Art Crafts Research Articles

REVIEW OF TEXTILE PRINTING: DIFFERENTIATION OF BLOCK, SCREEN & DIGITAL PRINTING

In India is well known for its traditional culture and art features. Hand block printing techniques are practiced in Rajasthan. Hence, the block printing is a slow process. Printing process of desired pattern is defined and repeated. The various styles for block printing are significant of the country in rich culture and heritage. It is a unique of each region will have a different variations of traditional craft. That was crafted for propagating Hindus mythology of depicted folk style story transform of imagination forms of God and goddess in literature. In this article, we will discuss about block printing, the development digital printing and manual of screen printing. The comparison of these three styles of textiles printing. It is a oldest method of art craft. The economics of ink jet printing are the main driver of digital printing technique. The costs of ink jet printing are lower for short run lengths than in traditional screen printing. This switches for longer runs production. Short-run textile printing commissions are the main source of jobs for small to medium scale textile producers in Ghana. And manual screen printing is the main process employed by these small-scale textile printers. These layers of limitations negatively affect the overall outcome of the prints. This is because, the large-scale textile factories in Ghana can print a minimum of 2400 yards due to their machine settings, calibration and running cost to make the least returns. KEYWORDS: Hand block printing, natural dyes, screen printing, techniques, digital printing.

DIGITAL REVOLUTION: HOW SOCIAL COMMERCE TRANSFORMS ALGERIAN ART CRAFTS

The craft sector, in addition to constituting an invaluable cultural, social and historical heritage, is a leading niche with high added value, which, associated with the power of ICT, is experiencing a major ascent like never before. Social networks are today the most widespread communication media in the world. Having as main vocation to develop the reputation of others, craft enterprises have also taken advantage of these tools to take advantage of the actions and network that each of them offers, this allows them to include handmade items in a strategy of artisanal renewal. The objective of this article is to observe, through a quantitative study with artisans’ entrepreneurs but also Algerian consumers, the impact of social commerce on the motivation and behavioral intention of Algerian consumers towards artisanal products.

THE INFLUENCE OF THE DEVELOPMENT OF COMPUTER TECHNOLOGIES ON THE PROCESS OF ARCHITECTURAL DESIGN

Problem statement. The history of the development of Petrykiv painting, including the study of the work of folk masters and their followers, their works, as well as consideration of problems and their solutions. The purpose of the article. To study the history of the origin and development of the art of Petrykivka painting. Determination of the stages of development and features in its different periods. Conclusion. The art of Petrikovsky painting is a unique relic of the national artistic tradition, which delegates to the modern world the original culture of the historical cradle of the Zaporizhia Cossacks. His powerful spirit, originality of poetic worldview and profound ethnic folk artistic thinking. Petrykiv decorative painting has in its potential immeasurable possibilities of ancient and eternally young folk art, for entering the sphere of modern life, enrichment of national and world culture. The war situation exacerbates and activates artistic creativity as much as possible. Thanks to the enthusiasm of Petrykiv masters-artists, their desire to support and develop our art, to pass on their skills to descendants, to show the beauty of Petrykiv painting to the whole world, this art form continues to live, improve and surprise with its unique ornament. Due to the significant economic difficulties accumulated during the last decades, an important branch of national culture has reached the critical limit of survival. Ensuring the preservation of historical centers of folk art and folk art crafts of Ukraine is a necessary component of the formation of national consciousness. The following most important strategic directions: state support and protection of the central figure of the industry − its producer, bearer of folk artistic traditions, folk craftsmen and enterprises of historical centers of folk artistic industries; preparation of the future change of folk masters in the creative environment of historical centers of folk art, by reaching different age categories of students, including the creation of specialized secondary educational institutions (schools), which will be gradually expanded as the industry develops; creation of museums in historical centers of folk arts and crafts for the purpose of their popularization, scientific research, assistance in education of future change, development of centers and tourism industry in Ukraine; Petrykiv painting will survive if it finds a new organic “usability”, either by artists of decorative art or by masters of folk art.

