Review: Man Crafts

[amazon ISBN=1588167933][/amazon][amazon ISBN=1588167933]Man Crafts[/amazon]
By the Editors of Popular Mechanics Magazine, re-published 2009
ISBN: 978-1588167934

This pocket sized book will tell you everything you need to know about manly crafts. At least that is what I thought when I first saw the book. After reading through the concise, well written chapters, I soon discovered that rather than being a complete instruction manual, it ignites your inspiration to investigate further.
The book is a re-publication of an old book from the 1940’s-1950’s. After the war, people wanted to spend as little money as they could get away with. They wanted to know how to make things from everyday objects. They wanted to re-discover some of the skills that had almost been lost with the casualties of war. So this book was published to give men a starting point; a reminder of ‘lost’ crafts. It also promoted a number of smaller projects you can do without losing ‘face’ with your friends.

If you want to learn how to use a coping saw, make a candle holder from a tin can, or make a pouch from leather, then I suggest that you give this book a try. Just be careful, all the measurements are in inches.

Buy it at Amazon:
[amazon ISBN=1588167933][/amazon][amazon ISBN=1565232747][/amazon][amazon ISBN=1588165094][/amazon]

Review: Natural Dyes

[amazon ISBN=1847971008][/amazon][amazon ISBN=1847971008]Natural Dyes[/amazon]
By Judy Hardman and Sally Pinhey, 2009
ISBN: 978-1-84797-100-5

By Louise Schelde Jensen

I have been dyeing with plants and other natural materials for about three years now, and have gained experience with different types of plants and the colours you can get out of them. I have also acquired the basic 'know-how' needed when dealing with wool, silks and plant materials.

[caption id="attachment_2102" align="alignleft" width="300" caption="Dyeing in a cauldron (copyright Louise)"][/caption]

Nonetheless, I always have a book or two with me in when I dye just to make sure I do things right and thereby get the best result. For a long time my books on the subject have (being Danish) been Danish books from the 1960s and 1970s and even though not much have changed in the experiments with dyeing it was a joy for me to discover that a new book on the subject had arrived on the marked. I was thrilled to be asked by Historic Crafts to read and do a review on the book. The review has been long time coming due to my new job as a full-time Viking at Bork Vikinge Harbour, Denmark. But the advantage of this is that I have now had the opportunity to try out some of the things mentioned in the book. I'm glad to say that this new book has become my new companion each time I put on a new cauldron with wool and plants.
The book is easy to read and the chapters are very well organized. It begins by listing the mordants. Then on to the different equipment that is needed when dying with plants – pots and pans, a thermometer, things to stir with and so on. This chapter also points out how important safety precautions are. The second chapter is about fabrics, how to prepare them for the dyes and the different ways of dying. One of the great things about this chapter is that the writers have been making experiments with light fastness and this is one of the questions that is often asked - how well does a colour bind to the fabric or yarn? It is very valuable information and a thing I have always wanted to try myself but have never got around to doing.

[caption id="attachment_2101" align="aligncenter" width="490" caption="Louise dyeing (copyright Louise)"][/caption]

The largest chapter consists of a great catalog of the many plants which can be used for natural dyeing. The authors have made a special system for the plants so that the book can be used as a kind of plant thesaurus, which in turn makes it handy when collecting plants and looking to dye in a certain colour. The 53 plants are mentioned in alphabetical order and by their most common names. Other names is also include as are the Latin name. The plant is then described on one page and illustrated in beautiful watercolor on the opposite page. Below the very interesting description of the cultural history of the plant you will find an image of a bobbin with different colour samples that can be achieved with this specific plant. The results of different mordants are displayed and also the differences between using the leaves, flowers, roots and other unique elements of this particular plant. This level of detail is fantastic and again the book is very easy to use. The many colour samples are lovely to look at and make for a great guide to the spectrum of colour that can be produced from natural dyes.
The last chapter brings a whole new element to the book that I have not yet seen in other books about plant dyeing – different guides to making your own dye plant gardens. As a woman with at passion for both crafts and the great outdoors, this sort of guides really makes me want to plant my own garden with plant for more organized experiments and projects.

