. The lack of craft knowledge can be considered either an enabler or a barrier depending on the context. 3. The roles a designer can play in the collaboration include： learner, challenger, facilitator, and leader. The core abilities of designers in the collaboration include：innovation, aesthetics, visualization skills, computer-aided design skills, knowledge of engineering and manufacturing, knowledge of technology and material, and marketing. The peripheral design capabilities include：research, teamwork, communication, leadership, management, and integration.
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Leitão, Renata M. "Craftsmanship as a means of empowerment for the traditional population of Guaraqueçaba : a case study." Thèse, 2011. http://hdl.handle.net/1866/8727.

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Cette recherche consiste en une étude de cas sur un groupe d’artisans qui a réussi à transformer sa production artisanale en importante source de revenus. Ces artisans, de culture caiçara, ont formé une coopérative dans la municipalité de Guaraqueçaba, dans l’État du Paraná au Brésil. Caiçara est le nom de la population traditionnelle métisse qui habite dans les zones côtières du Sud et Sud-est du Brésil. La région de Guaraqueçaba abrite des écosystèmes de biodiversité extrêmement riche et précieuse, dont la conservation est une priorité à l’échelle mondiale. Afin de réguler l’utilisation des ressources naturelles de ces écosystèmes, une aire protégée a été créée en 1985. Par la suite, de sévères restrictions entourant les moyens de subsistance ont été imposées aux communautés caiçaras, ayant comme conséquences leur appauvrissement, la discontinuation de leur mode de vie et des dommages à leur culture. Cette étude de cas s’est penchée sur une population traditionnelle luttant pour améliorer ses conditions de vie par le biais du design, activité par laquelle nous créons de la culture matérielle. L’objectif de cette recherche est de comprendre comment la création d’artisanat destiné à la vente peut être un vecteur d’autonomisation et de valorisation de la culture locale. L’approche de la collecte des données sur le terrain, inspiré de l’ethnographie, a utilisé les méthodes suivant : des entrevues (non structurées et semi-dirigées), des observations (participantes et non participantes) et des photos. Ayant un caractère exploratoire, l’étude a exploré des questions liées à l’autonomisation et la culture avec le but d’encourager et de préparer le terrain pour des recherches futures.
This research is a case study of craftspeople from a traditional population that have been successful in transforming craft tradition into income-generation. These craftspeople of Caiçara culture have formed a cooperative in Guaraqueçaba, state of Paraná, southern Brazil. Caiçara is the name given to the traditional population living along Brazil south and southeast coast, of mixed Aboriginal and European descent. The natural environment of Guaraqueçaba, because of its precious and extremely high biodiversity, is one of the highest priorities for conservation in the planet. In order to protect its ecosystems, an Environmental Protection Area was created, in 1985, to regulate the use of natural resources. These regulations imposed many severe restrictions to the traditional subsistence practices and sources of income of the Caiçara communities, causing their impoverishment, a disruption in the Caiçara way of life and a great damage to their culture. This case shows the local population striving to improve their living conditions by the means of the creation of crafts for sale. The objective of this research is to understand how craft design and production allowed for their empowerment and the valorization of the local culture. The approach to data collection in the field was inspired by ethnography, using the following methods: interviews (unstructured and semi-structured), observations (participant and non-participant), and photos and physical artifacts. This case study had an exploratory nature, exploring questions related to empowerment and culture aiming to provide the scope for future research.
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Leitão, Renata Marques. "Craftsmanship as a means of empowerment for the traditional population of Guaraqueçaba : a case study." Thèse, 2011. http://hdl.handle.net/1866/8727.

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Books on the topic "Craftspeople"

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Colonial American craftspeople. F. Watts, 1993.

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Hirschfelder, Arlene B. Artists and craftspeople. Facts on File, 1994.

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Harvey, Marian. Mexican crafts and craftspeople. Art Alliance Press, 1987.

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Heraldry for designers and craftspeople. Dover Publications, 1999.

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Hewitt, Graily. Lettering for students and craftspeople. Dover, 1993.

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Lettering for students and craftspeople. Dover, 1993.

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Network, Voluntary Arts. Working with artists and craftspeople. Voluntary Arts Network, 1997.

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Green, Yuko. Exotic flowers for artists and craftspeople. Dover Publications, 1997.