The Industrial Design Model in Italy at the Stage of Formation. The Aemilia Ars Group

The article considers the formation of the industrial design model in Italy in the peculiarity of socio-political conditions at the turn of the 20th century. Orientated towards the prospects of the design industrial culture, the progress of new art tended towards two vectors of development: a strong influence of traditional heritage of the great classical past and passion for modern examples of European design schools. The design, formed within the boundaries of the Italian regional version of the Art Nouveau style, stile Liberty, became a product of a specifically Italian design and artistic culture with a strong designer’s original creative beginning. It allowed freedom of experimentation in the search for its own unique means of expression. The industrial model of design was determined by the experience of the great craft heritage in addition to the influence of the artistic traditions of the new style. The new “revival” of the artistic industry of Italy took place in symbiosis of the activities of an artist-designer and artistic craft and industrial production. The Aemilia Ars group, as a regional design and production association, became an exemplary model of industrial design in Italy. The multidisciplinary structure of the association, which included a collaboration of architects, designers, and artisans specialising in various areas of the art industry, allowed the implementation of interdisciplinary tasks: from architectural restoration to interior design solutions. The group was an example of a unique design culture focused on a scientifically based approach, regional craft artistic traditions and an original style of a creative experiment. The great design-artistic and technological heritage as well as design potential of the Aemilia Ars craft traditions can still be found in the practice of a number of local associations of embroiderers of modern Bologna.

Architectural Design Styles and Case Studies from Different Countries

Through the appreciation and comparison of the various architectural styles of the East and the West, this paper studies the architectural form and structure produced in the context of different cultural differences and analyzes them in detail in various aspects. The essay takes the evolution of ancient and modern architectural styles of various countries in the East and West as the background of the study and explores the differences in architectural styles between different geographical countries and the factors that lead to these differences. Through the appreciation and analysis of typical architectural styles of these countries to compare the similarities and differences between the derivation of architectural styles, to explore the details of the characteristics of the architectural structure, to better derive the development trend of architecture and how to effectively help the future progress of architecture, which requires the mutual learning of the art and culture of each country, a joint effort. The exploration of architectural design requires more in-depth understanding and research, more refined through the integration of modern technology and traditional craft art.

Bamboo Crafts Business Development Model Reviewed From The Perspective Of Maslahah

Bamboo is a versatile plant with superior ecological properties, offering great potential for the development of craft businesses that are sustainable and beneficial to society. This research aims to formulate a bamboo craft business development model based on the concept of maslahah, namely realizing benefits and benefits for all parties involved. Bamboo craft art is a local product produced by skilled hands so that it produces unique products and has economic value. Bamboo craft products are no longer foreign to us, especially to people from Sidodadi Village, Beringin. The business model of innovation in the bamboo craft business aims to develop products to create products that are efficient and competitive. The method used in this research is a qualitative method with an observation and interview approach. The aim of this research is to find out and examine how the bamboo craft business development model is viewed from a maslahah perspective. The results of this research show that this research does not provide benefits because there is still a lack of employee welfare, there is no development of product models, and distribution is not wide enough and the quality of raw materials is not good

Genetic Alchemy unveiled: MicroRNA-mediated gene therapy as the Artisan craft in the battlefront against hepatocellular carcinoma-a comprehensive chronicle of strategies and innovations.

Investigating therapeutic miRNAs is a rewarding endeavour for pharmaceutical companies. Since its discovery in 1993, our understanding of miRNA biology has advanced significantly. Numerous studies have emphasised the disruption of miRNA expression in various diseases, making them appealing candidates for innovative therapeutic approaches. Hepatocellular carcinoma (HCC) is a significant malignancy that poses a severe threat to human health, accounting for approximately 70%-85% of all malignant tumours. Currently, the efficacy of several HCC therapies is limited. Alterations in various biomacromolecules during HCC progression and their underlying mechanisms provide a basis for the investigation of novel and effective therapeutic approaches. MicroRNAs, also known as miRNAs, have been identified in the last 20years and significantly impact gene expression and protein translation. This atypical expression pattern is strongly associated with the onset and progression of various malignancies. Gene therapy, a novel form of biological therapy, is a prominent research area. Therefore, miRNAs have been used in the investigation of tumour gene therapy. This review examines the mechanisms of action of miRNAs, explores the correlation between miRNAs and HCC, and investigates the use of miRNAs in HCC gene therapy.

Must The Show Go On? A Qualitative Study Exploring Barriers And Enablers To Manual Therapists’ Care Of Dancers

