Traditional craftworks involve much skill, effort, and time, so upcoming generations are not interested in their respective traditional works. Indian traditional Filigree jewelry is delicate metal craftwork representing twisting or curling of pliable wire and shows the beauty of local craftsmen's traditional workmanship involved in making this type of decorative embellishments that result in a very precise and delicate model. Today, developments in CAD technologies are towards reducing the time and efforts of designers required in modeling. The present work aims to develop a knowledge-based parametric CAD modeling system to create Indian traditional filigree jewelry designs. For more effective incorporation of technologies into craft practices, it is suggested that a new curriculum design customized for various types of craft makers be constructed and implemented. The participants envisioned that technologies would enhance productivity and creativity in their practice and that their digital craftspeople identity would thrive due to the rise of the maker culture. Additionally, the study found that technology has not advanced sufficiently to meet craftspeople’s expectations, and understanding of traditional craft skills is essential to take advantage of these technologies. The findings revealed that external variables, such as social influence and facilitating conditions, are as important as personal motivations for craftspeople’s acceptance of technology. This study’s methods consisted of two rounds of semi-structured interviews with 18 craft practitioners as well as participant observations during a short-term workshop in which they learned the basics of digital fabrication technologies. This study explores craft practitioners’ motivation to acquire new digital skills in the context of informal learning and professional development in Hong Kong and how they perceive potential changes in the maker culture and creative industries. Simultaneously, the public’s engagement in making through various means has escalated, disrupting the makers’ ecosystem. She represents all individuals, but women in particular, who understand the power and importance of simple gestures that assert their right to take up space.Since 2000, craft practitioners have increasingly adopted digital fabrication technologies. The woman is strong, beautiful and self-possessed. I wanted to create a monumental sculpture for the public that spoke to this simple joy. Taking a seat is a universal act of leisure and calm. The sculpture will be unveiled on Wednesday 5th October and will remain open until early 2023. A series of 25 smaller-scale editions of Seated also made by Factum Arte are available on. Its sitter – poised, immaculately dressed, glancing to her left – emboldens onlookers to sit with confidence and comfort. For the artist, in its escape from domestic space the chair becomes a stage. Placing the work in a public space cements these ideas. Standing 3 metres high, Seated uses an everyday object as an entry point for questions of permission and performance. Inner structure of the foot © Oak Taylor-Smith for Factum Arte The plinth was inspired by a small painted sculpture in possession of the artist. Details such as the dark outline painted over the maquette's shape had to be translated into a 3D visual, and the colour palette of the sculpture needed to be considered and matched to the patinated bronze. Mediating the 2D nature of Tschabalala's drawing into a physical three-dimensional piece also meant incorporating part of Tschabalala's visual language into the final result, and working side by side with the artist, her inspirations and previous works. After scanning the maquette using photogrammetry, a custom-made paint brush texture was created and mapped over the 3D model, which was scaled to the final size of 2,40m in height, and sent to Fademesa Foundry in Madrid for casting. The first 3D print was made at a smaller size (60cm-tall) and painted by the artist, with the aim of incorporating the painted traces left by the brush on the surface of the final bronze sculpture. The large bronze sculpture started from a drawing by the artist, who closely worked with Factum Arte's 3D sculptor Irene Gaumé to rematerialise it as a three-dimensional piece. As part of Avant Arte's public art programme, artist Tschabalala Self collaborated with Factum Arte on the creation of her first public work.
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