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TEACHING DISCIPLINARY LITERACY: Strategic Learning In Jewelry Design

Posted by learntobead on May 31, 2019

 


TEACHING DISCIPLINARY LITERACY:

Strategic Learning in Jewelry Design

by Warren Feld, Jewelry Designer

Abstract:

Teaching literacy in jewelry design is a lot like teaching literacy in reading and writing.    We want our students to comprehend.   We want them to be able to be self-directed in organizing and implementing their basic tasks.   We want them to be able to function in unfamiliar situations and respond when problems arise.  We want them to make reasonable judgements on marrying aesthetics to functionality.  We want them to develop an originality in their work.   We want them to think like designers.   And, we want a high level of automaticity in all this.    The basic jewelry design curriculum does not accomplish this.   There is an absence of strategy and strategic thinking.    There is a weak commitment to jewelry design as a discipline, with its own vocabulary and ways of thinking through and doing and responding to different, often unfamiliar, situations as they arise.     Without a commitment to embed the teaching of a disciplinary literacy within the standard curriculum, we will fail to impart that necessary learned awareness about fluency, flexibility, originality, and comprehension the designer needs to bring to the design process.

 

TEACHING DISCIPLINARY LITERACY

She said it wasn’t her job!

This prominent jewelry instructor told me that it wasn’t her job to teach anything beyond the basic steps for getting a project done.   It was not her responsibility to share any insights, choices, compromises, fix-it solutions or design considerations she herself made when creating the original project – now taught as a class with a kit and a set of step-by-step instructions.   If a student asked a specific question, she would gladly answer it.  But otherwise, it was not her job.

This attitude is so prevalent in the standard jewelry making curriculum and education.     Teachers stick very closely to the standard, basic curriculum.    Facts, not ideas.   Absolutes, not what-ifs.  Step-by-steps, not creative thinking.  Teachers rarely explain the implications for using one bead vs. another, or one stringing material vs. another, or one clasp vs. another, or one material vs. another, or one technique vs. another.   They rarely discuss the deeper meanings and potentialities underlying various problematic situations.     They ignore the role and power of jewelry to influence human relations.

They have the student gloss over things as if, once seen and memorized, the student will automatically be able to make the right choices over and over, again and again.    The teachers see themselves as easily transferring knowledge, skills and understandings to the student as if inoculating them as you would with a vaccine and a syringe.   And the student becomes a star jewelry designer.   Or not.

Teachers too often see jewelry making and design as a basic set of skills, easily adaptable and applicable to all kinds of jewelry making situations.    They assume that the challenge of improving jewelry making skills would primarily be a function of making more and more jewelry.

This might be true for the novice student, but as the student moves from basic decoding to fluency, flexibility and originality in design, what was learned initially becomes less generally useful.   For example, the student may learn about basic color schemes, but not how to adapt these in different situations, or leverage them to achieve an even more resonant result, or be more deliberate and intentional when choosing colors and determining how to use them.

There is an absence of strategy and strategic thinking.    There is a weak commitment to jewelry design as its own discipline, with its own vocabulary and ways of thinking through and doing and responding to different, often unfamiliar, situations as they arise.

Jewelry, in the standard, traditional design education model, is understood as an object.   We can speak about and learn about it as an object.    This object is distanced from the creative spark that created it.    It is divorced from desire.   Apart from the wearer or the viewer.   Ignorant of context or situation.   There are no deeper explanations, no pointing out implications, no experimenting with situational contingencies, no debating synergistic or other external effects.    The student is run through color theories, materials composition, step-by-step jewelry construction as if learning a basic lexicon is sufficient and enough.

This whole traditional process of standard jewelry designer education ignores the required disciplinary literacy.    It assumes the student is creative, or not.    It approaches jewelry design as if it were a subset of some other discipline, usually art, or more specifically, painting or sculpture.    It ignores architectural requirements allowing jewelry to move, drape and flow as it is worn.   It forgets that jewelry has personal, situational and social consequences.   It pretends that jewelry design does not have any disciplinary requirements of its own.    There are no specialized knowledges or ways of thinking unique to jewelry design alone.

It is weak at teaching the student, from a design perspective, how to decode design elements and how to combine them into compositions apart from basic art theory.   It pretends there are no architectural issues underlying how jewelry functions.   It ignores the fact that jewelry gains much of its appeal and power only as it is worn, and not as it sits on a mannequin or easel.   It totally avoids confronting the fact that much of the power of jewelry results from how it instigates and sustains relationships – artist to self, artist to wearer, wearer to viewer, artist to seller, exhibitor to client, artist to collector, and so forth.    And, it fails to impart that necessary learned awareness about fluency, flexibility, originality and comprehension the designer needs to bring to the design process.

It’s not their job.    It’s not their job to assist the student’s developing creative thinking or applying that creative spark towards better jewelry design.

