Warren Feld Jewelry
Update, 11-17-20
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Posted by learntobead on November 18, 2020
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Posted in architecture, Art or Craft?, art theory, bead weaving, beads, beadwork, color, creativity, design management, design theory, design thinking, jewelry design, jewelry making, Learn To Bead, professional development, Stitch 'n Bitch, Workshops, Classes, Exhibits | Leave a Comment »
Posted by learntobead on May 22, 2020
(Begin Top Left) Bead Stringing, Bead Weaving, Wire Working, Metalsmithing
Abstract: Jewelry Making Techniques bring materials together within a composition. Techniques construct the interrelationship among parts so that they preserve a shape, yet still allow the piece of jewelry to move with the person as the jewelry is worn. And Techniques manipulate the essence of the whole of the piece so as to convey the artist’s intent and match it to the desires of wearer, viewer, buyer, seller, exhibitor, collector, student and teacher. Technique is more than mechanics. It is a philosophy. Thoughts transformed into choices. Part of this philosophy is understanding the role of technique to interrelate Space and Mass. Space and Mass are the raw materials of jewelry forms. Technique reduces the contrast between them in a controlled way and with significance for designer and client. Techniques have special relationships to light, texture and ornamentation. Technology enables us to expand our technical prowess with new materials, processes, styles and forms
TECHNIQUES AND TECHNOLOGIES:
Knowing What To Do
Technique is Knowledge, Value, Creation
Jewelry Making Techniques are more than mechanics.
Techniques are ways to implement ideas. To transform thoughts and feelings into choices.
Techniques are knowledge, value and creation.
Jewelry Making Techniques bring materials together within a composition. Techniques construct the interrelationship among parts so that they preserve a shape, yet still allow the piece of jewelry to move with the person as the jewelry is worn. And Techniques manipulate the essence of the whole of the piece so as to convey the artist’s intent and match it to the desires of wearer, viewer, buyer, seller, exhibitor, collector, student and teacher.
There are many different kinds of jewelry making techniques, as well as strategies and variations for implementing them. In fact, the jewelry designer has no proscriptions, no prescriptions, no expectations, no limits on how she or he decides to compose, construct and manipulate materials and structures and supports. It can be a technique that is learned. It can be one approximated. It can be totally new, emergent and spontaneous. It can be socially acceptable or not. The designer can pull, tug, press, cut, carve, sculpt, emboss, embellish, embroider, sew, knit, weave, coil, bend, fold, twist, heat, cool, assemble, combine, dissolve, destruct, cast, wrap, solder, glue, wind, blow, or hammer.
In reality, it is impossible to discuss meaningfully the technique apart from the ideas, abilities and experiences of each jewelry designer, particularly in reference to knowing when a piece should be considered finished and successful. There will be some variations in how any designer applies a technique. This is called skill. One might pull harder or hammer harder than another. One might allow some more ease or looseness than another. One might use easy solder where another might choose hard solder. One might prefer a thinner thickness or gauge of stringing material, and another a thicker one. One might leverage the structural properties of one material, while another might choose other materials with different properties towards the same end. One might apply the technique, following Step XYZ before Step ABC, and another, apply the technique in reverse, altering the steps to be XYA and ABZ.
But our primary focus here is on technique apart from skill. This lets us see why some designers are masterful at technique, while others are not.
While there are a lot of different methods and applications designers can choose from, all too often, however, when selecting techniques, jewelry designers fail themselves (and their clients). They disappoint. They do not understand how to select techniques. They do not fully understand the basic mechanics. They do not fully understand the expressive powers of techniques.
Because of this, they are unaware of the responsibilities, as artist and designer, which come with them. In turn, they make inadequate choices. They might choose the simple, the handy, the already learned. They might choose what they see other designers using. They might choose what they see in magazines and books and videos which get spelled out in Step1-Step2-Step3 fashion.
But often they are naïve in their choices. They lack an understanding of technique and its philosophy. They do not understand that there are lot of things more to any technique beyond its simple mechanics. Techniques are not step-by-step. They are a collection of knowledge, skill, understanding, choices, decisions, tradeoffs, intents with implication and consequence. Techniques anticipate shared understandings between artist and audience about finish and success.
Moreover, jewelry designers often do not recognize that each and every technique can and should be varied, experimented and played with. They do not understand that techniques do not work or accommodate every situation. That is, jewelry designing is not a “Have-Technique-Will-Travel” type of professional endeavor. Techniques need to be selected and adapted to the problems or contexts at hand.
They do not understand that there is more to techniques than securing an arrangement of elements. They do not understand that techniques must find some balance or tradeoffs between maintaining shape(s) and managing support(s), that is movement, drape and flow.
They do not understand how their choice of technique, and the decisions they make about how to apply it, influence the response of others to jewelry materials and forms they create. Technique, compounded by skill, can be very determinative of outcome.
SPACE AND MASS AND A PHILOSOPHY OF TECHNIQUE
Space and Mass are the raw materials of jewelry form. Space is void. Mass is something. Some jewelry depends more on the expression of Space; others more on the expression of Mass. Whatever the designer’s goals and intents, Technique permits a reduction of the contrast between space and mass. Towards this end, Technique communicates the significance of a mass within a space by controlling it. Publicly demonstrating this control communicates intent, meaning and expressiveness.
The jewelry artist begins by confronting a void. There is space, but there is nothing in it. Space.
Into this space or void, the artist introduces mass. This may begin with a point or a line or a plane or a specific shape or color or texture or pattern. More mass is added. Mass.
The designer sets boundaries, places and distributes things, brings things together, determines the scale, signifies directions and dimensions. The designer begins to co-relate the mass to the space around, within, or through it. Mass on Space.
The designer regulates the relationship and relative importance of the surface of the mass to the entirety of the mass itself. Sometimes the mass (or its surface) is expected to be static. Sometimes it is expected to move. Occasionally ornamentation is added. In the context of jewelry, some of this mass should be able to hold a shape; other of this mass should be able to move, drape and flow when worn. Mass on Mass.
Technique makes something out of nothingness. It is designed. It is constructed. The act of implementing a technique – that is, revealing a pattern of choice behaviors — is communicative. It has intent. Mass, Space, Intent.
Eventually, the designer applies Technique to this mass, and in so doing, creates composition. Things are assembled. They are pulled together. The mass suddenly has order. It has organization. It is communicative. It interacts with the desires others place on it. It evokes an emotional response. It references a context or situation in which it is to be worn. Mass, Space, Intent, Content.
Thus, things placed within the space are pulled together, juxtaposed, connected, inter-related in some way. We call this composition. Composition might mean how the jewelry designer
– Treats the surface
– Emphasizes dimension
– Joins units
– Impresses into things, onto things or through things
– Pulls or Stretches or Twists things
– Covers, embellishes, frames or exposes things
– Asserts or changes the scale
– Determines sizes, shapes and volumes
– Arranges, Places, Distributes things
– Relates positive to negative space
– Creates a rhythm, form or theme
– Expects things to move or be static
– Anticipates who might wear it, how it might be worn, and where it might be worn
A piece of jewelry becomes a wholly finite environment within what otherwise would have been nothingness. But filling this space with form is not enough. It is not the end of the designer’s role and responsibility.
With order, organization and communication come significance, meaning, implication, connectedness and consequence for everyone around it. Expression occurs. An explanation or story emerges.
The designer must give this mass-in-space a quality other than emptiness. It must have content, meaning, purpose. The designer must allow this mass-in-space to be enjoyed. Again, expressed. Much of this comes down to materials and techniques.
That means the designer must impose upon this space some personal Philosophy of Technique—hopefully employing artistic and design knowledge, skill and understanding. This philosophy is how this designer thinks-like-a-designer. It becomes a key part of the designer’s fluency, adaptability, and originality as a professional. It is how the designer touches things and brings things together. This is a philosophy of selection, implementation and management of mass-in-space which
– Balances, equalizes, meditates
– Restricts
– Releases
– Senses and newly senses
– Becomes a standpoint, a flashpoint, or a jumping off point
– Sees new possibilities, forecasts, anticipates or expects
– Creates and re-creates feelings
– Plays with tolerances, stresses and strains
– Makes things parsimonious where enough is enough
– Results in things which are finished, successful and resonant
The mass has form and arrangement within space. It begins to convey sensation and feelings and content and meaning. But the designer still has not completed the job. Jewelry cannot be fully experienced in anticipation. It must be worn. It must be inhabited. It must communicate, interact, connect. Any philosophy of technique must account for all of this. Mass, Space, Intent, Content, Dialectic.
The elemental parts and their pleasing arrangement into a whole must allow it to be enjoyed by others. Be influenced by it. Persuaded. A desire to touch it. See it. Wear it. Buy it. Display it. Show it to others. Others, on some level, must accept the designer’s Philosophy of Technique, that is, the designer’s definition with intent for manipulating mass within space, in order to
– Recognize how to look at it and react to it
– Understand how to wear it
– Be inspired as the artist was inspired
– Feel the balance, harmony, variety, cacophony, continuity, interdependence among spaces and masses
– Anticipate the effects of movement, drape and flow
– Get a sense of psycho-socio-cultural release
– Get a sense of psycho-socio-cultural restriction
– Know when the piece is finished and successful
– Judge the piece in terms of value and worth
– Assess the risk within some context of wearing or purchasing it
– Assess the risk within some context of sharing it with others
Designers over time gain fluency in their philosophies of several techniques. Such fluency is recognized and comes to the fore when Techniques serve the desires, understandings and values of both designer and client. Techniques and the philosophies (ways of thinking) which underly them must fully communicate the particular intent, concepts and experiences expressed by the jewelry designer. They must anticipate, as well, the particular shared understandings others have about whether the piece will be judged finished and successful.
Designer and client have a special relationship which comes to light within the composed, constructed and manipulated piece of jewelry as it is introduced and expressed publicly.
Through Technique. Through Skill. And a Philosophy.
TECHNIQUES INVOLVE RELATIONSHIPS
Techniques, and the relative skill in applying them, are used to resolve the relational tensions underlying the craftmanship, artistry and design of any piece of jewelry. How these relationships are implemented and managed affect how the finished jewelry will be perceived sensorially, sensually, and symbolically. These will affect how the wearer/viewer recognizes the artist’s intent. These will affect how the wearer/viewer sees their desires reflected within the piece, thus the value and worth of the piece to them.
In design terms, this is called Expression. Expression in design is the communication of quality and meaning. The designer expresses quality and meaning through the selection, implementation and application of technique. We sometimes refer to this as skill. A technique will have a function. It will have a set of mechanics and processes. It will have purpose. There will be variations in how the mechanics and processes will be put into effect. Sometimes it will require a stiffening up; othertimes a loosening up. A pressing or pulling harder or softer. A curving or straightening. A transformation from 2 dimensions to 3 dimensions. Repositioning. Altering texture.
