Graphics Reference
In-Depth Information
Craft
Next are student solutions about the tapestry-
changed-into-horse-dressing projects. Inspiration
came from crystallography, chemistry, storytell-
ing, and biology. Matthew Rodriguez (Figure 8a)
utilized his work on geometry-based patterns
(white crystalline structures, left) to design a
tapestry and apply it for a horse cover, while Jon
Furphy (Figure 8b) inspired himself with struc-
tural formulas (left) drawn from organic chemis-
try - aromatic compounds containing ring systems.
Figures 8d and e show two student projects,
both including a sense of humor into their solu-
tions. Travis Brandl projected his own visage onto
his tapestry project to design a horse dress.
Teddy Assuncion chose to leave the space of a
dress for his horse 'Gigi' blank and open to in-
terpretations, while the equipment for his horse
such as snorkeling mask, snorkel, and fins, along
with the horse's surroundings transfer everything
into the oceanic environment.
Craft objects are primarily hand-made, as opposed
to mass-produced objects. They are valued for
their individual variations. Craft objects are usu-
ally both functional and decorative; they reflect
traditions and social values of a given craft person.
In a conscious or unconscious way, craftsmen
apply the elements of art: line, shape, texture,
color and form in designing objects. Craftsmen
from many cultures have used the same subjects
and themes in their works. Many times, the craft
artist contributes a unique, individual creative
element to their production. Craftsmen produce
works, which are aesthetically pleasing and tech-
nically proficient in a similar way as are objects
produced in “high technology” cultures. The his-
tory of crafts is basically cyclic with alternating
periods of the development, great achievement,
and decay of some solutions for craft objects. Clay,
Figure 8. (a) Matthew Rodriguez, “Horse Tapestry” (© 2012, M. Rodriguez. Used with permission) (b)
Jon Furphy, “Horse Tapestry” (© 2012, J. Furphy. Used with permission) (c) Peter Arnegard, “Horse
Tapestry” (© 2012, P. Arnegard. Used with permission) (d) Travis Brandl, “Horse dress” (© 2012, T.
Brandl. Used with permission) (e) Teddy Asuncion, “Gigi, the sea horse” (© 2012, T. Asuncion. Used
with permission)
