Relevant bibliographies by topics / Making and Craft

Academic literature on the topic 'Making and Craft'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Making and Craft"

1

Groth, Camilla, Katherine Townsend, Tina Westerlund, and Gunnar Almevik. "Craft is ubiquitous." Craft Research 13, no. 2 (September 1, 2022): 211–20. http://dx.doi.org/10.1386/crre_00076_2.

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This Special Issue presents a selection of contributions that seek to extend the idea of what craft practice and research can be. They stem from the conference presentations in the 1st Biennial International Conference for the Craft Sciences (BICCS), held online during 4‐6 May 2021. This conference was initiated by the Craft Laboratory in Mariestad city, which is affiliated with the Department of Conservation, University of Gothenburg, Sweden. What counts as craft, and what does not, has been discussed with the general consensus that craft often evades definitions and instead thrives as an adhesive between other domains. In this editorial we claim that craft practice is ubiquitous, since acts of ‘crafting’ are infiltrated in most aspects of society, from the industrial workplace to the home. In addition to being a professional domain, craftmanship is also an attitude and a way of life. Craft making further facilitates shared reflective platforms which can carry and sustain cultural associations, or even social resistance, over time. We hope to invite readers to extend the notions of what crafts can be, by discussing issues related to such various topics as plant propagation, crystal growing, neuroscientific activity tracking, multimodal presentations of craft research and hybrid forms of digital and handmade craft processes. We also present an overview of educational contexts of crafts and discuss the role of the craft practitioner in heritage studies such as traditional boat building or industrial lace making.
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Kouhia, Anna. "Online matters: Future visions of digital making and materiality in hobby crafting." Craft Research 11, no. 2 (September 1, 2020): 261–73. http://dx.doi.org/10.1386/crre_00028_1.

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Over the past twenty years, hobby crafting has experienced a revival of interest, as people have started to seek new ways to engage with crafts as creative leisure in an increasingly digital world. Along the way, emerging, digital technologies have provided new tools and ways to engage in hobby crafting. Indeed, today’s hobby crafts are frequently concerned with material mediated via the internet and accomplished with the aid of software, which also affects our understanding of maker identities in online communities. This article argues that digitalization has not only revolutionized hobbyist craft making with new tools and technologies, but has also paved new ways for practising creative skills, which has had a significant impact on makers’ engagements with craft materials, objects and communities of practices. This is demonstrated through netnographic explorations on Facebook’s leisure craft community where digital material practices are increasingly prevalent in hobbyists’ everyday life. As a conclusion, the article speculates on visions of the future of hobby crafts and its relevance as a leisure pursuit.
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Toporkov, A. L. "Pottery-making: Mythology and Craft." Soviet Anthropology and Archeology 26, no. 1 (July 1987): 71–81. http://dx.doi.org/10.2753/aae1061-1959260171.

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4

Indrahti, Sri. "Keterampilan Turun-Menurun di Kalangan Perajin Monel Jepara." Endogami: Jurnal Ilmiah Kajian Antropologi 2, no. 2 (June 20, 2019): 150. http://dx.doi.org/10.14710/endogami.2.2.150-157.

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Monel handicrafts grow and develop in Jepara district. It has characteristic that the skill of making monel art is preserved from generation to generation. Its ability to survive was influenced by how much the support of community. Community care and love for the craft can support the existance and development of monel handicraft. The process of descending monel crafts has the advantage that each family as a monel craft business unit has its own characteristics and competitiveness. On the other hand, there is no formal container for learning these skills. This makes monel crafts less open to a wider regeneration process. Even though regeneration really determines the development in the future. Looking at the current development of the craft, efforts to make a more open regeneration process seem necessary. Through this paper, the author try to find steps that can be taken by the supporting community and the Regional Government to form a formal and informal container. It is intended that interested people have access to learn about this craft. Regeneration is carried out to maintain the continuity and development of monel crafts.
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5

Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf
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Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf
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7

Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

Full text
Abstract:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf
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8

Myllys, Riikka. "Spiritual Yarning: Craft-making as Getting Along in Everyday Life." Journal of Religion in Europe 13, no. 1-2 (December 9, 2020): 121–43. http://dx.doi.org/10.1163/18748929-13010007.

