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The All Makers Now? pop up exhibition will take place in the old library at Trelissick House, a boat ride up the Carrick Roads from Falmouth. The Private view be held before the conference dinner on Thursday 10th July.

Gayle Matthias

Gayle Matthias

Gayle Matthias, All Makers Now? Pop Up Exhibition Co-Curator Affiliation: Autonomatic, Falmouth University Conference activity: Co-Curator, Pop Up Exhibition, Trelissick House Gayle Matthias is a practising glassmaker, educator and researcher. Having exhibited nationally and internationally, Gayle has work in the permanent collections of the V & A, Musee de Vianne, Ebeltoft Museum of Glass amongst others. Previously, Gayle has worked in the Gallery Education Department at the Crafts Council and has been an artist in residence at Bullseye Glass in USA. Examples of her work can be found in many glass publications, most recently New Glass Review 35. Gayle has been a Senior Lecturer on the BA Hons Contemporary Craft course at Falmouth University since 2004 and is currently an External Examiner at De Monfort University. Gayle has worked in a wide variety of kiln-formed glass techniques for over twenty years. Currently, she is engaged in collaborative research with Tavs Jorgensen, Research Fellow with Autonomatic, investigating Rapid Tooling for glass casting moulds combined with digital technologies. She is co-author of papers presented at  ‘Making Futures’ conference in Plymouth, UK (2013), ‘Crafting the Future’, 10th European Academy of Design (EAD) Conference, Gothenberg, Sweden (2013) and ‘Towards a New Ceramic Future’, research presentation at V&A, UK (2012). Gayle is working closely with the All Makers Now? Pop Up Exhibition curator, Claire English to co-ordinate, organise and present objects in the context of the conference...
Hannah Maughan

Hannah Maughan

Hannah Maughan, All Makers Now? Conference Chair Affiliation: Falmouth University Key words:  Design, Embroidery, Community Conference Activity: Chair, Digital Making in Textiles, Thurs 10th July, Pop Up Exhibition Trelissick House Hannah is a textile designer specialising in embroidery and mixed media. Her work ranges from the couture to the commercial and is represented by View Studio in London, with regular international sales to a variety of leading design companies within the fashion and interior industries. Since 2003 Hannah has worked as senior lecturer on the Textile Design programme, establishing the mixed media area. This focuses on engaging the students in the traditions and values of hand, machine stitch and fabric manipulation, with the emphasis on technical acumen and creative response to personalise and contemporise the discipline. This is also the ethos of her own research work which is currently focusing on digital embroidery. Hannah was a key player in establishing Hidden Art Cornwall at Falmouth, the first and only social franchise of the award winning designer-maker membership organisation, Hidden Art, which connected the Cornish creative design community to each other and the international design community and ran until 2009. In 2011 Hannah received the Falmouth Teaching Excellence Award, created by the institution to recognise exceptionally high quality teaching. This was in recognition of her overall engagement and commitment to her subject area and students.  This contribution was recognised nationally this year when Hannah was shortlisted for the Embroiderers’ Guild inaugural Beryl Dean Award for Teaching Excellence. For All Makers Now? Hannah will be chairing a session on Thurs pm on Digital Making in Textiles and exhibiting some of her...
Diego Zamora

Diego Zamora

WEAR3D Diego Zamora, PHD candidate funded by Design in Action; Morvern Odling, independent artist. Affiliation: Edinburgh College of Art Conference activity: Pop Up Exhibition, Trelissick House Keywords: Textiles, 3D printing, digital fabrication, wearables 3D printing has made it to the catwalks, however, the main trends in fashion use high level 3D printers to mimic fabric (e.g. Ditas’ gown by Francis Bitoni, Continiuum’s N12 Bikini) or approach it in a sculptural way (e.g. Iris Van Herpen: Crystallization). We propose to approach the 3D printing phase of design as another creative activity where the process is still at stake, thus moving away from the idea of using the 3D printer as a “black box”. We interrupt the process of 3D printing to create a hybrid in between fabric and 3D printed objects. We wanted to push the limits of what the technology available to us could do, to find out where our practices met and what lay in the crossover. This led to a first round of tests in which we mainly used synthetic fabrics and 3D printers. Further experiments from which we developed a method that successfully amalgamated 3D printed material with natural fibre fabric. For us, 3D prints connected by woven fibres represent the links between practitioners across the world that contribute to the maker community. Moreover, the flexible bonds stretch to showcase the interdisciplinary nature of digital fabrication and 3D printing. The ongoing research and our method for combining digital objects and fabrics opens the door for further innovation and development, by using it, any printable file is susceptible of becoming a wearable item. Furthermore, the dimensional constraints...
Aaron Moore

