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Archive for the ‘jewelry design’ Category

Carla Reiter Jewelry

Posted by learntobead on April 28, 2010

Carla Reiter Jewelry
www.carlareiter.com

I came across an article describing Carla Reiter’s metal-knit jewelry, and I had to take a look for myself.

I was impressed, so I thought I’d share some images with you.

Her jewelry looks soft, looks like it drapes well, comfortably and would move well as the wearer moved.   It’s very earthlike, rich, organic.  

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POOR JEWELRY DESIGN

Posted by learntobead on April 15, 2010

Poor Jewelry Design

Here’s an article about Poor Jewelry Design, with many images of examples of such design.    The author makes the point that jewelry must have some kind of personal or cultural meaning, so its value can be measured.     Much contemporary jewelry has an ephemeral, temporary personal or cultural resonance, and ways to value these pieces is difficult or no longer makes sense.

Click HERE.

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More Ideation – Jewelry

Posted by learntobead on April 15, 2010

More Ideation – Jewelry

Stefano Marchetti is another metal artist who has spent a lot of time thinking about and discussing ways to think through jewelry design.    In his personal process, he likes to take classical pieces and forms, cut them up or break them into different pieces, and reassemble them into something that meets the contemporary sensibility.

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Giovanni Corvaja

Posted by learntobead on April 15, 2010

Giovanni Corvaja

Inspired by looking at fibers and sponges through a microscope, Italian goldsmith Giovanni Corvaja pushes finely spun precious metal to its limits.
The jewelry is intricate.   Seems gossamer floss thin.    Otherworldly.    He uses a variety of techniques, including knitting, micro welding and granulation to form wisps of gold into sculptural jewelry.

I think part of the successes of these pieces is that he creates this chaotic micro-world, but locks in tightly within a very clear, concise, geometric form or series of lines.


I think this piece below is less satisfying because it lacks that juxtaposition of clear and chaotic forms.

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Ideation – Jewelry

Posted by learntobead on April 15, 2010

IDEATION – JEWELRY

How do you begin to create the idea of a piece of jewelry in your mind?   What do you start with?   How does the drawing or sketch of the piece begin to emerge?

Noam Elyashiv is a metalsmith and jewelry artist.   Her reputation is based on focusing intently and intellectually on the process of this “jewelry ideation”, and seeing what kinds of pieces of jewelry emerge.   

Her ideation process begins with the exploration of correlations and interactions between line, plane and volume through the composition of her form-related jewelry. 

pair of earrings

She is graduated of the Bezalel Academy of Art & Design, Jerusalem, Israel, Elyashiv’s work is regularly exhibited and published internationally. She has won several awards — among them the America Israel Cultural Foundation Award, the Absolute Vodka Emerging Artists Award and a Rhode Island State Council for the Arts Artist Fellowship in Crafts. Most recently her work was honored by the Art Jewelry Forum.

 

Her current exhibition is  at:

Gallery Loupe for Contemporary Art Jewelry

 

 

I’m not sure that if you begin your ideation process with lines and geometric shapes, that your jewelry has to be tightly bound to these ideas.      But here Noam is making a scholarly and academic point.

And I personally think that the good jewelry designer is one who has a personally elaborated and developed ideation process of her or his own.

 

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Conceptual Jewelry

Posted by learntobead on March 17, 2010

Conceptual Jewelry

Wikipedia defines “conceptual art”  as “art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns.”

Conceptual art, as a movement, has been around a long time, since the 1960’s.    But its influence on jewelry has not been as great as with painting or sculpture.   Usually conceptual art requires a lot of narrative text and background information, for the viewer to understand what’s going on.    Because jewelry is only art as it’s worn, this makes it awkward to have all this textual material tag along with the wearer.

But it is important that artists be able to incorporate conceptual ideas within their pieces, and have these pieces reflect these ideas, as part of the overall aesthetic and appreciation of the piece.      How does the artist accomplish this?      How does the artist influence how the viewers interpret the pieces and the associated concepts?

Is it sufficient for jewelry to be ‘intellectually stimulating’?   Or must it be beautiful and appealing, as well?

If concepts and meanings change over time, is this something the artist can anticipate or control?    Or does the artist have to settle perhaps for achieving ‘success’ in the present moment, but ‘failure’ over time?

What do we find online about conceptual jewelry?

