Warren Feld Jewelry

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Archive for the ‘jewelry design’ Category

Natural Materials and Embedded Gemstones

Posted by learntobead on December 1, 2010

Natural Materials and Embedded Gemstones

More of Lionel Aubert’s Work

 

After posting some of Lionel Aubert’s jewelry, he wrote me, and sent me more images of his pieces, which I share here.

Lionel wrote:

Passionate about gem stones, I realized that nobody had encrusted gemstones from natural materials without glue. So I developed my work and creativity on this combination of materials. I created this embedding method in order to propose new jewelry and objects that are innovative, not by the material but by their marriage. The idea of embedding gemstones with no glue is unique. It is made from natural materials like wood, bamboo, horn, seeds, bones, etc..

 

 



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Edges, Fringes, Straps, Surface Embellishment

Posted by learntobead on November 19, 2010

Edges, Fringes, Straps, Surface Embellishments
Should these be Critical to the piece,
or, merely Supplemental?

In our Bead Study group, (full discussion notes posted here) we began a unit on learning what I call “turns of the needle” techniques.   These are small, bead-woven  shapes and forms that you make with seed beads and needle and thread.   You can adapt these shapes and forms to use as edging, surface embellishment, straps and fringes.

Classical art theory would say that these kinds of elements in jewelry should be supplemental to the core piece, such as a pendant.    The pendant is “art”, and any fringe, strap, edging or extraneous surface embellishment would merely supplement this.

In painting, these kinds of components would equate with the “frame.”   In sculpture, these kinds of components would equate with the “pedestal base.”  Neither the frame nor the pedestal should be required to appreciate the painting or sculpture as art.    Nor should these detract.  Or compete.   Or take center stage.  Or overwhelm.

If our goal is to elevate beadwork and jewelry to the realm of art, rather than craft, we need somehow to accommodate, confront or revise this concept which is central in art theory, if we don’t agree that edges, fringes, straps, and extra surface embellishment are as important to the jewelry as it’s core.

Should these be supplemental, or complimental, or incidental, or critical to jewelry?

Is adornment and embellishment “art”?

What makes a piece of jewelry an “art” piece?

Is there a design element to creating fringes, edges, straps and surface embellishment?     That is, are there a set of principles that we can follow and share, so that we don’t over-do, or don’t compete with the central part of any piece of jewelry?    Are there a set of rules of construction that we can learn and adapt?

What is the value of decoration?     What principles regulate this?

Ornament Magazine , one of my favorites, uses the image below in their promotional materials.    I love this piece as is, but, based on our bead group discussions, the piece begs the question whether the fringing and straps are helpful or hurtful to the core piece.   Appropriate or inappropriate?   Dragging jewelry back to a craft-base, or elevating jewelry into an art-form?

What do you think?

The discussion continues here.

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THE DESIGNERS’ GAZETTE, Fall 2010

Posted by learntobead on November 10, 2010

Read the current issue of:

THE DESIGNERS GAZETTE
Fall, 2010

http://www.warrenfeldjewelry.com/pdf/fg111510/fall2010pdf.pdf

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Combining The Wearable With The Theatrical

Posted by learntobead on September 22, 2010

Michael Zobel
Combining the wearable with the theatrical

http://www.atelierzobel.com/

Can you the artist ever be appropriately flamboyant, sensitively flaming, “out-there” yet still “in-here”?

Michael Zobel is an artist known for his dramatic works.    How successful do you think he has been, walking that line between wearable and costume?

What does it mean to walk that line?

Something showy?

Something evocative?

Something which shows the materials (metals and stones) off in unusual ways?

Something that has your friends running towards you, rather than away from you?

I find it interesting that the many pieces he has on display seem much more dramatic than the pieces he has on his website for sale.      What does this observation mean, when thinking how dramatic to get with your own pieces?

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Artisan Eco Jewelry

Posted by learntobead on September 22, 2010

Lionel Aubert
Artisan Eco Jewelry

It is truly amazing what kinds of jewelry can be made from wood and other similar natural materials, encrusted with gemstones held in place by the force and shape of the wood.    No glue or prongs here.

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Your Personal Style

Posted by learntobead on September 21, 2010

Your Personal Style

It’s always important to develop a personal style within your jewelry creations.   Something that helps people recognize that the jewelry was made by you, and not someone else.   A signature, or signifying element.

