DOCSLIB.ORG

Handicraft & Hobby Exhibits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Handicraft & Hobby Exhibits HANDICRAFT & HOBBY EXHIBITS LOCATION: First Presbyterian Church Sponsored by th ENTRIES ACCEPTED 5pm-7pm FRIDAY, SEPTEMBER 27 ONLY Saturday 12:00 p.m. - 7:00 p.m. Sunday 11:00 to 2:00 p.m. Entry Fee - Corn Festival Button Jeri Robinson—Chair / Co-chair RULES 1. Each entry must plainly show the entry number, class of exhibit and adult or youth entry (Youth under 14 years of age). 2. Youth entries will be judged by age. All youth entry tags must clearly show age. 3. All entries must be made by entrant within the last two years. 4. Responsible care will be used in handling and showing the entries, but no further responsibility will be taken for them. 5. Exhibits will be judged on workmanship, effect and cleanliness. Three places may be awarded in each class plus a Best of Show ribbon will be awarded. Professional exhibits will not be judged. There will be a people's choice ribbon awarded at the end of the weekend. Come out and vote! 6. Entries are not limited to Grundy County or any age group. JUDGING CLASSES FOR ADULTS AND YOUTH ENTRIES 1. YOUTH 5. AFGHANS a. Models a. Knitted b. Latch hook b. Crocheted c. Christmas c. Tunisian d. Beading 6. CHRISTMAS DECORATIONS e. Mosaic a. Table Linens f. Needlework b. Ornaments 1. Plastic Canvas c. Tree Skirts 2. Original d. Wreaths 3. Kit e. Decorations g. Plaster Craft f. Wall Hangings h. Jewelry (limit 4 entries per class) 7. CERAMICS 1. Kit 8. DOLLS 2. Homemade a. Rag i. Scrap booking b. Porcelain 1. Album c. Stuffed Animals 2. Single Page 9. WOODWORKING 3. Stickers a. Lathe Work j. Card Making b. Spindle Work 1. Handmade c. Kits 2. Computer Made d. Clocks k. K’nex 10. WOOD CARVING 1. Under 2’X2’X2’ a. Relief 2. Over 2’X2’X2’ no bigger than 3’X3’X2” b. In the round l. Lego’s c. Chip 1. Large 11. Marquetry 2. Small a. Intarsia 2. COUNTED CROSS STITCH b. In lay a. Linens and Silks c. Other 1. Kits 12. Furniture 2. Graphs a. New handmade 3. Original Design b. Refinished Antique b. Aida cloth 13. TOLL PAINTING 1. Kit a. Plaques 2. Graphs b. On tin 3. Original Design c. Other 3. NEEDLEWORK 14. STENCILING a. Plastic Canvas 15. TIN PUNCH b. Embroidery 16. STAINED GLASS c. Candlewicking a. Windows d. Needlepoint 1. Under 2’ square 1. Linens & Silks 2. Over 2’ square a. Original 3. Any Flat Iten b. Chart 4. Any 3-demonsional c. Kit 5. Other 2. Aida Cloth 17. LEATHER WORK a. Original a. Any item original b. Chart b. Any item kit c. Kit c. Tooled e. Filet Crochet 18. MODELS a. Car, Planes, Boat (one entry per type) 4. QUILTS, COVERLETS AND WALL HANGING 19. BASKETRY a. Hand sewn 20. BABY ITEMS b. Machine a. Sweaters c. Hand/Machine Sewn b. Blankets d. Applique c. Hats and Mittens e. Patchwork d. Clothing f. Miniatures 21. DOLL HOUSES a. Original Design b. Kit c. Combination (original & kit) 22. TABLE RUNNERS AND NAPKINS 23. CLOTHING 24. DIORAMA 25. SCRAP BOOKING a. Album 1. Large 12 X 12 a. Commercial b. Handmade 2. Small 8 X 8 or 9 X 9 a. Commercial b. Handmade b. Single Page 1. Large 12 X 12 a. Commercial b. Handmade 2. Small 8 X 8 or 9 X 9 a. Commercial b. Handmade c. Themes 1. Large 12 X 12 a. Commercial b. Handmade 2. Small 8 X 8 or 9 X 9 a. Commercial b. Handmade 26. CARD MAKING a. Commercial Embellishments b. Handmade Embellishments a. Creative Cuts b. Special Folds c. Crimped d. Embossed 27. Jewelry (Limit 4 entries per class) a. Handmade 1. Ear Rings 2. Necklaces 3. Bracelet / Anklets b. Kits 28. Collections (2 per 2 entries) Birdhouses ENTRIES TAKEN 5PM-7PM SEPTEMBER 27TH ONLY PICK UP ENTRIES 2:30PM-5PM SEPTEMBER 29TH GENERAL RULES: 1. All entries must be built and/or decorated by the entrant within the last 12 months. 