a. define handicrafts;
b. interpret the basic methods used in handicrafts
c. know the different tools used in handicrafts.
HANDICRAFTS
Handicraft, more precisely expressed as artisanic handicraft, sometimes also called artisanry, is a type of work where useful and decorative devices are made completely by hand or by using only simple tools. It is a traditional main sector of craft. Usually the term is applied to traditional means of making goods. The individual artisanship of the items is a paramount criterion, such items often have cultural and/or religious significance. Items made by mass production or machines are not handicraft goods.
Usually, what distinguishes the term handicraft from the frequently used category arts and crafts is a matter of intent: handicraft items are intended to be used, worn, etc., having a purpose beyond simple decoration. Handicraft goods are generally considered more traditional work, in traditional non-industrial and transitional societies created as a somewhat more necessary part of daily life (in comparison to industrial societies), while arts and crafts implies more of a hobby pursuit and a demonstration/perfection of a creative technique. In Britain in the late nineteenth century, however, the Arts and Crafts Movement was not a matter of hobbies, but of creating useful as well as creative work for people, using natural materials and traditional techniques. In practical terms, the categories have a great deal of overlap.
HANDICRAFTS METHOD
Handicrafts have attracted worldwide attention since more than one hundred years ago, while collecting ancient items began at the Renaissance. These items were gathered in the courts and wealthy houses of Europe, United States, Russia and ultimately in museums.
The earliest studies in this field were economic nature, because all the owners wanted to assure themselves of the genuineness of their properties.
Which field of science deals with handicrafts? The answer is not clear, because, for example, ethnology claims them to fall within its field, whereas handicrafts are indeed connected to different branches of science; wool, cotton, wood, metals, dyes, mordant, techniques and some other topics must be studied to address all the problems.
That is why the investigator in this field cannot work only in his office or inside a museum: he or she has to travel, see, examine, write, prepare designs, make photographs, and so on.
There are so many books with good reports and beautiful photographs about the crafts, but they are not able to answer all the questions.
The situation makes every little innovation seem important and a guide to the young generation. All these problems exist in Iran as in other parts of the world, and in fact calls for a scientific approach. The study deals with:
1- Differentiation between crafts and arts, preventing every prejudice
2- Deciphering contents
3- A careful method
Of course, for historical reasons, such as the disappearance of some crafts, their techniques and terminology, we have to go on with some information in some fields. That is why, being unaware of the methods used in ancient times, we are unable to reconstruct some parts which need repair.
The distinction between crafts and arts
In Iran, a difficulty facing the study of handicrafts derives from the unjustified conviction that every painstaking effort leads to the creation of a piece of art and that whatever is beautiful is related to art, while art requires the freedom of making or changing the criteria, which constitute styles. Handicrafts serve useful purposes, and some are pieces of decorative or applied arts, which need skill rather than creativity. The ill manners pursued in the production of new handicrafts, for example in the manufacture of carpets, are partly the result of the inaccurate belief that, being works of art, they should innovate and create just like painting and sculpture. This mistake needs to be corrected. Some abstract designs on "gabbeh" have appeared, because the nomad weaver has no other way pf expressing himself. This should not lead to misunderstanding.
Content
The manufacture of a hand-made item needs one or more materials. Also some tools and instruments are necessary, the use of each being called a technique. In studying the contents of Handicrafts, the names of all the materials and techniques utilized, as well as the terms used by the artisans, must be faithfully recorded. Most often, the economic aspects of the work are neglected. The rates, salaries, market policies, needs, manufacture, consumption and many other aspects are not paid enough attention. Traditions in using special instruments, which are sometimes restricted to a small area, are not less important. We find that the immigration of some traditions from one area to another leads to changes, integrations and complex cases, which call for more care and study.
Method
This is the most important problem in studying Handicrafts. Most experts think the simple inductive and deductive methods are functional. They believe that all efforts should be directed at gathering samples and comparing them. Worst of all is relying on structural analysis, for example in the case of carpets and textiles. It is like putting an apple under a microscope, in order to know it, instead of studying its environment, roots, trunk, leaves, flowers and fruits.
A hand-made item is not just like a car. It contains in itself methods, techniques, habits and, most important of all, the tradition under which the techniques and forms it embodies were created and developed. Sometimes studying the history of a hand-made item is the easiest way to understand it. The study of traditions and history alongside each other occasionally leads to a very functional conclusion. For example, there is a tradition of weaving in western Iran, which uses the instruments of the Bronze Age, just now. It is a leaving history, perhaps a key.
Nowadays, in order to show "the Turkish origin of carpet weaving" nobody studies the weaving traditions of the Turk, nobody pays attention to their terminology, because such things are not original among the Turk. In order to find the Turkish origin of it all, one should go to central Asia, not to Asia Minor or Anatolia, not even to Turkmenistan, which is a new land for Turk. One observes that the environment, roots, stems and even leaves are neglected and the study is restricted to the fruit.