This can be a certain choice of colors.   It can be the addition of a special bead to each piece, or special dangle, or special tag.    It can be the use of a custom made clasp.    Or a certain style of construction.  Or the use of certain images, forms or motifs.

Carolyn Morris Bach is a jewelry artist from southern New England.     She has a very strong signature motif she uses:   tiny creatures with solemn or half-smiling, ovoid or moon-shaped faces carved from ivory or gemstones and the like.   Her pieces are mythical and allegorical, yet very contemporary.

She makes it very easy to associate her pieces with her.     This, in marketing terms, is a kind of branding.    When people see these motifs and styles, they automatically begin to associate the jewelry with Carolyn Morris Bach — even if someone else had created the piece.

Here are some of her pieces:

The piece above would be beautiful without the owl.    Or the “owl” element did not have to be a bird motif per se, but could have been anything.     By making that element an owl, and styling the owl as she did, her jewelry comes with her signature.   That’s important for all jewelry designers to do.

You can visit her website:
http://www.carolynmorrisbach.com/

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LOOT! 2010

Posted by learntobead on September 21, 2010

JEWELRY FUNDRAISER
For The
Museum of Art and Design

In New York City 

LOOT!2010
Oct 20-26, 2010
http://madmuseum.org/DO/Calendar/201010/loot_2010.aspx

Cutting edge jewelry designs, ranging in price between $300. and $30,000, with an average of $2700.

LOOT is MAD’s biennial juried exhibition and sale of one-of-a-kind contemporary art jewelry, created by acclaimed American and international artists. This year’s event – the first LOOT in the new 2 Columbus Circle Galleries — will be held October 20th- 26th. It will open with a Gala evening preview on Wednesday, October 20th to benefit the Museum’s exhibition and education programs.

A full weekend of programs will accompany the exhibition and sale in the second floor design galleries including curatorial lectures, panel discussions with experts and designers, artists’ talks and workshop demonstrations in the MAD artists’ studios. Special family focused hands-on workshops will be held on the weekend.

For further information please contact Rebekka Grossman at 212.299.7712 or rebekka.grossman@madmuseum.org.

The exhibition and sale continue from Thursday, October 21 to Tuesday, October 26 during regular museum hours.  LOOT will also be open on Monday, October 25 from 11am – 6pm.

Whether you can attend this fund raiser, here are some of the types of pieces you might see.

Emerging Dutch artists

 

Beppe Kessler
http://www.beppekessler.nl/

 

Iris Nieuwenburg
http://www.droog.com/aboutus/designers/iris-nieuwenburg/

 

 

 

 

 

Truike Verdegaal
http://www.truikeverdegaal.com/

 

 

Native American Artists

Gail Bird and Yazzie Johnson

http://en.wikipedia.org/wiki/Gail_Bird_and_Yazzie_Johnson

 

Richard Chavez

http://collectionsouthwest.com/html/rchavezpage01.html

 

Verma Nequatewa

http://www.americanmastersofstone.com/Biographies/Verma%20Nequatewa.htm

Charles Loloma
http://www.americanmastersofstone.com/Biographies/Charles%20Loloma.htm

Other Emerging Contemporary Jewelry Artists

Pat Flynn
http://www.patflynninc.com/

Jennifer Trask
http://www.jennifertrask.com/Site/Home.html

Anastasia Azure
http://www.anastasiaazure.com/

Jocelyn Kolb

http://dailyartmuse.com/2009/09/04/jocelyn-kolb-computer-aided-design-jewelry/

Giorgio Vigna

http://www.giorgiovigna.com/

Kiwon Wang

http://www.kiwanwang.com/

 

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How Sparkle Enters People’s Lives

Posted by learntobead on August 31, 2010

How Sparkle Enters People’s Lives

New post under How To Bead  A Rogue Elephant.

“… And as in other situations in life, the jewelry designer must be very sensitive to how sparkle enters people’s lives.   

 

Jewelry may help people feel attached to their surroundings,     Be more aware of themselves.   Their status.  Their situation.  Their power.  Their sexuality.   Jewelry may serve to open up a whole new world for someone.   Jewelry may signify how people may safely interact, and not interact.    It may start conversations.   As well as end them.   