The technique, its function and application will further get interpreted and transformed, that is, expressed, into wearable art. Similar to how sounds are made into music. And how words are made into literature. There is an underlying vocabulary and grammar to jewelry design, from decoding to comprehension to fluency.
Some aspects of expression are universal, but perhaps most are very subjective, reflective of the interpretations and intents (philosophies) of the artist, the wearer/viewer, and the general culture. Because of this, each and every expression of design through technique will have to resolve some underlying tensions. Of special concern are these tensions and relationships:
Jewelry Design all too often is viewed apart from the human body, as if we were creating sculptures, rather than wearable art. Yet its successful creation and implementation is not independent of the body, but moreso dependent upon it. It must feel good, move with the body, minimize the stresses and strains on the components and materials. And look good at the same time.
This sets up a tension in the relationship between the Aesthetic and the Architectural. The problems of jewelry design extend beyond the organizing of space and mass(es) within it. The designer must plan for and create a harmonious and expressive relationship between object and body and between object and person as the object is worn. This often means compromising. Trading off some of the aesthetics for more functionality.
Before you choose and implement any technique…
STOP
ASK YOURSELF:
What about this technique and the steps involved in implementing this technique will help my piece maintain its shape (structure)?
Before you choose and implement any technique…
STOP
ASK YOURSELF:
What about this technique and the steps involved in implementing this technique will help my piece move, drape and low (support)?
The question becomes how the various parts or segments of the jewelry should relate to one another. We might have strap, a yoke, a centerpiece or focal point, a bail, and a clasp assembly. The tension here becomes whether the jewelry as a whole should be judged critically as an expression of art and design, or only the centerpiece or focal point should be so judged.
With the latter, the non-center/focus parts of the jewelry are seen merely as supplemental. This is similar to how a frame functions for painting or a pedestal for a sculpture.
With the former, each segment or component part cannot exist or be expressive apart from any other. The piece must be judged as a whole. The whole must be more resonant or evocative than the sum of its parts.
Here we begin to question what exactly technique is. Is it only that set of mechanics and processes applied to only a section of the whole piece of jewelry? Or is it how the designer makes choices about construction and manipulation from getting from one end of the piece of jewelry to the other?
Light and shadow are both critical design elements to be manipulated as a part of the jewelry designer’s active decision making process. Yet, light and shadow affect the experience of any piece of jewelry in ways which are outside that designer’s scope and control, as well.
Light and shadow are necessary for the expression of the artist’s intent and inspiration in jewelry. Because light and shadow move, change character, and come and go with their source, light and shadow have the power to give that mass of component parts a living quality. This effect is compounded (or foiled) as the wearer moves, changes position, travels from room to room or inside to outside.
The designer cannot control all this, but should be able to predict a lot of this behavior, and make appropriate design choices accordingly.
The designer can channel light through the selection of materials and their reflective, absorptive and refractive properties. The designer can play with color, pattern and texture. The designer can be strategic about the placement of positive and negative spaces. The designer can arrange or embellish surfaces in anticipation of all this. The designer can diffuse light or transform or distort colors. The designer can add movement or dimensionality to enliven their forms. The designer can even use light or shadow to hide things which might negatively affect the overall aesthetic.
The points, lines, planes and shapes incorporated into any piece of jewelry become receptacles of light and shadow which can change in character or form as time progresses, people move and contexts change. An important part in the success of jewelry designs is played by the quality and intensity of light (and shadow) within context.
Jewelry is experienced both tactilely and visually.
Sometimes these complement each other; othertimes, they compete or conflict. Texture plays a major role here. On the one hand, it expresses something about the quality of the materials used. On the other, it gives a particular quality to light and shadow, and their interplay with the piece as worn.
Designers often select materials partly based on their tactile textures. They might also alter these textures to expand on the variety of expressive qualities that might be offered. The stone might be used as is. It might be smoothed and polished. It might be roughed up, carved or chiseled. The material might end up expressing something about the natural state or about refinement and sophistication.
Visually, the designer makes many choices about how to employ the materials. They may emphasize verticality over horizontality. Projecting over recession. Slow or fast rhythm. Opacity may be altered. The designer produces differing visual expressions based on patterns and how lighting of the surface conveys the sensory experience of these patterns.
A single texture, whether the goal is tactile or visual, is rarely employed alone in jewelry design. The actual variety of materials and treatments produces a complex of textures that must be composed and harmonized and resonant into the jewelry’s expressive and consistent whole.
Color is a characteristic of all jewelry making materials. It is a constant feature of any piece of jewelry. Materials might be selected for their color and visual appeal. Techniques might be selected for their ability to enhance or play with color and its visual appeal.
Yet, on the other hand, other jewelry making materials and techniques might be selected primarily for their structural properties – that is, their ability to be used to create, maintain, and retain shape or silhouette. They might be used as mere armature or to create that armature. The colors of these materials or the effects resulting from how techniques manipulated them may not be suited to the expressive goals of the designer. Because of the nature of jewelry making techniques and components, there also may be an unintended or unwanted absence of color, such as gaps of light between beads.
Thus, because of these kinds of things, materials with more suitable expressive colors, either as is or as manipulated, are added to the surface as embellishment and ornamentation. Sometimes these materials are dyes or coatings or fired-on chemicals. Sometimes these materials are more substantive materials like glass, gemstone, wood or shell.
These ornamental materials may cover parts of the surface or hide the entire surface of the piece. They may disguise it. They may be used to alter how color is perceived and experienced. They may completely change the experience. But without technique, and a philosophy of technique, these ornamental options may make it impossible to achieve the sensory, visual or structural powers the ornamentation is meant to provide.
The tension arises when the designer makes choices whether the ornamentation is to be used to enhance the expressiveness of the piece as originally designed (applied ornamentation), or, whether the ornamentation is to be used to create a completely different meaning, decorative motif, or symbolic expression, regardless of appropriateness to that original design (mimetic ornamentation).
Applied ornamentation enhances the designer’s power and control to assert intent and inspiration within the jewelry. Often applied ornamentation makes some reference to the underlying structures behind it. But the designer needs to be careful that this doesn’t turn into merely applied decoration. As ornament, whatever is done is integral to the piece. As decoration, it is not.
Mimetic ornamentation is often used to make a piece more familiar, more accepting, more reassuring to various audiences. It might be used to disguise something. It might have symbolic value. Here, too, the designer needs to be careful that this doesn’t turn into merely applied decoration.
A third consideration is whether the ornamentation is critical to the jewelry’s functioning or materials (inherent ornamentation). It is important that it be organic to the piece. That is, it should derive directly from and be a function of the nature of the jewelry and the materials used. It may allow size adjustment. Its placement may reinforce to overcome vulnerabilities. It may redistribute stresses and strains. It may aid in movement. It may assist in maintaining a shape. It may rationalize color, texture and/or pattern within and throughout the piece.
SURVEY OF JEWELRY MAKING TECHNIQUES
There are many, many different types of techniques used in jewelry making. Each encompasses basic mechanics. Each is implemented within a procedure or process. Each is a form of expression.
These techniques or forms of expression differ from each other in terms of the choices the designer makes about how mass should get related to space for creating composition. They differ in how structure (shape) is created and preserved, and in how support (movement, drape and flow) is built in, achieved and maintained. They differ in how pattern and texture is created or added. These techniques differ, apart from the materials used, in how people interact with them, aesthetically, functionally, sensorially and sensually.
These techniques are not mutually exclusive, and are often combined. It is up to the designer to select the technique or techniques to be used, maximizing the strengths and minimizing the weaknesses of each. Usually, the designer, when combining techniques, will want one technique to predominate. The designer does not want the underlying philosophies of two or more techniques to conflict, compete, or not coordinate.
Stringing, Bead Weaving
Beads and other components are assembled together into a composition and silhouette. The stringing materials range from the very narrow, like beading thread, cable thread and cable wire, to thicker, like bead cord, leather, waxed cotton, ribbon, satin cord, and braided leather. The stringing materials are often hidden, and typically play a supplemental role to the beads and other components within any composition.
Philosophy of Technique: Objects are placed and assembled together within a space in relationship to the direction and linearity of some type of stringing material or canvas. There is great attention to the use of points and lines, usually within a singular plane. Shapes are basic, often only in reference to a silhouette. Minimal attention is paid to dimensionality.
A piece is made stable by the rigidity of the stringing material or canvas. The stringing material or canvas is able to withstand tension and compression.
Often, designers place too much reliance on the clasp assembly to provide support (movement, drape and flow), instead of embedding support elements (rings, loops, unglued-knots, hinges, springs, coils, rivets, rotators) throughout the piece. In a similar way, often designers place too much reliance on the placement of objects on the canvas (that is, stringing material) for maintaining structure (shape), instead of other elements that could be used to maintain shape, while mitigating against stress and strain.
Each stringing and bead weaving technique and its procedures and processes for implementation rely on part of the implementation to maintain a shape, and on part of the implementation to allow for movement, drape and flow. The particular technique used to assemble the beads (and related components) sets the tone in pattern, shape, form and texture. Some stringing and bead weaving techniques are great at maintaining shapes. Other techniques are good at allowing for movement. The better techniques are good at accommodating both structure and support.
Knotting, Braiding, Knitting, Crocheting
The stringing materials take center stage, either in combination with other elements, or alone. The composition may or may not include beads and other components. Occasionally glue is used, but its use should be minimized.
Philosophy of Technique: Within a space, the artist places and intertwines various types of stringing materials. The artist varies tightness and looseness, placement and distribution of sizes, volumes and mass to achieve the dual goals of structure and support.
A piece is made stable by the rigidity of the intertwining (knotting, chaining, braiding) of the stringing material or canvas. The intertwined stringing material or canvas is able to withstand tension and compression.
Each strategy for knotting or braiding attempts to simultaneously achieve structure and support. The technique might vary the placement of fixed points with the use of chaining to create lines, forms and planes within the composition. Considerable attention is paid to the positioning of positive and negative spaces.
There is a lot of attention to the use of line. These techniques allow for incorporation of various strategies for achieving a sense of dimensionality. The shapes may be allowed to stretch or contract, allowing easy response to issues resulting from stress or strain. Texture is a major emphasis.
Embroidery, Embellishment, Fringing
Elements are attached to the surface of the canvas. This surface is often referred to as the foundation or base. These elements may be glued or sewn or woven on. The canvas typically plays a diminished or supplemental role, though this is not a requirement.
Philosophy of Technique: The space available has been defined by a particular canvas. This might be a string. This might be a flat surface. Elements are placed on and secured to this surface; the mechanics here relate to structural goals. The pliability, manipulability, and/or maneuverability of the canvas relate to support goals.