On the contrary, there is a special type of carpet looms in Western Iran, called "darkul" or "dar-o-kul", which is both primitive and a little complicated, as it uses some parts fastened on the roof and connected to the main instrument through two holes in the ceiling. Thus, one can easily understand that this loom belongs to the earliest days of settling in villages, as opposed to the horizontal looms of nomadic people. Therefore, the author calls for a special and distinct method for studying handicrafts, which involves much more than the inductive and deductive approach. No craft should be considered simple, independent and restricted to its materials, instruments and techniques. The geographical distribution, historical background, traditional aspect and terminology of a craft are the most important topics, which should be brought into the scope of the method.
The earliest studies in this field were economic nature, because all the owners wanted to assure themselves of the genuineness of their properties.
Which field of science deals with handicrafts? The answer is not clear, because, for example, ethnology claims them to fall within its field, whereas handicrafts are indeed connected to different branches of science; wool, cotton, wood, metals, dyes, mordant, techniques and some other topics must be studied to address all the problems.
That is why the investigator in this field cannot work only in his office or inside a museum: he or she has to travel, see, examine, write, prepare designs, make photographs, and so on.
There are so many books with good reports and beautiful photographs about the crafts, but they are not able to answer all the questions.
The situation makes every little innovation seem important and a guide to the young generation. All these problems exist in Iran as in other parts of the world, and in fact calls for a scientific approach. The study deals with:
1- Differentiation between crafts and arts, preventing every prejudice
2- Deciphering contents
3- A careful method
Of course, for historical reasons, such as the disappearance of some crafts, their techniques and terminology, we have to go on with some information in some fields. That is why, being unaware of the methods used in ancient times, we are unable to reconstruct some parts which need repair.
The distinction between crafts and arts
In Iran, a difficulty facing the study of handicrafts derives from the unjustified conviction that every painstaking effort leads to the creation of a piece of art and that whatever is beautiful is related to art, while art requires the freedom of making or changing the criteria, which constitute styles. Handicrafts serve useful purposes, and some are pieces of decorative or applied arts, which need skill rather than creativity. The ill manners pursued in the production of new handicrafts, for example in the manufacture of carpets, are partly the result of the inaccurate belief that, being works of art, they should innovate and create just like painting and sculpture. This mistake needs to be corrected. Some abstract designs on "gabbeh" have appeared, because the nomad weaver has no other way pf expressing himself. This should not lead to misunderstanding.
Content
The manufacture of a hand-made item needs one or more materials. Also some tools and instruments are necessary, the use of each being called a technique. In studying the contents of Handicrafts, the names of all the materials and techniques utilized, as well as the terms used by the artisans, must be faithfully recorded. Most often, the economic aspects of the work are neglected. The rates, salaries, market policies, needs, manufacture, consumption and many other aspects are not paid enough attention. Traditions in using special instruments, which are sometimes restricted to a small area, are not less important. We find that the immigration of some traditions from one area to another leads to changes, integrations and complex cases, which call for more care and study.
Method
This is the most important problem in studying Handicrafts. Most experts think the simple inductive and deductive methods are functional. They believe that all efforts should be directed at gathering samples and comparing them. Worst of all is relying on structural analysis, for example in the case of carpets and textiles. It is like putting an apple under a microscope, in order to know it, instead of studying its environment, roots, trunk, leaves, flowers and fruits.
A hand-made item is not just like a car. It contains in itself methods, techniques, habits and, most important of all, the tradition under which the techniques and forms it embodies were created and developed. Sometimes studying the history of a hand-made item is the easiest way to understand it. The study of traditions and history alongside each other occasionally leads to a very functional conclusion. For example, there is a tradition of weaving in western Iran, which uses the instruments of the Bronze Age, just now. It is a leaving history, perhaps a key.
Nowadays, in order to show "the Turkish origin of carpet weaving" nobody studies the weaving traditions of the Turk, nobody pays attention to their terminology, because such things are not original among the Turk. In order to find the Turkish origin of it all, one should go to central Asia, not to Asia Minor or Anatolia, not even to Turkmenistan, which is a new land for Turk. One observes that the environment, roots, stems and even leaves are neglected and the study is restricted to the fruit.
On the contrary, there is a special type of carpet looms in Western Iran, called "darkul" or "dar-o-kul", which is both primitive and a little complicated, as it uses some parts fastened on the roof and connected to the main instrument through two holes in the ceiling. Thus, one can easily understand that this loom belongs to the earliest days of settling in villages, as opposed to the horizontal looms of nomadic people. Therefore, the author calls for a special and distinct method for studying handicrafts, which involves much more than the inductive and deductive approach. No craft should be considered simple, independent and restricted to its materials, instruments and techniques. The geographical distribution, historical background, traditional aspect and terminology of a craft are the most important topics, which should be brought into the scope of the method.
TOOLS
Coping saw
Coping saws are very useful for removing bulk. A carving can often be roughed in with a coping saw, and once the shape is cut out, knives, chisels, and gouges can be used to clean it up and do the final shaping. Coping saw blades can be sharpened with a triangle file, though they are cheap enough that they are more frequently replaced when dull. The blade can be installed on the coping saw so that it cuts on either the pull stroke or the push stroke. Experiment to see which you like better. To make a cut, clamp the piece to a bench or hold it firmly with your free hand or knee. Align the blade with the pencil mark you have made which will guide the cut. Gently work the saw up and down to make the cut. You may have difficulty at first, and this does take a little practice to master. But once you have it down, it is not all that difficult. Follow the line until the cut is complete.