2. Entrants must indicate whether the birdhouse is functional or decorative. 3. Age groups: -Adult 18 years of age and up -Youth A (6 – 9 years of age) -Youth B (10-13 years of age) -Youth C (14-18 years of age) Section 1. Decorative These will be judged on aesthetics, imaginative theme or concept, whimsy, exceptional use of form, texture, color, composition, and *craftsmanship (*THIS CLASS IS NOT REQUIRED TO USE BIRDHOUSE SIZE REQUIREMENT) Class 10: Original Class 11: Kit Class 12: Premade Section 2. Functional Requirements: 1. Birdhouses must be original and suitable for a type of species that nests in Illinois. Entrants must indicate the species the house is designed for and use accepted standards. (Refer to www.birds.cornell.edu/nestinginfo/downloads/songbirdholesize.pdf for these standards) 2. The walls and roof should be at least ¾ inch thick to provide insulation against spring and summer sun. 3. The entry hole should be the correct size for the species. The over-all inside dimensions should also be appropriate for the species. 4. The house should be assembled, with appropriate fastening material, to ensure it will last through an entire nesting season. (Example: Cord or string hanger will probably fail.) 5. No perches should be provided near entry holes to reduce threats from predators. 6. There should be a way to open for monitoring nesting activity and for cleaning after use. 7. The roof should be slanted to allow for water run-off and provide enough overhang to minimize rain entering the house 8. There should be ventilation under the eaves to provide air flow. (Gaps or holes drilled) 9. If a house is painted, the colors should be light or neutral tones. Dark colors absorb the sun’s rays and make the box too warm inside. 10. The inside wall of deep houses (wood duck, owl, etc.) should have recessed grooves or rough surfaces under the entrance hole to help baby birds climb out. Class 13: Original Class 14: Kit Bird Type Floor Size Entry Hole Hole above floor Interior Depth Nest Height (inches) (inches) (inches) (inches) (feet to ground) Bluebirds 5 x 5 1.5 6 8 5-10 feet Chickadees 4 x 4 1.125 6 8-10 inches Finches 6 x 6 2 4 6 8-12 feet Flycatcher 6 x 6 2 6-8 inches 8-10 inches 8-20 feet Kestrel, American 8 x8 3 9-12 inches 12-15 inches 8-30 feet Nuthatches 4 x 4 1.25 inches 6-8 inches 8-10 inches 5-20 feet Owls Barn 10 x 16 6 4 15-18 inches 12-18 feet Screetch 8 x 8 3 9-12 inches 12-15 inches 10-30 feet Barred 13 x 15 8 -- 16 10-30 feet Phoebes 6 x 6 platform -- -- 8-12 feet Robins, American 6 x 8 platform -- -- 6-15 feet Sparrows Song 6 x 6 open, all sides -- 6 1-3 feet House 4 x 4 1.5 inches 6-8 inches 8-10 inches 4-12 inches Swallows Barn platform -- -- 8-12 feet Purple Martin 6 x 6 2.25 inches 1 6 15-20 feet (30 feet open space in all directions from birdhouse) Tree 5 x 5 1.5 inches 1-5 inches 6 10-15 feet Titmice 4 x 4 1.25 inches 6-8 inches 8-10 inches 6-15 feet Warblers 4 x 4 1.25 inches 5 8 4-7 feet Woodpeckers Downy 4 x 4 1.25 inches 6-8 inches 8-10 inches 6-20 feet Flicker 7 x7 1.5 inches 14-16 inches 16-18 inches 6-20 feet Hairy 6 x 6 2 9-12 inches 12-15 inches 12-20 feet Redheaded 6 x 6 3-4 inches 10-12 inches 12-14 inches 12-20 feet Wrens House 4 x 4 1 1-6 inches 6-8 inches 6-10 feet Winter 4 x 4 1 x 2.5 4-6 inches 6-8 inches 5-10 feet NOTE: As little as one foot in hanging height can make a big difference in the birds you attract. If you desire winter wrens, for example, one less foot in height will help keep out other wrens. Make certain that all entry holes 1.5 inches and smaller in diameter are sized exactly in order to keep starlings out. For more information on birdfeeders and birdhouse specific species, check internet sites such as www.50birds.com .