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Abstract This article investigates how spirituality relates to craft-making. Spirituality is understood to have both religious and nonreligious content depending on the person. The data was collected in a one-year period of observation and interviews. The results show that spirituality related to craft-making may be both religious and nonreligious. It is noteworthy, however, that religious and nonreligious spirituality are related to different aspects of craft-making: the social and prosocial aspects of craft-making are mostly religiously spiritual, whereas individually centred aspects are not. Altogether, the spirituality of craft-making is largely immanent and wellbeing-oriented. As such, its focus is on getting along in everyday life.
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Groth, Camilla, Veikko Jousmäki, Veli-Matti Saarinen, and Riitta Hari. "Craft sciences meet neuroscience." Craft Research 13, no. 2 (September 1, 2022): 261–83. http://dx.doi.org/10.1386/crre_00079_1.

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Collaboration between disciplines is necessary when research questions cannot be answered within a single discipline. Joining of forces can produce results that neither discipline could provide alone. Here we exemplify collaboration between a ceramic craft researcher and three neuroscientists working in the field of human brain imaging. In our case study of clay throwing, the researcher‐practitioner’s eye gaze, muscular activity and hand acceleration were recorded online, synchronized with video and thermal-camera recordings. We describe the experimental setting and discuss, besides the possible future interests in this kind of research, also the different levels of collaborative work between disciplines. We found that the monitoring methods worked well in the naturalistic setting in a ceramic studio, providing some new perspectives into the craft practice. For neuroscientists, clay throwing ‐ involving accurate sensorimotor hand control, haptics and eye‐hand coordination ‐ provides an attractive setup to extend previous neuroscientific and behavioural findings in strictly controlled laboratory experiments into naturalistic situations. The applied monitoring devices might allow practitioner‐researchers in crafts to become aware of unconscious steps in the making process. The applied methods could also help to accumulate general craft-making knowledge and build related theory.
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Buchczyk. "Making Certainty and Dwelling through Craft." Journal of American Folklore 133, no. 528 (2020): 178. http://dx.doi.org/10.5406/jamerfolk.133.528.0178.

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Dissertations / Theses on the topic "Making and Craft"

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Thieman-Dino, Angela. "Making fun: How urban Black girls craft identity." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3273711.

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Hawson, Thomas. "Contemporary craft in Iceland : communicating culture through making." Thesis, Bucks New University, 2006. http://bucks.collections.crest.ac.uk/9927/.

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This doctoral project develops an interdisciplinary collaborative approach to furniture designer\maker practice. At its core is a practice-based framework that can be used to assess and reflect upon the tacit, primarily visual nature of makers’ knowledge and the way that this can be communicated in order to develop design outcomes. The enquiry takes as its focus a two-year collaboration between the author – a British-based furniture designer/maker – and six indigenous Icelandic craft practitioners in which the ultimate goal was the creation of artefacts that, it was hoped, would be expressive of Iceland’s native craft traditions. During the ‘Iceland Project,’ as it came to be known, interaction between and among participants was grounded in a predetermined plan developed democratically through consultation and dialogue. The project successfully develops new knowledge through a contemporary reinterpretation of indigenous Icelandic craft-making knowledge and demonstrates this through the making of artefacts imbued with recognized cultural status. It also extends furniture designer/maker research by developing an innovative practice-based method of collaboration rooted in the multimedia archiving of the making process which can then be used to illuminate and facilitate future practice. The project is a scholarly display of makers’ knowledge: the process is shared democratically among peers; the decisions that articulate design and methods of making are reviewed; and inter-subjective outcomes are generated. To facilitate learning from designer/maker practice-based research, the creative narrative is necessarily partly articulated through visual media and artifacts.
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Paquin, Garth William. "Thinking Through Making." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242781351.

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Gowlland, Geoffrey Karim. "The making of an exclusive craft : skill, style and personhood in a Chinese craft community." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612946.

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Peach, Andrea. "The making of modern Scottish craft : revival and invention in 1970s Scotland." Thesis, Robert Gordon University, 2017. http://hdl.handle.net/10059/2711.