Introduction: Dance Medicine is a growing discipline, and healthcare for dancers requires appreciating particularities of their artistic craft. Manual therapists (MTs) are often dancers’ first choice when seeking care. Whilst dancers’ experiences of injury and healthcare have been extensively researched, little is known of MTs’ perspectives of caring for them. Aim: This study aimed to gain an understanding of MTs’ perspectives of caring for dancers. Communication, treatment strategies and obstacles to a successful therapeutic alliance were examined to broaden knowledge and improve care. Methods: This was a qualitative study using Grounded Theory as a framework for data collection and analysis. A purposive sample of 8 participants was recruited—physiotherapists, chiropractors, and osteopaths with 2+ years’ experience of treating dancers. Data collection was conducted via semi-structured interviews, which were transcribed verbatim, anonymized, member checked, and later analyzed. Results: Data analysis constructed 3 categories which described the range of participants’ experiences. Two categories were identified—(i) A Strangled Industry and (ii) Be-all End-all Patients—and found to culminate in a core category: (iii) Beyond Hands-on, which exemplified MTs’ attempts to address clinical challenges. Conclusions: MTs experience several challenges when providing healthcare to dancers. These encompass psychosocial aspects relating to dancers’ internal world and the dance industry environment. It suggests that caring for dancers demands comprehensive, collaborative, and psychologically informed approaches. Emphasis should also be given to developing and implementing dance-specific pain science for all stakeholders.

Patch in the ritual and daily practice of the Turkic people

The article is devoted to the study of the patch as a stable tradition of the spiritual and material-artistic culture of the Turkic peoples. The patch is considered as a "participant" in ritual and ritual practice and manual artistic craft. The scientific novelty of the results lies in the fact that for the first-time sources on the ritual and everyday practice of the Turkic peoples with the participation of the patch have been systematized. The collected material is summarized and formed as a comprehensive study. The reconstruction of the functions and the role of the patch in the ritual and daily practice of the Turkic peoples was carried out on the basis of a comparative analysis. The general and distinctive features in the artistic and technological techniques of patchwork technique are established and systematized. Ethnographic materials were collected during field research in the period 2019-2021 and introduce a set of factual sources into the history of art of the peoples of Central Asia. The findings can be used in developments in the field of ethnoculturology of the Turkic world.

CRAFTING IDENTITY: GEOGRAPHICAL INDICATIONS AND THE LEGACY OF INDIAN ARTISANAL CRAFTS

CRAFTING IDENTITY: GEOGRAPHICAL INDICATIONS AND THE LEGACY OF INDIAN ARTISANAL CRAFTS

Kreatifitas Patchwork Perca Batik Dayak Sebagai Upaya Menumbuhkan Jiwa Entrepreneurship Komunitas Perempuan Gereja Gloria Kuala Kapuas

Selat Barat Village is one of the residential areas that has many women's community groups that are active in social and religious activities, one of which is the SPPer Gloria Church Group. This group is one of the largest Christian social religious activity drivers in this area which involves many productive-age housewives between 30-46 years old who are educated on average high school who have a lot of free time. The existence of this creative craft industry can be a solution in efforts to foster an entrepreneurial spirit and improve the economy of the area. The potential of the Dayak batik patchwork home industry as a creative and innovative craft product can be a solution in increasing the income level and welfare of the community in Selat Barat Village by producing products with minimal capital and high selling power in the Kuala Kapuas City area. In addition, there has never been this art craft in the Central Kalimantan Province in particular. Therefore, it is necessary to provide training activities to make creative patchwork products. These creative patchwork activities include: (1) preparation, namely preparing training modules, basic knowledge of patchwork art trials; (2) implementation of training: making patterns, printing patterns onto fabric, cutting and joining, sewing or joining; (3) evaluation. The results of the training are making innovative interior design craft products including tablecloths, chair cushion covers, flower pot coasters, doormats and wallets.

Pendampingan Membuat Anyaman Untuk Menciptakan Kreativitas Siswa Sekolah Dasar

Craft arts will continue to develop and become more interesting and unique as time goes by. The world of art is actually able to create diversity that is of interest to many groups. There are many unique phenomena in the development of woven art or also known as woven. Wicker is basically an inanimate object that can be related to daily activities, especially in the world of architecture or craft products which include interior and exterior aesthetic values. This woven material can be made into a miniature form which can produce various kinds of results such as baskets, mats, bags and crafts. This woven material can be made using various media, for example paper, bamboo, ribbon, etc. Creativity is part of the field of fine arts that can be used in production or creative activities. Various activities in the field of fine arts can provide opportunities to develop the creativity of elementary school children. Creative activities can enable young children to channel their creative talents through several activities, including: drawing; print; stick. Not all children are motivated to channel their talents because there is less encouragement from adults. The cause of low creativity among children in Indonesia is an environment that does not support children to express their creativity, especially the family and school environment. SBDP focuses on students learning skills and arts, this activity can train skills, be creative, actively innovative, for students to work well into the future.