A piece is made stable by the rigidity of the stringing material or canvas. The stringing material or canvas is able to withstand tension and compression.
The embellishment may be used to create a particular image, or pattern, or texture. Often it is used to add a sense of dimensionality and/or movement to a piece. It invites people to want to touch the composition because it adds a very sensual quality to a piece beyond the characteristics of the materials or colors used.
Stamping, Engraving, Etching
Elements are embedded on or worked into the surface of the canvas. The canvas may be comprised of any material.
Philosophy of Technique: The space available has been defined by a particular canvas. This is typically a flat surface of some kind, but not limited to any one material. Structural, as well as support, goals depend on the physical, functional and chemical properties of the canvas. Sometimes these properties are altered through the application of the techniques. Texture and pattern are major focuses.
A piece is made stable by the rigidity and material strength of the canvas coupled with that canvas’s ability to maintain its integrity after it has been physically or chemically altered. The resulting canvas is able to with stand tension and compression.
Wire Working, Wire Wrapping, Wire Weaving
Hard Wire is manipulated into forms which hold their shape, serve as structural supports, or create pleasing patterns and textures.
Philosophy of Technique: The designer places wires into a space. The wires may be bent to form lines, planes, shapes and forms. The wires may be interwoven, bundled together, coiled, or otherwise anchored or tied together to create a canvas and form the basic foundation of a piece of jewelry.
During the process of applying a wire technique and creating a piece of jewelry, the physical properties of the wire must be changed. The designer takes wire, applies a technique to it, and continues to apply the technique until the wire is stiff enough to hold a shape. Each time you manipulate wire, it gets harder and harder and harder. If you manipulate it too much, it will become brittle and break. The wire can be pulled, coiled, bent, twisted, or hammered.
A piece is made stable by the stiffness or hardness of the canvas and its material strength, where it is stiff enough to hold a shape, but not so stiff as to become brittle and break. The resulting canvas is able towithstand tension and compression.
Considerable attention must be paid to strategies of support, that is, how things get joined and jointed. That is, whatever the piece of jewelry, it must be able to move freely, and withstand all sources of stress or strain.
For example, hard wire would not be used as a stringing material. If you put beads on the hard wire to create a bracelet or necklace, the wire would distort in shape when the piece is worn, but not return to its original shape. In this case, you would have to create several segments or components using the wire, and then make some kind of chain to create that jointedness and support. Picture a rosary which is a bead chain made of wire.
Metalsmithing, Fabrication, Cold Connections
Here metal is shaped and formed into a broad, layered canvas or a series of canvases we call components. Layers of sheet, wire and granules, or a series of components may be combined in some way, either to create a more complex composition, increase a sense of dimensionality or movement, or allow for jointedness, connectivity and support. The designer might use heat and solder – fabrication. Or the designer might use rivets, hinges, loops, rings, rotators – cold connections. The layers or the series of components may be textured or not.
Philosophy of Technique: Into a space, the designer places pieces of metal. These pieces of metal may sit side-by-side, on top of each other, overlap, sit perpendicular or at an angle. The components are attached together, using heat and solder, glue, or cold connections. Each layered canvas or component is a composition unto itself.
Canvases and components are rigid shapes and are constructed to withstand stress and strain. When constructing a piece of jewelry, typically the designer interconnects various components in a way which allows movement, drape and flow.
Interconnected components may be thematic or tell a story.
A piece is made stable by the rigidity and material strength of the canvas after it has been successfully altered through shaping, heat, soldered connection, glue or cold connection. The resulting canvas is able to withstand tension and compression, up until the point it bends or dents. Usually, if that happens, the piece can be unbent or undented. Considerable attention must be paid to strategies of support, that is, how things get joined and jointed.
Casting, Modeling, Molding, Carving, Shaping
Here a material is reconfigured and altered into some kind of shape or form. The material may be rigid, like wood or stone. It may be malleable like clay or casting material. The material, once altered, may or may not be subject to additional actions to change its physical, functional or chemical properties, such as the application of heat or cold or a chemical bath.
Philosophy of Technique: The material is positioned within a space. As it is manipulated, it most likely will alter its relationship to that space. It will be able to play many roles from point to line to plane, and from shape to form to theme. The designer must be critically aware of how the technique will alter this relationship between space and mass, and light and shadow, and how these in turn, will affect form and composition.
A piece is made stable by the rigidity of the canvas after it has been shaped. Cast pieces have difficulty responding to strong forces. The resulting canvas is able to withstand tension and compression only to that point before it crumbles and breaks.
Structure and support considerations can either be built into the resulting component, or components may be treated in similar ways as in metalsmithing.
Lampworking, Wound Glass, Encasing
Rods and stringers of glass are heated by a torch and wound around a steel rod called a mandrel. Sometimes shards of glass, sometimes with abstract patterns, sometimes representative of realistic images, are laid on the hot glass, and covered (encased) by a transparent glass wound over them. The result is a bead or pendant or a small sculpture.
Philosophy of Technique: The material slowly enters and occupies a defined space. The artist plays with different types of glass, glass colors and transparencies, rods of glass, pieces of glass, ground up glass, and metallic foils. Things are placed and layered and spiraled. Surfaces can be altered by tools. Once begun, the artist must take the technique to completion. Thus, the artist’s ideas, focus, and intent are very concentrated and intense. Glass as a material requires the manipulation of the interpenetration of mass with space.
A piece is made stable by the properties of the glass. The resulting canvas is able to withstand tension and compression to the extent the properties of the glass will allow.
Glass Blowing
Air is forced through a steel straw. At the end of this straw is a blob of molten glass. The air forces it to hollow out. As this happens, the artist rolls it, hammers it, textures it, domes it, otherwise shapes it until it is a finished piece. The artist may roll the glass over other pieces of glass, to melt them into the piece. As the glass cools, the result might be a bead or a pendant or a small sculpture.
Philosophy of Technique: The material expands within a space. This space may be very narrow and defined, or very expansive, perhaps ill-defined. The resulting object has surface and interior and exterior spaces. The qualities of the surface create a play between mass and space, and their interpenetration.
A piece is made stable by the properties of the glass. The resulting canvas is able to withstand tension and compression to the extent the properties of the glass walls will allow.
Computer Aided Design (CAD), 3-D Printing
Here the artist uses computers to aid in the creation, modification, analysis, or optimization of a design. The output is typically in the form of electronic files or technical drawings for 3-D printing, machining or other manufacturing operation. 3-D printing takes a CAD model and builds it, material layer by layer in an additive manufacturing fashion. Frequently, the 3-D printed object is a casting mold, rather than the finished piece.
Philosophy of Technique: CAD can place points, lines and curves within a 2-dimensional space, or curves, surfaces and solids within a 3-dimensional space. CAD can simulate motion and its impact on any object. It can take into account other parameters and constraints. The final technical output must convey more than information about shape. It must convey information about the extents to which various materials may be used in the design, their dimensions and tolerances. It must convey information about the pros and cons of processes the artist might use in the design.
One pay-off for the artist is that the computer can detail many more ways, and many more unexpected ways, to relate mass to space than typically thought of without it.
HOW TO LEARN TECHNIQUE
A good design, poorly executed, is not worth all that much.
So, how do we learn techniques is ways which help us develop ourselves as designers and be fluent in how we select, implement and apply them?
We need to be very aware of what influences us in our
o Selection of Technique
o Implementation of Technique
o Application of Technique
Selection: Anticipating What Will Happen If And When
We begin to develop our fluency in technique at the point of selection. To select a technique is to anticipate what will happen to the piece of jewelry after it is designed, constructed and worn. This involves all our senses from thought to touch to sight.
When we touch a piece constructed using a particular technique, how will it feel? Will it curve or bend? Will it curve or bend in the direction we need it to? Will it drape nicely on the body? Move easily with the body? Feel comfortable when worn? Will it hold its shape?
When we see a piece constructed using a particular technique, what will be the resulting pattern and texture? What will be the interplay of light and shadow? Will it look good from all sides when sitting on an easel? Will it look good from all sides when someone is wearing it? When that person is moving? Will all color issues be resolved?
We play a What-If game. What-If we used a variation on the technique? What-If we used another technique? What-If we combined techniques or sequenced them or staggered them? What-if we settled for a little less beauty to achieve better movement, drape and flow?
We might do some research. Has the technique been used by another artist or in another project you were attracted to? Was it used successfully? Did it work well in terms of structure and support? Did it contribute to (or at least not detract from) the visual appearance of the piece?
We might do some pre-testing. Will the technique hold up to our expectations? Will it still work with some variation? Will it work under differing circumstances?
We are honest with ourselves about our biases. Will we pick something only because we have done it before? Or we are very familiar with it? Or it is the easiest or path of least resistance?
Implementation: Basic Mechanics and Processes
We want to learn the basic mechanics of each technique in a way which highlights their philosophies – that is, how we think them through. We think about managing:
– Structure and Support
– How To Hold The Piece To Work It
– How To Distribute Stresses and Points of Vulnerability
– How To Create A Clasp Assembly
– How To Finish Off The Piece
Structure and Support. To begin, we know that each and every technique has as part of its mechanics and processes some aspects which help us create and maintain structures (shape). And each and everytechnique has some aspects which help us create and maintain support (movement, drape and flow). We want to be able to break down any technique so that we can recognize what results in what.
Holding The Piece To Work It. Next, the basic mechanics also includes strategies for how to hold the piece while you work it.
Picture yourself as an artist. An artist has an easel and something to use as a clamp to hold things in place.
A bead weaver would use their forefinger on one hand as an easel, pressing the developing bead work project against it, and then take their thumb on that same hand, and clamp down over the work to keep it in place.
A silversmith might use a steel bench block as an easel, and a vice as a clamp.
Someone doing braiding or knotting might use a clipboard as an easel and a bulldog clip as a clamp.
Your challenge is to hold the piece in such a way that you maximize your ability to implement a technique all the while maximizing the strengths of that technique and minimizing its weaknesses. This is called leveraging. You use whatever it is that is equivalent to the artist’s easel and clamp in such a way that you can successfully leverage the technique for your purposes.
Holding your piece correctly also sends signals to your hands telling you when each individual step is completed, and when you are finished.
Distribute Stresses and Points of Vulnerability.
In any piece of jewelry, it can be expected that the stress-bearing and strain-bearing strengths and weaknesses of each component will be unevenly distributed throughout the pieces. That is, there will be some areas or points in the piece of jewelry which will be vulnerable to stresses and strains. This may cause the piece to break or lose its shape or otherwise disrupt its integrity.