Conceptual jewelry – a list by lahutter – BLOG
http://www.thisnext.com/list/7B23931F/Conceptual-jewelry

Lahutter lists several items of Concept Jewelry, including these 3:
1. Laura Bezant Jewelry

2. Beats Necklace

3. Definition Necklace

To me, these pieces are more 1-trick ponies, kinda surface’y, not deep, concept but not conceptual.    Not subtle, not elegant, good ideas without the resonance associated with good design.

Let’s continue to web-surf.

On this CRAFTHAUS BLOG, there is a long discussion about what conceptual jewelry is, should be, and is not.

One person in this discussion asks, if the piece is still “jewelry”, if you need a narrative contextual explanation of social, political, or otherwise conceptual meanings?    Great question.   At one point in my life, I had founded and directed The Social Movement Gallery — an art gallery devoted to social and political art.    We used the art to trigger social and community discussion and action.    But we found that the art lost it’s punch outside the exhibit and its timeframe.   Even art about the struggles of women seemed dated one year later, as the discussions and vernacular of these discussions changed as the issue changed with new times and challenges.

Another great discussion of conceptual jewelry and art can be found on this blog Conceptual Metalsmithing.    “When we look at jewelry, we don’t see through it to look at the content it contains, we look at it directly. We look at its objectness, we look at its craftsmanship, we covet it, we are seduced by AN OBJECT. If we attempt to communicate or infuse content into our jewelry for the sake of the viewer/wearer we are often thwarted because of the inherent preciousness and objectness of the medium. Further, it will take quite some undoing in order to retrain jewelry viewers to see more than just the jewel.”

To what extent can Jewelry communicate content?   Or be made to communicate content?

This piece of jewelry is made with discarded pills and capsules, and the artist intends to communicate something about drug use:

Here, a picture of the ring is inserted into the ring itself.    The artist intends to convey a sense of narcissim.

Continuing surfing the web, we encounter many jewelry sites, where the label “concept” is used in a way to show that the artist had some special kind of insight when combining materials and shapes.     Should we equate “concept” with “creativity” or “intuitive insightfulness”?    Don’t know.

I visited one artist’s website – So Young Park – where she took simple concepts and enfused them with artistic vitality, in some unexpected, yet appealing ways.     Her pieces are not there to change minds and move worlds.     Her pieces are there to allow the viewer to experience concepts by experiencing the art itself.

Some of her pieces:
1. BLOOMING

2. GLOWING

3. NATIVITY

4. SPROUTING

So Young Park divides her pieces up between “HANDCRAFTED” and “CONCEPTUAL”.    So, she loses me here a little bit.

Is she trying to say that one category is more saleable, more wearable, more approachable, and the other category is not?     Does Conceptual, then, mean that the piece does not have to be wearable, or as wearable, if it were not?

Her pieces are wonderful, and these two non-conceptual, yet handcrafted necklaces below, earn but a Number.   Not a concept.  Not a title.   They are beautiful anyway.    And seem conceptual to me nonetheless.   Has the artist a sense of fear by avoiding assigning them a concept or conceptual underpinning?    Or is this strategy?   Or some sense of good business?    Or does the artist view these pieces as without concept?   Or where concept should be subordinate to aesthetic and material concerns?

No. 155

No. 149

Sorry, I think if you call yourself a Jewelry Designer, and see the works you create as resulting from a sense of design, you can’t but not have applied concepts in their creation, and these concepts are at least as equally as important as aesthetic, material or technique.

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WOMEN and men

Posted by learntobead on March 6, 2010

WOMEN and men

New article posted under Rogue Elephant.  

Click HERE.

… Women get together and bead in classes.    They get together and bead around the dining room tables in their homes.    They attend workshops, and sit in a circle and bead.   They join bead societies, and sit in a circle and bead.    They arrange retreats so that they can sit in circles and bead.     Why do so many woman like to sit around in a circle and talk and bead?   

But anthropologists tell us this was always so.    Women sat in circles and talked and crafted.     The circles provided a measure of convenience.   They provided a sense of safety.   They allowed women to reconfirm their places within the group.    They allowed women to learn the basic rituals in life, and to transfer this knowledge to their children.   They offered women some sharing of responsibilities, especially for child raising.

It was because women so frequently came together to sit, circular, with one another, and because the tasks they did, while in these circles, were so involved and complex, that language was born.  ….

Click HERE.

