Three-dimensional (3D) printing technologies not only support the replication of objects, but also provide us with essentially unlimited opportunities to manipulate our designs and thereby ensure that each printed object possesses physically unique characteristics. This uniqueness may be achieved in many ways, but is most commonly achieved through our interactions with design software. Thus, software agencies act as an intermediary between our creative skills and the 3D printed artifact. This contrasts with more traditional creative modalities in which human dexterous processes directly connect with the materials that are used in the formation of the crafted work. This direct link enriches the creation process and provides the work with a multidimensional profundity.

In this paper, the author considers such issues within the context of hybrid basket weaving. The author briefly reviews traditional processes, with particular reference to the work of Thitaku Kushonya. This discussion forms the basis for the author’s work using hybrid techniques to support weaving tasks. The author briefly explores opportunities for a synergistic association of traditional weaving art and state-of-the-art 3D printing techniques. This approach enables the printed work, for example, to form a structure on which the artist is able to build using traditional materials and techniques.

This paper should be of value not only to those who have an interest in the weaving of artifacts, but also to those who wish to explore ways in which 3D printing may support traditional human creative processes, so as to provide new opportunities and perhaps help to ensure that traditional crafts are not lost in a rapidly changing world.