It’s not their job.

But, in fact, it is!

What Is Disciplinary Literacy?

Disciplinary Literacy1 assumes there are real differences in the way professionals across fields participate and communicate.   Without this, students and professionals in a particular field would flounder and fail.   Disciplinary literacy encompasses those techniques and strategies used to teach designers to think like designers (or historians like historians or scientists like scientists, and so forth)2.

Disciplinary literacy refers to how the particular discipline creates, disseminates, and evaluates knowledge.   Each discipline has its own way of looking at the world, defining things using a specific vocabulary, gathering information, specifying understandings, posing questions and problems, delineating solutions and using evidence to justify their ideas and conclusions.

An artist looking at jewelry, or a craftsperson looking at jewelry, for instance, would have different thought and interpretive processes than a jewelry designer looking at jewelry.     Jewelry, after all, is different than a painting or sculpture or simple functional object.    Jewelry is only art as it is worn.    It must satisfy the requirements of both aesthetics and functionality.    It exists in a 3-dimensional space.   It is worn on the body.    It establishes special relationships between designer and wearer, wearer and viewer, designer and seller, designer and collector.    It encapsulates situational and socio-cultural meanings.   To evaluate whether a piece of jewelry is finished and successful requires a different thought process than art or craft alone would provide.

There are key disciplinary differences in how a jewelry designer…

  • Chooses and evaluates evidence
  • Relates evidence to a perspective
  • Gains understanding
  • Visualizes things
  • Manipulates things
  • Creates a truth and achieves an error- free solution
  • Introduces things publicly

Training in jewelry design should teach students the unique challenges they face within their discipline as they think through design and create jewelry. At each increment within the jewelry design process, they need to think like a designer.Not as an artist, nor like a craftsperson.As a designer.Finding evidence whether a piece is finished and successful.Linking causes to effects. Understanding how inspiration resulted in a finished design.Developing knowledge, understandings and skills to the level where they can transfer these to others.Generating a large number of ideas.Making inferences about the implications of any one choice.Producing things which are original.Responding to problematic or unanticipated situations.Finding new ways to adapt existing ideas to new conditions.Anticipating shared understandings about how their work will be evaluated, assessed and judged.Knowing when something is parsimonious and finished, and knowing when something resonates and is successful.

Types of Literacy

There are three different types of literacy – Basic, Intermediate, and Disciplinary.     The standard jewelry design curriculum typically focuses on Basic literacy, with some nod toward Intermediate.    Disciplinary literacy is usually ignored, but it should be incorporated and integrated within Basic and Intermediate literacy instruction.

Basic Literacy

Basic literacy refers to the degree the student learns knowledge of high frequency concepts that underlie virtually all jewelry design and jewelry making tasks.   These concepts are typically universally recognized and understood by artist and client alike.      Here jewelry is understood as an object.    An object has literal characteristics which the student can identify and list.

The student demonstrates this basic literacy by an ability to decode.   The student can decode things like color use, rules of composition, materials selection, technique implementation and the like.    The student picks up the basic words and definitions, links the vocabulary to relevant objects, and can identify their presence and use within any piece of jewelry.   Each element and principle of design can be graphically represented, and the student begins to make connections between word and graphic.   The student begins to recognize which design elements can stand alone, and which are dependent on the presence of other elements.  The student can identify harmonious and balanced clusters of these design elements within compositions.    The goal is an automaticity in decoding.

Intermediate Literacy

Here the student develops the knowledge to make more complex jewelry forms and designs.    There is more comprehension.   The student recognizes that the various design elements and principles have a range of variations in meaning and expression.   In a similar way, the student begins to recognize that clusters of design elements and principles can also show variations in meaning and expression.

The student learns about different materials and what they can and cannot be used to achieve.    Materials have names, places of origins, stories about how they get from one place to another, processes.

The student is introduced to variations in techniques and technologies.   There is more than one way to accomplish things.    There are more things that can be created using familiar techniques.

The student learns to problem-solve with various “fix-it” procedures, like re-doing, changing tools, requesting help, looking things up, drawing analogies.

The student learns to process-plan.     S/he begins to relate inspirations, aspirations and intentions to more critically evaluate their choices or the choices of others.   Students are more able to stick with things and maintain attention to a more extended design process.

The student begins to learn how to design for an audience.   This might be a client, or a purchaser, or an exhibitor, or a collector.    This begins the developing understanding of how to meld personal held preferences with those of others.

Students monitor and reflect on their own comprehension.     The goal is an automaticity in fluency.[4]   Here jewelry is understood as content.  As content, the jewelry as designed conveys meanings and expressions which the student can derive.   The jewelry and its compositional design is still, however, mostly viewed objectively, as if sitting on an easel, not as it is worn.