Load more

Recommended publications
  • Youth Handicraft - 20
    YOUTH HANDICRAFT - 20 Committee: Danielle Brannon, April Davis, Barry Davis, Kailey Hubert Premiums: $3.00, $2.00, $1.00 Premiums Offered: $645.00 4TH THROUGH 8TH GRADES 20-01-01-00 .............................................................................. Paper Craft 20-01-02-00 ..............................................................................Plaster Craft 20-01-03-00 .....................................................................Bread Dough Craft 20-01-04-00 ......................................................................... Sculpture, clay 20-01-05-00 .................................................................Wall Hangings, fabric 20-01-06-00 ..........................................................................Handmade Doll 20-01-07-00 .......................................Candle, molded, poured, hand-formed 20-01-08-00 ...........................................................................Candle Holder 20-01-09-00 .................................................................... Handmade Basket 20-01-10-00 ................................................................................. String Art 20-01-11-00 ............................................................................. Plastic Craft 20-01-12-00 ................................................................................Metal Craft 20-01-13-00 .............................................................................Leather Craft 20-01-14-00 .................................................................................
    [Show full text]
  • Job Description: Handicraft Director
    Job Description: Handicraft Director Essential Functions: The Handicraft Director is responsible to the Program Director for the effective instruction of specialized craft skills and of any merit badges assigned by the Program Director. The Handicraft Director must possess organizational and managerial skills, creativity and originality, and a desire to work with youth of Boy Scout age. Setting up an area to which Scouts and Leaders may come for instruction in the following skills and their related merit badges: Training and supervising the work of the Handicraft Staff. Helping the Business Manager keep track of handicraft inventories in the Trading Post. When supplies of various craft items are running low in relation to expected need, the Director should bring this to the Business Managers attention. Making available and encouraging troops, patrols, and older Scouts to participate in special activities at the Handicraft area. Helping unit leaders to become aware of the Handicraft program possibilities available both in and out of Camp. Maintaining up-to-date and accurate inventories of all equipment used in the Handicraft program Ensuring the counselors-in-training assigned to the Handicraft area receive meaningful and relevant experiences. Turning in records of merit badge participation and badge completion to the Program Director. Assisting in the general Camp program in anyway possible, and completing any assignments given by the Program Director or the Camp Director. Working to maintain the morale of other Staff members assigned to the Handicraft area. Writing a report on the Handicraft Program, and turning it in to the Program Director before leaving Camp. This report should document the extent of use of the program and suggestions for improvements.
