Tendo como campo de estudo o Brique da Redenção, um dos mais importantes pontos de comercialização de artesanato em Porto Alegre-RS, esta pesquisa teve como objetivo geral mapear o contexto atual da utilização de identidades visuais por artesãos que ali expõem seus produtos e a possibilidade de inserção do design gráfico junto ao artesanato em ações de comunicação visual. A base teórica aborda o design gráfico vernacular e o institucionalizado, o artesanato, a identidade visual e sua importância para a atividade artesanal. Junto aos artesãos, foram coletados materiais gráficos, nos quais se realizou uma análise dos elementos visuais que representam o nome comercial de seus produtos. Com o intuito de compreender melhor estas identidades visuais, efetuou-se uma análise comparativa com os princípios e normas de composição visual estabelecidas pelo design gráfico institucionalizado. No artesanato, percebeu-se a predominância de linguagem visual vernacular que, para o design gráfico institucionalizado, não é satisfatória de acordo com os padrões tidos como de qualidade. Por meio de entrevistas, buscou-se diagnosticar a percepção que os artesãos têm sobre a comunicação visual de marca, a sua satisfação em relação àquelas que utilizam, bem como investigar se ocorre ou não a participação de profissionais de design gráfico na promoção do artesanato comercializado no Brique da Redenção. Para transcrição, codificação e análise destes dados, os mesmos foram agrupados por temas correspondentes, identificando enunciados em comum e codificando-os. Os resultados apontam uma carência de projetos consistentes de identidades visuais para os artesãos, indicando um rico campo de atuação para o design junto ao artesanato em ações que visem à melhoria da comunicação visual deste segmento. / Having Brique da Redenção as the field of study, which is one of the most important points of handicraft commercialization in Porto Alegre - RS, this study aimed to mapping the current context of the use of visual identities by artisans who exhibit their products there and the possibility of insertion of graphic design along with handicraft in actions of visual communication. The theoretical basis approaches the vernacular and the institutionalized graphic design, the handicrafts, the visual identity and its importance to the handicraft activity. Along with the artisans, graphic materials were collected, in which an analysis of visual elements that represent the commercial name of their products was made. In order to understand better these visual identities, a comparative analysis was done with the principles and rules of visual composition established by the institutionalized graphic design. In the handicraft activity, a dominance of vernacular visual language was perceived, which, for the institutionalized graphic design, it is not satisfactory according to the standards taken as quality. Through interviews, the perception that the artisans have regarding the visual communication of their brand was sought as well as their satisfaction with regard to the ones who use them and investigate if the participation of graphic design professionals occur to promote the crafts commercialized at Brique da Redenção. For transcription, coding and analysis of these data, they were gathered by their correspondent themes, identifying statements in common and coding them. The results point a lack of consistent projects of visual identities for the artisans, indicating a rich field of work for design along with the handicraft in actions which aim the improvement of the visual communication of this segment.

Orientador: João Francisco Duarte Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T00:17:57Z (GMT). No. of bitstreams: 1 Betiol_CarmenFabiana_M.pdf: 10918905 bytes, checksum: e844b9bf7e958938c646efe0cfcfd839 (MD5) Previous issue date: 2007 / Resumo: Esta pesquisa se propõe a realizar um estudo dos ceramistas do município de Taubaté/SP, com enfoque na tradição de ensino que se estabelece entre as gerações, mantendo, assim, acesa a produção há mais de 150 anos. A cerâmica popular figurativa taubateana nasceu em meados do século XIX com a imigração européia, tendo sido a devoção católica decisiva para os artesãos da cidade se dedicarem à criação de presépios e imagens sacras. Muito contribuiu para esse trabalho com o barro o fato de Taubaté ser banhada pelo rio Itaim, originalmente fonte de sua matéria-prima. Outros fatores contribuíram e contribuem para essa arte existir há mais de um século, como o ensinamento de fazer essas figuras dentro das famílias. Além das relações de parentescos permearem a constituição do grupo, surgem também as relações de ensino entre os vizinhos. Atualmente, o aprendizado também é transmitido para as pessoas fora dessa comunidade, o que ocorre principalmente desde a abertura da Casa do Figureiro, local de produção e venda dessa cerâmica. A criação desse espaço ampliou as possibilidades de geração de renda, outro fator fundamental para tal prática. As figureiras, mulheres que fazem as figuras de barro, representam, hoje, um grupo significativo de manifestação da cultura popular, expressando-se, criando e ensinando às novas gerações o seu ofício. Nesse sentido, a pretensão deste projeto é: descrever e analisar os processos de ensino e aprendizagem presentes nessa tradição. O como são vivenciadas as formas de aprendizagem para essas pessoas a partir de processos (ou métodos) de ensino, criados pelas gerações anteriores, é o grande foco deste trabalho. Nessas ações estão as experiências de ser aprendiz e também de ser o mestre do ofício em fazer figuras. Este estudo procura compreender e registrar essas vivências, como são desenvolvidas e se transformam para constituir também uma tradição de ensinar e aprender. Procura-se, pois, pensar as relações existentes nesse processo, por isso o texto se intitula: ensino e aprendizagem na cerâmica, diferentemente de ensino e aprendizagem da cerâmica. Aqui, não se encontra um manual de como fazer figuras de barro, por isso não são amplamente evidenciadas as técnicas, que são somente citadas com o intuito de exemplificar as situações e relações de ensino e aprendizagem desses sujeitos. Neste trabalho de registro e discussão, enfoca-se como essas pessoas ensinam, aprendem e apreendem o ofício de ser figureiro. / Mestrado / Mestre em Artes