The jewelry designer needs to be able to easily look at a piece or its sketch or design plan and identify all the points of vulnerability. After identifying these, the designer will need to figure out ways to compensate for these weaknesses in design.
Usually points of vulnerability occur in these places or situations:
These points of vulnerability may need reinforcement. More support or structural elements may need to be added. Things may need to be re-located or positioned within the design. They may need to be eliminated from the design.
Most often, places of vulnerability occur where the structures or supports in place take on the shapes of either H, L, T, or U. Think of these shapes as hazards. These shapes tend to split when confronted with external or internal forces. They tend to split because each leg is often confronted with different levels or directions of force. The legs are not braced. These hazardous shapes cry out for additional reinforcements or support or structural systems.
The Clasp Assembly. The “CLASP ASSEMBLY” usually consists of several parts. It includes everything it takes to attach the clasp to your beadwork. Besides the Clasp itself, there are probably jump rings and connectors, crimp beads, clamps, cones, end caps or other jewelry findings.
Visually, the Clasp Assembly is part of the vernacular of the piece. Ideally, it should seem organically related to the piece or at least a logical inclusion.
Structurally, the Clasp Assembly should hold the piece together as the piece is worn. It may have some impact on maintaining the shape of the silhouette.
Most importantly, the Clasp Assembly should be put together as a support system. It is the most important support system in any piece of jewelry. Support systems used in a necklace or bracelet are similar tothe joints in your body. They aid in movement. They prevent any one piece from being adversely affected by the forces this movement brings to the piece. They keep the piece from being stiff. They make the piece look and feel better, when worn.
The Clasp Assembly of any piece of jewelry should be designed first before the rest of the piece is designed, or designed currently with the rest of the piece. Too often, jewelry designers select the clasp after they have finished the rest of the piece. They do not seem to understand how the clasp assembly is an integral part of the implementation of any technique. In this case, not only does the clasp assembly look like it was the last choice, but it usually falls short of meeting its visual, structural and support roles.
Finishing Off The Piece. We always need to step back and reflect whether the piece as designed and implemented will be judged as finished and successful by each of the myriad audiences we hope to please. Will their judgments confirm or reject our philosophy of the particular technique(s) we used?
It is the challenge for the designer not to make the piece under-done or over-done. Each and every material and component part should be integral to the piece as a whole.
Application: Achieving Expressiveness
Expressiveness refers to the power of the piece of jewelry to fit with both the designer’s as well as all other’s expectations about desire, connectedness, power, value and worth. This is one and the same thing as measuring the extent to which both materials and techniques can be seen to have been leveraged, to maximize their strengths and minimize their weaknesses.
A technique has been applied in the most expressive way at that point where the design elements and the materials selected have been composed, manipulated and constructed in the most optimum way. We can judge the degree of expressiveness by honing in on two concepts: Parsimony and Resonance.
Parsimony (maximum applied impact): Parsimony is when you know enough is enough. When the finished and successful piece is parsimonious, the relationship of all the Design Elements and their expressed attributes will be so strong, that to add or remove any one thing would diminish, not just the design, but rather the significance of the design.
Parsimony is sometimes referred to in art and design as Economy, but the idea of economy is reserved for the visual effects. For jewelry designers, we want that economy or parsimony to apply to functional and situational effects, as well. The designer needs to be able to decide when enough is enough.
Parsimony… – forces explanation; its forced-choice nature is most revealing about the artist’s understandings and intentions – relies on evidence moreso than assumptions to get at criticality – focuses examination of the few elements that make a difference |
Resonance (coherency of applied impact): Resonance is some level of felt energy that is a little more than an emotional response. The difference between saying that piece of jewelry is “beautiful” vs. saying that piece of jewelry “makes me want to wear it”. Or that “I want to touch it”. Or “My friends need to see this.”
Resonance is something more than emotion. It is some kind of additional energy we see, feel and otherwise experience. Emotion is very reactive. Resonance is intuitive, involving, identifying. Resonance is an empathetic response where artist and audience realize a shared (or contradictory) understanding without losing sight of whose views and feelings belong to whom.
Resonance results from how the artist applies technique to control light, shadow, and their characteristics of warmth and cold, receding and approaching, bright and dull, light and dark. Resonance results from how the artist leverages the strengths of materials and techniques and minimizes their weaknesses. Resonance results from social, cultural and situational cues. Resonance results from how the artist takes us to the edge of universal, objective understandings, and pushes us every so slightly, but not too, too far, beyond that edge.
Jewelry which resonates… | |
– is communicative and authentic
– shows the artist’s hand as intention, not instinct – evokes both an emotional as well as energetic response from wearer and viewer – shows both degrees of control, as well as moments of the unexpected – makes something noteworthy from something ordinary – finds the whole greater than the sum of the parts
|
– lets the materials and techniques speak
– anticipates shared understandings of many different audiences about design elements and principles, and some obvious inclusion, exclusion or intentional violation of them – results from a design process that appears to have been more systemic (e.g., ingrained within an integrated process) than systematic (e.g., a step-by-step approach) – both appeals and functions at the boundary where jewelry meets person |
TECHNOLOGY AND JEWELRY DESIGN
The potential of technology merged with craft is infinite.
Technology includes things like,
– New methods, processes and materials
– New ways to implement ideas
– Ability to generate new styles
– Opportunity to create meaningful forms
– Unseen contributions to aesthetic structure and composition
– Less costly and/or more production-friendly methods for creating pieces, especially for projects which might not otherwise get implemented
New materials and composites are created and enter the marketplace every year.
New ways of extracting, shaping, finishing, stabilizing materials come on line each year.
Computer Aided Design (CAD) and 3-D printing provide the tools to jewelry designers to create things beyond their imaginations.
Electroforming enables the creation of lightweight pieces from various metals.
Lasers are used to weld, cut and decorate.
Laser-Sintering melts powdered metal, layer by layer, into a finished piece.
Jewelry makers and beaders frequently come up with new techniques, mechanics and processes for creating jewelry. Technology provides creatives with original ways of expression.
“Smart” elements are getting introduced into some designs, transforming your jewelry into a smart device. These might measure health and fitness; might change color and appearance to suit different environments or clothing; might warm or cool the body.
TO WHAT EXTENT SHOULD JEWELRY DESIGNERS
RESPOND TO TECHNOLOGY?
Technology is a very powerful tool. Combined with craftmanship, it can create a new language of shape, object, and sensation. We have to be careful, however, that we use technology to support jewelry which is hand-made, and not supplant it.
The use of technology allows the designer to create new forms and materials that otherwise would not exist. Technology often translates into convenience and more rapid production. In today’s globalized world, this might offer a competitive edge. Technology also enables more customization, and faster customization. Again, in a globalized world, this would offer a competitive advantage. Technology encourages us to look forward, rather than back, for our inspirations and insights.
Again, it is important to emphasize that we do not want all this technological efficiency to diminish the act of “creativity”. We don’t want to standardize everything and reduce everything into a set of how-to instructions. We want to expand our creative abilities. We want to increase the power of the designer to produce pieces reflective of the artist’s hand. We want our jewelry to be as expressive as possible of the needs, wants and desires of our various clientele.
The impact of jewelry on our professional practice. Whether we use new technologies in our professional practice, or not, we cannot escape them. We must be up-to-date and aware of technological impacts on what we do and how we do it.
The impact of technology on work and jobs was the focus of an opinion piece in the New York Times by David H. Autor and David Dorn.
As jewelry designers, we are living through and with all the positives and negatives that arise through this technological change.
-The internet,
-Ebay, Etsy and Amazon.com
-Blogs, Facebook, Twitter, Pinterest, Instagram
-New technologies and materials like precious metal clay, polymer clay, crystal clay, 3-D printing
_________________________________________
FOOTNOTES
Autor, David H. and Dorn, David. “How Technology Wrecks the Middle Class”, New York Times, August 24, 2013.
As reference in:
https://opinionator.blogs.nytimes.com/2013/08/24/how-technology-wrecks-the-middle-class/
Posted in architecture, Art or Craft?, art theory, bead weaving, beadwork, design management, design theory, jewelry design, jewelry making, Learn To Bead | Tagged: architecture, arts and design, bead stringing, bead weaving, jewelry design, jewelry making, technique, technology | Leave a Comment »
Posted by learntobead on November 17, 2019
There Are Many Ways To Learn
There are many ways to learn beading and jewelry making.
Most people learn by Rote Memory. They follow a set of steps, and they end up with something. They memorize all the steps. In this approach, all the choices have been made for them. So they never get a chance to learn the implications of their choices. Why one bead over another? Why one stringing material over another? How would you use the same technique in a different situation? You pick up a lot of techniques, but not necessarily many skills.
Other people learn Analogously. They have experiences with other crafts, such as sewing or knitting or other craft, and they draw analogies. Such and Such is similar to Whatnot, so I do Whatnot the same way I do Such and Such. This can work to a point. However, beading and jewelry making can often be much more involved, requiring making many more types of choices, than in other crafts. And there are still the issues of understanding the quality of the pieces you use, and what happens to them, both when jewelry is worn, as well as when jewelry is worn over time.
Yet another way people learn is through Contradictions. They see cheap jewelry and expensive jewelry, and analyze the differences. They see jewelry people are happy with, and jewelry people are not happy with, and analyze the differences. They see fashion jewelry looked down upon by artists, and art jewelry looked down upon by fashionistas, and they analyze the differences.
Assimilation is a learning approach that combines Analogous Learning and Learning Through Contradictions. People pursue more than one craft, keeping one foot in one arena, and another foot in the other. They teach themselves by analogy and contradiction. This assumes that multiple media mix, and mix easily. Often, however, this is not true. Usually one medium has to predominate for any one project to be successful. So assimilative learning can lead to confusion and poor products, trying to meet the special concerns and structures of each craft simultaneously. It is challenging to mix media. Often the fundamentals of each particular craft need to be learned and understood in and of themselves.
The last approach to learning a craft is called Constructing Meanings. In this approach, you learn groups of things, and how to apply an active or thematic label to that grouping. For example, you might learn about beading threads, such as Nymo, C-Lon and FireLine, and, at the same time, learn to evaluate each one’s strengths and weaknesses in terms of Managing Thread Tension or allowing movement, drape and flow. You might learn about crystal beads, Czech glass beads, and lampwork beads, and then, again concurrently and in comparison, learn the pros and cons of each, in terms of achieving good color blending strategies. You might learn peyote stitch and ndebele stitch, and how to combine them within the same project.
In reality, you learn a little in each of these different learning styles. The Constructing Meanings approach, what is often referred to as the Art & Design Tradition, usually is associated with more successful and satisfying learning. This approach provides you with the tools for making sense of a whole lot of information – all the information you need to bring to bear to make a successful piece of jewelry, one that is both aesthetically pleasing and optimally functioning.