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Skulls of Codognato

Posted by learntobead on March 4, 2010

Skulls of Codognato

The House of Codognato, a jewelry house in Venice, is known for its skull-themed jewelry, among other pieces.    The skull motif has been a favorite of theirs since they began in the latter half of the 19th century.   The skull motif, to this jewelry house, represents a positive symbol:   Live life to the fullest now before you die.

Now on display in Paris within a large exibit about vanities in art.

Click Here for more information about this exhibit.

SOME OTHER JEWELRY
From The House of Codognato

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The Designers Gazette, Winter 2010

Posted by learntobead on February 2, 2010

THE DESIGNERS GAZETTE
Winter 2010

Click HERE to pull up this issue.

**Receive The Designers Gazette quarterly newsletter,
and Announcements about Special Sales at Land of Odds (www.landofodds.com)
REGISTER HERE

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The Geek Jewelry Challenge

Posted by learntobead on January 21, 2010

The Geek Jewelry Challenge

The HUFFINGTON POST offers this Geek Jewelry Challenge.
 
Have you created, purchased, or worn geeky jewelry? Or just know other awesome nerdy accessories? Show us!

click the PARTICIPATE button, upload your images.
You can also click through the current submissions and rate each one on a scale of 1-10, Weak to Chic!

Industrial designer Ashley Gehman created sterling silver earrings modeled after Apple's iconic earbud earphones.

Jewelry maker Sarah Lynne created a (reversible) Nintendo necklace for proud girl gamers to show off their nerdy side.

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A Moment in Jewelry History…

Posted by learntobead on January 20, 2010

A Moment In Jewelry History…
19th Century French Electric Jewelry

http://vimeo.com//8769022

The Association for the Study of Jewelry and Related Arts (ASJRA) put out this 2 minute video clip about 19th c. French electric jewelry.

It’s amazing that the types of electric novelty pins we take for granted at Halloween and Christmas, as well as other holidays, can be traced back to the 1870’s.

Of course, it’s difficult at the same time to appreciate the amazement and wonderment people in the 1870’s had, when they first saw this electric jewelry.

Here’s an ad for electric earrings from 1932:

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Does The Internet Affect Creative Thought?

Posted by learntobead on January 10, 2010

Has the flow of information on the Internet
affected how we think creatively?

I recently finished reading a compilation of scientific studies on this subject.    Some scientists say No, and others say Yes, without any definitive coalescing of ideas on this subject.    But the subject is intriguing, nonetheless.    

As a Jewelry Designer, do we think through our projects and our artistic lives differently today, than say, we would have 20 years ago before the Internet?   Has the Internet changed your way of thinking as a Jewelry Designer?

Here’s what the Internet might do to our thinking:

1. Attention Span

Supposedly out attention spans are shorter, and we expect things to come to us in smaller bits or packages.    Do we find, as a Jewelry Designer, it getting more difficult to stay focused on one thing, one theme, one technique, for too long before bopping off to something else?    Have our projects become simpler, less embellished, more dependent on a spectacular clasp or a particular gemstone, to the detriment of other “design” possibilities within the rest of the piece?

Or have we learned to be more “liquid” in our thinking, able to take in more facts, more ideas, and organize these more coherently?    Do our Jewelry Designs emerge from greater control over more ideas, and ideas coming and changing faster?     Is this more intricate complexity?   Are we more able to incorporate ideas cross-culturally and cross-nationally?     Are we able to design more, for more?

2.   Information Overload

The Internet is a chaotic collection of boundless information.   Are we too aware of too many styles, materials, techniques, fashions, trends?     Is our ability to draw with billions of colors on a computer screen paralyzing when it comes to choosing among the more restrictive colors of available beads?    Do we seem to end up with more unfinished projects, because we don’t have enough time to start the next new idea, if we finished?     Do we end up buying too many materials and too many types of materials because we’re less and less sure what will be relevant when, and because we keep findings out about new materials and new techniques and new fun things to do and with which to experiment?    Do we too often try to mix media within our pieces, to the success of none of the different types of materials?   Does all this information become paralyzing to the extent that it halts us from working on our designing and making?

Or, do our designs seem more coherent, more integrated, sexier because we have more information available to make us think, keep us aware, help us integrate complex ideas?    Are we more willing to do and more successful in doing multi-media projects?    Does mastery over more ideas make us feel more powerful, more motivated, more experimental?