[edit] Rasp
A rasp is a woodworking tool used for shaping wood. It consists of a point or the tip, then a long steel bar or the belly, then the heel or bottom, then the tang. The tang is joined to a handle, usually made of plastic or wood. The bar has had sharp teeth cut into it. Rasps generally cut more coarsely than files. They are useful for rapidly removing wood from curved surfaces. They remove less wood than a drawknife, so they are easier to control. Even though rasps leave very coarse finishes, the cut-away areas can be easily smoothed with finer tools, such as files. There are several types and shapes of rasps. There is a half round, round and flat. The several types of rasps are bastard, cabinet and wood (finest to coarsest). All these varieties can be used to make different shapes.
Coping saws are very useful for removing bulk. A carving can often be roughed in with a coping saw, and once the shape is cut out, knives, chisels, and gouges can be used to clean it up and do the final shaping. Coping saw blades can be sharpened with a triangle file, though they are cheap enough that they are more frequently replaced when dull. The blade can be installed on the coping saw so that it cuts on either the pull stroke or the push stroke. Experiment to see which you like better. To make a cut, clamp the piece to a bench or hold it firmly with your free hand or knee. Align the blade with the pencil mark you have made which will guide the cut. Gently work the saw up and down to make the cut. You may have difficulty at first, and this does take a little practice to master. But once you have it down, it is not all that difficult. Follow the line until the cut is complete.
[edit] Rasp
A rasp is a woodworking tool used for shaping wood. It consists of a point or the tip, then a long steel bar or the belly, then the heel or bottom, then the tang. The tang is joined to a handle, usually made of plastic or wood. The bar has had sharp teeth cut into it. Rasps generally cut more coarsely than files. They are useful for rapidly removing wood from curved surfaces. They remove less wood than a drawknife, so they are easier to control. Even though rasps leave very coarse finishes, the cut-away areas can be easily smoothed with finer tools, such as files. There are several types and shapes of rasps. There is a half round, round and flat. The several types of rasps are bastard, cabinet and wood (finest to coarsest). All these varieties can be used to make different shapes.
[edit] Surform
Main article: Surform
A similar tool to a rasp is a surform file; it has coarse, individual teeth like a rasp for cutting wood. The difference being that the surform has a small hole near each of the teeth to allow shavings to pass through and prevent clogging. Surform tools come in different styles and shapes including file-plane, round file and shaping/shaving tools.
[edit] Plane
A hand plane is a tool for shaping wood. Planes are used to flatten, reduce the thickness of, and impart a smooth surface to a rough piece of lumber. Hand Planes are one of the most satisfying tools to operate. Clamp the wood securely to a bench, and then push the plane along the grain. The blade should be adjusted so that it takes a thin shaving off the plank. A sharp, well adjusted plane will remove a continuous shaving the entire length of the board. Pay attention to how the grain runs - if the grain dives into the board, make sure the plane's blade does not break the shaving off below the surface. If this happens, try planing in the other direction (see illustration). Once the blade has been removed from a plane, it can be sharpened in the same fashion as a chisel. It should be sharpened frequently, as this will greatly improve its performance. A plane should be stored on its side to respect the blade. You should also be very careful to not plane into a nail or a screw, as doing so will put a nasty notch in the blade.
[edit] Knife
Carving knives, chisels, and gouges The primary tool for wood carving is a carving knife. You can use a pocket knife as well, and many people do. To sharpen a knife, hold the blade at about a 15° angle and scrape it along a whetstone as if you were trying to shave off a thin layer of the stone. Be sure to sharpen both sides.
A chisel is best used with a mallet. Chisels can be used for removing great quantities of wood. They can cut across the grain or slice along its length. Chisels are sharpened much the same way as knives, but the angle is a bit steeper, ranging from 20° to 35°. Often they are sharpened at two angles, such as 25° for most of the length of the blade, and 35° near the edge. This allows the blade to be resharpened by only honing a small portion near the cutting edge.
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[edit] Sanding block
A sanding block is a block used to hold sandpaper. In its simplest form, it is a block of wood or cork with one smooth flat side. The user wraps the sandpaper around the block, and holds it in place. Fancier versions use clips, teeth or clamps to hold the paper in place. Commercial versions can be constructed of various materials. They are usually sized to hold a quarter or half sheet of sandpaper. Some versions use the sandpaper belts intended for a power belt sander. Sanding blocks are helpful because they prevent the "waves" created by plain sandpaper.
Know at least two safety procedures for each of the above tools: The main safety rule to follow with any tool is to use common sense.
Coping saw 1. Clamp your work firmly to a bench before cutting it with a coping saw. You may wish to pad the clamp with a piece of scrap wood so it does not mar the piece. 2. Be careful not to saw into the bench. 3. Keep your fingers clear of the blade.
