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This diagram shows how jewelers approach working in the field in terms of how they relate to the material. The approaches chosen will 'filter' the results available, that is that what kind of work you do is partly a reflection of the way you approach working with the material. Traditionally much jewelry has been 'cut and bend'. This diagram allows you to examine how you approach working with metal and then perhaps gives you clues about where you might want to experiment so as to push yourself.... (2003) Complete Story
One requires a taper on the end of the wire to grip it with when placed through a drawplate for drawing. One may obtain this taper in several ways.... (1999) Complete Story
Many craftspeople have posture and body position problems. Ramazzini, the founder of occupational medicine and author of a groundbreaking book on diseases of workers published in 1713 writes rather cruelly (and the man was a great humanitarian in his time) about the effects of working posture and position in regard to cobblers and tailors.... (2000) Complete Story
A perfect crystal is bounded by plane faces which meet at angles specific for each kind of material (angle analysis can identify minerals). A crystal may be cleaved in directions related to the external form or to a possible crystal form for the mineral. Sometimes two distinct minerals can have the same chemical composition with their differing properties being due to their different crystal structure. Crystal structure affects mineral properties.... (1997) Complete Story
The Art versus Craft issue is a complex question and one that has bedeviled creators a great deal in the last fifty years or so. I once heard a gallery owner say that the difference between an art object and a craft object is $3000. The American Craft Council's director Carmine Branagan says that the discussion is unimportant, that the craft/art debate is one of craftspeople talking to themselves, about issues that do not matter at all to the general public - they do not care about this particular debate. She holds that if we are educating the culture as makers then the real issue is getting the work and what it means out and before the public, especially through galleries, museums and publications, the validators in society....
(2004) Complete Story