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Prosperoso, Rico. Silhouette designs for artists and craftspeople. Dover, 1995.

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Bergling, J. M. Heraldic designs for artists and craftspeople. Dover Publications, 1997.

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Book chapters on the topic "Craftspeople"

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Endo, Atsushi, Mari Shimode, Yutaro Shimode, Seishi Namiki, Noriaki Kuwahara, and Hiroyuki Hamada. "Comparison of Description Skill on Characteristics of the Urushi Crafts Work Between Expert Craftspeople and Non-expert Craftspeople." In Digital Human Modeling. Applications in Health, Safety, Ergonomics and Risk Management: Human Modeling. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-21073-5_5.

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Gögl, Hans-Joachim, and Petra Rainer. "The Union of Craftspeople?: Small Enterprises in the Common Market." In Big Strategies for Small Business. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230595200_9.

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Luckman, Susan, and Jane Andrew. "Educating for Enterprise." In Creative Working Lives. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44979-7_3.

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AbstractThis chapter will provide a necessarily brief historical overview of the models of training available to support skills development for the applied arts in Australia, from colonial cottage industries to the educational experiences of the contemporary craftspeople and designer makers who participated in this study. In doing so, it will highlight significant contemporary Australian federal and state government political and economic policy agendas that have directly and indirectly influenced changes to the nature, form and institutional investment in education supporting the development of contemporary Australian makers. The second half of this chapter reports on the research participants’ educational experiences and sense of how well prepared they were upon graduating to establish and sustain a viable creative enterprise.
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Luckman, Susan, and Jane Andrew. "Introduction." In Creative Working Lives. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44979-7_1.

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AbstractThis chapter introduces the larger context within which Australian craftspeople and designer makers, like their colleagues elsewhere across the Global North, operate. On the consumer side demand for the handmade or artisanal and increasing interest in making processes themselves, is, we argue, part of a wider pushback against the impositions of the digital into our everyday lives, that is an attempt at a correction or seeking out of balance now that we are a generation into the normalisation of digital communication and other technologies. The chapter introduces the research project the book’s findings are based on including the research design, methods and data that inform the discussions to come. It also briefly outlines the strength of contemporary Aboriginal and Torres Strait Islander craft and designer maker activity.
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Endo, Atsushi, Noriyuki Kida, Yutaro Shimode, et al. "Study on Method of Observing Maki-e Crafts Work in Urushi Craftspeople." In Digital Human Modeling. Applications in Health, Safety, Ergonomics and Risk Management: Human Modeling. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-21073-5_4.

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Zulaikha, Ellya, and Margot Brereton. "Communication Choices to Engage Participation of Rural Indonesian Craftspeople in Development Projects." In Human-Computer Interaction – INTERACT 2013. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-40483-2_55.

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Stein, Jesse Adams. "Patternmaker-Artists: Creative Pathways for Industrial Craftspeople in the Context of Australian Deindustrialisation." In Palgrave Studies in Oral History. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-87243-4_7.

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Luckman, Susan, and Jane Andrew. "What Does ‘Handmade’ Mean Today?" In Creative Working Lives. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44979-7_5.

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AbstractThe phrase ‘designer maker’ is being employed increasingly in the contemporary craft and design marketplace, especially among those seeking to make a full-time living from their practice. It marks those makers who may undertake original design and prototyping themselves, but who, in order to scale up their production in ways not always possible for a solo hand maker, outsource some or all subsequent aspects of production to other makers or machine-assisted manufacturing processes. But despite widespread use of this phrase, some makers remain keen to manage the scale of their business. As a result, many of those craftspeople and designer makers we spoke to who were in a position to scale-up their production while stepping back from the making themselves were reluctant to go down this path. Elsewhere we have explored these issues in terms of balancing making income with quality of life, as well as in terms of the desire to be a maker, to be doing the creative work oneself, and thus not ‘get too big’ with the added pressures and responsibilities of being an employer (Luckman, Cultural Trends, 27(5), 313–326 (2018)). In this chapter, we home in more on what upscaling and outsourcing reveals about competing definitions of, and attitudes towards, the idea of ‘the handmade’. We also explore attitudes towards handmaking versus other forms of production, including outsourcing and the use of digital tools.
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"Elusive craftspeople." In An Archaeology of the Early Anglo-Saxon Kingdoms. Routledge, 2005. http://dx.doi.org/10.4324/9780203975114-14.