Aaron Moore

Weave Side Table Aaron Moore, Independent Designer-Maker Conference activity: Pop Up Exhibition, Trelissick House Keywords: digital craft, furniture, open design. One of my areas of interest is the democratisation of design and manufacturing. My aim is to design objects and processes that enable small scale manufacturing to take place at a local level in order to reduce the carbon footprint of product distribution and empower and enable communities to become more self sufficient. I use a low cost self-made 3-axis CNC router, combined with open source software to make wooden components for furniture and household goods. A three axis machine however, is really only capable of producing 2 dimensional objects from flat sheets of material which have to ‘jigsaw’ together to become 3 dimensional. Like an origamist turning a flat sheet of paper into a representation of a 3 dimensional object, a great deal of skill is used but the paper is always present. As a consequence I have been exploring how the addition of a fourth rotary axis can change the aesthetic. In terms of technical complexity, adding a rotary axis to a 3 axis machine is relatively simple, and therefore still accessible to digital craft workers. It allows the machine to be used more like a lathe to shape all sides of the work-piece. The table exhibited is the result of an exploration of the capabilities afforded by the new axis and an interest in self-supporting structures i.e. those that are held together with no fixings other than the tension and compression forces within the structure itself. The interlocking components require very few manufacturing processes and only...
Jason Cleverly

Jason Cleverly

The Enlightened Eye Jason Cleverly Affiliation: Autonomatic, Falmouth University Key words: Innovation, Making, Materials Conference Activity: Exhibit in the Exchange Building Project summary: This research is concerned with a growing interest amongst artists, curators and designers, in devising new multimedia assemblies to enhance engagement with museum collections. These initiatives reveal a commitment to creating new opportunities for visitor participation and learning, and for artists and designers to generate and address interpretation in distinctive and novel formats. The Enlightened Eye is a museum interactive designed to enhance visitor experience of mineral specimens. The Enlightened Eye supports a system of planetary gears allowing mineral samples to be examined sequentially by a digital microscope. Using a touch screen and a specially designed interface, visitors can annotate and select close up views to make unique responses that can be shared online. The seeming archaic technology and the kinetic machine styling is an evocation of the camera obscura and the orrery. The manual controls are positioned to encourage visitors to cooperate, engender collaboration and enhance participation. These considerations conform to a programme of aesthetic design and affordance, aimed to support memorable interactions and meaning making. Additionally by inviting virtual and material inspection and response, the Enlightened Eye aims to enhance the objects under scrutiny. CIOLFI, L. 2012. ‘Particpation and the creation of shared heritage’. In Elisa Giaccardi (ed.). Heritage and Social Media : Understanding Heritage in a Participatory Culture. (1st edn). New York, NY: Routledge, 69. HEATH, C. et al. 2002. ‘Crafting participation: designing ecologies, configuring experience’. Visual Communication., 1(1), 9-33. HOOPER-GREENHILL, Eilean. 1994. Museums and their Visitors. London: Routledge. One question that arises...
Katharina Vones

Katharina Vones

Technological Microcosms – Considering Materiality, Aesthetic Coherence and Collaborative Practice in the Creation of Wearable Futures Katharina Vones  Affiliation: Duncan of Jordanstone College of Art and Design, University of Dundee Conference Activity: Presentation Thurs 10th July, Workshop Fri 11th July, Pop Up Exhibition, Trelissick House Keywords: Smart Materials, Wearable Futures, Collaborative Practice Project summary: With the increased availability of digital tools to the contemporary craft practitioner providing an almost limitless potential for creation, the questions posed regarding the development of a coherent aesthetic language that combines both the handmade and the digitally crafted, have become progressively more pressing in the applied arts. To use these elements in such a way that they can be merged into an aesthetically articulate object combined with traditional craftsmanship is a challenge my research investigates. Visual and functional considerations are addressed together, thus developing material and technological solutions that constitute a cohesive part of the jewellery object. Exploring a holistic approach whereby material experimentation and digital production processes are used to facilitate the development of aesthetically integrated and humanised wearable technologies that supersede ideas of mere gadgetry is a focus of my practice. Through examining the notion that human biology is a part of material culture, my presentation investigates how recent developments in material science and wearable technologies can be viewed as contiguous rather than oppositional to the organic processes of the human body, bridging the gap between the craft practitioner and scientific discovery. The increasing availability of stimulus-reactive smart materials, in addition to the progressive miniaturisation of electromechanical components, has enabled the development of jewellery objects that are responsive to their environment, yet depend...
Dries Verbruggen

Dries Verbruggen

The digital craftsman and his tools Dries Verbruggen Affiliation: Unfold design studio, LUCA School of Arts, Design Academy Eindhoven Keywords: 3D Printing, Ceramics, Design, Tools, Open Source, Craft, Industry. Conference activity: Presentation Thurs 10th July, Workshop Fri 11th July and Exhibit Project summary: From knife to hammer to 3d printer, the influence of tools on a design is not to be underestimated. In his essay “Tools,” originally published in 2000 in a book covering the work of LettError, Jan Middendorp argues for the importance of creating your own tools. He refers to the fact that a craftsman, the predecessor of the designer, was never completely satisfied with the tools that were sold in shops. Yet for a long time the instruments of production have been closed systems, discouraging appropriation. This is now changing. Following the personal computer and a range of digital advances, the advent of the personal digital fabricator has lowered the barrier into production and provoked a revival of the idea of “making your own things.” Unfold started to ‘customize’ their 3D printer into a clay printer. The open source hardware allows them – similar to traditional craftsmen – to create their own tools. By doing so they break away from a predetermined way of designing, dictated by the existing digital tools. As such, they can thoroughly intervene in the production process, and therefore also in the eventual design. Unfold’s 3d printer for ceramics not only harnesses the potential of new technology and materials but also projects the past history of specific techniques into the future. The printer has a great resonance with the way traditional potters...
Matthew Tyas