Posted in Art or Craft?, art theory, bead weaving, beadwork, design management, design theory, jewelry design, jewelry making, Learn To Bead, Stitch 'n Bitch | Leave a Comment »
Posted by learntobead on November 12, 2019
JEWELRY DESIGN: An Occupation In Search Of A Profession
Jewelry design is an activity which occupies your time.
How the world understands what you do when you occupy that time, however, is in a state of flux and confusion, and which often can be puzzling or disorienting for the jewelry artist, as well.
Is what you are doing merely a hobby or an avocation? Is it something anyone can do, anytime they want, without much preparation and learning?
Is what you do an occupation? Does it require learning specialized technical skills? Is it something that involves your interaction with others? Is it something you are paid to do?
Or is what you do a profession? Is there a specialized body of knowledge, perspectives and values, not just mechanical skills, to learn and apply? Do you provide a service to the public? Do you need to learn and acquire certain insights which enable you to serve the needs of others?
Are you part of another occupation or profession, or have your own? Is jewelry design merely a craft, where you make things by following sets of steps?
Is jewelry design an art, where your personal inspirations and artistic sense is employed to create things of aesthetic beauty for others to admire, as if they were sculptures? Is the jewelry you create to be judged as something separate and apart from the person wearing it?
Or is jewelry design its own thing. Is it a design activity where you learn specialized knowledge, skills and understandings in how to integrate aesthetics and functionality, and where your success can only be judged at the boundary between jewelry and person – that is, only as the jewelry is worn?
The line of demarcation between occupation and profession is thin, often blurred, but for the jewelry designer, this distinction is very important. It feeds into our sense of self and self-esteem. It guides us in the choices we make to become better and better at our craft, art and trade. It influences how we introduce our jewelry to the public, and how we influence the public to view, wear, exhibit, purchase or collect the things we make.
What does it mean to become a professional?
At the heart of this question is whether we are paid and rewarded solely for the number of jewelry pieces that we make, or for the skill, knowledge and intent underlying our jewelry designs.
If the former, we do not need much training. Entry into the activity of jewelry design would be very open, with a low bar. Our responsibility would be to turn out pieces of jewelry. We would not encumber ourselves too much with art theory or design theory.
If the latter, we would need a lot of specialized training and experience. Entry into the activity of jewelry design would be more controlled, most likely staged from novice to master. Our responsibility would be to translate our inspirations into aspirations into designs. It would also be to influence others viewing our work to be inspired to think about and reflect and emote those things which have excited the artist, as represented by the jewelry itself. And it would also be to enable others to find personal success and satisfaction when wearing or purchasing this piece of jewelry.
To become a professional jewelry designer is to learn, apply and experience a way of thinking like a designer. Fluent in terms about materials, techniques and technologies. Flexible in the applications of techniques and the organizing of design elements into compositions which excite people. Able to develop workable design strategies in unfamiliar or difficult situations. Communicative about intent, desire, purpose, no matter the context or situation within which the designer and his various audiences find themselves. Original in how concepts are introduced, organized and manipulated.
The designs of artisans who make jewelry reflect and refract cultural norms, societal expectations, historical explanations and justifications, psychological precepts individuals apply to make sense of themselves within a larger setting. As such, the jewelry designer has a major responsibility, both to the individual client, as well as to the larger social setting or society, to foster that the ability for the client to fulfill that hierarchy of needs, and to foster the coherency and rationality of the community-at-large.
All this can happen in a very small, narrow way, or a very large and profound way. In either case, the professional roles of the jewelry designer remain the same. Successfully learning how to play these roles – fluency, flexibility, communication, originality – becomes the basis for how the jewelry designer is judged and the extent of his or her recognition and success.
Posted in Art or Craft?, art theory, bead weaving, beadwork, design management, design theory, jewelry design, jewelry making, Stitch 'n Bitch | Leave a Comment »
Posted by learntobead on November 10, 2019
DISCIPLINARY LITERACY AND FLUENCY IN DESIGN
Jeremy thought that the only thing he could do in life was design jewelry. He loved it. So it was not a question of “if” or “when” or “how”. But he told me it was always important not to get tricked by fashion. It was mandatory not to seek the trendy object. Not to turn away from that odd thing. And to pay very close attention to the details of how jewelry designers think, act, speak and reflect.
I thought about his advice a lot over the years of my own career as a jewelry designer. The disciplined designer needs to be attuned to the discipline way of seeing the world, understanding it, responding to it, and asserting that creative spark within it.
Yet jewelry design does not yet exist as an established discipline. It is claimed by art. It is claimed by craft. It is claimed by design. And each of these more established disciplines offer conflicting advice about what is expected of the designer. How should she think? How should she organize her tasks? How should she tap into her creative self? How should she select materials, techniques and technologies? How should she assert her creativity and introduce her ideas and objects to others? How much does she need to know about how and why people wear and inhabit jewelry? What impact should she strive to have on others or the more general culture and society as a whole?
In this book, I try to formulate a disciplinary literacy unique and special and legitimate for jewelry designers. Such literacy encompasses a basic vocabulary about materials, techniques, color and other design elements and rules of composition. It also includes the kinds of thinking routines and strategies jewelry designers need to know in order to be fluent, flexible and original. These routines and strategies are at the heart of the designer’s knowledges, skills and understandings related to creativity, elaboration, embellishment, reflection, critique and metacognition.
At the heart of this disciplinary literacy are the strategies designers use to think through and make choices which optimize aesthetics and functionality within a specific context. These enable the designer to create something out of nothing, to translate inspiration into aspiration, and to influence content and meaning in context.
There are four sets of routines and strategies which designers employ to determine how to create, what to create, how to know a piece is finished and how to know a piece is successful. These are,
You don’t become a jewelry designer to be something.
You become a jewelry designer to do something.
The question becomes: How do you learn to do something?
How do you learn to be fluent, flexible and original in design? And develop an automaticity? And self-direction?
We call this ‘literacy’. For the jewelry designer, literacy means developing the abilities to think like a designer. These include,
Everyone knows that anyone can put beads and other pieces together on a string and make a necklace. But can anyone make a necklace that draws attention? That evokes some kind of emotional response? That resonates with someone where they say, not merely “I like that”, but, more importantly, say “I want to wear that!”? That wears well, drapes well, moves well as the person wearing it moves? That is durable, supportive and keeps its silhouette and shape? That doesn’t feel underdone or over done? That is appropriate for a given context, situation, culture or society?
True, anyone can put beads on a string. But that does not make them artists or designers. From artists and designers, we expect jewelry which is something more. More than parts. More than an assemblage of colors, shapes, lines, points and other design elements. More than simple arrangements of lights and darks, rounds and squares, longs and shorts. We expect to see the artist’s hand. We expect the jewelry to be impactful for the wearer. We expect both wearer and viewer, and seller and buyer, to share expectations for what makes the jewelry finished and successful.
Jewelry design is an occupation in the process of professionalization. That means, when the designer seeks answers to things like what goes together well, or what would happen if, or what would things be like if I had made different choices, the designer still has to rely on contradictory advice and answers. Should s/he follow the Craft Approach? Or rely on Art Tradition? Or take cues from the Design Perspective? Each larger paradigm, so to speak, would take the designer in different directions. This can be confusing. Frustrating. Unsettling.
As a whole, the profession has become strong in identifying things which go together well. There are color schemes, and proven ideas about shapes, and balance, and distribution, and proportions. But when we try to factor in the individualistic characteristics associated with the designer and his or her intent, things get muddied. And when we try to anticipate the subjective reactions of all our audiences, as we introduce our creative products into the creative marketplace, things get more muddied still. What should govern our judgments about success and failure, right and wrong? What should guide us? What can we look to for helping us answer the what would happen if or what would things be like if questions?
Posted in architecture, Art or Craft?, art theory, beadwork, design management, design theory, jewelry design, jewelry making, Learn To Bead, Stitch 'n Bitch | Leave a Comment »
Posted by learntobead on November 7, 2019
JEWELRY DESIGN: An Occupation In Search Of A Profession
Jewelry design is an activity which occupies your time.
How the world understands what you do when you occupy that time, however, is in a state of flux and confusion.
Is what you are doing merely a hobby or avocation? Is it something anyone can do, anytime they want, without much preparation and learning?
Is what you do an occupation? Does it required learning specialized skills? Is it something that involves your interaction with others? Is it something you are payed to do?
Or is what you do a profession? Is there a specialized body of knowledge, perspectives and values to learn and apply? Do you provide a service to the public? Do you need to learn and acquire certain insights which enable you to serve the needs of others?
Are you part of another occupation or profession, or have your own? Is jewelry design merely a craft, where you make things by following sets of steps?
Is jewelry design an art, where your personal inspirations and artistic sense is employed to create things of aesthetic beauty for others to admire, as if they were sculptures? Is the jewelry you create to be judged as something separate and apart from the person wearing it?
Or is jewelry design its own thing. Is it a design activity where you learn specialized knowledge in how to integrate aesthetics and functionality, and where your success can only be judged at the boundary between jewelry and person – that is, only as the jewelry is worn?
The line of demarcation between occupation and profession is thin, often blurred, but for the jewelry designer, this distinction is very important. It feeds into our sense of self and self-esteem. It guides us in the choices we make to become better and better at our craft, art and trade. It influences how we introduce our jewelry to the public, and how we influence the public to view, wear, exhibit, purchase or collect the things we make.
What does it mean to become a professional?
At the heart of this question is whether we are paid and rewarded solely for the number of jewelry pieces that we make, or for the skill, knowledge and intent underlying our jewelry designs.
If the former, we do not need much training. Entry into the activity of jewelry design is very open, with a low bar. Our responsibility is to turn out pieces of jewelry. We do not encumber ourselves too much with art theory or design theory.
If the latter, we need a lot of specialized training and experience. Entry into the activity of jewelry design is more controlled, most likely staged from novice to master. Our responsibility it to translate our inspirations into aspirations into designs. It is also to influence others viewing our work to be inspired to think about and reflect and emote those things which have excited the artist, as represented by the jewelry itself. And it is also to enable others to find personal success and satisfaction when wearing or purchasing this piece of jewelry.
To become a professional jewelry designer is learn, apply and experience a way of thinking like a designer. Fluent in terms about materials, techniques and technologies. Flexible in the applications of techniques and the organizing of design elements into compositions which excite people. Able to develop workable design strategies in unfamiliar or difficult situations. Communicative about intent, desire, purpose, no matter the context or situation within which the designer and his various audiences find themselves. Original in how concepts are introduced, organized and manipulated.