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"Crafts and craftspeople." In 3D Printing. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781474248730.ch-003.

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Conference papers on the topic "Craftspeople"

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Shimode, Yutaro, Atsushi Endo, Chieko Narita, Yuka Takai, Akihiko Goto, and Hiroyuki Hamada. "Skill Level Differences of Urushi Craftspeople in Urushi Products." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-88288.

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There are various traditional crafts in Japan. Japanese modern manufacturing industries have stemmed from the traditional crafts. And there is craftspeople’s wisdom in the traditional crafts technique inherited for years, which is well known as “tacit knowledge”. Especially in Kyoto which has 1200 years history, many traditional crafts have been inherited. In this study, Urushi crafts was focused. Japanese lacquer is called “Urushi” in Japanese. Urushi have meanings such as Urushi tree, its resin and also Urushi crafts. Urushi has been used 9000 years ago in Japan. In this long history, Urushi crafts techniques have been developed, refined and inherited by many Urushi craftspeople. As a result, Urushi affect Japanese culture and aesthetic feeling greatly. Urushi has been viewed as special, and admired as black with the highest grade. Therefore, the Japanese word “Shikkoku” has been generated, inhere, “Shi” means Urushi, and “Kkoku” means black color. Urushi has various characteristics. For example, Urushi coating surface is very smooth and glossy. It is considered that these characteristics are influenced by skill level of craftspeople. Then this study aims to analyze a difference between expert craftspeople and non-expert craftspeople in the painting process of Urushi. Body and eye motion between expert and non-expert craftspeople were analyzed and compared. As a result, there were differences in the time of painting with brush. And more there were differences in eye movement. It is considered that these differences were due to the difference of skill level, and in turn, the quality of Urushi products has been influenced.
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Ingin, Asli, and Ayşenaz Toker. "Creating A Design Course for Craftspeople in Istanbul." In Design Research Society LearnXDesign 2019. Design Research Society, 2019. http://dx.doi.org/10.21606/learnxdesign.2019.01122.

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Ingin, Asli, and Ayşenaz Toker. "Creating A Design Course for Craftspeople in Istanbul." In Design Research Society LearnXDesign 2019. Design Research Society, 2019. http://dx.doi.org/10.21606/learnxdesign.2019.08122.

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Devendorf, Laura, Katya Arquilla, Sandra Wirtanen, Allison Anderson, and Steven Frost. "Craftspeople as Technical Collaborators: Lessons Learned through an Experimental Weaving Residency." In CHI '20: CHI Conference on Human Factors in Computing Systems. ACM, 2020. http://dx.doi.org/10.1145/3313831.3376820.

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Shimode, Yutaro, Atsushi Endo, Chieko Narita, et al. "Study on the Degradation Mechanism of the Urushi Products." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-87693.

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Japanese lacquer is called “Urushi” in Japanese. Urushi have meanings such as Urushi tree, its resin and also Urushi crafts. Urushi has been used 9000 years ago in Japan. In this long history, Urushi crafts techniques have been developed, refined and inherited by many Urushi craftspeople. As a result, Urushi affect Japanese culture and aesthetic feeling greatly. Urushi has various characteristics. For example, Urushi coating surface is very smooth and glossy. And more, Urushi is strong to acid and alkali. However it is very weak to ultraviolet rays. As a result, Urushi coating is degraded very quickly in sunlight. In this study, 6 specimens were prepared by painting 6 kinds of Urushi resins on PMMA (polymethylmethacrylate) boards. Weathering tests of these 6 specimens were done to clarify the degradation of Urushi coating. Additionally, L* value (Brightness), C* value (Chroma) were also measured by spectrophotometric colorimeter to investigate the influence of the degradation on the optical characteristics. Both L* value and C* value were increased after weathering test in most specimens. Glossiness values of specimens were measured by gloss checker. As a result, glossiness values were decreased after weathering test in most specimens. There was a difference in advance of degradation according to the kind of Urushi. Then when Urushi is used, there are necessities of proper use and change of refining method for Urushi.
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