Matthew Tyas

Designing 21st Century Standard Ware: The Cultural Heritage of Leach and the Creative and Economic Benefits of Digital Technologies Matthew Tyas Affiliation: Falmouth University: Autonomatic and Leach Pottery, St Ives Keywords: Digital craft/making, Creative Practice, Studio Pottery Conference Activity: Presentation Fri 11th July, Pop Up Exhibition, Trelissick House Project Summary: The Leach Pottery, established in 1920, is a stronghold of the UK Studio Pottery movement and synonymous with Bernard Leach’s unique and progressive assimilation of Eastern and Western pottery aesthetics and methods. This assimilation was expressed through his practice and writings, and further propagated through Leach Standard Ware: the Pottery’s domestic tableware that was produced over the period of about 40 years until 1979. In 2008, the Leach Pottery reopened as a museum and educational resource, and resumed the production of domestic pots in a new studio. This presentation explores opportunities presented by digital tools in the context of the Leach Pottery. Leach’s writing reveals a positive attitude to the relationship between technology and making: ‘The next step is to get rid of the idea of the machine as an enemy. The machine is an extension of the tool; the tool of the hand; the hand of the brain; and it is only the unfaithful use of machinery which we can attack’ (Leach 1928). The idea of using digital tools in a Leach Pottery context has been a difficult prospect for some potters, whose perception of ‘digital’ was associated with a lack of humanity, authenticity, and creativity. The project has challenged these perceptions and raises questions on a philosophical level with regard to setting new standards for contemporary studio...
Flemming Tvede Hansen, Martin Tamke

Flemming Tvede Hansen, Martin Tamke

Interfacing design and making of Ceramics,  Expansion of ceramics practice through technology Flemming Tvede Hansen, Ceramicist and Research Assistant Professor, The Royal Danish Academy of Fine Arts – The School of Design. Martin Tamke, Architect and Associate Professor at CITA, Henrik Leander Evers, Research Assistant at CITA; The Royal Danish Academy of Fine Arts – The School of Architecture. Conference activity: Presentation Fri 11th July, Pop Up Exhibition Trelissick House Keywords: Ceramics, 3D digital interactive system, 3d printing. Project summary: This research investigates the relationship between crafting materiality and digital representation, and how experiential knowledge of crafts rooted in ceramics can be transformed and utilised in the use of digital technologies. Digital technology as 3D printing with ceramic allows a bridge from the digital design environment to fabrication. At the same time novel digital means can create new interfaces between the human, space and the material. Here advances in 3d motion capture technology and sensors allow capturing spatial hand gestures and body movement in real-time. Where technology often seems to take us away from material this approach enables the designer’s body to be once again involved in the making. This approach builds on McCullough’s (1998) idea about a close connection between digital work and a craft practice where tacit knowledge is involved (Dormer 1994). In this project a design experiment is used as a method of inquiry within reflective practice involving reflection on and through action (Schön 1993). The experiment in question investigates the idea of an interactive digital design tool for designing wall like composition with 3d ceramics and is working on two levels. One which has to...
Jeffrey Sarmiento, Erin Dickson

Jeffrey Sarmiento, Erin Dickson

Emotional Leak: Collaboration in Glass and Monumental 3D Printing Dr Jeffrey Sarmiento and Erin Dickson Affiliation: National Glass Centre at the University of Sunderland Keywords: waterjet, 3d printing, architectural phenomenology Project summary: “As practitioners we combine our knowledge of glass, print, architecture and digital fabrication. We share a common interest in the potential for extracting new meanings from historical objects, the phenomenology of architectural spaces and social contexts. We contribute to each other’s individual practice by finding new conceptual and physical solutions to site and material. Our approach is experimental, combining the craft of glassmaking with new technologies in 3d visualisation and fabrication. This has resulted in a number of proposals for site-specific artworks and commission. We will focus on a monumental scale glass sculpture, Emotional Leak, which utilises a waterjet cutter as a 3D printer in a sculptural response to the quirk in an architectural site. In this work, Dickson’s expertise in architecture, digital modelling and machining is combined with Sarmiento’s skills in glassmaking, particularly in printing, kilnforming, and construction. Together our work deepens the relationship between the digital and physical, pushing the physical boundaries of studio glass and digital technologies and providing new viewer experiences. Through combination of craft skills and technology we expand our ability to pack objects with information by encapsulating the image within the glass object and using aspects of data capture. These result in new ways to read the printed image as well as to visualise architectural phenomenology”. This paper will consider the impact of an approach to printing with glass that relies both on digital and craft skills. It describe how collaborative...
Justin Novak