 

The jewelry artist designs jewelry.   She or he selects materials to use.   An order or arrangement is decided upon.  A hypothesis is formulated about how best to assemble the pieces.   And the hypothesis is put to the test.    And hopefully the finished piece is more than the sum of its parts.    Because it has to add sparkle to people’s lives.” …

 

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New Latin American Jewelry

Posted by learntobead on August 10, 2010

“THINK AGAIN: NEW LATIN AMERICAN JEWELRY”
Exhibit at Museum of Arts and Design, New York City
Oct 12-Jan 11, 2011

This exhibit will feature the latest trends and movements through works by 50 jewelry artists, representing some 23 Latin American countries.

There is a history of relationships between jewelry worn and the culture within which it is worn.    This is as true in Latin America, as elsewhere.     So it is important to question the artist and his or her pieces, as to what the wearing of their jewelry would signify about their understanding of contemporary Latin America.

You would look at their choices of materials.  Their use of pattern, form, image and theme.    Their choices of colors.    Their techniques.

Some artists use traditional techniques and/or materials with modern references.   Others use modern techniques to express the interconnectedness of traditional and contemporary life.     Some are abstract; some literal.

There is always tremendous pressure on artists and fine craftspersons from traditional and developing societies to work within and preserve traditional images, motifs and techniques.   It is difficult to break out of and from those expectations.    Yet the artist wants to be able to express their artistic selves, their psychological, sociological and cultural beings, as members of contemporary societies that don’t bear as direct a connection with the past as outsiders would have it.

The relationships between contemporary Latin American society and traditions is much more complex today.   Will outsiders, like we in North America, ease up on these expectations, allow a contemporary jewelry artist scene to succeed?   The situation is no different than how we impose expectations upon our own contemporary Native American artists.      We make it so difficult for them to break from the past, and make some kind of living from their art, as they experience their world today.

Here are some of the Latin American artists, and images of things that might be on exhibit.

Mirla Fernandes (Brazil)
http://www.mirlafernandes.com/

Dionea Rocha Watt (Brazil)
http://dionearochawatt.blogspot.com/

Claudia Cucchi (Brazil)
http://www.klimt02.net/jewellers/index.php?item_id=5286

Valentina Rosenthal (Chile)

Elisa Gulminelli (Argentina)
http://elisagulminelli.blogspot.com/

Francisca Kweitel (Argentina)
http://www.klimt02.net/jewellers/index.php?item_id=859

Silvina Romero (Argentina)
http://silvinaromero.blogspot.com/

Jorge Manilla (Mexico)
http://www.jorgemanilla.com/

Mariana Shuk (Columbia)
http://marianashuk.com/blog/

——-

If we are to judge these pieces with the added burden of the label “LATIN AMERICAN JEWELRY”, then I’m not sure how successful most of these pieces are.     If we are to judge them as simply “Contemporary Jewelry”, then most of these are very successful.


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Shoe Jewelry

Posted by learntobead on August 10, 2010

SHOE JEWELRY

The staff had been joking about shoes yesterday, and this led me to my recent online exploration of shoe jewelry.    I found a lot.

There were shoe clips and shoe lace clips.   There were anklets that were connected to the shoe itself.    There were charms in images of shoes.   And rhinestone decorated shows.    And bead decorated crocs.

Lots of things.    Here are some of what I found:

Eleven Best Shoe Jewelry Sites
(More information here: http://www.bessed.com/jewelryforshoes/)
11 of the best sites for finding jewelry made to be worn on shoes and sneakers, sometimes also known as shoe ornaments, shoe charms, shoe tags, or shoe grillz.

1.  Kickbars
http://www.kickbars.com/

Shoelace clips studded with diamonds, emeralds and other jewels, made to go with your favorite sneakers.

2.  Shoeworthy
http://www.shoeworthy.com/

Handcrafted Shoe Clips in every imaginable design and material.

3.  Jibbitz

http://www.crocs.com/jibbitz/jibbitz,default,sc.html

“Charms” to decorate your Crocs, by pushing then into the holes of  your shoes.



4.  Absolutely Audrey

http://www.absolutelyaudrey.com/

More shoe clips.

5.  Make Your Own Shoe Charms
http://www.121collection.com/product_info.php?products_id=516

Here’s your chance to decorate your Crocs with anything you can hot glue!!  These little doodads are similar to Jibbitz or any of the other crocs charms out there.  You can glue buttons, beads, or even fabric appliques to them.  Here’s a great idea:  Hit the scrapbooking store and see what you can find to glue on.