    [Show full text]
  • Art and Life on the Upper M Is Sis Sippi 1890-1915
    Minnesota 1900 Art and Life on the Upper M is sis sippi 1890-1915 MICHAEL CONFORTI, EDITOR With essays by Marcia G. Anderson, Michael Conforti and Jennifer Komar, Mark Hammons, Alan K. Lathrop, Louise Lincoln and Paulette Fairbanks Molin, and Thomas O'Sullivan ~ .DElAWARE Newark: University of Delaware Press London and Toronto: Associated University Presses in association with The Minneapolis Institute of Arts Appendixes APPENDIX I: BIOGRAPHIES OF PROMINENT MEMBERS OF THE HANDICRAFT GUILD OF MINNEAPOLIS . M ANY TALENTED WOMEN WERE E CAGED IN THE AP­ Suggestions, was published for the schools' drawing depart­ plied arts during this period only to abandon them to devote ments and gave monthly work outlines for teachers in all all their energies to husbands and families. So much of the grades. She identified useful instructional sources for teach­ work of consequence was carried out by professional ers. Ernest Batchelder's book, Design in Theory and Prac­ women. The stories below offer some hint of the commit­ tice, was always among them. Roberts also published a ment of these women and the inAuence they had both in series of booklets, tools really, called Picture Studies. Each Minnesota and nationally. focused on an individual artist (e.g., Murillo, Velasquez, and Rembrandt) with the purpose of preparing children for (MARY) EMMA ROBERTS beginning studies in painting as an art form. Emma Roberts, the founder of the Handicraft Guild, In 1913, Roberts moved into her new arts and crafts­ supervised drawing and art appreciation in the Minneapolis inAuenced home, designed and built by celebrated local public schools for twenty-four years.
    [Show full text]
  • 2008 Annual Town Report Is Dedicated to Colleen F
    NEEDHAM Where Colonial Tradition ... MEETS … 21st Century Innovation T O W N O F N E E D H A M 1711 – 2008 ANNUAL REPORT Needham, Massachusetts Cover Photographs Jonathan Kingsbury House circa 1779, Rosemary Street, Needham, MA (top) Dasani Water Bottling, Coca Cola Plant, Needham, MA (bottom) This 2008 Annual Town Report is Dedicated to Colleen F. Schaller Colleen Schaller and her late husband Frank arrived in Needham in 1963, thinking they would be here only a few years. Born and raised in Connecticut, Colleen is a graduate of the Berkeley School in New York. She met Frank at her first job at Univac, where she was an assistant. They were married in 1961 and Frank’s profession as a mechanical engineer for Univac gave them the opportunity to live in four states in two years before they eventually settled in Needham. Over the next 46 years, Colleen and Frank raised two children and became grandparents four times. Colleen continues to live in this same home today. Colleen is a tireless volunteer and her efforts have benefited a long list of organizations within our community. Senior Center Exploratory Committee, Member Tercentennial Seniors Committee, Needham Board of Selectmen, Member Member/Vice Chair Needham Youth Commission, Member/Chair Needham Council on Aging Board of Directors, Needham School Committee, Member/Chair Member Needham Youth Center, Founding Member Needham Community Council Board of Directors, Member Needham High School Distinguished Career Charles River Center Board of Directors, Member Committee, Member Needham Cares,
    [Show full text]
  • Rebranding “Made in India” Through Cultural Sustainability – Exploring and Expanding Indian Perspectives
    REBRANDING “MADE IN INDIA” THROUGH CULTURAL SUSTAINABILITY – EXPLORING AND EXPANDING INDIAN PERSPECTIVES Thesis for Two year Master, 30 ECTS Textile Management Monica Boța-Moisin Raphael Schreiber Thesis Number: 2021.7.01 Title: Rebranding “Made in India” through Cultural Sustainability - Exploring and Expanding Indian Perspectives Year of publication: 2021 Authors: Monica Boța-Moisin and Raphael Schreiber Supervisor: Hanna Wittrock Abstract This exploratory study is a first attempt to translate the Indian cultural context from a socio- cultural, and legal perspective by identifying the values attributed to Indian textile craftsmanship by Indian textile and fashion stakeholders, and how their perspective is influenced by the global recognition and perception of Indian textile crafts and connotation of “Made in India”. At the same time the study investigates the meaning of “sustainability” in the Indian cultural context, in relation to textile craftsmanship, and how this relates to the Western concept of “sustainability”. Through field research in conjunction with a series of in- depth unstructured interviews, this study reveals that Cultural Sustainability is the dominating narrative in the Indian cultural context due to the prevalence of culturally embedded sustainability practices and the role of textile craftsmanship in sustaining livelihood, being a unique exercise of positioning Indian textile craftsmanship within a framework of cultural heritage as a valuable source of knowledge for sustainable practices in the fashion and textile industry. Unique about this study are the India-centric approach combined with the ethnicity of the subjects interviewed - who are, without exception, Indian nationals, whose work, voice and reputation are shaping India's contemporary textile craft-sustainability narrative (being referred to as the “Indian textiles and fashion elite”) and the framing of traditional craftsmanship from a legal perspective, introducing the notion of legal protection of traditional textile knowledge and traditional cultural expressions.
