The knowledge base that constitutes the actual making is often overlooked in research within humanities. One explanation for this might be what John Dewey defined as philosophers being obsessed with the problem of knowledge and which Richard Rorty would develop and problematize further in the book Hopp ist√§llet f√∂r kunskap. Maybe artistic and craftsman-like making is not appreciated as knowledge simply because these fields do not let themselves be described within the traditional concept of knowledge. It is sometimes hard to isolate what specific new knowledge is produced in artistic craft-making. But; as Rorty points out; knowledge is sometimes a limited and inhibiting way of looking at learning and understanding. Artistic craft-making may not produce documentable knowledge; but on the other hand it seems to be deeply engaged in other fields of understanding that may be just as important as knowledge. Examples of these fields are: Hope; compassion; understanding as such but also as understanding contradictions; spacial relationships; understanding relationships between body and space; past and present and the sensations of weight; color; form etc. The aim of this paper is to provide impulses for further investigations in this field.