Re-actualization of Traditional Themes in Contemporary Craft Art through the Concept of Hybrid Aesthetics

In the beginning, craft as a category of art was established because of its traditional cultural elements. However, in its development, contemporary craft art features many other styles and elements of art, making it difficult to distinguish craft art from other types of art. To adjust to the development and new characteristics of contemporary craft art, it is necessary to develop new methods in the creation of craft art. One of them is cultural hybridization. This article offers a method of creation by adopting the concept of a hybrid aesthetic. Through this method, artists are invited to experiment with visually re-actualizing traditional cultural elements in the creation of craft works among modern art elements. The main question that needs to be asked is how the hybrid aesthetic method can provide certain strength in reaffirming the definition of craft art according to the development of contemporary art. The adoption or application of the hybrid aesthetic concept in the creation of contemporary craft must still consider traditional elements and the adoption of other elements with the application of new methods of creation. The hybrid aesthetic concept produces a unique genre and has the opportunity to sustain an aura of originality through the re-actualization of traditional elements in a strong visual in the global art scene.

Inovasi Teknik Membatik Rizky Juniyanto Pada Produk Properti Seni Pertunjukan

Indonesia has many tribes and cultures, which create various works of art and culture. The enthusiasm of the community in preserving culture has enabled this culture to develop to this day. Artists become more creative and innovative in their work because of the public's enthusiasm for works of art. Artists must have talent and strong determination. Arts in Indonesia, such as Performing Arts and Fine Arts, can be an opportunity for artists to collaborate and develop culture. Performing Arts involves Dance, Dramatic Arts, and Musical Arts, while Fine Arts involves Sculpture, Ceramic Arts, Painting, and Craft Arts. Props and costumes are used in performing arts works, depending on the theme and title of the work to be created. Props such as shawls, plates, umbrellas, fans, trees and stones are used to depict the atmosphere in the performance. Performing Arts and Craft Artists can collaborate with each other for mutual benefit. Rizky Juniyanto is a young Craft Artist who has a variety of batik works, including earthenware batik, cloth batik, umbrella batik, and wooden batik. His works not only function as decoration, but also as everyday objects such as teapots, pans, glasses, plates, savings and jars made of earthenware. These products have high aesthetic and selling value. Rizky Juniyanto also accepts orders for souvenirs and performing arts props. He markets his work through online sites and applications and collaborates with several studios. Apart from producing works of art, Rizky Juniyanto often fills workshops and teaches other people how to make his works to develop craft art. Keywords: Property, Art, Artists.

Fur and leather products in the system of cultural values of the North peoples

Fur and leather products are regarded as the most significant type of household and artistic crafts in the traditional culture of Nenets and Khants, reflecting the relationship between the natural and cultural environment. The article is based on materials from the author's expeditions to the Nenets Autonomous Okrug and the Yamalo-Nenets Autonomous Okrug.

The intangible heritage of folk art crafts

The object of the study is the intangible heritage of Russian folk arts and crafts as a phenomenon of traditional culture. Special attention is paid to the object content of the intangible heritage of crafts, as well as the forms of their preservation and actualization. The research originates from the definition of the concept of the intangible heritage of folk arts and crafts. The concept of the bearer of the intangible heritage of crafts is formulated. The definition of the morphology of the intangible heritage of crafts is based on the analysis of the intangible part of the artistic, industrial, ethnocultural and religious heritage of crafts. An important part of the study is the analysis of modern practices for the preservation and actualization of the intangible heritage of crafts in order to develop optimal forms and methods. The importance of such a form of preservation and broadcasting of the intangible heritage of folk arts and crafts as museification is emphasized. The definition of the concept of intangible heritage of crafts and the structural analysis of this fragment of cultural heritage was carried out on the basis of recognition of heritage by systemic education. The scientific novelty of this study lies in the definition of folk arts and crafts as a phenomenon of traditional culture, the key component of which is tradition, objectified, first of all, in an immaterial form. For the first time, the definition of the concept of the intangible heritage of folk art crafts is given based on the analysis of historiography and legislative practice, and a morphological analysis of this type of heritage of crafts is given based on the generalization and analysis of the experience of its preservation and actualization. The intangible heritage of artistic crafts - the artistic and pictorial language of handicrafts, techniques and technologies for their manufacture and decoration, social ways of transmitting knowledge and skill, customs, way of life and lifestyle in the craft - are of high value from an informational and axiological point of view and need to be preserved and broadcast.

