Titlebook: Craftspeople and Designer Makers in the Contemporary Creative Economy; Susan Luckman,Jane Andrew Book‘‘‘‘‘‘‘‘ 2020 The Editor(s) (if appli

Eisenhower

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Manifest

Meaningful Making in the Contemporary Creative Economy,te the frequently precarious incomes to be made. One of the strongest findings to emerge in this study is the centrality of early exposures to making to later comfort with and motivation to give craft and design ‘a(chǎn) go’. How the makers connect their current identities to formative earlier familial an

金盤是高原

Educating for Enterprise,ts in Australia, from colonial cottage industries to the educational experiences of the contemporary craftspeople and designer makers who participated in this study. In doing so, it will highlight significant contemporary Australian federal and state government political and economic policy agendas

CHOIR

Establishing a Crafty Making Future: What Does a Career in Craft Look Like Today?,conversations we will gain an understanding of the range of people, personal acumen, skills, and public and private investments that are garnered by these creative entrepreneurs to develop and sustain their practices. Through the lens of Milanesi’s three forms of ‘passion entrepreneurship’: lifestyl

Limited

Canvas

Selling Craft and Design: The Cultural and Economic Intricacies of the Contemporary Artisanal Markestudy. What became clear was the ongoing importance of place—including localness and proximity—to the Australian market. Here emerges a paradox in the current relationship between craft and digital technology. Whereas the whole moment of growth in handmaking is in so many ways a direct result of the

Canvas

Craft and Design in an Age of Climate Crisis,the world really need more ‘stuff’? Craft practice has long had as a central tenet a profound respect for materials and this sensibility continues to inform much craft practice today. So too do ideas of workmanship, of quality and building to last which also have rich and long traditions in craft pr

Cubicle

Creative Craft and Design Microenterprise in the Age of Social Media,ld of Instagram. While a recurrent theme through the research was how ‘easy’ it is to establish an online retail presence, the work involved in maintaining and building their brand was identified consistently as the real challenge. It is in this context that the demands of social media as a new norm

follicle

2662-415X t internationally in the artisanal and handmade. Offering a rich and deep collection of real-life experiences, this book is aimed both at an academic and practitioner audience..978-3-030-44981-0978-3-030-44979-7Series ISSN 2662-415X Series E-ISSN 2662-4168

不真

Daten sichern und wiederherstellen, well as in terms of the desire to be a maker, to be doing the creative work oneself, and thus not ‘get too big’ with the added pressures and responsibilities of being an employer (Luckman, .(5), 313–326 (2018)). In this chapter, we home in more on what upscaling and outsourcing reveals about compet