[caption id="attachment_2103" align="aligncenter" width="405" caption="Louise's natural dyed yarn (copyright Louise)"][/caption]

The guides in the book can give help and inspiration to different types of gardens – front gardens, wet and dry gardens and container gardens. The projects are well described and drawings of the garden designs are attached. You can't help being inspired to grow your own garden from this.
All in all I'm very pleased with this new book about plant dyeing. It has a modern touch, is easy to read and use and I must say that it makes you want to dye. I would warmly recommend it for both museums shops, experienced dyers and newcomers to this type of craft. I have had much pleasure of it already and know that I will continue to do so.

The images in this post are copyright of Louise Schelde Jensen. If you wish to use the images please request permission from Louise.

Buy it on Amazon:
[amazon ISBN=1847971008][/amazon]

Review: Playing with Books

[amazon ISBN=159253600X][/amazon][amazon ISBN=159253600X]Playing with Books[/amazon]
By Jason Thompson, 2010
ISBN: 9781592536009
Book-making or book-binding is maybe not a particularly old craft and the development of big publishing / book binding machines that produced all the 3 billion books published in 2008 means that the handcrafted book binders out there are small fish in a big ocean.
Jason Thompson is one of these and he has on the side of the family bindery business discovered a whole world of exciting things you can do with the books that nobody wants. In "playing with books" he does a really good job of up-cycling, deconstructing and re-imagining the 'book' taking us from the craft of book-binding to the crafts of paper-cutting, origami, decoupage and jewelery-making with a stop-over at the arts.
Some of his ideas have quite inspired me. Close to the date of our first wedding anniversary (paper anniversary) I am of course thinking a lot in terms of paper crafts at the moment. I love the little baskets he has made out of book pages. I may have to try this out for my yarn. The butterfly mobiles are also really cool. But what really fascinated me was the art in the back of the book. That in itself is worth checking out.
So if you are a book lover or just into paper crafts I would say that this book is definitely worth your while for all the inspiration it can provide.

Buy it on Amazon:
[amazon ASIN=159253600X][/amazon][amazon ASIN=1592535240][/amazon][amazon ASIN=1402756151][/amazon]

Review (by Sue) Celtic, Viking and Anglo-Saxon Embroidery

The Art & Embroidery of Jan Messent: Celtic, Viking & Anglo-Saxon Embroidery
By Jan Messent
ISBN: 9781844484096

Review by Sue Bates

Jan Messant has many good books to her name but this is by far the greatest and glossiest. If you aren't reading snippets from it for your embroidery knowledge, it will rest invitingly on the coffee table.

Jan writes of her great interest in the histories of the work she has interpreted here, and her book has a background of historical facts. A tremendous amount of research has gone into each section of the book and it shows in each piece she makes.

Sometimes she produces finished work, but she admits to enjoying smaller sample sizes now.They are as illuminating as her completed works and give glimpses into methods that may have been historically viable. Her techniques are many-fold.

Jan insists it isn't a "how to" book, but there are hints throughout to enable the reader to do something similarly.

The book has eight sections with beautiful photography from beginning to end. There are many close-ups too, to add to the awareness of Jan's skill and colour sense.

There is an introduction of Jan to the reader after which she gives a brief historic survey of the Celts, Anglo-Saxons and Vikings that reveals her knowledge of the subject. The photographs included urge you to delve deeper into the book.

Then follows the stories and progressions of seven hand-made books. Each one is such a work of art that any embroiderer with a creative flair will be thinking through their stash, itching to get started.

The books are separate entities with contents coming from Celtic influences to the Domesday interpretation. They are full of rich textures and historical alliances.

Jan's previous books have incorporated many styles of embroidery, design and creative uses for all types of thread. She has taken all that forward to this work with great enthusiasm and talent.

I applaud it.

Want to know more about the book? Why not go and read Dee's review!
Comment and share your thoughts with Sue!

Review (by Dee): Celtic, Viking and Anglo-Saxon Embroidery

The Art & Embroidery of Jan Messent: Celtic, Viking & Anglo-Saxon Embroidery
By Jan Messent
ISBN: 9781844484096

Review by Dee Westwood

On first sight this beautifully presented book is immediately compelling, as I began reading, and admiring the wonderfully composed photographic evidence and craftsmanship which is literally poured across the pages. At once Messent entices you into her world, enraptures and captures you in her recollection of Wartime Britain & her early life, where she describes herself as a small child gazing in wonderment at the array of brightly coloured threads, buttons & ribbons in a local haberdashery store.