    [Show full text]
  • Handicraft Guide Vedra 2019 1
    HANDICRAFT GUIDE VEDRA 2019 1. DEFINITION OF HANDICRAFT AND CRAFTSMAN 2. THE DESIGN 3. GALICIAN MAPS 4. GALICIA’S HANDICRAFT 5. TRADITIONAL DECORATIVE TECHNIQUES a. Jewelry b. Ceramic c. BasKetry DEFINITION OF HANDICRAFT AND CRAFTSMAN 1. HANDICRAFT Definition according to the Royal Academy of the Spanish Language: CRAFT OR WORK OF CRAFTSMAN Other definitions are: Craft and Technique TO MANUFACTURE OR ELABORATE OBJECTS OR PRODUCTS BY HAND, WITH SIMPLE AND TRADITIONAL DEVICES. DEFINITION OF HANDICRAFT AND CRAFTSMAN • Handicrafts is a quest throughout the existence of the human being to achieve an easier life. We transform, through design, materials and manage to modify their shapes or properties with the sole purpose of maKing their use more efficient and improving the result of our actions. • When we talK about design, works of art are automatically presented in our minds, so called for having no use but the observation of their beauty, therefore they are elements that only decorate our surroundings. However, when maKing an object by hand, design is also applied, so handicrafts pieces are also work of art, we observe its beauty and we also use them. DEFINITION OF HANDICRAFT AND CRAFTSMAN • Then We will have ARTISTS and CRAFTSMAN, it is not assumed the underestimation of one compared to the other, they have as a common point the design, and therefore the originality and the aesthetics. • Until reaching industrialization and from the time of prehistory, craftsman had great social importance, which is seen in the power acquired by the guilds, both economic and social. Once the renaissance begins, a change occurs and the Fine Arts and the Applied Arts are separated, with different studies established for each of them.
    [Show full text]
  • Heidegger's Theories and the Stained Glass
    1st Annual International Interdisciplinary Conference, AIIC 2013, 24-26 April, Azores, Portugal - Proceedings- HEIDEGGER'S THEORIES AND THE STAINED GLASS Ghioldus Andreea, Arch., Phd. Student University of Architecture and Town-Planning Ion Mincu, Bucharest , Romania Abstract: This paper work brings into discussion some of Martin Heidegger theories and analyze the way we can apply them in the stained glass situation. Will they apply in exactly the same way the philosopher says or there are some differences revealed by the different characteristic of the stained glass? The work is divided in two parts. The first part discuss the Heidegger's theories about technology. The philosopher says that the technology affects the way the people relate to the nature and that they began to think only about the ways to exploit it. Well in this case, about stained glass, this problem is different, because by it's nature, the stained glass making process never change the relationship between the artist and the glass. So, no matter the tools used for making stained glass, the traditional ones or the computer, the creative process remains the same. The second part analyze another of Heidegger's concepts from his work “The Origin of Work of Art” which are the thing, the tool and the work of art. Heidegger says that an object can be a thing or a tool or a work of art and that it can never accomplished more than one of these characteristics. Well here we can see that stained glass have different rules. It's duplicity allow it to be a work of art and a tool in the same time.