The designs of artisans who make jewelry reflect and refract cultural norms, societal expectations, historical explanations and justifications, psychological precepts individuals apply to make sense of themselves within a larger setting. As such, the jewelry designer has a major responsibility, both to the individual client, as well as to the larger social setting or society, to foster that the ability for the client to fulfill that hierarchy of needs, and to foster the coherency and rationality of the community-at-large.
All this can happen in a very small, narrow way, or a very large and profound way. In either case, the professional roles of the jewelry designer remain the same. Successfully learning how to play these roles – fluency, flexibility, communication, originality – becomes the basis for how the jewelry designer is judged and the extent of his recognition and success.
Posted in Art or Craft?, art theory, design management, design theory, jewelry design, jewelry making, Learn To Bead, Stitch 'n Bitch | Leave a Comment »
Posted by learntobead on November 7, 2019
BECOMING THE BEAD ARTIST AND JEWELRY DESIGNER:
The Ongoing Tension Between Inspiration and Form
As a jewelry designer, you have a purpose. Your purpose is to figure out, untangle and solve, with each new piece of jewelry you make, how both you, as well as the wearer, will understand your inspirations and the design elements and forms you chose to express them. Not as easy as it might first appear.
You will want the piece to be beautiful and appealing. So you will be applying a lot of art theories about color, perspective, composition and the like. You will quickly discover that much about color use and the use of lines and planes and shapes and so forth in art is very subjective. People see things differently. They may bring with them some biases to the situation. Many of the physical materials you will use may not reflect or refract the color and other artistic effects more easily achieved with paints.
You want the piece to be durable. So you will be applying a lot of theories and practices of architects and engineers. You will need to intuitively and intrinsically understand what about your choices leads to the jewelry keeping its shape, and what about your choices allows the jewelry to move, drape and flow. You also will be attentive to issues of physical mechanics, particularly how jewelry responds to forces of stress, strain and movement.
You want the piece to be satisfying and accepted by various wearing and viewing audiences. So you will have some understanding of the role jewelry plays in different people’s lives. Jewelry is more than some object to them; jewelry is something they inhabit — reflective of soul, culture, status, aspiration. You will recognize that people ascribe the qualities of the jewelry to the qualities of the person wearing it. You will bring to the forefront ideas underlying psychology and anthropology and sociology, and even party planning, while designing your jewelry or introducing it publicly.
BECOMING THE BEAD ARTIST AND JEWELRY DESIGNER
Sometimes becoming a designer begins by touching some beads. Or running a strand of pearls through your hand. Or the sight of something perfectly worn around the wrist, upon the breast, or up near the neck.
Jewelry designers are extraordinarily blessed to do what they love for a living. For many, they have turned a hobby into an avocation into a lifestyle.
But it’s not like a regular job. There are many intangibles. Such as, what exactly is creativity? What are all the things that have to come together to recognize that creative spark when it hits you in your heart, groin or head, and how to translate that into something real, with beauty, with function, and with purpose? How do you mesh your view of aesthetics and functionality with those of your many audiences – wearer, viewer, buyer, seller, collector, exhibiter, teacher and student?
What exactly does it mean to design jewelry, and how do you know it is the right path for you? This is a tough question. You may love jewelry, but not know how to make it. You may get off on creative problem solving or be a color addict but not know what specific techniques and skills you need to learn, in what organized way, with what direction, leading you towards becoming that better jewelry designer. You may feel the motivation, but not know what the jewelry designer really has to do each day.
You may be taking classes and getting some training, but how do you know when you have arrived? How do you know when you have emerged as a successful professional jewelry designer? And what are your responsibilities and obligations, once you get there?
THERE IS SO MUCH TO KNOW
There is so much to know, and so many types of choices to make. Which clasp? Which stringing material? Which technique? Which beads? Which strategy of construction? What aesthetic you want to achieve? How you want to achieve it? Drape, movement, context, durability? How to organize and manage the design process?
And this is the essence of this book – a way to learn all the kinds of things you need to bring to bear, in order to create a wonderful and functional piece of jewelry. When you are just beginning your beading or jewelry making avocation, or have been beading and making jewelry awhile – time spent with the material in these segments will be very useful. You’ll learn the critical skills and ideas. You’ll learn how these inter-relate. And you’ll learn how to make better choices.
Everyone knows that anyone can put beads and other pieces together on a string and make a necklace. But can anyone make a necklace that draws attention? That evokes some kind of emotional response? That resonates with someone where they say, I want to wear that!? That wears well, drapes well, moves well as the person wearing it moves? That is durable, supportive and keeps its silhouette and shape? That doesn’t feel underdone or over done? That is appropriate for a given context, situation, culture or society?
True, anyone can put beads on a string. But that does not make them artists or designers. From artists and designers, we expect jewelry which is something more. More than parts. More than an assemblage of colors, shapes, lines, points and other design elements. More than simple arrangements of lights and darks, rounds and squares, longs and shorts. We expect to see the artist’s hand. We expect the jewelry to be impactful for the wearer.
We want to gauge how the designer grows within the craft, and takes on the challenges during their professional lives. This involves an ongoing effort to merge voice with form. Often this effort is challenging. Sometimes paralyzing. Always fulfilling and rewarding.
Jewelry design is a conversation. The conversation in ongoing, perhaps never-ending. The conversation is partly a reflection about process, refinement, questioning, translating feelings into form, impressions into arrangements; life influences into choice. It touches on desire. It reflects value and values. Aesthetics matter. Architecture and function matters. Context and situation matter.
Jewelry focuses attention. Inward for the artist. Outward for the wearer and viewer. In many directions socially and culturally. Jewelry is a voice which must be expressed and heard, and hopefully, responded to.
At first that voice might not find that fit with its audience. There is some back and forth in expression, as the jewelry is designed, refined, redesigned, and re-introduced publicly. But jewelry, and its design, has great power. It has the power to synthesize a great many voices and expectations into something exciting and resonant.
Posted in Art or Craft?, art theory, design management, design theory, jewelry design, jewelry making, Learn To Bead, Stitch 'n Bitch | 1 Comment »
Posted by learntobead on November 3, 2019
ESSENTIAL QUESTIONS ABOUT JEWELRY DESIGN WORTH ANSWERING
As you develop yourself as a jewelry designer, it is important to recognize and understand the larger social and professional contexts within which jewelry design is but a part, and your place in it. Towards this end, I have formulated some essential questions every designer needs to have answers for and have deeper understandings about.
(1) Why are there disciplinary conflicts between art and craft, and between art and design?
(2) How do you resolve tensions between aesthetics and functionality within an object like jewelry?
(3) What is jewelry, and what is it for?
(4) Is jewelry necessary?
(5) What does it mean to be successful as a jewelry artist working today?
(6) What does it mean to “think like a jewelry designer”? How does this differ from thinking like an artist or thinking like a craftsperson?
(7) How does the jewelry designer know when a piece is finished and successful?
(8) Why does some jewelry draw your attention, and others do not?
Posted in Art or Craft?, art theory, beads, beadwork, design management, design theory, jewelry design, jewelry making | Leave a Comment »
Posted by learntobead on May 31, 2019
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Posted in architecture, Art or Craft?, art theory, bead weaving, beadwork, design management, design theory, jewelry design, jewelry making | Tagged: art theory, blooms taxonomy, craft, design, design management, design theory, disciplinary literacy, jewelry, jewelry design, jewelry making, literacy, professional development, teaching, teaching design, teaching literacy | Leave a Comment »
Posted by learntobead on February 16, 2019
THE JEWELRY DESIGNER’S APPROACH TO COLOR
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![]() Different color schemes are associated with different geometric shapes that you can overlay within the wheel, and rotate, thus helping you select colors that work well together. |
With color schemes, you always need to think about things like:
Let’s look at the three most popular, often-used Color Schemes – Analogous, Complementary, and Split Complementary.
Analogous
The analogous color scheme is where you pick any 3 hues which are adjacent to one another on the color wheel. For example, you might pick yellow-green, yellow, and yellow-orange. This scheme is a little trickier than it seems. It works best when no color predominates. Where the intensity of each color is similar. And the design is symmetrical. I also think this scheme works best when you have blocks of each color, rather than alternating each color. That is, BETTER: color 1, 1, 1, 1, 1, 2, 2, 2, 2, 3, 3, 3, 3 rather than WORSE: color 1, 2, 3, 2, 1, 2, 3, 2, 1, 2, 3, 2, 1.
Complementary (also known as “true complementary” or “dyadic”)
The complementary color scheme is where you pick any 2 colors which are the direct opposite on the color wheel. For example, you might pick yellow and violet. To use this color scheme effectively, you would balance the contrast of the colors by value (lightness/darkness) and/or intensity (brightness/dullness). In this color scheme, one color has to predominate.
Split Complementary
This is the most popular color scheme. Here you choose three colors: a hue and the hues on either side of its complement. For example, you might choose yellow and blue-violet and red-violet (thus, the two colors on either side of Violet – the complement). In this scheme, one color needs to predominate. This scheme works well with both symmetrical and asymmetrical designs. You can use an isosceles triangle (has two sides with equal length) within the Color Wheel to pick colors.
One thing I like to do with this scheme is arrange all my beads, then replace one color with one of the others, and vice versa. Let’s say you had 20 blue-green (aqua), 10 orange, and 5 red beads, which you had laid out in a satisfactory arrangement. You could change it to 20 orange, 10 blue-green, and 5 red beads, and it would look just as good.
A lot of people have difficulty using the color orange in jewelry designs, but find it easy to use blue-green. Here’s a nifty way to trick them into using orange, and liking it. Do the composition with blue-green dominant, then switch out all the blue-green for orange, and any orange you used for blue-green.
There are many other color schemes. Some examples:
Analogous Complementary.(3 analogous colors, and one complement of one of these 3). Example: blue-violet, violet, red-violet with yellow-green.
Triadic: (3 tertiary hues equidistant on the color wheel.) Example: red-violet, yellow-orange, and blue-green. You can use an equilateral triangle within the color wheel to help you pick choices.
Tetradic: (Using 4 colors, a double complementary scheme). Example: Yellow-green, orange, red-violet, and blue. You can use a square or rectangle within the color wheel to help you pick choices.
Hexadic: (Using 5 colors). Can use a pentagon within the color wheel to select your colors.
Monochromatic: (A single hue, though with different intensities, tints and shades)
Achromatic: (black and white and gray (without color))
Neutrals: (mixes of hues to get browns (or grays))
Clash: (combines a color hue with a color on either side of its complement).
Example: blue w/red-orange or orange-yellow
There are many books, as well as free on-line color scheme designer apps to check out and play with.