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The 1970s were a period of renaissance for the crafts in Britain, often referred to as a craft revival. The creation of national organisations and infrastructures to support craft, and define its identity, played a crucial role in this. The received craft revival narrative focuses on the Crafts Council of England and Wales, with its emphasis on raising the status of craft and promoting it as fine art, largely through the efforts the Minister for the Arts, Lord David Eccles. The narrative in Scotland was very different, and is a story that until now remains untold. Scotland had its own national agencies with responsibility for the crafts. But instead of having a focus on the arts, they were tasked with addressing Scotland’s economic decline, and saw an opportunity to develop Scottish craft as both an industry and a product. The emphasis was not on promoting craft as fine art as in England and Wales, but rather on developing craft as commodity. Borrowing from Adamson’s thesis that as a form of cultural production, ‘craft is itself a modern invention’ (Adamson 2013 p. xiii), this thesis will analyse how Scottish development organisations in the 1970s attempted to promote and invent Scottish craft as an industry and product, and how those involved in the making of Scottish craft responded to this. In order to do this, it will examine the origins of the 1970s craft revival in Britain, the legacy of the invention of modern Scottish craft, and the two development agencies tasked with its invention in the 1970s: the Highlands and Islands Development Board, and the Scottish Development Agency. This thesis makes an original contribution by telling the Scottish side of the 1970s craft revival story. It also addresses wider issues that have received little critical attention in craft history, namely the relationship between craft and commodification, and the tension between modernity and tradition in the invention of modern craft.
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Peng, Fanke. "Visual Thinking - Beyond Craft Making : Identifying and verifying a visual analysis model (VAM) for craft practice." Thesis, University of Dundee, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521661.

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Hilligoss, Peter Z. "Modern Craft: Linking Material, Process and Environment." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1244642268.

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Kärklkäinen, Jimmy. "Creativity and Craft Center : Bringing the Making to the City." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135593.

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Schenk, Jan-Christof. "The making of a new South African craft : township craft and development discourse in post-apartheid Cape Town." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/14635.

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Includes bibliographical references (leaves 90-93).
The author discusses postdevelopment theory by exploring unintentional effects of development practices in Cape Town's craft scene. A heterodox research design is adopted, drawing on Pierre Bourdieu's ideas on cultural production, notions of authenticity, representation and the modern/traditional dichotomy as well as thoughts on the making of a New South African identity. This is applied to the dynamics of Cape Town's craft scene in the pursuit of answering four research questions: (i) What role does the township play in the image of post-apartheid South Africa? (ii) How does development discourse contribute to the re-imagining of post-apartheid South Africa through 'township craft'? (iii) Is development discourse conducive to maintaining and creating tensions between centres and peripheries in the New South Africa? (iv) To what extent can a heterodox research design contribute to the postdevelopment debate? Through the socio-semiotic analysis of qualitative data obtained from interviews with fourteen stakeholders in Cape Town's craft scene as well as observations made at sites, where 'township craft' is presented and/or produced, the author is able to give three main insights in relation to the stated questions: (i) The image of the township, represented through cultural commodities, plays a crucial role as a place of creativity and positive change in the making of a post-apartheid identity. (ii) Development discourse manifests itself in the making of a New South African identity through material culture in the form of 'township craft' and its conceptual as well as spatial contexts. (iii) The use of development discourse in the making and marketing of 'township craft' in combination with supposedly 'common knowledge' about the art/craft divide has the potential to create and maintain patterns of inequality between producers and sellers of 'township craft'. A recommendation is made to explore further possibilities of heterodox research designs for studies using a postdevelopment theoretical framework.
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Thome, Hannah R. "Ravelry.com: Augmenting Fiber Craft Communities and Social Making with Web 2.0." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1524488670252085.

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Books on the topic "Making and Craft"

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Kaliski, Mary. Making miniatures in polymer clay. Livonia, MI: Scott Publications, 1998.

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Irvine, Chippy. The craft of pillow making. New York: Crown Trade Paperbacks, 1996.

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Massey, Jay. The bowyer's craft. Girdwood, Alaska (P.O. Box 429, Girdwood 99587): Bear Paw Publications, 1987.

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Mohr, C. Angela. Making gourd headpieces. Atglen, PA: Schiffer Pub. Ltd., 2008.

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Mohr, C. Angela. Making gourd headpieces. Atglen, PA: Schiffer Pub. Ltd., 2008.

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Penelope, Cream, ed. Baby craft. New York: Smithmark, 1994.

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The craft of decision modelling. Chichester [England]: J. Wiley, 1994.

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Giorgini, Frank. Handmade tiles: Designing, making, decorating. Newton Abbott: David & Charles, 1995.

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Making & installing handmade tiles. New York, N.Y: Lark Books, 2008.

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Anderson, Warren R. Mastering the craft of making sausage. Short Hills, NJ: Burford Books, 2010.

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Book chapters on the topic "Making and Craft"

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Ratten, Vanessa. "Defining craft making." In Entrepreneurship in Creative Crafts, 29–38. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003267225-3.

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Mintzberg, Yvette, and Henry Mintzberg. "Strategy Making as Craft." In Innovation and Management, edited by Kuniyoshi Urabe, John Child, and Tadao Kagono, 167–96. Berlin, Boston: De Gruyter, 1988. http://dx.doi.org/10.1515/9783110864519-012.