3.  Time Wasted on Email, Facebook, Twitter and the Like

We spend more and more time socially interacting on-line.    Do you find spending time on emails, message boards, forums, facebook, twitter and the like is time you could have spent on designing and making jewelry?    Is a lot of this time redundant, goal-less, wasteful?    Does time spent with these online social networks end up pulling you in even more directions, than if you were not so socially connected?   

Or, does the time spent here help you design better, or help you sell your pieces better, or make you a better consumer of the parts you use in your pieces?    Do you feel you can problem-solve faster with this broader access to more people and more frequently?   Does this broader access help you narrow down your choices to a manageable few?

4.  Fostering Shallowness, Distraction, Credibility

We are used to getting information in small bits, scanning tons of information briefly and superficially, and making choices based on insufficient information — no analysis, no indepth questioning, in very disconnected ways.    Are you less interested in finding meaning, history, depth in the designs, techniques or materials that you use?   Are your designs becoming more simple or straightforward or less challenging?     Do you care less about your pieces beyond following a set of steps and completing your projects?    Do you feel that the title “Jewelry Designer” has less credibility, less currency, less status, less importance relative to your work designing jewelry?   Do you think less about the place of your jewelry in the world?   Is it less important that your jewelry resonate with feeling, or impact people’s lives?     Are you less interested in references from the vintage or traditional past, and overly concerned with the “hot” idea of the moment?   

Or, do you feel more forced or encouraged to try more difficult and challenging designs?    Does the Internet make you ask more questions of your work and find more relevant information – history, culture, personality, fashion – and the like?     Are you more likely to contemporize traditional designs, revitalize vintage pieces, or adapt traditional techniques?

5.  More Confidence, Less Continued Confidence

The Internet gives us a sense of power and place, but it is very fleeting.    Do you feel more important, more established, more credible because you have your own website or are selling on Etsy?    But do you, at the same time, feel this confidence and credibility is more fragile, more easily challenged, more here today and gone tomorrow?    Does selling your pieces on line make you feel stronger, more powerful, more relevant than selling your pieces in a local store?    But at the same time, does selling on line make you feel more vulnerable, less established, more easily and likely to be challenged by many people around the world?

Or, do you see the Internet as opening up new markets for yourself that you can conquer, ad infinitum?   Has it motivated you to do things where before you felt stuck or afraid?  


6.   More Competitive With Time

The speed of information on the Internet is much faster than the ebb and flow of information and time around you.      So do you feel, in today’s world, it is much more difficult to keep up?    Do fashions, styles and techniques change faster than you can adapt to these changes?   Do you feel your competitive market getting further and further from you, at a faster and faster pace?    Do you feel your Jewelry Designs, and your strategies for selling these designs, become “yesterdays” all too quickly?   

Or, does the rapid pace of the Internet, somehow set a more rapid, directed pace for yourself?    Do you see more possibilities, and feel more motivated to keep up with them?   Do you see time as a challenge, and go for it?    When we see the term “hyperlinked”, are we more apt to focus on the “linked”, rather than the “hyper”?

The Internet may make it seem that the framework for good jewelry design is somehow larger.    The information more extensive.    And changing.   Very rapidly.   There seem to be fewer clues on how to weed through all this information, to reject what is irrelevant or unnecessary.   It feels too easy to get caught up in this ever-speeding-up whirlwind of stuff.

The Good Jewelry Designer will continue to learn the fundamentals and make choices accordingly.    We always want to let in the environmental influences around us.    But these influences still need to be managed.   As always.

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Sustainable Jewelry

Posted by learntobead on December 30, 2009

Sustainable Jewelry

I saw a recent picture of a 100 x 100 foot tract of Amazon rain forest surrounded by 100’s of acres of soybean fields.     The soybean fields covered what was supposed to be protected rain forest by the Brazilian government.    Great job.     Here’s to our continued abilities to breathe at you.

In any case, I thought I’d see what popped up on a Google search for sustainable jewelry.    Quite a bit, actually.    At the least, this is a great marketing angle.   And if it can truly help the planet, terrific.     Here are some examples:

UTOPIAN CREATIONS

Utopian Creations began it’s life in 2005 as Australia’s first fine and fashion eco friendly jewellery company. My wife, Lindy, and I had recently returned from a few years working and travelling the world. I spent much of this time researching the jewellery industry and its impacts on the environment and what I found shocked me and left me disappointed in my industry. Lindy and I witnessed first hand the huge strain our earth was under from human intervention and believed it was time for change. There had to be a better, safer and cleaner way. My search began and the seed for Utopian Creations was sown.