(4) Color Proportions and the Sensation of Color Contrasts
Just because the colors picked conformed to a Color Wheel, doesn’t mean that they will be successful within your jewelry composition. It turns out that making color choices based on Light Values alone are less than perfect. Colors do not occur in a vacuum. They appear next to other colors. They appear within a situation or context. They reflect and refract light and shadow differently, depending on setting, lighting, and context.
That means, perceiving and recognizing one or more colors is important information to have, but not enough information for the brain to determine if the object is satisfying or not, or safe or not. People do not yet have enough information to make an absolute choice whether to wear or buy a piece of jewelry, at this point.
This bring us to the sensation of Color Contrasts. Colors appear together in different proportions. This also affects the brain’s processes of trying to harmonize them – that is, achieve a light value of zero.
Another series of color research focused on the effects of color proportions. These scientifically derived proportions show the joint effect of 2 or more colors, if the brain is to score their sum as a value of 0.0. (Again, I’ve made up this scoring, but you get the point about reaching equilibrium). The brain would like to know, not only what color it is, but what proportion relative to other colors, we have before us.
As designers, to achieve a sense of harmony and balance, we are going to mimic what the brain does when seeing more than one color – we are going to vary the proportions so that, in combination, the sense of that perceptual and cognitive zero-sum game is still maintained.
And again, I’ll make the point that not all compositions have to be perfectly harmonious.
Itten has a picture of the ideal and relative proportions of colors in harmony and balance.
Yellow to purple, 1:4 (This is read as “1 in 4”, and means that given 4 parts, 1 should be yellow and the remaining 3 should be purple. )
Orange to blue, 1:3
Red to green, 1:2
Yellow to orange: 1:1.3
Choreographing Color Blending and Transitioning:
Playing With Proportions
ColorBlock Bracelet, Warren Feld, 2017 (playing with progressive proportions)
Every so often, you might want to create a rainbow, or some sequencing of colors, say from light to dark, where all the colors seem to emerge from the last, and bleed into the next. This is much more difficult with beads than with paints for all the usual reasons discussed above.
A “Random” selection or placement of colors doesn’t usually work as well as selecting and placing based on some more mathematical formula. “Alternating” or “graduating” colors doesn’t always work as well, either. You must create a more complex, involved patterning. You must choreograph the layout of colors, so that, from a short distance, they look like they are blending, and gradually changing across the length of your piece.
Monet’s Garden Bracelet, Kathleen Lynam, 2013 (using math formula)
One of the easier mathematical formulas to come up with as a way to choreograph things, is to play with color proportions. Go bead by bead or row by row, and begin with the ideal proportionate relationship between two colors. Gradually manipulate this down the piece by anticipating the next ideal proportionate relationship between the next two colors that need to follow.
In fact, any kind of statistical or mathematical formula underlying an arrangement will work better than something random or intuitive, when managing color blending and transitions.
(5) Simultaneity Effects and the Sensation of Simultaneous Color Contrasts
It turns out there is even more to how the brain recognizes and tries to harmonize colors. Knowing (1) the color (light value) and (2) the relative proportions (contrasts) of color within the piece of jewelry is necessary, but still not enough for the brain to decide whether the piece of jewelry will be satisfying, finished and successful, or somewhat ugly, not buy-able or unwearable.
Some colors, when sitting on or near a particular color, are experienced differently, than when sitting on or near a different color. The line of research we are focusing on here deals with what are called Simultaneity Effects. Colors can be affected by other colors around them (simultaneous color contrasts). Colors in the presence of other colors get perceived differently, depending on the color combination.
Simultaneity Effects are a boon to the jewelry designer. They are great tools for such things as…
For example, a White Square on a Black background looks bigger than a Black Square on a white background. White reaches out and overflows the boundary; black contracts.
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Gray always picks up some of the color characteristics of other colors around it.
Existence of these simultaneity effects is a great piece of information for the designer. There will be gaps of color and light between beads. Many bead colors are imperfect, particularly in combination. Playing with what I call “grays” [thus, simultaneity effects] gives the designer tools to overcome some of the color limitations associated with the bead.
Simultaneity effects trick the brain into filling in those gaps of light between beads. Simultaneity effects trick the brain into believing colors are more connected and blended and mutually-supportive than they would, if separately evaluated. Simultaneity effects trick the brain into seeing satisfying arrangements, rhythms, and dimensionality, where, without them, things would be unsatisfying instead.
A final example of simultaneity effects has to do with how people sense whether colors are warm or cool. In one composition, depending on the color mix, a particular color might be felt as “warm”. In a second composition, with a different color mix, that same color might be felt as “cool”.
Here the yellow square surrounded by white feels lighter, brighter and a different temperature than its counterpart. The red square surrounded by the black feels darker, duller, and a different temperature than its counterpart.
Again, simultaneity effects give tools to the jewelry designer for intensifying and clarifying the design, without disturbing the eye/brain pre-wired fear and anxiety responses. These allow you to “blend” and build “bridges” and create “transitions.” You have a lot of tricks to use here which enable you to push the envelop with your designs. And still have your piece be judged as beautiful and appealing.
Simultaneity Effects are some of the easiest things the jewelry artist can control and manipulate, to fool the brain just a little bit. They let you bring in unexpected colors, and fool the brain into seeing color coordination and color blending. They let you convince the brain that the color proportions are correct when, in reality, they are not. They let you convince the brain to jump the cliff, which the gap between beads presents.
For the brain, gaps between beads – that is, areas with undefined colors, creates work for the brain, and is fraught with danger. The brain has to actually construct a color and meaning to fill in this gap. Without any clues or rules or assistance, it is more risky for the brain to jump the cliff, so to speak, and fill in the gaps with color, than it is for the brain to follow an easier pathway and simply define the jewelry as ugly or boring and reject it and move on. Similarly, simultaneity effects convince the brain to look around corners, go into crevices, explore and move around the whole piece from end to end.
It is at this point in the design process where the jewelry artist must be most fluent, creative and strategic in using color. It is primarily and most often through establishing, and then managing, the sensation of simultaneous color contrasts where the artist begins to build that connection between audience and self, wearer and resonance, the wearing-of and the context, coherency and contagion.
With Simultaneity Effects, colors begin to take on meanings and emotions. These can be as simple as sensations of warm and color, close and far, approaching and fleeing, soft and harsh. Or they can be much more complex, even thematic and symbolic.
The Use of “GRAYS” (simultaneity effects) to tie things together – Blending and Bridging
With beads, the eye often needs to merge or coordinate colors, as it scans any piece. And then there are the gaps of light between beads. The eye needs help in spanning those gaps. The Artist needs to build color “bridges” and “transitions”, so that the eye doesn’t fall off a cliff or have to make a leap of death from one bead, across the gap, all the way to the next.
One easy technique to use is to play with simultaneity effects. One such effect is where gray takes on the characteristics of the color(s) around it.
In beads, there are many colors that function as “grays” – gray, black diamond, alexandrite, Montana blue, prairie green, fuchsia, Colorado topaz – colors that have a lot of black or gray tones to them. Most color lined beads result in a gray effect (where the class encasing distorts the inside color). Metallic finishes can result in a gray effect.
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Aqua/peach lined | Antique rose | Teal iris |
In one piece I made, for example, I used 11/0 peach lined aqua beads as a “gray” to tie in larger teal and antique rose beads together. While aqua is different than teal and the peach is different than the antique rose, in combination, the aqua/peach-lined beads acted like a gray. When close to the teal iris beads, the aqua took on the teal color; when close to the antique rose beads, the peach took on the antique rose color. Gray colors pull from one bead, and transition to the next in a very subtle way, that tricks the brain, but does not disturb it.
Expressive Attributes of Color and Color Contrasts:
Important Color Terms and Vocabulary
Each color on the wheel is called a HUE. Hues are pure colors – any color except black or white. And if you look again, there is no black or white on the Color Wheel.
BLACK is the absence of color. We consider black to be opaque. Usually, when people see black, they tend to see shadows. With black, designs tend to feel older, more antique’y, richer, more traditional and solid, and seem to have a patina around them.
WHITE is all the colors merged together. When all colors in “light” merge, you get White. When all the colors in paints or pigments are merged, you get a neutral gray-black or beige. With White, designs tend to feel sharper, brighter, more contemporary.
INTENSITY and VALUE. Better jewelry designers are those who master how to play with INTENSITIES and play with VALUES. This means they know and are comfortable with manipulating bright and dull (intensity), and light and dark (value). They know the subtle differences among red, pink and maroon, and how viewers react to these. They know how to punctuate – BAM! – with Yellow, and EASE – with purple, and CALM – with blue.
The contrasts between Bright and Dull or Light and Dark are not quite the same. Bright and Dull (intensity) has to do with how much white, gray or black underlay the Hue or pure color. Low intensity is duller; high intensity is brighter. Think of a Stop Sign. It could have just as easily been Red, Pink or Maroon. Red is the most intense – the brightest of the 3 – and hence the sign is Red. You can see red from the farthest distance away. Red is “Bright (intensity)”, but not necessarily “Lighter (values)” than Pink or Maroon.
The contrasts between Light and Dark are called VALUES. A lower value is darker, though not necessarily duller (intensity). Pink has a higher value than maroon, because it is lighter. Yellow is the lightest color; violet is the darkest. Yellow has a higher value than violet.
Unfortunately, in many texts and guides written by Bead Artists and Jewelry Designers, they combine the concepts of intensity and value into a single concept they refer to as “Values”. Bead Artists and Colorists often write that the “secret” to using colors is to vary “values”. When they refer to “values”, they are actually combining these two color theory concepts – “values” and “intensities”. Both are really different, so this combined meaning is a disservice to the bead artist and jewelry designer trying to learn to control color choices and color expression.
INTENSITY AND VALUES EXERCISE | |||
Intensity Exercise:
Use your Blue Pencil, as well as your White, Gray and Black Pencils, to color in the 2nd column. Start by coloring in all the squares with a medium shade of blue. Using your white, gray and black pencils, now vary the darkness of the blue to approximate the darkness of the grays in the 1st column. |
Values Exercise:
Using your Blue Pencil only, color in each cell in the table below, making the top cell the lightest (highest value), subsequent cells darker than the previous ones, and the last bottom cell, the darkest (lowest value). [Press lightly on the pencil when coloring in the first cell, and then harder and harder as you go down the column.] |
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So, as you work with people to create jewelry for them, you make choices about, and then manipulate:
– colors
– balance and harmony (distribution, placement, and proportions)
– intensities
– values
– simultaneity effects
Let’s say you wanted to design a necklace with blue tones. If you were designing this necklace for someone to wear at work, it would probably be made up of several blue colors which vary in values, but Not in intensities. To give it some interest, it might be a mix of light blue, blue, dark blue and very dark blue. Thus, the piece is pretty, but does not force any power or sexuality issues on the situation.