Having scant knowledge of embroidery and all it’s intricacies I became fascinated by the insightful way Messent, using her sample books (to create textural examples), her historical research (which painted a vivid picture in my mind), and also the inclusion of various written references taken from the wills and records that survive, brought to life the people of early Britain and in particular the women who would have produced such exquisite and skilled work and the value that was placed upon those with such knowledge.

Messent makes no apologies for the inclusion of her own ideas of various small articles such women may have made or used in their daily lives. Indeed the very purpose of this book is to celebrate these ideas and it certainly succeeds in holding one’s attention, allowing the reader an understanding, and the freedom to explore what might have been, based on sound historical fact and Messent’s vast experience, which lend these very articles the possibility of authenticity.

There are examples of designs taken from surviving drawings and paintings which often reveal the methods used to create various garments and accessories which would have been much venerated and admired works, but which sadly rarely survive the ravages of time, particularly in England’s climate.

I am left truly mesmerized by the huge scope of possibility embroidery opens up for today’s needlewomen and crafters, whilst always drawing on our rich heritage and the ancient skills formed within our past.

A delightful, informative book which encourages exploration and experimentation together with a depth of appreciation of our history in textiles and the people of ancient Britain.

Have you also read the book and do you agree with Dee? Or do you know Messent's work? Comment and share your thoughts!

Review: Lost Crafts

Lost Crafts
By Una McGovern
ISBN: 9780550104267
"Lost Crafts" is a very delicious book. I do appreciate a book where someone has taken the trouble to create a great design and followed it up with a nice layout. The one thing I am not so sure about is the title. The concept of a craft being lost or dying is one that I and fellow crafters have been debating recently. I feel that it puts an unnecessarily negative spin on the issue. Looking through the list of crafts covered in the book I see many that, although I would love them to become more popular, I know are definitely not lost or dead.
Nevertheless, I would definitely recommend this book as a great overview/introduction to many crafts who granted are not as popular as they once were. Each subject in the book is followed by a paragraph about how to get more information if you are interested in a particular craft.
One of my favorite chapters is the one about elderflower. I have been making elderflower cordial for years and I like that she explains how it can be made without citric acid as this is nearly impossible to come by in the UK. Luckily I always bring some back from Denmark, where I can get it in any local supermarket. But of course this is not possible for everyone. So as I am sitting here waiting for the flowers to bloom I hope that more people will give it a try this year.
I think that all in all this book is a good investment, as it has ideas for things you can easily make at home (e.g. lemonade and rag rugs) and things that requires a little expert help to get started (e.g. brewing beer and bobbin lace).
Do you think we are in danger of loosing certain crafts? Which, and what do you want to do about it?

Review: Cracking Antiques

Cracking Antiques
By Mark Hill and Kathryn Rayward
ISBN: 9781845335564
Antiques are of course closely related to historic crafts in the sense that they are often the direct product of a historic crafter. So I would like to begin by rejoicing about the fact that people like Mark and Kathryn have been able to get the message through that antiques are not just stuffy old, heavy, dark furniture. It is instead a good well crafted alternative to high-street MDF furniture.
My only real critique of the show is that they compare the price of the antique furniture to that of high-end / expensive high-street furniture. For someone, who like me, would probably otherwise have gone to IKEA, the prices in the show do not compare very favorably. I must admit I thought it a bit ludicrous when one of the participants spent around £100 on some old floor boards. Sure the finished table looked nice enough but I think I could have found similar worm-eaten floor boards on freecycle or at the local skip.
If you feel like me that antiques get an overinflated price in the hands of a dealer then you should maybe try out car-boot sales or e-bay. Because at the end of the day I really don't care if it is the right brand as long as I like the item and I like the price. Don't get me wrong, crafters should get a fair price for their products, but in the case of antiques you will not be dealing with the actual crafters.
Now this is not the kind of book that I would read from one end to the other but instead it is one that I will treasure in the years to come as a great resource of techniques and styles. The content is well divided into the different rooms of a house. There are good tips on buying and reviving antiques and I absolutely love the style guide at the back. So if you are someone who would like to decorate your house in a unique fashion or just have an interest in antique craft-work and design I would heartily recommend this book.

Do tell me what you think in the comments below. Did you watch the show? Did you like it? Do you decorate your house with antiques too?