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Odland Portisch, Anna. "The Craft of Skilful Learning: Kazakh Women's Everyday Craft Practices in Western Mongolia." In Making Knowledge, 59–75. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444391473.ch3.

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Martin, Tom. "Making it Real." In Craft Learning as Perceptual Transformation, 145–82. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64283-9_6.

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Smith, Courtney. "Making Shakespeare in Montana." In Theatre Artisans and Their Craft, 55–63. New York, NY : Routledge, 2020. | Series: Backstage: Routledge, 2019. http://dx.doi.org/10.4324/9781351131070-5.

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Meskus, Mianna. "Making iPS Cells in the Laboratory." In Craft in Biomedical Research, 107–46. New York: Palgrave Macmillan US, 2018. http://dx.doi.org/10.1057/978-1-137-46910-6_4.

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Luckman, Susan, and Jane Andrew. "Meaningful Making in the Contemporary Creative Economy." In Creative Working Lives, 27–63. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44979-7_2.

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Abstract:
AbstractThis chapter introduces the people and their stories that inform this book, including the reasons behind their choice to pursue craft or design, despite the frequently precarious incomes to be made. One of the strongest findings to emerge in this study is the centrality of early exposures to making to later comfort with and motivation to give craft and design ‘a go’. How the makers connect their current identities to formative earlier familial and educational experiences is explored. These findings are then situated analytically within critical scholarship on the values of crafts-based practice today as they sit alongside the rise of neoliberal individualised work practices, including the normalisation of self-employment and microenterprise, with all the associated personal financial risk-taking this entails.
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Alley, Michael. "Illustration: Making the Right Choices." In The Craft of Scientific Writing, 146–57. New York, NY: Springer New York, 1996. http://dx.doi.org/10.1007/978-1-4757-2482-0_10.

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Martin, Tom. "Making Sense of Perceptual Experience." In Craft Learning as Perceptual Transformation, 77–103. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64283-9_4.

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Mandell, Hinda. "Craft activism, violence, and memory-making." In Race, Gender, and Political Culture in the Trump Era, 174–93. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003034810-12.

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Conference papers on the topic "Making and Craft"

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Buechley, Leah. "Celebrating Art, Craft and Computation." In FabLearn Europe'18: Conference on Creativity and Making in Education. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3213818.3213879.

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Soini-Salomaa, Kristiina. "The Images of the Future of Craft and Design Professions." In Nordes 2011: Making Design Matter. Nordes, 2011. http://dx.doi.org/10.21606/nordes.2011.007.

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Aktaş, Bilge. "Craft Dynamics: Empowering Felt Making through Design." In Nordes 2017: Design and Power. Nordes, 2017. http://dx.doi.org/10.21606/nordes.2017.005.

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Montero, Calkin Suero. "Craft- and Project-based Making for STEAM Learning." In Koli Calling '18: 18th Koli Calling International Conference on Computing Education Research. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3279720.3289237.

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Schaub, David. "The making of the butterfly shot for “The Craft”." In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.253849.

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Aktaş, Bilge Merve, Maarit Mäkelä, and Tarja-Kaarina Laamanen. "Material Connections in Craft Making: The case of felting." In Design Research Society Conference 2020. Design Research Society, 2020. http://dx.doi.org/10.21606/drs.2020.216.

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Efilti, Pelin. "Re-defining Domestic Craft-Making: Cultivation of New Craft Practices and Identity Through the Social Media." In DRS Pluriversal Design SIG Conference 2020. Design Research Society, 2020. http://dx.doi.org/10.21606/pluriversal.2020.034.

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Montero, Calkin Suero. "Craft- and Project-based Pedagogy for Digital Fabrication and Making." In IDC '19: Interaction Design and Children. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3311927.3325167.

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Endo, Takashi, Hiroshi Suzuki, and Haruo Hayami. "Development of a website for posting paper craft making after workshops." In 2018 International Workshop on Advanced Image Technology (IWAIT). IEEE, 2018. http://dx.doi.org/10.1109/iwait.2018.8369731.

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Walker, Stuart, Martyn Evans, and Wanlin Zhang. "The Located Making Framework for supporting craft maker enterprises in China." In 14th International Conference of the European Academy of Design, Safe Harbours for Design Research. São Paulo: Editora Blucher, 2021. http://dx.doi.org/10.5151/ead2021-168.

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You might also be interested in the extended bibliographies on the topic 'Making and Craft' for particular source types:
Journal articles Dissertations / Theses Books
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