Introduction

This paper is based on a body of exhibition work, representing the outcome of my practical research on the application of Rapid Prototyping within contemporary silversmithing. Through this research, I have experienced that new technologies paired with craft practice can be a match made in heaven - once the craft practitioner is put in control of these technologies. This match places new processes, techniques and materials in the hands of the practitioner and will help shape the value of contemporary craft. Digital technologies are here to stay and have a lot to offer for the craft practitioner. Controlling all aspects of input and output (Idea to object) will shift these new technologies to become advanced tools for craft practice. In the context of this paper the technologies considered are Computer Aided Design (CAD) and Fused Deposition Modelling (FDM) a Rapid Prototyping (RP) process. The definition of control extends to all aspects of software and hardware used for the design and production of work. Research into the interface between the maker as user and new technologies is well established. It appears the assumption is that somehow an ideal interface would solve the problem of integrating new technologies into craft practice. I believe this focus on the input side is only half of the solution, instead I like to emphasise the significance of control over the whole digital making process from design to production. How particular qualities of the final output - object - will in turn influence further design of objects based on these same processes and how constrains and idiosyncrasies of technologies can be cultivated creatively.

1.Current Discussion

1.1 Defining contemporary craft

Craft is traditionally linked to manual processes, with the skilful hands of the maker at its centre. The following two statements build on this concept yet leave the door open for further development and encourage more exploration in this field. Margaret Kirkwood a jeweller in Sydney, Australia, says:' For me, the crafts are specifically material based, it is about exploration of material and technique and manipulation of technique and through this practice discovering new forms and inevitably developing new technical skills. It is a skilled based practice and requires many years of working to become a master at the craft of making. It encompasses art and design but the essence of the practice is craft and this should be celebrated.' [1] On the American Museum of Arts and Design's web-site says of craft: '" Craft" as a designation of creative activity, process, method and purpose rather than a designation for a class of objects, reconnects us with our past, but it can also project us into the future. Therein lies its power.' [2] Both statements anchor the crafts on skill and process yet emphasises the continuum of practice thus connecting the traditional and the contemporary, the past with the future.