    [Show full text]
  • Town of Needham ANNUAL REPORT 1711 – 2010
    Town of Needham ANNUAL REPORT 1711 – 2010 NEEDHAM, MASSACHUSETTS Cover and back cover photos: The Public Services Administration Building located at 500 Dedham Avenue, opened February 17, 2010. This 2010 Annual Town Report is Dedicated to Carol Johnson Boulris Carol Johnson Boulris was born in Alton, Illinois, where her great-grandfather had settled after emigrating from Germany. She was high school valedictorian and was the first female from Alton to attend Harvard-Radcliffe. At Harvard, Carol received a degree in Economics. When the local newspaper recorded her degree in Home Economics, Carol quickly contacted the newspaper, which then printed a correction. It was at a Harvard-Radcliffe freshman mixer that Carol met her husband, the late Chester Joseph Boulris. “Chet” and other members of the varsity football team crashed the event at which Carol was chaperoning. Chet and Carol were married the following year, in 1960. Carol and Chet moved to Vermont for Chet to continue his medical training and Carol taught seventh grade Language Arts and Social Studies for one year. Their three children, Mark, Craig, and Loriel, were all born in Vermont. After serving for two years in a MASH unit in Stewart Air Force Base in Smyrna, TN, the Boulris family relocated to the Boston area for Chet to complete his residency. Carol’s father carefully researched schools in the area surrounding Boston. Needham Schools had an excellent reputation and would be a perfect option for the Boulris children who were 7, 5 and 3 to receive their primary education. The Boulris family relocated to their first home on Francis Street in Needham in 1969 and later moved to Country Way in 1976.
    [Show full text]
  • Needle Art Project Sheet
    Utah 4-H Project Sheet Needle Arts: Crochet, Knitting, Needlework, Etc. Project summary Are you creative and love to work with your hands? If so, this project is for you. Needlework is a decorative sew- ing handicraft and art form. It uses many different forms of thread-able material and pliable textile. Needlework tools can include hooks, shuttles and many different sizes and shapes of needles. Crafts include crochet, knitting, tatting, macramé, needle point, cross stitch, embroidery, bead embroidery, needle felting, punch needle, appli- que, and hand quilting. starting out learning more exploring depth beginner intermediate advanced Pick a craft and gather the materials Set goals to improve and learn more. Complete more advanced projects. and tools needed. Read different patterns. Design your own pattern. Learn basic stitches through a class, Study color and design principles. Teach your craft to others. online tutorial or mentor. Discover different textiles available. Learn process used to make textile or Remember hand work takes time, Learn to care for your handicraft project. tools (fabric, yarn, thread, hooks, shut- practice and patience, so relax and Add advanced stitch techniques. tles, needles, etc.). enjoy the process. Select a new type of needlework handi- Learn the history of the craft. Complete a simple beginner project. craft. Display your handiwork. awards & recognition awards & recognition awards & recognition Ribbon & premium money at county or state fair Ribbon & premium money at county or state fair Ribbon & premium
    [Show full text]
  • The Protection of Intangible Cultural Heritage from the Perspective of Art Anthropology: Case Study of Jingdezhen’S Folk Ceramic Craft
    Frontiers in Educational Research ISSN 2522-6398 Vol. 2, Issue 4: 79-82, DOI: 10.25236/FER.034021 The Protection of Intangible Cultural Heritage from the Perspective of Art Anthropology: Case Study of Jingdezhen’s Folk Ceramic Craft Yang Liu Faculty of Humanities, Charles University, Prague 02101–02117, Czech Republic ABSTRACT.Ceramic as tangible material culture, it is generally not in the category of intangible culture, however, the inheritance process of Jingdezhen's folk ceramic craft through “oral teaching” between masters and apprentices includes different kinds of intangible cultural elements. From the angle of the protection of intangible cultural heritage and art anthropology, this article tries to discuss the intangible cultural factors contained in Jingdezhen's folk ceramic craft, combined with related current situations of rescuing and protecting Jingdezhen's folk porcelain techniques, and propose the slogan “saving people and saving environment” to maintain Jingdezhen’s folk ceramic craft. How to make ceramic craft be better disseminated and inherited, and what new forms can absorb in the future? It is also a subject that needs our further investigation in the future. In so doing, I hope this article will contribute to a growing body of attention in contemporary intellectual history on intangible culture inheritance as well as the ideas of anthropology. KEYWORDS: Art anthropology; folk ceramic craft; intangible cultural heritage; Jingdezhen; protection and inheritance 1. Introduction On October 17, 2003, UNESCO passed the Convention for the Safeguarding of the Intangible Cultural Heritage, officially named and published the five basic contents of the protection of intangible cultural heritage, traditional handicraft ranked among them[1].