If you were making this same necklace for someone to go out on the town one evening, you might use several blue colors which vary in intensity. You might mix periwinkles and Montana blues and cobalt blues and blue quartzes. You want to make a power or sensual statement here, and the typical necklace someone would wear to work just won’t do.
Let’s continue with some more important color building blocks or concepts.
TINT, SHADE and TONE are similar to values and intensities. They are another way of saying similar things about manipulating color Hues. TINTS are colors with white added to them. Pink is a tint of Red. SHADES are colors with black or gray added to them. Maroon is a shade of Red. And TONES define the relative darkness of a color. Violet is a dark tone and yellow is a light tone. Red and green have the same tonal value. “Tones” are what copy machines pick up, and the depth of the black on a photocopy relates to the tonal value of the colors on the original paper you are copying. Red and green photocopy the same black color. They have the same tonal value.
TEMPERATURE. Colors also have Temperature. Some colors are WARM. The addition of black tends to warm colors up. Warm colors are usually based in Red. Red-Orange is considered the warmest color. Warm colors tend to project forward.
COOL colors are usually based in Blue. Green-blue is the coldest color. Addition of white often cools colors. Cool colors tend to recede.
Given the other colors which surround them, however, usually warm colors may appear cold, and vice versa.
Juxtaposing colors creates MOVEMENT and RHYTHM. By creating patterns, you guide the brain/eye in its circuitous route around the piece, as it tries to make sense of it. Juxtaposing Warm with Cool colors increases the speed or sense of movement.
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Some colors tend to PROJECT FORWARD and others tend to RECEDE. Yellow is an advancing color. Black recedes. You can play with this effect to trick the viewer into seeing a more MULTI-DIMENSIONAL piece of jewelry before her. By mixing different colors and different finishes, you can create a marvelous sense of dimensionality.
To Reiterate Some of The Key Ideas and Understandings
The color research begins to open up ideas about how the brain processes color, and which of these processes might be seen as universal, and which more subjective.
The brain first perceives, then tries to understand the color as a color. It senses Light Values.
The brain perceives, then tries to understand the color relative to other colors around it. It senses Color Contrasts.
At the same time, the brain perceives and tries to understand the color within some context or situation, to gauge more meaning or emotional content. It interprets Simultaneous Color Contrasts within the boundaries of a context, situation, personal or group culture.
The END RESULT is simple:
Should we consider the jewelry to be finished and successful?
Should we like the jewelry or not like it?
Should it get and hold our attention, or not?
Should we approach it, or avoid it?
Should we get excited about it, or not?
Should we comment about it to others?
Should we buy it?
Should we wear it?
All this perceptual and cognitive and interpretive activity happens very quickly, but somewhat messy. Some of it follows universal precepts. Some of it is very subjective. Our brain is trying everything it can to make sense of the situation. It tries to zero-sum the light values. It has to take in information about a color’s energy signature. It has to take in information about how much of one color there is in relation to other colors. It has to take in information about emotional and other meaningful content the juxtaposition of any group of colors within any context or situation represents.
With any piece of jewelry, the artist and designer is at the core of this all. It is the designer, in anticipation of how others perceive, recognize and interpret colors in their lives, who establishes how color is used, and manages its expression within the piece. The jewelry designer is the manager. The designer is the controller. The designer is the influencer. The designer establishes and conveys intent and meaning.
DECODING COLOR AS A DESIGN ELEMENT
A composition in orange and blue.
Art and design theory informs us how to objectively use color. That means, there are universally accepted shared understandings and expectations about what makes a piece of jewelry more satisfying (or dissatisfying) in terms of choices about color.
So, when we refer to our lessons above about color use, and examine the orange and blue necklace above, we can recognize some problematic choices about color.
The first is about color proportions. The most satisfying proportionate relationship between orange and blue is 1:3. That means, for every 3 parts, one should be orange and two should be blue. In our illustrated composition, the relationship is more 1:2 or half orange and half blue. To make this piece more attractive and satisfying, we would need to reduce the amount of orange and increase the amount of blue.
The second is about color schemes. Here we have a 2-color, complimentary color scheme. To make this piece more attractive and satisfying as a complimentary color scheme, we have learned that one of the two colors should predominate. Either we have to add more orange, or have to add more blue.
So, we have decoded our Color Design Element and we see that the proportions are less than optimal, and the color scheme chosen is less than optimal. To make the necklace more appealing, and in conformance with universally agreed upon understandings about good color use, we will need to increase the amount of blue and decrease the amount of orange, so that we get a 1:3 (orange to blue) proportionate outcome, and we allow one color to predominate.
Let’s look at another example:
Composition in green, white and red.
First, white is not considered a color. We can ignore it.
Second, proportionately, there should be equal amounts of green to that of red. The relationship is 1:2, meaning for every 2 parts, 1 should be green and 1 should be red. Proportionately, in this piece, we are close to this proportionate relationship.
Third, we have, in effect, since we ignore white, a 2-color complimentary color scheme. We have learned that in this scheme, one color should predominate.
That means, in this composition, the current use of color will not and cannot work. It results in an unacceptable and unsatisfying use of color. Proportionately, both colors need to be equal. Color Scheme wise, one color needs to clearly predominate. We can’t conform to both universally-accepted shared understandings about the use of green and red in a 2-color scheme.
DESIGNING JEWELRY WITH COLOR
Always remember that your choice of color(s) should be secondary to the choices you make about concept, theme, arrangement and organization. Color should be used to enhance your design thinking. Color should not, however, be the design.
When we study color from a design standpoint, we think of color as part of the jewelry’s structure. That means, color is not merely a decorative effect or object. It is more like an integral building component which has been organized or arranged within a larger composition. As a component, it is a “Design Element”. Color is the most important Design Element. It can both stand alone, as well as easily be combined with other Design Elements. There are some universal aspects when color is objectively understood as an element of design. As part of an arrangement, we begin to treat color in terms of Principles of Composition, Construction and Manipulation. Color takes on some subjectivity. Its effects become much more dependent on the artist’s intent and the situation in which the jewelry is worn.
Color is used to express meaning and enhance meaningful expressions. We use color to express elements of the materials used, like glass or gemstone. We use color to express or emphasize elements of the forms we are creating. We use color to enhance a sense of movement or dimension. We use color to express moods and emotions. We use color to influence others in sharing the artist’s inspirations and aspirations.
As designers, we…
– Anticipate how the parts we use to make a piece of jewelry assert their needs for color
– Anticipate shared universal understandings among self, viewer, wearer, exhibitor and seller about color and its use
– Think through how colors relate to our inspirations and how they might impact our aspirations
– Pick colors
– Place and arrange colors
– Distribute the proportions of colors
– Play with and experiment with color values and color intensities
– Leverage the synergistic effects and what happens when two (or more) colors are placed next to one another
– Create focus, rhythm, balance, dimension and movement with color
– Create satisfying blending and transitioning strategies using color
– Anticipate how color and the play of color within our piece might be affected by contextual or situational variables
– Reflect on how our choices about color affect how the piece of jewelry is judged as finished and successful by our various client audiences
– Use color to promote the coherency of our pieces, and the speed and extent to which attention by others continues to spread
Fluent designers can decode color and its use intuitively and quickly, and apply color in more expressive ways to convey inspiration, show the artist’s strategy and intent, and trigger an especially resonant, energetic response by wearers and viewers alike.
Don’t get into a Color Rut
And a last piece of advice.
Don’t get into a color rut. Experiment with different colors. Force yourself to use colors you usually do not use or avoid. If it’s too psychologically painful, make a game of it.
————————————————————————————
WARREN FELD, Jewelry Designer
warren@warrenfeldjewelry.com
615-292-0610
For Warren Feld, Jewelry Designer, (www.warrenfeldjewelry.com), beading and jewelry making have been wonderful adventures. These adventures have taken Warren from the basics of bead stringing and bead weaving, to wire working, wire weaving and silversmithing, and onward to more complex jewelry designs which build on the strengths of a full range of technical skills and experiences.
Warren leads a group of instructors at Be Dazzled Beads (www.bedazzledbeads.com). He teaches many of the bead-weaving, bead-stringing, wire weaving, jewelry design and business-oriented courses. He works with people just getting started with beading and jewelry making, as well as those with more experience. Many of his classes and projects have been turned into kits, available for purchase from www.warrenfeldjewelry.com or www.landofodds.com. He conducts workshops at many sites around the US, and the world.
Join Warren for an enrichment-travel adventure on Your World Of Jewelry Making Cruises.
His pieces have appeared in beading and jewelry magazines and books. One piece is in the Swarovski museum in Innsbruck, Austria.
He is probably best known for creating the international The Ugly Necklace Contest, where good jewelry designers attempt to overcome our pre-wired brains’ fear response for resisting anything Ugly.
He is currently writing a book – Fluency In Design: Do You Speak Jewelry?
_________________________________________________________
FOOTNOTES
[1] Pantone website https://www.pantone.com
[2] Itten, Johannes. The Elements of Color: A Treatise on the Color System of Johannes Itten, NY: John Wiley & Sons, 2001
[3] In reality, the selection of primary colors is arbitrary. The primary colors depend on the light source, the color of the background, and the biology of the color-sensing components of the eye. We choose red-yellow-blue when referencing painting or coloring on white background, like paper. We choose red-green-blue when referencing color placed on a black background, such as a TV or computer screen. We choose cyan-maroon-yellow-black when using overlapping inks to create color on a white background, and better reproduce true colors. We understand that the eye sees red-greenish yellow-blue-violet most clearly.
Color References Worth Checking Out
Rockport Publishers, Color Harmony Workbook, Gloucester, MA: Rockport Publishers,
1999.
Deeb, Margie. The Beader’s Guide to Jewelry Design, NY: Lark Jewelry & Beading,
2014.
Posted in Art or Craft?, art theory, bead weaving, beads, beadwork, color, design management, design theory, jewelry collecting, jewelry design, jewelry making, Stitch 'n Bitch | Tagged: art theory, bead weaving, beading, color theory, jewelry design, jewelry making | Leave a Comment »
Posted by learntobead on February 11, 2019
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Posted in Art or Craft?, art theory, bead weaving, beads, beadwork, design theory, jewelry design, jewelry making, Stitch 'n Bitch | Tagged: art theory, contemporary jewelry, contemporizing traditional jewelry, design theory, inspiration, jewelry design, jewelry making, traditional jewelry | Leave a Comment »
Posted by learntobead on January 31, 2019
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Posted in Art or Craft?, art theory, bead weaving, beadwork, design theory, jewelry design, jewelry making | Tagged: art jewelry, art theory, contemporary jewelry, design theory, jewelry design, traditional jewelry | Leave a Comment »