Justin Novak

DARWIN / The Designer Toy Platform as a Means of Academic Inquiry Justin Novak Affiliation: Centre for Applied Art and Material Production (CAAMP) Emily Carr University of Art & Design, Vancouver, Canada Keywords: Designer Toys, Ceramics, Illustration. Conference activity: Presentation Thurs 10th July, Pop Up ExhibitionTrelissick House. Collaborating Artists: Atafeh Baradaran, Amelia Butcher, Nomi Chi, Hyun Chung, M.J. Hur, Ainsley Jasper, Justin Novak, Philip Robbins, Michael Salter, Patrick Wong Project summary: Collaboratively designed by students and the faculty of Illustration program at Emily Carr University, the Darwin project employs industrial ceramic processes but adopts the aesthetics and collaborative dynamics of the explosive “Urban Vinyl” subculture. As a generic figurative form that lacks detail and invites transformation through surface design, Darwin appropriates the strategy of the designer toy “platform”, popularised by Toy2R’s Qee and KidRobot’s Dunny. The project involves glazed ceramic “blanks” that are produced as identical multiples that are then offered to collaborators, each of whom provide a unique surface pattern to create a customised version of the product. Like his namesake, Darwin is all about adaptation, and offers an ideal opportunity for collaborative experimentation. Regardless of the creator’s experience with ceramic media, any digitised image can be applied and kiln-fired onto the form with specialised ceramic decals. Unlike the vinyl toys that inspired them, the Darwin figures are conceived and presented primarily as a form of academic inquiry – an invitation to investigate our adaptive and/or conditional nature. The Darwin project aims to investigate how the collective and potentially disparate concerns of a community might be manifested symbolically or allegorically. This research project explores the ability of a collection...
Joanne McCallum

Joanne McCallum

(re)crafting basketry: exploring the relationship between traditional techniques and digital design Joanne McCallum, Independent Maker Keywords: Basketry, craft, digital design Conference activity: Presentation Thurs 10th July, Pop Up Exhibition Trelissick House Project Summary: I see patterns when I understand things. I see the world as visual patterns of connectivity. I think pattern recognition is a fundamental part of the creative mind… I see everything as patterns. – Richard Saul Wurman (Architect and Information Architect) I am currently applying to undertake a practice-led PhD exploring the role of Japanese bamboo basketry as an informative miniature for digital design, manifesting nature and the value of hand-hewn craft. As a precursor to this work I am considering the pattern relationships between traditional basketry and digital design. At present, I am examining and documenting a basket from the British Museum collection in order to create a hybrid-craft prototype, via 3d modelling software and digital printing technology. I will present this project at All Makers Now under the theme Enhancing the Object, in order to: highlight interdisciplinary collaborative practices that have enabled successful outcomes; and develop a digitally enhanced object in the context of a museum. Late last year I visited the Te Papa Museum, Wellington, New Zealand where I researched and documented pieces from their basketry collection. Staff at Te Papa are engaged in a major project focussed on digitising their collection using 3D scanning equipment. Seeing this process led me to consider a simple work of my own, based on using artefacts to inform digital design. In completing my prototype I am also reviewing Amit Zoran’s Hybrid Basketry project (MIT Media Lab)...
Gayle Matthias

Gayle Matthias

Anatomical Deconstruction series (cast glass and ceramic readymade) Gayle Matthias, gayle.matthias@falmouth.ac.uk Affiliation: Autonomatic, Falmouth University Keywords: Rapid Prototyping, glass casting, aesthetics. Conference activity: Pop Up Exhibition, Trelissick House Project summary: Should craft practitioners still predominantly make ‘beautiful physical objects through the skilled use of tools’1. Jorunn Veiteberg discusses in her book, Craft in Transition that in the world of fine art the notion of beauty has become a taboo subject, translated as an empty aesthetic, commercial, feminine and inconstant. For these reasons, it has become undervalued in this arena, and is being questioned by an increasing number of glass practitioners (myself included). The recent formation of the Seccessionist glass movement is making some inroads in this debate. Rather than ‘beautiful’, my desire is to make awkward objects with flaws and disparities that highlight a willful amateurism. The inherent qualities of broken glass being both fragile and dangerous, as opposed to shiny and translucent, form part of my visual vocabulary. My conventional artistic practice is deliberately low tech in construction, responding to broken ceramic found objects in the form of sanitary ware. Assembling cast and sheet glass to extend and redefine the ceramics to reference anatomical structures to create precarious and tactile compositions. I also collaborate with Tavs Jorgensen, Research Fellow at Falmouth University, in the investigation of Rapid Tooling (RT) 3D printed mould making for glass casting, alongside the digitization of ceramic edges using a 3D scanner. My intention is to connect ceramic objects in new configurations using cast glass as a conduit. By repositioning ceramic fragments on a grid base, the edges can be orientated using a digitizing...
Lynne MacLachlan-Eastwood

Lynne MacLachlan-Eastwood

The Creative Craft of Generative Design: New Tools, Same Rules Lynne MacLachlan-Eastwood Affiliation: Design Department, Open University Conference activity: Presentation Fri 11th July,  Pop Up Exhibition, Trelissick House Project summary: The co-evolution of new forms with specified tools characterises craft-led design. Algorithmic design systems are the latest ‘tools’ available to designers and makers. Why are these systems of relevance? Can such software be used by designer-makers to produce creative, that is, ‘new, surprising and valuable’ [1] artefacts? How do these creative opportunities arise through the use of these systems? This project seeks to answer these questions by drawing together literature from the fields of creativity, craft and generative design. Alongside this, examples have been drawn from the author’s own designer maker practice, which employs both physical and digital tools, and interviews with other designer-makers. References: Boden, M.A. (2004) The Creative Mind: Myths and Mechanisms 2nd ed., London: Routledge Dormer, P. (1994) The Art of the Maker: Skill and Its Meaning in Art, Craft and Design, London: Thames & Hudson Ltd Stiny, G. (2006) Shape: Talking About Seeing and Doing, Cambridge MA: MIT Press A question that arises from your project: Can makers benefit creatively from an explicit, rule based, rationalisation of their tools and processes? Full paper Maclachlan. L., (2014). The Creative Craft of Generative Design: New tools, same rules. In K. Bunnell & J. Marshall (Eds.), All Makers Now: Craft Values in 21st Century Production, International Conference Proceedings, Autonomatic Research Group, Falmouth University, 10/11 July 2014 (pp. 91 – 96). Falmouth University, ISBN 978-0-9544187-9-3...
Philip Luscombe, James Thomas

