Museums are incredible sources of inspiration for crafters. They’re full of objects made by artisans from different times and places, each with stories about techniques, materials, and cultural contexts that can ignite your imagination and inform your own work.
When you walk through a museum, you’re not just looking at old things - you’re witnessing the work of craftspeople who solved problems with the tools and materials available to them. Every carved wooden bowl, woven textile, turned spindle, or decorated pot represents someone’s skill, creativity, and cultural knowledge.
Understanding how past artisans worked can:
When visiting a museum with a crafter’s eye, pay attention to:
How was this object made? Look for:
Take notes or photos (where allowed) of techniques that intrigue you.
Notice what materials were used and why. Wood turners might study the grain patterns in historical bowls. Textile workers can examine thread counts and dye techniques. Consider how the choice of material affected the final form.
Historical objects weren’t just decorative - they had purposes. Understanding the relationship between form and function can inspire more thoughtful design in your own projects. A medieval spindle might teach you about balance and weight distribution. A traditional knife handle shows how ergonomics mattered even centuries ago.
The exhibit labels and descriptions provide context about why things were made the way they were. Cultural traditions, available resources, and social customs all influenced craft techniques. This broader understanding can deepen your appreciation for craft as more than just making - it’s about cultural expression.
Don’t just walk through passively. Engage with what you see:
The real value comes from reflecting on what you saw:
Museums aren’t just about preservation; they’re about passing knowledge forward. Every visit can teach you something new about craft, technique, or creativity.
Different museums offer different perspectives:
Even art museums, which might not seem craft-focused, often have pieces that reveal incredible technical skill alongside artistic vision.
The next time you have a few hours, find a museum nearby and explore it with your crafter’s mind engaged. You’ll come away with ideas, inspiration, and a deeper connection to the long tradition of people who make things with their hands.
]]>David Heim has written a book with over 80 patterns for wood turning.
The book is divided into sections on:
Each section gives several examples which can be photocopied and enlarged giving a pattern that can be followed when standing at the lathe.
Many designs also include small tips on the type of wood, techniques that can make turning the item easier etc.
While you may not want to exactly copy any of the designs in the book, it’s useful for inspriation and a good one to flick through while you have a break from the lathe for a coffee and plan your next item.
]]>Just a list of resources and videos to watch to learn more about wood turning.
Pāua shells (also known as abalone) are beautiful! In New Zealand you can collect them from the beach or, within the local rules, collect them from the sea bed while still alive.
The shells will require cleaning to make them shine. It can take a long time but at least a few times is worth the effort. It’s a fun activity for the kids after a day on the beach.
Collect your pāua shells according to the rules.
Take them home.
Using a scrubbing brush and bucket of water, clean the shells to get rid of any stuff that isn’t part of the shell like seaweed etc.
Empty the bucket and make up a bleach solution according to the bleach instructions. Put the shells in and leave overnight. This should stop them smelling of fish in the future.
In a measuring jug, put in as many shells as you can while leaving some space at the top. Add enough cleaning vinegar to cover the shells (and maybe just a little bit more).
You’ll see them start to bubble.
Leave them bubbling for about 20 minutes, then safely drain the vinegar and rinse the shells in clean water so that they don’t smell of vinegar.
Sponge sanding blocks are a good idea for this sanding as they match the contours of the shell better than your hand or a hard sanding block. But sandpaper at the low grits may give better results.
If you’re using sandpaper, thoroughly dry the shell. For sponge sanding blocks you can choose whether or not to let the shell dry - if you do, the sanding block won’t clog as quickly but if you don’t you can get going more quickly. Your choice.
Take your lowest grit sanding block (about 40 or 60 is a good level to start) and start sanding the outside of the shell. This will take quite a long time depending on the buildup of the calcified coating.
Keep sanding until you can see the beautiful iridescent colour over most of the shell.
Now start working your way through progressively smoother sanding blocks/paper. This will get the last of the calcified coating from the shell and start polishing. I worked through 60, 80, 140, 200, 400, 600 and finished with 800.
Depending on the size of the shell and the amount of calcified coating on the outside this could take anywhere from 20 minutes to 4 hours to get a good result.
When you’re happy with the result, clean the shell in clean water to remove any dust and set it aside to thoroughly dry.
Optional: using a spray clear gloss varnish, follow the instructions on the can to spray your shell. This should stop it going dull over time and protect it from minor scratches.
You can simply enjoy your polished pāua shells for their beauty or use them in whatever other craft projects you desire.
]]>No joke. This one is as simple as draw something. No special equipment is necessary. No special tools. No special location. Just sit down (or stand, I won’t judge) and draw. Draw what’s in front of you, draw from your mind. It doesn’t matter. Just try your best to get down on paper whatever you are trying to as acurately as you can see it in your mind.
Each time you do it, you’ll get a bit better1. Embrace the failures and keep going. You can always use the drawings as kindling for the fire.
This will help with designing future craft projects even if you don’t go at drawing as a primary output.
On average. Not every drawing will be better than the last. This is about learning to use your tools and your eyes and your hands. ↩