Tendo como campo de estudo o Brique da Redenção, um dos mais importantes pontos de comercialização de artesanato em Porto Alegre-RS, esta pesquisa teve como objetivo geral mapear o contexto atual da utilização de identidades visuais por artesãos que ali expõem seus produtos e a possibilidade de inserção do design gráfico junto ao artesanato em ações de comunicação visual. A base teórica aborda o design gráfico vernacular e o institucionalizado, o artesanato, a identidade visual e sua importância para a atividade artesanal. Junto aos artesãos, foram coletados materiais gráficos, nos quais se realizou uma análise dos elementos visuais que representam o nome comercial de seus produtos. Com o intuito de compreender melhor estas identidades visuais, efetuou-se uma análise comparativa com os princípios e normas de composição visual estabelecidas pelo design gráfico institucionalizado. No artesanato, percebeu-se a predominância de linguagem visual vernacular que, para o design gráfico institucionalizado, não é satisfatória de acordo com os padrões tidos como de qualidade. Por meio de entrevistas, buscou-se diagnosticar a percepção que os artesãos têm sobre a comunicação visual de marca, a sua satisfação em relação àquelas que utilizam, bem como investigar se ocorre ou não a participação de profissionais de design gráfico na promoção do artesanato comercializado no Brique da Redenção. Para transcrição, codificação e análise destes dados, os mesmos foram agrupados por temas correspondentes, identificando enunciados em comum e codificando-os. Os resultados apontam uma carência de projetos consistentes de identidades visuais para os artesãos, indicando um rico campo de atuação para o design junto ao artesanato em ações que visem à melhoria da comunicação visual deste segmento. / Having Brique da Redenção as the field of study, which is one of the most important points of handicraft commercialization in Porto Alegre - RS, this study aimed to mapping the current context of the use of visual identities by artisans who exhibit their products there and the possibility of insertion of graphic design along with handicraft in actions of visual communication. The theoretical basis approaches the vernacular and the institutionalized graphic design, the handicrafts, the visual identity and its importance to the handicraft activity. Along with the artisans, graphic materials were collected, in which an analysis of visual elements that represent the commercial name of their products was made. In order to understand better these visual identities, a comparative analysis was done with the principles and rules of visual composition established by the institutionalized graphic design. In the handicraft activity, a dominance of vernacular visual language was perceived, which, for the institutionalized graphic design, it is not satisfactory according to the standards taken as quality. Through interviews, the perception that the artisans have regarding the visual communication of their brand was sought as well as their satisfaction with regard to the ones who use them and investigate if the participation of graphic design professionals occur to promote the crafts commercialized at Brique da Redenção. For transcription, coding and analysis of these data, they were gathered by their correspondent themes, identifying statements in common and coding them. The results point a lack of consistent projects of visual identities for the artisans, indicating a rich field of work for design along with the handicraft in actions which aim the improvement of the visual communication of this segment.

Poverty alleviation is a key item on the agenda of both government and non-governmental organisations. The use of indigenous knowledge to embark on small and medium size enterprises (SMEs) such as handicraft making has shown that it has a potential to yield the desired outcome in many areas. The research addressed the question: to what degree are handicrafts made in the Lowveld region of Swaziland and to what extent do these handicrafts contribute towards the livelihood of rural households? The data was collected using questionnaires and observations. Findings revealed that the production of handicrafts is the second most important livelihood activity for most respondents. Even though the income received from these activities is small, its significance lies in the timing at which it is received; and on its role in supporting existing livelihood activities. Sustainability of the business is, however, threatened by inaccessibility of resources, lack of organisation and trading challenges There is a need to promote the cultivation of natural resources, continuous training workshops and for women to form cooperatives or groups. Further research is needed that would focus on the following areas: a comparative study done in urban areas which shall also investigate the impact of handicraft on urban poor households; a study which will focus on handicraft marketing and consumption and lastly on the youth and handicraft. / Agriculture, Animal Health and Human Ecology / M.Sc. (Human Ecology)