Philip Luscombe, James Thomas

Connoisseurship in Digital Engraving: The Petra Sancta Script Philip Luscombe, James Thomas Affiliation: Northumbria University Keywords: Engraving; Software development; Craftsmanship Conference activity: Presentation Thurs 10th July, Demonstration Fri 11th July, Pop Up Exhibition, Trelissick House Project summary: In the context of increasing access to digitally controlled engraving machines (both laser and rotary cutting machines), we consider how the body of knowledge developed throughout the long history of engraving can be supported in vector graphics software. The Petra Sancta system for translating the colours of heraldry into specific hatching patterns was developed in the 1630s and is still observed in heraldic engraving today. It offers a collection of 9 patterns, developed to provide an attractive and legible contrast with one another (Brittain et al., 1958, p.32). We present a piece of software developed by the authors, the Petra Sancta Adobe Illustrator plug-in, which can be used to generate these hatching patterns and output vector format files that are widely compatible with digitally controlled engraving hardware. The Petra Sancta plug-in is an effort to support the shared principles and rules of a traditional craft in digital software. Drawing on the work of anthropologist François Sigaut, who observes that ‘the entire history of technics might be interpreted as a constantly renewed attempt to build skills into machines by means of algorithms, an attempt constantly failed because other skills always tend to develop around the new machines’ (Sigaut, 1994, p.446), we see no need to lament the loss of hand skill associated with new digital engraving techniques. Trades such as engraving have always used novel tools and techniques to improve the precision and...
Jonathan Keep

Jonathan Keep

Make Your Own Digital Tool – Hard & Soft Jonathan Keep, Independent Artist Keywords: Ceramic, 3D Printing, Code Conference activity: Demonstration Fri 11th July, Pop Up Exhibition Trelissick House Project summary: There is a long tradition of people who ‘make’, also making their own tools. While making has moved into the digital age, with all the advantages and new ways of working on offer, ultimately we must not forget that that it is just the continuum of a long established tradition: materials, process and the human desire to express ourselves through what we make remains. Being fascinated by how computer code can be used to mimic natural codes, patterns and processes I have developed a working process whereby the shapes of my pots are written and generated in computer code. This digital information is then printed directly in clay with a studio based DIY 3D printer. Credit goes to Belgium design duo UNFOLD who first refined the ceramic extrusion 3D printing technique. I have picked up on that development and because of the lack of a readily available 3D printer to convert to printing with clay I have designed and documented a self-build ceramic 3D printer of my own. This is the hard tool, that by sharing on the Internet, it is hoped the open source community will continue to develop further. It is important to emphasise that the tool building was not driven by an interest in the technology but by what the technology could offer creatively – the tools are a means to an end and not the end in themselves. The soft tools are best thought of...
Richard Hooper

Richard Hooper

Seeing Through Contemporary Craft: The Application of CNC Milling to Cast Acrylic form. Richard Hooper, Associate Professor Affiliation: Liverpool Hope University Conference activity: Pop Exhibition Trelissick House Keywords: CAD/CAM, CNC, Cast Acrylic Project Summary: The advent of computer aided manufacture methodologies has provided makers with additional tools sets with which to fashion objects. From early pioneer work by digital sculptors such as Duca (1965), Csuri (1968) and Fujihata (1968) to the quotidian use of such technologies in flexible specialist contexts (Piore and Sable, 1984) such as automotive, aerospace, general engineering and architecture . Whilst CAD/CAM was initially highly specialised, advances in solid modelling and more recently web based software along with price reductions in hardware and new Additive Layer Manufacture (ALM) technologies (since 1985) have led to an exponential increase in the use of such technologies amongst creative practitioners. Recent exhibitions featuring such work have proliferated. Along with the formal possibilities such technologies afford at levels of precision hitherto hard to achieve in an economically viable timeframe, less common materials such as cast acrylic have become materials now readily accessible to the digital craftsperson. This submission proposes to report on the work of the author who has exploited this capability using CNC milling methodologies. References: Piore M & Sabel C, (1984) The Second Industrial Divide: Possibilities for Prosperity, Basic Books. One question that arises from your project: In the field of Drama and Performance a central concern is the notion of ‘liveness’; to what extent is this analogous to the role of the hand in...
Stephen Bottomley, Jennifer Gray, Geoffrey Mann