6.  Shoe Jewelry at Advantage Bridal
http://www.advantagebridal.com/shclandac.html

Shoe clips for wedding shoes.     Want a big fluffy flower, or an intrictate rhinestone pin, to clip to your bridal shoes?   Here’s the place.

7.  Shoe Spinners

http://www.icedoutgear.com/SPN239.php

Like a mini hub-cap charm to wear on the sides of your sneakers.

8.  Litter SF
http://www.littersf.com/bootstraps.html

Anklets as part of your shoeware.

9.  J.R. Dunn Jewelers
http://store.jrdunn.com/category_s/112.htm

Shoe Charms

10.  M&J Trim
http://www.mjtrim.com/Centers/Projects/29.aspx

Rhinestone decorated Flip Flops.


11.  SHINE
http://shine.yahoo.com/channel/beauty/spruce-up-your-shoes-fringe-501516/
You can always add fringe to your shoes.

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Winner and Runner-Up Announced!

Posted by learntobead on July 16, 2010

2010 8th International
The Ugly Necklace Contest
– A Jewelry Design Competition With A Twist

Winner and Runner-Up Announced!

Congratulations!

Winner
Sandy Borglum
Chicago, Illinois
“The Purple Eyesore of Texas”

 

 

RUNNER-UP
Lynn Margaret Davy
Wimborne, Dorset, United Kingdom
“Wrinkling”

It’s not easy to do Ugly!, so bravo!

To view all the final results, please visit this web-page.

The next The Ugly Necklace Contest deadline is 3/15/2012.    View the Official Rules here.

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When The Reporter Comes A-Calling…

Posted by learntobead on July 3, 2010

PUBLICITY – WHEN THE REPORTER COMES A-CALLING…

Kathryn was so very excited!    She had just finished speaking with a reporter for a local arts magazine.     He wanted to do a story about her as a jewelry artist.    The magazine was 4-color, very substantial and distributed widely in her hometown area.   Moreover, the reporter promised he’d include 5 pictures in the article.     They made an appointment to meet in the middle of next week.   And Kathryn was thrilled!

The reporter met her at her home.    She greeted him, somewhat giddy, not sure what to say, or say next.    She thought she would let him lead the conversation and interview.    She gave him a short tour of her house – her beading room, her den, her living room.   The reporter marveled at her collection of Pez dispensers and puppets.    A short time later, a photographer joined them.

After 2 hours, the reporter and photographer had left.   Kathryn was satisfied that they had seen several of her bead-woven jewelry pieces.    She felt that she had given them a good history of how she got into jewelry making.    The photographer had taken at least 20 shots of her around the house.   The article was to come out in 3 weeks.

Three weeks later, and there it was.  

A 4-color article.   In a prominent local art magazine.   About her wonderful Pez collection.   And the long staircase from the street level to the living level in her house.   And all her puppets.   And information about her moving from Connecticut to Tennessee and having lived in Georgia.   And she had three children.

And no pictures of her jewelry.  Or her bead room.   Or her making jewelry.    And no pictures, surprisingly, of her Pez collection or her puppets, given how prominently these were featured in the article.   There was a picture of her staircase.   Three pictures of her sitting on a couch or chair.   And a picture of a treasured vase, and quite beautiful.

Kathryn had thought – Now Nashville will know about my jewelry making and design prowess.  

Until she saw the article.

And knew now she’d be known for Pez dispensers.

The opportunity to get featured in a newscast or newspaper or magazine doesn’t come around often.    However, when the opportunity does knock, this can have a big and positive impact on your jewelry making business.    But you have to be prepared.    You have to remain in control – even if this leads to a little tension between you and the reporter.    

First, pre-prepare. 

Determine the 4 or 5 or so major points you want to make about yourself as a designer and about your jewelry.

No matter what questions the reporter asks, turn the conversation back to your major points.    During the interview, keep making the major points.    When the reporter returns to his notes to quote you, this will be all the material he has to draw from.

If you give a reporter a tour of your home, only take him to the jewelry-relevant points of interest.   Where you make the jewelry.    Where you display your jewelry.   Where you have people try on your jewelry.   Where you get inspiration for your jewelry.   And if there’s a photographer or cameraman there, direct and narrow their attention and focus as well.

Pre-think what will be the 5 or so most strategic pictures that should be taken.     Definitely have an “action” shot that shows you making jewelry.   Perhaps another “action” shot that shows you fitting someone with your jewelry, or them trying on your jewelry.     Have some pieces of your jewelry “staged” so that they are photo-ready, with great background, foreground and pedestal.     Don’t wait to take your jewelry out of a box to show them.    Because jewelry is made up of very small pieces, it might not photograph well.   Show the photographer the parts of your jewelry that lend themselves to detailed close-ups.

