2015 Crafter S Market

Turn your crafting into a career! 2015 Crafter's Market is the perfect start to your crafting career. Thousands of artists and writers have relied on us to develop their careers and navigate the changing landscape of their fields using our sister publications, Artist's & Graphic Designer's Market and Writer's Market. For the first time, that same resource is available for crafters! The 2015 Crafter's Market introduces a whole world of possibilities for marketing your craft! Expand your business with these resources: • Complete, up-to-date information for more than 1,000 craft market resources, including craft shows, magazines, book publishers, online marketplaces and more! • Markets for a variety of crafts, including quilting, sewing, knitting, crochet, papercrafting and jewelry making. • Articles on the basics of freelancing--from basic copyright information to tips on promoting your work. • Informative articles on social media marketing, wholesale and consignment sales and pricing your crafts. • Inspiring and informative interviews with successful craft professionals such as Tula Pink and Margot Potter.

Turn Your Crafting Into a Career! All over the world, creatives are turning their hobby into their livelihoods--and Crafter's Market offers the competitive edge you need to make your craft your career. This comprehensive guide will introduce you to a new world of possibilities for taking your craft to the next level. To help you on your journey, this edition is updated with fresh resources, such as: • Over 250 new listings for complete, up-to-date contacts and submission guidelines for more than 1,500 craft market resources, including craft shows, publishers, marketplaces, and more! • Informative, inspirational articles on building your brand, customer communication, teaching classes, getting press coverage, photographing your goods, and more, from successful craft business owners. • Actions you can take today to grow your business now, no matter your creative medium--quilting, sewing, knitting, crochet, papercraft, or jewelry making! Whether you're looking to expand your online presence or you're just beginning to think about how to turn your weekend hobby into a side business, Crafter's Market is the complete resource for creative professionals.

This book examines the connections between natural resources, tourism and community livelihood practices in Southern Africa, highlighting the successes and constraints experienced over the last 50 years. Questioning how natural resources, tourism and community livelihoods relations can positively contribute towards development efforts, this book adopts an interdisciplinary approach to understand socio-ecological systems that characterize the dynamics for sustainable development. It explores the history of conservation and natural resource management in Southern Africa and traces the development and growth of nature-based tourism. Boasting a wide range of tourism landscapes, including national parks, wetlands, forests and oceans, the book draws on case studies from a variety of Southern African countries, including Botswana, Namibia and South Africa, and considers the political challenges for implementing policies and practices. Furthermore, it analyses broader issues such as the impact of climate change, human–wildlife co-existence and resulting conflicts, poor access to funding and poverty in local communities. The book argues that the links between conservation and livelihoods can be best understood by considering the different approaches to reconciling the demands of conservation and livelihoods that have evolved over the past decades. Containing contributions from natural and social sciences the book provides guidance for practitioners and policymakers to continue to shape policies and practices that are in line with the key tenets of sustainable development. It will also be of great interest to students and scholars researching Southern Africa, sustainable tourism and conservation.

Craft Economies provides a wide-ranging exploration of contemporary craft production, situating practices of amateur and professional making within a wider creative economy. Contributors address a diverse range of practices, sites and forms of making in a wide range of regional and national contexts, from floristry to ceramics and from crochet to coding. The volume considers the role of digital practices of making and the impact of the maker's movement as part of larger trends around customisation, on-demand production, and the possibilities of 3D printing and digital manufacturing.

Given the multidisciplinary nature of our object of study, sustainability, we have divided this book into twelve chapters. In the first four, we cover the content required to learn how to start a business and create companies based on sustainability. The following chapters provide guidance to help translate sustainability strategies across cultures. These processes are analyzed through the Triple Bottom Line perspective, which effectively describes the primary objectives of sustainability. The last chapters analyze current trends in sustainable development, framing education as a powerful tool to facilitate the transition to more sustainable forms of development. Through these chapters, the understanding of the theoretical concepts is facilitated and examples of sustainable enterprises are made available to the reader that serves as a reference and that allow the development of practical activities.

Makers, Crafters, Educators brings the do-it-yourself (DIY) ethos of maker and crafter movements into educational environments, and examines the politics of cultural change that undergird them. Addressing making and crafting in relation to community and schooling practices, culture, and place, this edited collection positions making as an agent of change in education. In the volume’s five sections—Play and Hacking, Access and Equity, Interdependence and Interdisciplinarity, Cultural and Environmental Sustainability, and Labor and Leisure—authors from around the world present a collage of issues and practices connecting object making, participatory culture, and socio-cultural transformation. Offering gateways into cultural practices from six continents, this volume explores the participatory culture of maker and crafter spaces in education and reveals how community sites hold the promise of such socio-cultural transformation.

In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of “craftivism”—the politics and social practices associated with handmaking—Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval. Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s—including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicuña, the small hand-sewn tapestries depicting Pinochet’s torture, and the NAMES Project AIDS Memorial Quilt—are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray, however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much “in the fray” of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions. The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles—high and low, untrained and highly skilled, conformist and disobedient, craft and art.