Launch of Heritage Craft Association

Last week the Heritage Crafts Association (HCA) launched itself and called together traditional crafters for a forum. Yours truly were present at the Victoria and Albert Museum in London for the occasion.

HCA describes them self as following:

"The Heritage Craft Association was set up because of the urgent need for action to help maintain, and to continue into the future, the traditional crafts that fall outside the remit of any existing body or organisation".

and their focus is:

"...not on craft products as such, but rather on the transfer of skills and knowledge crucial for crafts' ongoing existence...".

A part of preserving these skills and knowledge is supporting professional crafters as well encouraging hobby crafters.

At the forum three questions were discussed: The first question was why are crafts important and this lead to an interesting discussion about the use of crafts and why these skills must not disappear. There were two main arguments; one was that crafts are a part of our cultural heritage, and another was focused on the therapeutic value. In a world were things move so fast and so many people suffer from Internet addiction as keynote speaker Prof. Ewan Clayton reminded us. Engaging in crafts is a good way of reclaiming perspective. It teaches adults and children to focus and gives them confidence. While the first argument supports the need to keep craft skills alive by supporting professional crafters, the second supports the need to encourage people to do more crafts on a hobby level. Simply for the sole purpose of getting a better quality of life.

The next question was focused on the key challenges for the survival of heritage crafts. Unfortunately this in our view became more focused on issues faced by professional crafters today. Among others the lack of financial support to take on apprentices, which means that some crafts are at risk of dying out. We on the other hand fear that a negative attitude to this question of dying crafts will eventually be the death of them. We believe that a more positive approach of creating visibility around your craft is more likely to work.

This brings us to the last discussion point: how can we collectively tackle these challenges? Some of the ideas we heard at the forum made good sense, such as appearing more at craft shows and appealing to the fact that "people love to make things". Using the media will probably also help a lot, in view of what programs such as Time Team has done to the public perception of archaeology. Maybe trying to find and promote industry champions in a way that Jamie Oliver is to food would help. We would suggest trying to bridge the gab between professionals and hobby crafters by encouraging the professionals who have the equipment and mentoring skills to not only have weekend courses but to allow hobby crafters access to these skills and equipment through an open access studio principle. This would enable and encourage hobby crafters who can't or don't want to make a living of their craft to still develop their skills. Like a sort of part time apprenticeship with the main focus on passing on the skills and not on making money.

The event was a wonderful chance to meet a lot of very enthusiastic British crafters and we truly enjoyed engaging in the many lively discussions over the day. By the end of the day there was no one solution on how to safe crafts for the future, but we definitely had a more detailed view of the perspectives involved and most importantly, we felt inspired. Not bad for a day spent in London.

One of the topics at the forum was how HCA define heritage crafts. Chair Robin Wood has answered this question by writing a blogpost on the history and definition of crafts, traditional crafts and heritage crafts. Finally HCA has also released a press release about the launch!

Yours truly,

Eddie and Helene

Review: Knitting Reference Library

The Knitting Reference Library is a part of Southampton University situated at the Winchester School of Art. The library holds a substantial collection of books, magazines and patterns contributed by Montse Stanley, Richard Rutt and Jane Waller. Along side this is a collection of knitted material compiled by the same three. I visited the library in order to review one of their many items, namely 'The Manly Art of Knitting'. A rummage through the library shelves told a story of avid collectors with a great interest in preserving the art of knitting through literature, patterns and items. It is worth a visit as an archive and as a modern library collection too as it is continually kept up to date.


The images in this post are copyright of Eddie Roued-Cunliffe. You are hereby granted permission to use them for non-commercial purposes as long as you credit Eddie and link back to this page. If you are using them and talking about this post I would love to hear from you in the comments.

Review: The Manly Art of Knitting

Review of “The Manly Art of Knitting”
By Dave Fougner, 1972 (ISBN: 978-0960057245)