Taxidermy specimens and displays have become increasingly liminal features in contemporary society. Viewed variously as historical curios, obsolete relics or more malignantly as ‘monstrosities’, they can be a source of discomfort for many. Taxidermy objects have become uncomfortable reminders of past scientific and colonial practices which have sought to capture, order and control animated life and as such have become increasingly problematic items for their owners. As a result many taxidermy displays have been dismantled and mounts relegated to ‘backstores’ to gather dust. The paradox is that taxidermy as a practice is a quest for ‘liveness’, to impute life back into the dead. Much like the taxidermist, my goal in this thesis is to revive and restore: to renew interest in and reassert the value of taxidermy collections by recovering what I shall term as the ‘biogeographies’ of their making and continued maintenance. Considerable academic attention has been paid to the ‘finished’ form and display of taxidermy specimens inside cabinets, behind glass – in other words, to their representation. By way of contrast, this thesis recovers the relationships, practices and geographies that brought specimens to their state of enclosure, inertness and seeming fixity. These efforts are aligned with work in cultural geography seeking to counteract ‘deadening effects’ in an active world through a prioritisation of practice (Dewsbury and Thrift 2000), and elsewhere draw on research arguments and approaches originating in historical geography, and the history of science. The thesis firstly investigates historical developments in the scientific and craft practice of taxidermy through the close study of period manuals, combined with ethnographic observations of a practicing taxidermist. Critical attention to practice then facilitates the recovery of the lifeworlds of past taxidermy workshops and the globally sited biogeographies behind the making of individual specimens and collections. The thesis required the purposeful assemblage and rehabilitation of diffuse zoological and historical remains to form unconventional archives, enabling a series of critical reflections on the scientific, creative and political potentials of taxidermy.

"Handicraft" means a useful or decorative object made by a craftsman who has direct control over all stages of production. Handicrafts have always had a greater value, an identity of their own that is reflective of their place, culture and materials, as well as a sense of belonging to a particular place and time. With the ever-growing mass production that followed the Industrial Revolution, we lost those crafts to multiple reasons: one being cheaper, industrial-made products reducing the demand for handicrafts, and another being a shift in consumer tastes. Most craftspeople hardly earn enough to survive and fulfill their basic needs, and naturally seek greater economic stability. In hopes of making a better future for their children, they send them to schools to gain knowledge that could help them gain employment and be able to make better livings for themselves and their families, halting the passing of knowledge. Hence, the heritage of skills that had been passed for generations in a family comes to end. This risks the loss of a craft that once was a source of pride and joy for these artisans – and for the larger community There are a number of efforts going on around the globe to preserve the indigenous crafts of different cultures, and to allow that knowledge to be passed down to new generations. My focus in this paper is a specific object (the charpai) from the Jandi craft, and its preservation through innovation. My work seeks to advance and preserve the skills and traditions of the artisans, while designing a new set of products inspired by the craft that hope to reconnect more artisans to the craft and empower them in terms of knowledge and finance.

This study investigates the petrographical and chemical characteristics of a group of Zeuxippus Ware Related Ceramics dating to the late 12th-13th centuries from Kusadasi Kadikalesi/Anaia. Kadikalesi was a Byzantine fortress at the coast of Aegean Sea. It was also a significant commercial port and an episcopacy center during the 13th century. In this study, visual classifications of the ceramics were carried out based on their stylistic properties. Then, ceramic samples were investigated by several methods including mineralogical, micromorphological, chemical (SEM-EDX, ICP-OES, ICP-MS) and Raman Spectrometry techniques and further evaluated by statistical analyses. Bodies are found to be rich in SiO2 and Al2O3 while relatively high amounts of Fe2O3 measured, agree well with their reddish bodies. These bodies mostly display micaceous matrix with a relatively low degree of vitrification. Cluster analysis performed among thirty selected samples, points out the presence of two main groups. Observed slip layers are also found to be rich in SiO2 and Al2O3 contents and exhibit various types of crystalline and/or vitreous matrix. Glazes are found to be high lead glazes processed at or below. The glazes are found to be high lead glazes processed at or below 700&deg / C as confirmed by SEM-EDX and Raman spectrometry investigations. Iron compounds are the major coloring agents for most of the glazes analyzed regardless of their observed colors. Presence of Raman peaks in some yellow glazes which may be assigned to a solid solution of Naples yellow type of pigment is significant since its use in the Byzantine period as a glaze pigment has been scarcely reported before.