Stephen Bottomley, Jennifer Gray, Geoffrey Mann

Beneath the Surface / eca: Digital-craft borderlands in education Stephen Bottomley, Jennifer Gray, Geoffrey Mann Affiliation: Edinburgh College of Art / University of Edinburgh Key Words: Integration, (Im)-materiality, Practice-led teaching Conference activity: Presentation Thurs 10th July,  Pop Up Exhibition Trelissick House Project Summary: This presentation explores the current craft practices and ethos of academic craft makers within the Design school at Edinburgh College of Art / The University of Edinburgh. Edinburgh College of Art (eca) has had a strong virtuous tradition of studio-based practice dating back to the 18th Century and now with an increasing community of digitally versed makers, practices go beneath a material surface to investigate shared themes of production, narrative, and memory raising the following questions: How are digital methodologies being introduced to traditional studio based craft programs like Glass, Jewellery and Silversmithing by subject practitioners (Mann, Bottomley and Gray) and applied by their new emerging makers? Have values of craftsmanship altered when operating in the territory between craft culture and digital making? To explore these questions the philosophical approaches of Bottomley, Gray and Mann to research and practice, will be examined in relation to the academic curricula they shape through projects and post-graduate research at eca (e.g Bo-Wen Chan 2011). Examples will include: ‘LTD Edition’ an undergraduate project, now in its sixth consecutive year (2009-14), for the digital design and manufacture of small batch production runs of jewellery utilising industry level rapid prototyping manufacture and casting and most recently sintering technologies. ‘Otherwise Unobtainable’ an undergraduate project that introduces digital fabrication as an integrated tool within studio glass. The project was designed as a response to the...
Mhairi Maxwell, Jennifer Gray

Mhairi Maxwell, Jennifer Gray

Design-Archaeology: Bringing a Pictish inspired drinking horn fitting to life Mhairi Maxwell and Jennifer Gray Affiliation: Glasgow School of Art and Edinburgh College of Art Conference Activity: Presentation Thurs 10th July Keywords: Authenticity, Recreation, Design-Archaeology Project Summary: The Glenmorangie Early Medieval Research Project recreated objects from the period c.300-900AD in collaboration with artists, designers and makers. Contemporary skills and traditional craft were used, informed directly from the archaeological evidence. This process of recreation has allowed us to experience these ancient objects as new, giving us insights into how they were made, experienced and used. This paper will present the collaborative processes involved in the latest recreation of a silver terminal fitting for a large drinking horn with Researchers and Curators Mhairi Maxwell and Martin Goldberg, and Designer and Maker Jennifer Gray. Digital design and modelling processes were blended with traditional hand making techniques to recreate the silver zoomorphic fitting. The final piece was displayed as a ‘work in progress’ (illustrating its conception from 3D modelling and printing through to the final silver cast object) in the National Museum of Scotland’s Creative Spirit exhibition. Our design-archaeology approach towards material culture allows for a new way to re-evaluate Early Medieval insular art. Jennifer Gray’s work connects the innovative and traditional methods of recreation used by the Glenmorangie Research Project; there has always been a tension between authentic craft techniques available to the Early Medieval people and new technologies available to us today. In this paper we will negotiate questions of authenticity, transparency and creativity that were raised by our particular collaborative approach to recreation. The process of designing and making has...
Rachel Clarke, Paul Dunphy

Rachel Clarke, Paul Dunphy

Photo-parshiya: Crafting and sharing cultural heritage in an international women’s centre Rachel Clarke & Paul Dunphy Affiliation: Digital Interaction at Culture Lab, Newcastle University Keywords: Presentation, Exhibit, photo-sharing Conference activity: Presentation Thurs 10th July, Pop Up Exhibition Trelissick House Project Summary: Parshiya is an ancient word that means to participate in a group, family, community, or collective. The photo-parshiya is an enhanced object, a digital photo-album designed to support the sharing of cultural heritage, designed with staff and learners at the Angelou Centre, an international women’s centre in the North East of England. The photo-parshiya can be held like a book and is portable or can be docked as a double touch screen tablet display on a bespoke crafted wooden base. The artefact has been developed through interdisciplinary collaborative practice involving an artist ethnographer, interaction designer, programmer, engineer and furniture designers in response to long-term digital creative media and DIY craft workshops with learners and staff. Women who come to the Centre have made individually designed necklaces enabling reflection and discussion on aspects of identity and cultural heritage. The necklaces are networked with the tablet displays to create personalized photo-collections and have been used to accompany workshops exploring cultural heritage, transnational migration and trade. In using the photo-parshiya in workshops, many women have described how this has supported greater feelings of pride, confidence and curiosity in working with digital technology to curate and share photographs of fulfilling life experiences and achievements. This has further enabled the building of new relationships with friends while supporting existing intergenerational family negotiations around technology use in the home. The process of making and using the artefact...
Angharad Thomas

Angharad Thomas

The Glove Project Dr Angharad Thomas Affiliation: The Knitting and Crochet Guild, UK Keywords: Making, designing, skill Conference activity: Presentation Thurs 10th July, Workshop Fri 11th July, Pop Up Exhibition Trelissick House Project summary: The Glove Project includes design, making, blogging and historical research, resulting in the production of about 20 pairs of hand knitted gloves, alongside sketchbooks, interviews and conference papers. The gloves are made by hand, but the project relies on electronic and digital technologies, some examples being: Sourcing patterns, materials and historic examples on line Sourcing information and advice has been facilitated through Ravelry, the wiki for knitters and crocheters The knittingloves blog, documents progress and connects to other knitters. The design philosophy underpinning this project draws its inspiration from makers and design thinkers, primarily Eva Zeisel, with her roots in production ceramics and Anni Albers whose Modernist stance informed her woven textiles. David Pye’s conceptualisations of workmanship, as those of certainty and risk are also relevant. Knitting has been at the forefront of the making movement, said to be a response to the 9/11 attacks in New York in 2001, as the ultimate comfort activity. This has been largely led by self taught knitters who use web tools, such as Ravelry and YouTube to learn, teach and refine new techniques and increase skill levels. The use of these tools has enabled them to establish themselves as significant figures in the knitting landscape with little or no formal design education. Much information on the making process is shared through blogs, Ravelry and Twitter. In response to the growth of knitting and other crafts, small producers of all...
Michael Shorter, Jon Rogers, Dr John McGhee, Erika Shorter