The book is more like a pamphlet in size and therefore it may surprise you to know that it currently costs £168 used on amazon. However, it is a very no nonsense introduction to knitting that you can’t help but admire. It begins with a (very) brief history of knitting, focusing on how knitting has always been a male-dominated craft.
As late as the 19th century it was common to see men knitting. But, as the importance of hand knitting declined and factory made clothing became available, knitting became the evening pastime of women. Men were forced through economic necessity to turn their skills away from knitting.
What I really enjoyed was actually the also brief paragraph about needle sizes. It is very clear-cut and technical in the same way you will see a description of how pixels work with digital images.
It should be notes that if you wish to make a blanket three feet wide and six feet long, the larger the needle size, the fewer the stitches and therefore the shorter the completion time.
This is of course true but not a description I think you will find in many female oriented knitting books. Which I must admit, as a female with a very technical brain, is a shame. Fougner goes through the normal repertoire that you would expect of any knitting instruction book but does so in the same straightforward and technical manner described above. He adds a couple of patterns, among other a blanket for your dog, a saddle blanket for your horse using an old hose as circular needles and a rope hammock using shovel handles for needles. Now you can’t say that this is not manly! However, I do feel that in trying to sell the idea of knitting to men he is patronizing them and himself by suggesting that men should knit things like saddle blankets or maybe at a push a sweater. We shouldn’t forget that if men could become accomplished knitters to win the favor of kings and queens, then modern men can surely also knit delicate beautiful clothes and such. However, what Fougner has probably realized is that even though men could knit anything (he probably can) he can only sell the idea of knitting with stereotypical manly projects. Because no matter how you look at it knitting has over the last 60 years become a predominantly feminine actively and no matter how much we try it is difficult to convince modern men that it is a worthwhile pursuit. So maybe knitting a hammock with shovel handles will convince them and as Fougner himself has found it strengthens his hand muscles and improves his tennis game.

Do you want another view on this book. Go to men who knit and have a look.
Do you have an opinion on whether knitting is a manly craft? Why not discuss it in the comments below.

Svenska – Recension av tidningen Hemslöjden

You can also read this review in English or Danish!

"Hemslöjden – Sveriges största tidskrift för slöjd, folkkonst, hantverk och konsthantverk Hemslöjden bjuder på stolt tradition och spännande samtid. Upplev slöjdens poesi och handfasta verklighet. Sex nummer per år fyllda med bildrika reportage, kulturhistoriska artiklar, utställningar, krönikor och gör det självtips."
Hemslöjden står starkt i Sverige: gubbarna snickrar, tanterna knypplar och även  unga designmiljön i Stockholm jobbar koncentrerad på  att vårda den svenska hantverkstraditionen  så den kan fortsätta blomma. Här broderas traditionella mönster på nya material, här utvecklas nya tovningsmetoder, här experimenteras på alla sätt och vis och allt detta göras med avhopp i en gammal men dock levande tradition.
Det kunde lätt hända att den originella hemslöjd lider under detta, men icke. Den försvinner inte i alla dessa experiment, men blir starkare och mer levande. Halmslöjd, luffarslöjd, virkning, näverarbeten, korgflätning, smidning, broderi, skinnarbeten, trä och tovning lever fortsatt i sin upprinnliga form och det är väl precis därför hemslöjden tål nyförtolkas utan problem. Inget försvinner men nytt kommer till.
Denna folkarv bäras först och främst av de utövande men med stor hjälp av Riksförbundet för Hemslöjd. Under deras vingar samlas allt som har med hantverk att göra. Här finns kurser, stipendier, tidningen "Hemslöjden", affärer, öppna verkstäder och underavdelningar för unga "slöjdare", helt enkelt en himmel för den handarbetsintresserade,
Detta inlägg kunde lätt och jämnt förvandlas till en artikel om Sveriges osannolika tillgång till glittrande skatter innanför design, hantverk och obrutna kedjor av nålbindare. Dock utmanas ni alla till att utforska detta själv och ett bra sätt att få en fot innanför är  genom den tidigare omnämnde tidningen "Hemslöjden".
Tidningen utges sex gånger per år och fungerar bl.a. som marknadsplats där diskussioner  och inside-information bytes på må och få. En tidning som lyckas bevara och samtidigt förnya det gamla, vilket jag tycker är absolut nödvändigt. Magasinet jobbar med termer som uppståt samtidigt med vår växande medvetenhet om vår roll och ansvar som förbrukare. Det talas om "ecocrafts" men "Hemslöjden" hamnar dock aldrig i fällan "handarbetet rättfärdigas bara vid att vara i opposition till industrialismen och förbrukarsamhället". Istället är tidningens hållpunkt den helt grundläggande skönhet i alstret och lusten till att skapa.
Tidningen tar också väl hand om den delen av det gamla hantverket som så att säga ligger på långvården. En liten gren innanför hemslöjden som riskerar dö ut, blir behandlat som den finaste pärla för att få folk till än en gång att hitta intresset för grenen. Detta i sig själv är nog till att rättfärdiga tidningens existens.
Ett magasin som täcker så många olika granar innanför hantverket vill självklart ha vissa utgåvor som intresserar vissa mer än andra, beroende på var man har sin passion. Detta blir dock inget stort problem, i alla fall inte för mig, eftersom inspirationen ligger som en matta över varje utgåva. Jag kan därför läsa om ett ämne som jag aldrig trodde jag skulle bli intresserad i eftersom jag kan använda det i min egen utveckling som slöjdare. Om man samtidigt har ett intresse i historia och folklore har man inga problem med att tugga sig igenom tidningen från början till slut.
En tidning är inte gratis. Denna tidning är dock värt sin pris och dessutom är den i god kvalitet, vackert utfört och något man kan ha användning av många år framöver. Precis som hemslöjden borde vara. God läsning.

