Differences Between Craft And Design

For centuries, dolls have been crafted by mothers for their children, using a variety of household materials.In colonial times, girls and their mothers crafted dolls of ordinary household materials such as wooden spoons, whittled clothes-pegs, yarn, buttons, rags, socks and cornhusks. Later, calico fabrics, felt and handkerchiefs became widely available and were used for doll-crafting.

Contemporary art has a long history of appropriating material into new work such as Duchamp’s ready-mades where he recontexualizes found source material, the photo collages of Hannah Hoch and today’s remix culture. In Remixthebook, Mark Amerika (2011) argues that in Postproduction art, “the artist takes what has already been produced in culture and, through creative postproduction means, expresses a new cultural configuration that both speaks to contemporary culture as well as the source material that has been remixed”. Traditional crafts such as patchwork and quilt making have also contained ideas of transformation of old collected materials into new forms. By the frugally collecting and repurposing of these waste materials, Gower critiques

But in contemporary society, there is no single definition that covers design completely, or even fields of professional practice as graphic or industrial design that adequetly cover the diversity of ideas and practices as once existed. (pg3 wicked problems in Design thinking book THE IDEA OF DESIGN)

The need to create and construct goes far beyond what one can imagine. It is in human nature to be curious and to develop or create based on the observations of the world around us. In fact, shapes and patterns emerge in nature organically (Rudman 2007). Native Americans development of geometric shapes is still a mystery to many. Yet, by analyzing the world around us and trying to create based on observations and creativity leads into our desire to mimic nature itself. Designs and patterns on everyday life items were utilized by Native

Africa’s arts and crafts had finely molded pottery, elephant masks called Mukenga. The difference of this elephant mask is that is symbolizes power and leadership. It can relate to elephant hunting. Another craft they have are headdresses. Theirs contain scales that represent ritual importance and symbolize power, family, and knowledge. Asia also has pottery but theirs is mostly glazed. An art they have is the helmet, or kabuto. The kabuto disguised samurais and protected their heads and necks. The kabuto is also used for intimidation and symbolizes longevity. Another art would be the Buddah sculpture. Each Buddah displays symbolic gestures such as raising their right hand; which means reassurance. When the Buddah is raising their left hand, they are giving a blessing. Lastly, Europe also has pottery but is often made with a frosted glass. They aren’t very symbolic and mainly concentrate more on intricate designs. For example, there is a fan and case, which are hand-carved with fine point needle stitches enhancing an array of floral

Marcia Pointon argues that the material practices of making clothing are similar to the production of creating artworks. Supporting her argument, Pointon examines garments that are made by tailors, for the reason that they are made by hand and not mass produced and compares their creation to the handiwork of an artist. Pointon explains that both the tailor and the artist start with cloth and that they both work by fabricating, cutting, meshing, and layering. Describing further, the author notes that both tailors and artist piece together shapes, pay attention to horizontal and vertical lines, must fit the figure on to one rectangular surface, and use outlining to prepare for their creation. Moreover, Dolan relates that both the tailor and the artist both work in fiction.

In Cradle to Cradle: Remaking The Way We Make Things written by Michael Braungart and William McDonough try to recreate a new way to design and manufacture things by rethinking the basic parameters in order to establish a new, better system of manufacturing, one that will ultimately replenish and restore the earth, instead of destroying it like the one that is being used now(1). The authors state that we, as humans, should approach the concept of design and manufacture in a new way that will make the whole process of manufacture, consumption, and waste a process of that works in sync with both humans and nature, rather than damaging the nature. The authors start of by criticizing the current industrial framework as fairly primitive. It is formed over one main

At the age of eleven, when I should have been crafting friendship bracelets and experimenting with makeup, I troubled my parents and impressed my friends by taking on a colossal doll creation project. No longer interested in the plastic that lined the shelves: Bratz, Barbies, and Polly Pockets I wanted to own the exquisite Ball-Jointed doll, a rare doll with complete mobility and life-like features. As a storyteller only interested using realistic elements, I knew my friends and I had to have these dolls one way or another. With the sticker price being $800, I had no other choice but to create my own.

The Arts and Craft movement was a social and artistic movement, which began in Britain in the second half of the nineteenth century and continued into the twentieth spreading to continental Europe and the USA. Its adherents-artists, architects, designers and Craftsmen sought to reassert the importance of and craftsmanship in all arts in the face of increasing industrialization, which they felt was sacrificing quality in the pursuit of quantity. Its supporters and practioners were united not so much by a style rather than the common goal- a desire to break down the hierarchy of the arts and to revive traditional handicrafts and make art that could be affordable to all.

Native American art history has been developing for over thousands of years. The arts have a vast deep connection with spirituality and the Earth. It’s a way of life for almost all Native Americans and can be traced back to cave paintings and stonework. Each piece of art is designed to reveal the complexity of the diverse tribes. One of the most popular forms of art is jewelry; it’s heavy in symbolism which makes is more easily accepted. Native Americans are better known for their skills in carving intricate patterns and designs. Often, their inspiration will actually come from the natural world surrounding them. The arts, to the Native Americans, hold more symbolism to them than a lot of the other aspects their culture holds and is a part of.

Throughout history Western art has been used to illustrate the divine and supremacy status of both political and religious figures. Incorporated in these pieces relates to the specific cultures political, religious, and cultural values. This is one way how certain art pieces can be identified. This began as early as the Sumerian period and even today is still used. Although these methods have been used for thousands of years, different styles emerged when looking at different periods but this does not go to say that cultures never have not adopted certain styles and methods from others.

Although these magazines present a new visualization of craft and women, by putting forward the same theoretical ideas found in women’s magazines of the early 20th century, than pretty no longer makes the cut for what qualifies as significant for craft in the 21st

Alice Rawsthorn starts her Ted lecture with a statement that design has different meaning at different times. However, the all Inspiring designs have something common: they were created by dreamers: people who have big dreams and rebels the conventions. As a proof to her statement, Rawsthorn brings examples from the human history. The first example is about Ying Zheng who designed the all fighting tools in identical way. This case emphasizes the importance of design tools as a response to unique needs as war: defense/attack. Moreover, he gave solution of necessity of maintain product consistency in order to keep the maintenance and

Almost every culture has some traditional artifact of religious value. For Tibet one example of this is a Thangka. They aren’t just a religious artifact, a Thangka is an artform. That art form is still used today in modern art in Tibet. A Thangka is a three dimensional object made of various parts. The main attraction is a picture panel that is painted or embroidered. Some more necessities are a textile mounting, a silk cover, wooden dowels at the top and bottom and metal or wooden decorative knobs placed on the bottom dowel (Shaftel). Thangkas were created to communicate iconographic information in the form of a picture (Shaftel). Thangkas have many rules the artist must follow, but there is some fluctuation allowed with technique. Technique

“The growth of handicraft in society was the sign of the cultivation of sensibility and the string and mellowing of humanism.”