Michael Shorter, Jon Rogers, Dr John McGhee, Erika Shorter

A Craft Technologist’s Approach Towards Printed Electronics Michael Shorter, Professor Jon Rogers, Dr John McGhee, Erika Shorter. Affiliation: Eclectric Research Studio, University of Dundee, 3D Visualisation Aesthetics Lab, University of New South Wales Keywords: Craft, Technology, Reflection. Conference activity: Presentation/exhibit Project Summary: This paper opens a conversation around what printed electronics are and how a craft technologist would use craft process values such as reflection and an understanding of materiality while navigating this emerging technology. The outcome of exploring printed electronics through a craft technologist’s lens is paper circuitry: an affordable and accessible take on printed electronics that is informed by craft process. Justin Marshall explores the role of technology as a craft tool in Craft and Technology from a Pragmatic Perspective [2]. While technology typically influences craft, this paper will invert the ratio. How can craft processes help to develop printed electronics technology, and by extension other emerging technologies?  References: Coelho, M., Hall, L., Berzowska, J., Maes, P. (2009), Pulp-based computing: a framework for building computers out of paper, in: Proceedings of the 27th International Conference Extended Abstracts on Human Factors in Computing Systems. ACM, Boston, MA, USA, pp. 3527–3528. Marshall, J. (2002), Craft and Technology from a Pragmatic Perspective. Presented at Craft in the 21st Century, Edinburgh. (www.autonomatic.org.uk/archive/team/jm/JMcraft-techpaper.pdf) Schön, D.A. (2003), The reflective practitioner : how professionals think in action. Ashgate, Aldershot. A question that arises from your project: How can a Craft Technologist democratise emerging technology? Full paper: Shorter, M., Rogers, J., McGhee, J., & Shorter, E. (2014), A Craft Technologist’s Approach Towards Printed Electronics. In K. Bunnell & J. Marshall (Eds.), All Makers Now: Craft Values...
Isabelle Risner

Isabelle Risner

Understanding the digital proposition: from productive autonomy to collaborative practice. Dr. Isabelle Risner Affiliation: Autonomatic, Falmouth University Keywords: Collaboration, skill, digital craft practice. Conference Activity: Presentation Fri 11th July, Pop Up Exhibition Trelissick House Project Summary: This paper draws on research undertaken for the author’s PhD, awarded in May 2013 and titled: The Integration of Digital Technologies into Designer-Maker Practice: a Study of Access, Attitudes and Implications. This research found that a cross-fertilisation between craft and digital technologies produces a hybrid networked practice that can amount to a new type of technology-enabled and networked craft – Technepractice – in which ‘negotiated collective engagement’ is the driving characteristic. This presents a fundamental challenge to the constructed authenticity of productive autonomy in 20th century studio craft practice. The animation of collective resources, from exteriorised skill embedded in technology to the expertise of technicians and machine operators and the use of digital data sources, requires a re-evaluation of the location and meaning of skill in digital craft practice. This paper explores the digital practice potential identified through research with makers and suggests a framework for locating craft skill in collaborative practice. The research is underpinned by an understanding of ‘collaborative value chains’ a concept demonstrated by reference to current research undertaken for the Supercrafted project*. Supercrafted is a two year research project at Falmouth University, exploring and developing online digital interaction of benefit to craft practitioners and stakeholders in the craft value chain, including audiences, customers, makers and suppliers. This research seeks to demonstrate the potential for internet-based collaborative value to be harnessed by makers for marketing and communicating with customers, as...
Tavs Jorgensen

Tavs Jorgensen

‘Orbit’ series of glass Bowls Tavs Jorgensen, tavs.jorgensen@falmouth.ac.uk Affiliation: Falmouth University Keywords: Tool Making, Reconfigurable Pin Tooling, Glass Slumping. Conference activity: Pop Up Exhibition, Trelissick House Project Summary: This conference contribution is an exhibition of a series of glass bowls. These bowls are part of the output from the author’s investigation into a flexible tooling concept known as Reconfigurable Pin Tooling (RPT) and the ‘Orbit’ series is the result from a new phase in the author’s creative exploration of RPT. Pervious investigations have explored ‘free-form’ aesthetics in the glass pieces produced via this tooling concept. This new cycle of investigation is intended to provide evidence for the versatility of the RPT concept by the creation of pieces with a contrasting aesthetic based on more formal geometries. The author’s interest in the RPT concept has resulted in the development of several bespoke systems for various application and materials. The particular RPT system used for creating glass bowls is circular in shape and through the Orbit series the author seeks to explore this underlying geometry as an integral part of the aesthetics of the pieces. The bowls are created by using a ‘free fall slumping’ technique (Cummings, 2001) with the pieces being produced by heating glass disks and letting gravity force the glass through a series of apertures which have been created by positioning pins in concentric circles in a RPT device. The Bowls have been designed to balance at an angle to further highlight the evidence of the circular orbits of pins. The wider context for this research concerns notions of tool making and technology driven innovation. More specifically it...
Lucie Hernandez, Edwin Love