Dansk – Anmeldelse af bladet Hemslöjden

You can also read this review in English or Swedish!

Ane, vores Sverigeskorrespondent anmelder et svensk håndarbejdsblad

"Hemslöjden – Sveriges største tidsskrift for sløjd, håndarbejde, håndværk og kunsthåndværk, Hemslöjden, byder på stolte traditioner. Oplev sløjdens poesi og håndfaste virkelighed. Seks numre om året, fyldt med billedrige reportager, kulturhistoriske artikler, udstillinger og gør det selv tips. "

Håndarbejdet, eller "hemslöjden" som det kaldes står stærkt i Sverige: Gamle gubber laver træfigurer, ældre kvinder knipler og selv de unge selvbevidste i Stockholms designmiljø arbejder koncentreret med at pleje den svenske håndværkstradition, så den fortsætter med at blomstre. Der broderes traditionelle mønstre på nye materialer, der udvikles nye filtemetoder som åbner for helt nye anvendelsesmuligheder, der eksperimenteres på alle måder, og alt med afsæt i en gammel og dog levende tradition.

Dette betyder dog ikke at det traditionelle håndarbejde lider tab. Den forsvinder ikke i alle disse nymodens eksperimenter, men gøres stærkere og mere levende. Halmsløjd (halmfletning), luffarsløjd (metalarbejder med en spændende og helt egen historie), hækling, næverarbejder (dvs. birkebark), strikning, kurvefletning, knipling, smedearbejde, nålebindning, broderi, skindarbejder, træ, filtning (listen kunne fortsættes) lever stadig i sin oprindelige form, og det er netop derfor håndarbejdet bærer en nyfortolkning uden problemer. Intet forsvinder, men nyt kommer til.

Denne folkearv bæres først og fremmest af alle de udøvende, men med stor hjælp fra 'Riksförbundet för Hemslöjd'. Under disse håndarbejdsvinger samles alt som har med emnet at gøre. Der er kurser, stipendier, bladet "Hemslöjden", der er butikker, åbne værksteder og foreninger for unge "slöjdare", helt enkelt en himmel for den håndarbejdsinteresserede.

Dette indlæg kunne let forvandles til udelukkende at handle om Sveriges uendelige tilgang til glitrende skatte indenfor design, håndarbejde og ubrudte kæder af nålebindere. Dog udfordres alle istedet til at udforske dette selv og en god indgangsvinkel til emnet er det tidligere omnævnte blad "Hemslöjden".

Bladet udgives 6 gange om året og er en brønd, hvor diskussioner og insider-information deles ud med kyshånd. Et magasin som lykkes at bevare det gamle og samtidigt fornye sig selv, hvilket jeg anser for absolut nødvendigt. Fornyelse er nødvendigt hvis traditionerne skal holdes i live og ikke bare ende som et billede af noget som engang levede og udvikledes. Bladet arbejder med termer som er opstået i takt med en bevisthedsgørelse af vores rolle og ansvar som forbrugere. Der tales om "ecocrafts", men "Hemslöjden" undgår dog at havne i fælden "Håndarbejdet retfærdiggøres kun ved at være i opposition til industrialismen og forbrugersamfundet". Bladets holdepunkt er den helt grundlæggende skønhed i arbejdet og lysten til at skabe.