Make your points.   Get your images.

Second, set the stage.

When the reporter (and photographer or cameraman) arrives, butter them up, and find out how deep and wide their knowledge is about jewelry.   If they only have a shallow understanding, educate them.   How do you find the parts?   How do you determine how the pieces should be constructed?  Do you use specialized tools?    How does someone learn to do what you do?

Also, ask them about the “audience.”   What kinds of things do they think that their “audience” would most like to know about jewelry and jewelry design?

 

Third, before they begin, ask for tips.

If this is getting filmed, ask about how you should stand, (or sit), the direction you should look at, and any do’s and don’ts, as they see it.  

What kinds of things do they like to see/hear in an interview?

Last, when you are done, ask to get a copy.

Be sure you will be sent copies of the written articles, or DVD or video copies of any filming.   Don’t assume they will automatically send you something.

Don’t think all this will make you seem too pushy.
Remember: Everyone will be happy if the story comes out great!

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Summer The Designers Gazette, 2010

Posted by learntobead on June 15, 2010

The Designers Gazette
Summer Issue, 2010

available on-line
CLICK HERE
http://www.warrenfeldjewelry.com/pdf/sg062010/summer2010pdf.pdf

To receive emailed copies of our quarterly newsletter – The Designers Gazette –, as well as occasional First Dibs Sales Announcements, go to this web-page:
http://groups.yahoo.com/group/landofodds/join/

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GO VOTE! — The Ugly Necklace Contest 2010

Posted by learntobead on May 29, 2010

VOTING HAS BEGUN –
8th International 2010
The Ugly Necklace Contest
— A Jewelry Design Competition with a Twist

Click:   GO VOTE!

 One of our semi-finalists will win an almost $1,000 shopping spree on the Land of Odds website!

Who will it be?

2010 Semi-Finalists Announced
OnLine Voting ends July 15, 2010
Jane West, Pelham, Alabama
Alesia DiFederico, Southbury, Connecticut
Lynn Margaret Davy, Dorset, United Kingdom
Deborah Rubin, Rockville, Maryland
Sandy Borglum, Chicago, Illinois
Sharon Wagner, Sterling Heights, Michigan
Bonnie Scherer, Palmer, Alaska
Kimberly Allison, Escondido, California

 

Read the rules for The Ugly Necklace 2012 contest at:
www.landofodds.com/store/uglynecklace.htm
Entries due 3/15/12. Top Prize: $992.93 shopping spree on the Land of Odds website. 2012 Special Rule: Necklaces must consist 75% of beads – however, you define “beads” – and not be longer than 32”; the theme:  “From My Garden Of….” .

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Finnish Jewelry Retrospective Exhibit

Posted by learntobead on April 28, 2010

All That Glitters: Finnish Jewelry
traveling exhibit now at the Fitchburg Art Museum, Massachusetts

Organized by the Helsinki Design Museum, this exhibition of Finnish jewelry from the 1930s to contemporary conceptual art pieces follows changes in the meanings and design of jewelry over the decades. The exhibition includes uncluttered Jewelry design from the 1950s by Elis Kauppi, Bertel Gardberg, Börje Rajalin and Paula Häiväoja, Björn Weckströms forceful Lapponia jewelry of the 1960s, and the most interesting achievements of the jewelry industry and designers from recent decades.

It gets frustrating going online, finding out about important jewelry exhibits, and trying to see images of what will be in these exhibits.      Museums and Galleries seem to operate on the hide-and-seek business model.    They hide any images of the pieces to be exhibited, hoping to entice you to come into the exhibit personally.

Alas and alack, this isn’t feasible for most people.    These Museums and Galleries need to evolve from the pre-internet, pre-globalization eras, and look at what Museums like the Smithsonian or the Hermitage or even the Vatican are doing, to make their collections and exhibits more accessible to the masses.      They might be surprised how providing images and information might have positive impacts on local attendance, regional and national recognition, and card, poster and gift sales.

So, here are some things I think you might see at this exhibit.

Eva Gylden, Cameo, 1929

 

Bjorn Weckstrom/Lapponia Jewelry, 1969

 

Reino Saastamoinen, late 1960s

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