Our contemporary collections are predominantly made from recycled Sterling Silver, but most can also be made in recycled gold on request. Inspiration for our contemporary work comes from the natural environment, plants, stones and animals. We strongly believe in conservation of our planet and a cleaner more sustainable jewellery industry. Contemporary jewellery to prove a contemporary idea, what better way to get the message across!

Our contemporary collections are predominantly made from recycled Sterling Silver, but most can also be made in recycled gold on request. Inspiration for our contemporary work comes from the natural environment, plants, stones and animals. We strongly believe in conservation of our planet and a cleaner more sustainable jewellery industry. Contemporary jewellery to prove a contemporary idea, what better way to get the message across!

Garavelli Aldo

Italian fine jewellery maker Garavelli Aldo has taken a step towards sustainable development which it hopes other manufacturers will follow. It has launched an eco-friendly, hand-crafted collection called Globo.
The jewellery is different because it uses18K gold bought from small-scale mines that are committed to avoiding the harsh environmental and social impact of industrial mining operations.

Studio 1AM
The Cork Cuff

Cork Cuff explores natural cork as a wearable material. 100% recycled and recyclable, flexible, and water repellent, cork is the perfect unexplored resource for jewelry. Each is cut from a single block used for storage and display.

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When In Doubt – Dung

Posted by learntobead on December 11, 2009

When In Doubt – Dung

People can always create fascinating jewelry from unusual materials.    We get that all the time from entrants for The Ugly Necklace Contest we sponsor.   But it’s less usual to find these things in public.

When I read the short article below in one of my magazines, I thought I’d share:

A Novel Form of Jewelry at Ilinois Zoo

Sparkly reindeer-dung necklaces are going on sale at an Illinois zoo that hopes to attract the same holiday shoppers who swept up its dung Christmas ornaments last year. The limited-edition Magical Reindeer Gem necklaces are on sale at the Miller Park Zoo in Bloomington, IL.

The $15 pendant necklaces contain dried, sterilized reindeer droppings sprayed with glitter on a beaded chain. They are available at the zoo’s gift shop, or by mail for $20.

The ornaments are back, and 450 have already sold this season. About 1,500 are still available for $7.50, or $10 by mail.

Miller Park Zoological Society spokeswoman Susie Ohley admits it’s a bit silly but estimates the zoo could make $16,500. The zoo lost $200,000 under city budget cuts this year.

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Ladybug Jewelry

Posted by learntobead on November 27, 2009

Ladybug Jewelry

I was just finishing a review of some new ladybug themed jewelry by Cartier, and was somewhat bored and dissappointed.     Too often these big jewelry houses play it safe — a few elements of high style and blah.

So, I took to the internet, met up with one of my closest friends GOOGLE, and tried to see if I could find anything that was more exciting.

Ladybugs are a big category in jewelry themes.   Ladybugs are supposed to bring good luck.   If a ladybug lands on you, you can make a wish, and the wish supposedly will come true.  

Just Ladybugs
http://www.eclecticala.com/ladybugs/ladybug1.htm

A wide selection of ladybug jewelry, even ladybug wallpaper for your computer.

Nothing here necessarily with a jewelry design edge that I’m looking for, but lots of beautiful pieces, and different ladybug poses.

The Lady Bug Shop
http://store.ladybug-shop.com/index.cfm?action=cat.catalog&categoryID=19

SmithsonianStore.com

Murano glass ladybug jewelry at the Smithsonian

Great Vintage Jewelry
http://www.greatvintagejewelry.com/inc/sdetail/8841

Delizza Elster Jewelry Vintage Lady Bug Pin Glass Jeweled Brooch

Affordable Vintage Jewelry

http://www.affordablevintagejewelry.com/vifllabudpin.html

Vintage Enamel and Faux Pearl Ladybug Brooch

If you wanted to take the theme – LADYBUG – and create pieces of jewelry that might be worn at a President’s State Dinner, or at the Academy Awards, or to enhance a Couture Runway Show, or to make a power statement for a woman management executive, what might the ladybug look like?     How would you start?   Where would you begin?  

Could you go too far — distorting the cherub-like, wishing-well feeling of the simple ladybug?

12/24/09
Since I wrote the original blog about ladybugs, I was introduced to the lampwork of Margaret Zinser.     She has a series with beetles that I think might meet more contemporary design expectations.
http://www.mzglass.com

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