Udover sit engagement i samtiden og udviklingen, tager bladet vel hånd om den tradition som så at sige ligger på plejehjem. En lille gren indenfor håndværket som risikerer at uddø, bliver derfor behandlet som den reneste perle, for at få folk til endnu engang at genfinde interessen for grenen. Dette retfærdiggøre i sig selv bladets eksistens.

Et blad som dækker så mange grene indenfor håndværk vil som en selvfølge, have visse numre der interesserer nogle mere end andre. Dog synes dette ikke blive et problem, i hvert fald ikke for mig, idet inspirationen ligger som et tæppe over hvert nummer. Derfor kan jeg læse om et emne, jeg aldrig havde troet jeg kunne blive opslugt af, fordi jeg kan anvende det i min egen udvikling som "hemslöjdare". Hvis man samtidigt er interesseret i historie, folkarv og små hemmelige grupper af oprindelige folkefærd i Nordsverige har man ingen problemer med at sluge bladet fra ende til anden.

Et blad koster sine gode hundrede svenske kroner, hvis den skal abonneres og samtidigt sendes til Danmark. Dette er helt klart pengene værd, hvis man tænker på hvad man ellers bruger 600 kr om året på. Desuden er det lækkert udført, i god kvalitet, og noget man kan have glæde af mange år fremover. Præcis som håndværk skal være. God læsning.

Review: Hemslöjden – a Swedish arts and crafts magazine

You can also read this review in Danish or Swedish!

Yes this is a magazine published in Swedish (which might be less understandable than klingon to some of you), but these Swedes are clearly on to something! Our new blogger Ane from Sweden has written this inspiring review so please do go and visit Hemslöjden's website. And a warm welcome to Ane.

Crafts, or "hemslöjden" as the swedes call it, still stand strong in Sweden; old men make wooden figurines; old women make lace and even the young and assertive from Stockholm's designer circles are working with and caring for the Swedish handicraft tradition allowing it to continue blossoming. Traditional patterns are embroidered on new materials; new ways of felting are developed which enable a new range of used for this material. Experiments are carried out in all manners while building on the foundation of an old, yet living tradition.
However, these modern experiments do not cause the traditional crafts to suffer in any way.  On the contrary they keep the existing crafts strong and alive.  Straw braiding, metal work, crocheting, working with birch bark, knitting, wickerwork, lace making, nålbinding, embroidery, leather work, wood work and felt are some of the many crafts that are still continuing in their traditional forms, which is why these crafts can handle a re-interpretation without any problems. Nothing is disappearing but new crafts are added.

This heritage is foremost looked after by all the crafters pitching in, with a big helping hand from the Swedish National Association of Crafts (i.e. Riksförbundet för Hemslöjd). They take care of all craft related subjects such as: courses, stipends, the journal 'Hemslöjden', shops, open workshops and organisation of young crafters. Simply a heaven for craft enthusiasts.

This review could easily be about Sweden's never ending, glittering treasures of design, handicrafts and long, unbroken chains of traditional crafters. But I would instead invite everyone to explore this on their own and a good approach for this is the magazine 'Hemslöjden'.

The magazine is published 6 times a year and is a rich source of discussions and insider knowledge. A magazine successful of both preserving and renewing at the same time, which I find most necessary. Renewal is obligatory to keeping craft traditions alive and not allow them to just end up in museums. The magazine is very aware of new directions in relation to our collective ethical responsibility. Ideas such as 'eco-crafts' are discussed, but without falling into the trap of 'handicrafts can only be justified by being in opposition to industrialism and consumerism'. The magazine's essential message is the fundamental beauty of the crafts and the joy of creating something.

Besides its engagement in development and renewal the magazine also deals with traditional crafts threatened by extinction. These crafts are specially promoted to encourage people once again to engage with them. This alone justifies the magazine's existence.

A magazine which covers a wide range of crafts will of course have issues that might interest some more than others. Nevertheless, I still find each issues incredibly inspirational. I can read about topics which I have no intention of taking up, but even so I can still use it in my own development as a crafter. If you at the same time have an interest in history and folklore you will have no problem reading the magazine from cover to cover.

A magazine costs about 120 Swedish kroner (13€) and it is possible to subscribe anywhere in the world. It is really worth the money if you consider what else you use 75€ a year on. Furthermore it has a nice feel to it and is produced in a good quality, which makes it possible for you to appreciate it for years to come. Exactly as a craft should be. Enjoy your reading.