Recycle Pekat (Perca Kain Tenunan) Flores Dalam Meningkatkan Kreativitas Mahasiswa Dan Kepedulian Lingkungan

Woven fabric is a decorative variety in Indonesia that is widespread in every region of the archipelago from Sabang to Merauke, characterized by various motifs, patterns, colors and meanings. Woven cloth developed in East Nusa Tenggara is a craft art that has been taught to children and grandchildren from generation to generation. However, it is a shame because currently most of the younger generation cannot weave. This will have an impact on the extinction of ikat fabrics. Efforts made to ensure that woven fabric does not become extinct are by re-preserving its existence and re-introducing its use. One way to preserve it is by recycling woven fabric patchwork waste into products in the form of earrings, necklaces, bracelets, hairpins, brooches, bags and hats which have several benefits such as preserving local cultural products, namely typical Flores woven fabrics. In an effort to produce products, of course there are stages, namely the preparation stage of materials and tools, the production stage, packaging to marketing and then continuing with product marketing techniques.

КРАФТОВІ ПРОДУКТИ КАРПАТСЬКОГО РЕГІОНУ ЯК СКЛАДОВА РОЗВИТКУ ТУРИЗМУ ТА ГОТЕЛЬНО-РЕСТОРАННОГО БІЗНЕСУ

This article examines the role of craft products in the development of tourism and the hotel and restaurant business in the Carpathian region. It characterizes the main types of craft products, produced in the region, including cheeses, meat products, bakery and confectionery goods, as well as artisanal crafts and beverages. The impact of craft products on the attractiveness of the region for tourists, particularly in the context of gastronomic tourism, is analyzed. Food and drink crafts, such as local cheeses, wines, or traditional dishes, attract gastronomic tourists. These visitors are keen to explore and taste the unique flavors of a region, enhancing their overall travel experience. Craft markets, workshops and festivals can become tourist attractions in themselves. These events draw visitors, create vibrant local economies, and encourage longer stays and repeat visits. The features of the creation and promotion of craft products in the market and their influence on the development of local hotel and restaurant enterprises are highlighted. The advantages and challenges associated with the production and sale of craft products are considered, along with the prospects for the development of this sector in the Carpathian region. Recommendations are substantiated for enhancing the competitiveness of craft products and their impact on the sustainable development of tourism. The study underscores the significance of integrating local cultural and culinary traditions into tourism offerings to boost the regional economy and promote sustainable tourism practices. The article provides a comprehensive overview of the current state and future potential of the craft product market in the Carpathians. The findings suggest that strategic support and promotion of craft products can lead to increased tourist inflows, enhanced visitor experiences, and a stronger local economy. The article concludes with suggestions for policy makers, businesses, and community leaders on how to leverage the unique attributes of the Carpathian craft industry to foster regional development and resilience.

Культурный код в пространстве современного человека, русский стиль — истоки дизайна

The study examines areas of modern design in which the traditions of Russian art are preserved — folk or national clothing, artistic crafts and analyzes ways of rethinking, transforming or using unchanged cut, ornament, painting, texture, related to the authentic characteristics and recognition of the Slavic or Russian style. The study relates to ways of preserving Russian traditions — in fashion, historical reconstruction, costume festivals and folklore groups. The paper provides links to the works of F.M. Parmon and showcases models of a collection of costumes from fashion shows and stage images by V.M. Zaitsev for folklore groups. The research highlights the works of some Russian and foreign clothing designers, inspired by examples of Russian art. The authors display examples of the use of paintings and decorative art in modern designer accessories, jewelry and household items and analyses the features of the approach to preserving historical samples — reconstruction, exact copying, repetition with minor differences or stylization as an authentic sample. The paper has studied approaches to the creation of modern accessories, involving the production of modern versions of original headdresses while maintaining the technological approach to manufacturing, yet with a slight variable change in shape and design. The study issued in thorough consideration of almost all existing options for the presence of Russian art in an unchanged or transformed form in the space of modern man.

Development of Outerwear Handicraft Industry Technique in the Application of Simalungun Pinar Hurungguan Ornaments

The engineering development of the outer fashion craft industry in the application of the Pinar Hurungguan Simalungun ornament is a research on the creativity of students in Medan-North Sumatra. The development of creativity applies an explosive qualitative method, which is to produce new designs that have never been designed by someone, through a critical thinking process to create new inspiration. The stages of the activities carried out in creating women’s outerwear crafts are as follows: 1) theoretical presentations about fashion craft art; 2) craft concept maps; 3) drawing sketches; 4) design motifs and clothing using corel draw; 5) the process of making crafts using cloth; and 5) outerwear craft presentation. The goal of developing the outerwear craft industry is to increase the knowledge and skills of the younger generation in the creative industries. So that the preservation of regional culture is maintained optimally and improves the community’s economy.