Poverty alleviation is a key item on the agenda of both government and non-governmental organisations. The use of indigenous knowledge to embark on small and medium size enterprises (SMEs) such as handicraft making has shown that it has a potential to yield the desired outcome in many areas. The research addressed the question: to what degree are handicrafts made in the Lowveld region of Swaziland and to what extent do these handicrafts contribute towards the livelihood of rural households? The data was collected using questionnaires and observations. Findings revealed that the production of handicrafts is the second most important livelihood activity for most respondents. Even though the income received from these activities is small, its significance lies in the timing at which it is received; and on its role in supporting existing livelihood activities. Sustainability of the business is, however, threatened by inaccessibility of resources, lack of organisation and trading challenges There is a need to promote the cultivation of natural resources, continuous training workshops and for women to form cooperatives or groups. Further research is needed that would focus on the following areas: a comparative study done in urban areas which shall also investigate the impact of handicraft on urban poor households; a study which will focus on handicraft marketing and consumption and lastly on the youth and handicraft. / Agriculture, Animal Health and Human Ecology / M.Sc. (Human Ecology)

Ce travail se veut une synthèse sur l'artisanat de Gaule méridionale entre la fin du VIIIe s. et la fin du IIIe s. av. n. è., thématique encore peu abordée dans son ensemble pour cet espace géographique. Il vise à définir les facteurs de la spécialisation des tâches et des individus et à traiter de l'évolution du travail dans les sociétés indigènes. Successivement, seront approchées les activités associées aux arts du feu la métallurgie, la céramique et le verre - et les productions dérivées du travail vivrier les textiles, le cuir et les matières dures animales -. À chaque fois, il s'agira d'identifier les procédés techniques attestés à l'âge du Fer, d'examiner les degrés de technicité associés à chaque activité et de dépeindre l'environnement dans lequel ces opérations se déroulent. Une fois ces considérations posées et à la lumière de cette documentation, les aspects économiques attachés à la production d'objets manufacturés et notamment le rôle de l'artisanat dans le processus de complexification sociale dans lequel les communautés sont alors engagées seront analysés. Enfin, compte tenu de l'importance fondamentale de la composante sociale dans le développement du travail spécialisé, les thèmes liés aux lieux dédiés à la production et à l'apparition des ateliers, au statut et à la place des artisans ou à l'apprentissage seront tour à tour abordés, parfois pour susciter plus de questions que de réponses. / This documentation presents a synthesis concerning the handicrafts of Southern Gaul between the end of the VIIIth and the end of the IIIrd century B.C., a topic that has not been overly dealt with globally with respect to that geographical area. It aims at defining the factors determining the specialization of tasks and individual people as well as discussing the evolution of activities within the indigenous societies. Subsequently the activities associated with the arts of fire will be dealt with, i.e. metallurgy, ceramics and glass as well as the products derived from cottage industry, i.e. textiles, leather and hard materials stemming from animals. There always arises the need of identifying the technical procedures bearing witness to the Iron Age, of examining the degrees of technical achievement associated with each and every activity and of depicting the environment where these operations take place. Once those considerations are established - and in the light of that documentation - we shall analyze the economic aspects underlying the production of hand-made objects and namely the role played by handicrafts in the creation of an ever more complex society made up by the individual communities. Finally, given the fundamental importance of the social component in the development of specialized activities, the topics connected with the actual place of production, with the appearance of workshops, with the status and place of the craftsmen or with the institution of apprenticeship will be alternately dealt with; sometimes giving rise to more questions than answers.

The Nordic glass industry has its roots in 1742 in Glasriket (Kingdom of Crystals) in Småland county, Sweden, also known as the pioneer of the glass industry in the Nordic countries. The glass industry has faced many sustainability challenges, particularly related to the environmental pollution caused by the glass industry due to chemicals used in the glass manufacturing process that have leached into the surrounding environment, such as water and soil. On the other hand, glass tourism can be approached better way through creative tourism, which has potential from a sustainability perspective, as creativity is a source of sustainability and innovation.However, creative tourism is a relatively new form of tourism, and there are gaps in understanding creative tourism offerings. This research aims to gain a deeper understanding of creative tourists' motivations and tourists’ gaze through semi-structured interviews with nine creative tourists (demand side) and, on the other hand, also about sustainability for two glass studios in Finland and two glass studios in Sweden (supply side) as well as creative tourists. The study’s theoretical framework is based on the social psychological model of tourism developed by Iso-Ahola (1982) and tourists gaze by Urry (1990). In the narrative analysis of the data collected, this thesis will help highlight the tourists' motivations and gaze. Moreover, to understand sustainability, this study brings an understanding of other values that support glass tourism, such as social, cultural, and economical.