    [Show full text]
  • Download Now PDF File
    WEST DESIGN front cover_CRAFT BIZ 04/03/2020 17:19 Page 1 2000 - 2020 MARCH APRIL 2020 ISSUE 146 £3.50 CraftBusinessCRAFTBUSINESS.COM BEST FOR NEWS, COMMENT & BUYING IDEAS FOR CRAFT RETAILERS JAKAR page_CRAFT BIZ 06/03/2020 14:54 Page 1 MARCH APRIL 2020 ISSUE 146 £3.50 CraftBusinessCRAFTBUSINESS.COM BEST FOR NEWS, COMMENT & BUYING IDEAS FOR CRAFT RETAILERS H+H COLOGNE CANCELLED DUE TO CORONAVIRUS FEARS The world’s biggest trade fair for creative handicraft and hobby supplies will relaunch in March 2021 Following intensive estimated that so far, the virus event based on the current consultation and in has infected at least 95,000 recommendation of the agreement with the people worldwide and killed Robert Koch Institute (public participating industry more than 3,200, raising serious health institute in Germany). persuaded us, with a Koelnmesse is continuing its association, Initiative doubts over the suitability “In view of this current heavy heart, to push for a preparations for the following Handarbeit e.V., Koelnmesse of all craft trade shows in background, it is not possible postponement of the trade fair trade fairs as planned. GmbH has decided to the upcoming months. for us to provide a functioning until next spring,” said Hedi As before, it will evaluate postpone the trade show The management team at trade fair as a place to Ehlen, managing director of the recommendations of the h+h cologne 2020 until Koelnmesse who is responsible experience industry highlights initiative at Handarbeit e.V. responsible authorities regarding 26th-28th March 2021. for organising h+h is following and a forum for international As the world’s largest major events for each event This announcement comes the recommendation issued business contacts,” said ordering platform of this type, and make further decisions as the rapidly spreading by the Crisis Team of the City Koelnmesses’ chief operating over 400 sewing, crocheting, after careful consideration.
    [Show full text]
  • Signature of Desert …
    Signature of Desert …. A Project Report On Hand Embroidery Craft, Jethwai, Jaisalmer The Intigrated design and Technical development Project in Hand Embroidery Craft Sanction order No. J-12012/152(1)/2014-15/DS/NR/(INTG) (ST) Dated 26-03-2012 Dated 7th October 2015 to 6th March 2016 At Village : Jethwai, jaisalmer (Raj.) Organized by Export Promotion Council For Handicrafts Sponsered by Office of The Development Commissioner of Handicrafts Ministry of Textiles. Govt. of India Submitted By Tripti Singh Empanelled Textile Designer O/o The DC Handicrafts CONTENTS MARKET RESEARCH ACKNOWLEDGEMENT PREFACE Pre market survey Methodology INSPIRATION Market scenerio INTRODUCTION Proposed marketing mix Range of prototypes A Brief Introduction of… DESIGN DEVELOPMENT O/o The Development commissioner Handicrafts Export Promotion council for Handicrafts Artisan’s training programme Various stages of project BACKGROUND List of prototype Background of Project Prototypes with details Proposal POST MARKET SURVERY Basic objectives of the proposal Study of different market DESIGN TECHNOLOGY AND DEVELOPMENTS OF PROJECT AND DETAILS Discussion with customers ABOUT CLUSTER DESIGNER’S REPORT The venue village Jethawai Achievements Report Jaisalmer New Elements Added ABOUT THE CRAFT AND PROCESS Feed back by Artisans Problems Identified Embroidery craft in india Marketing Possibilities Traditional embroidery of desert Suggestions Aknowledgment Jodhpur, Handicrafts, Marketing and Service Extension Center, Jodhpur O/o the DC (H).I would like to express my Lots of effort has gone into making of this Integrated Design special thanks to our Project coordinator Mrs Reeta Rohilla and Technical Development project. I would like to give my and Senior Designer Amla Shrivastava , Mr. Raviveer sincere thanks to all those who helped in the completion of Choudhary Handicrafts Promotion Officer, Jodhpur and Mr.
    [Show full text]