Lucie Hernandez, Edwin Love

Crafting Data Stories Lucie Hernandez & Edwin Love Affiliation: University of West London Keywords: Craft, Tangible, Data Conference activity: Workshop/Demonstration Fri 11th July Project summary: This demonstration will deconstruct a recent piece of research exploring the possibility of making connections between physical, crafted artefacts and graphical data visualisations that are structured around digital information. The work investigates the design of tangible objects as a representation of data, a rendering in physical form. In order to establish whether technological forms may also be crafted. It questions whether the ‘crafting’ implied in the work occurred during the creation of the physical artifact. The tangible nature of the representation relates our experience of mediated communication to a crafted object. The notion of craft practice has expanded to include growing experimentation across media to create hybrid constructions. Craft techniques are now integrating with electronic & digital knowledge, tools and processes to suggest new directions and possibilities. Graphic and tangible pieces may be the product of more than one individual, the result of several skilled people that use their distributed skills to connect otherwise disparate ideas and skills. The work being explored is informed by digital and handmade making practices, emerging hybrid forms and computationally mediated worlds. References: Goldsteijn, C. Van De Hoven, E. Frohlich, D, Sellen, A., 2013. Hybrid Crafting: Towards an Integrated Practice of Crafting with Physical and Digital Components. Personal & Ubiquitous Computing, Springer McCandless, D., 2012. Information is Beautiful. Collins McCullough, M., 1996. Abstracting Craft. MIT Press A question that arises from your project: Can data be crafted in tangible forms to reveal stories or patterns and suggest a multi-sensory dimension? Full...
Fiona Hackney, Mary Loveday Edwards and Hannah Maughan

Fiona Hackney, Mary Loveday Edwards and Hannah Maughan

Community Making & Making Communities: crafting non/digital interactions Fiona Hackney, Mary Loveday Edwards and Hannah Maughan  Affiliation: Falmouth University Keywords: co-design, community, stitch Conference activity: Presentation Fri 11th July, Pop Up Exhibition Trelissick House Project Summary: Millions engage in creative handicrafts, activities that are undertaken voluntarily for pleasure and involve high levels of competence and creativity, representing an important area of community assets that is often devalued or dismissed (Hackney, 2013a). This paper draws on research from the AHRC-funded project Co-creating CARE (Community Asset-based Research and Enterprise) which explores how crafts knowledge might be applied through processes of co-design (engaging all stakeholders), co-creation (collaborative work) and co-discovery (by formal and informal researchers).The project works with community groups and partners in Cornwall, Birmingham and Dublin and uses participatory action research methods in digital fabrication, virtual communication, and face-to-face activities and workshops. CARE initially aimed to explore how craft might work as a bridging activity, bringing disparate groups together to enhance social capital, and a series of short films explored intergenerational skill sharing through creative making (Hackney 2013b). These demonstrated how film can communicate crafts in community settings; the activity also revealed the power relationships embedded in creative exchange, as tensions emerged around, for instance, digital making, suggesting important questions about the future of traditional skills and how these might be productively combined with new technologies (Maughan 2014). To find out more about collective sharing through making research took what we term a ‘material consequences’ approach, embracing playfulness and risk. Participating groups were asked to collaboratively devise ways to capture and reflect on the ‘small stories’ of collaborative interaction through making. The...
Pascal Glissmann, Martina Höfflin

Pascal Glissmann, Martina Höfflin

Electronic life forms Pascal Glissmann, Martina Höfflin Affiliation: Academy of Media Arts Cologne, Parsons The New School for Design Keywords: Electronics, Handcraft, Artificial Life  Conference activity: Pop Up Exhibition Trelissick House Project summary: Electronic-life-forms inhabit the intersection of technology, art & science to explore the shifting transition from smart objects to autonomous subjects through digital and electronic craft. Democratised technology and global accessibility redefine 21st century artistic production. New technologies in combination with the storytelling of artificial life motivated this investigation of the characteristics of life and the way we perceive them. The narratives of Prometheus, Golem and Frankenstein have captivated human beings, and a fascination for high tech robotics, and earlier representations like the Automata of the 18th Century, is ongoing. The Electronic-life-forms project assimilates these ideas combining modern digital production processes with aspects of traditional handcraft into a series of site-specific installations. The work uses a range of materials: solar cells, simple electronic circuits, crafted wires and components, and digitally manufactured circuit boards. Installations are developed through a creative investigative process of material and production entrepreneurship: high-tech digital techniques that demand long term preparations and iterative cycles of prototyping are complemented with remarkable slow and strenuous periods of handcraft. These repetitive, almost lethargic, production phases mirror the core question of the project: what defines a living system and how osmotic is the thin membrane between nature and the artificial today? A question that arises from your project: What defines a living system and how osmotic is the thin membrane between nature and the artificial today?  ...