Disciplinary Literacy

This involves a way of thinking and doing specific to the discipline.   The student learns specialized literacy skills relevant to jewelry design as the jewelry is introduced and worn publicly.   The student learns how parsimony and resonance as outcomes expressed in design differ from harmony and variety as expressed in art.

The student learns to anticipate shared understandings[5] and the role of desire among the many audiences the student works with, works in, and relates to.    These include clients, sellers, exhibitors, collectors, wearers, viewers, and the artist him- or herself.

Much of the design process takes on the qualities of backwards design.[7]  The designer begins the process by articulating the essential shared understandings  and desires against which their work will be evaluated and judged. The designer starts with questions about assessment, and then allows this understanding to influence all other choices going forward.”

The student has an ability to conceptualize and explain what jewelry means, how it is more an action than an object, and how this meaning emerges dialectically, as the jewelry is introduced publicly, worn, shared and displayed.

The student learns to recognize the dynamics of coherency, decoherency, and contagion.   The artist’s coherent choices about design become contagious, attracting someone to want to touch the piece, wear it, or buy it.    To the extent others share the artist’s ideas about coherence, the more likely the work will be judged finished and successful.   Jewelry becomes more than an expression of meanings, but rather, it becomes an expression of meanings within context.

The process of coherence continues with the wearer, who introduces the piece into a larger context.    There is more contagion.     When efforts at design are less than successful, we begin to have decoherence.    Decoherence may come in the forms of bad feedback, inappropriate feedback, less than satisfying feedback, or no feedback at all.  The wearer may not get that sense of self s/he seeks.   S/he may feel less motivated to wear the piece, or may store it, or give it away.

The student can comfortably and flexibly respond in unfamiliar situations or to new materials, techniques, technologies and requests, and take on larger challenges arising from higher levels of ambiguity, abstraction, subtlety, and contradiction.   The student can find new ways to adapt existing ideas to new situations and requirements.

The student learns how to inspire to.    That is, the student learns how to translate an inspiration into a design in such a way that the wearer and viewer are inspired to, not merely inspired by.  They don’t simply react emotionally by saying the piece is “beautiful.”  The piece resonates for them.   They react by saying they “want to wear” it or “want to buy it” or “want to make something like it”.   They come to feel and see and sense the artist’s hand.

The student learns how to manage a very involved, and often very long and time-consuming process of jewelry design, beginning with inspiration, then aspiration, then execution, and presenting the piece publicly for exhibit or sale.   The student also picks up the skills and attitudes necessary to stick with what can be a very long process.

The goal is an automaticity in design flexibility and originality.    Jewelry is understood as both intent and dialectic communication.  Here the student can visualize, anticipate, and respond to all the things which might happen when the jewelry is introduced publicly and its value and worth is judged and determined.

Literacy in Jewelry Design

Teaching literacy in jewelry design is a lot like teaching literacy in reading and writing.    We want our students to comprehend.  We want them to be able to be self-directed in organizing and implementing their basic tasks.   We want them to be able to function in unfamiliar situations and respond when problems arise.  We want them to make reasonable judgements on marrying aesthetics to functionality.  We want them to develop an originality in their work.   We want them to think like designers.  And, we want a high level of automaticity in all this.

Using literacy techniques, goals and concepts, we teach students to read, write, express and express in context when understanding jewelry and its design.

We teach the student to “read” jewelry.    That means learning a basic vocabulary, as well as the various design elements, and how these design elements can either function on their own, or be arranged and clustered together within a design.    They learn to describe the piece, including the name of the artist and the name of the piece, the style of the piece, when the piece was created, the materials used, the construction technique, and the use of design elements such as point, line, shape, form, space, texture, color, value and pattern.

We teach the student to “write” jewelry.    The student constructs (or anticipates how a particular designer has constructed), then reflects, upon the choices made.   That means learning various principles of composition, construction and manipulation.   These affect arrangements as well as the juxtaposition and clustering of design elements, materials and techniques.     They learn to how the placement and organization of elements, materials and techniques results in things like harmony, balance, contrast, variety, unity, emphasis, movement, depth, rhythm, focus, and proportions.

We further teach the student to be more “expressive” with jewelry.   That means learning how jewelry signifies various meanings and evokes emotions.    They learn to question and ponder through answers to questions like What did they think the designer was trying to say?  Or What kind of reaction(s) would you expect to this piece of jewelry?   What feelings does the jewelry convey?   In what context would wearing the piece be especially relevant and appropriate?   Are there things in the piece which might be symbolic or otherwise signify things which transcend the piece of jewelry itself?

Last, we teach the student to be “expressive within a context”.    That means understanding how jewelry functions communicatively, socially and psychologically within any context or situation.   That means learning how various artists and various audiences use jewelry as a means of self-identity and self-esteem, and how the interaction of the artist with various audiences affects the success (or failure) of their continued relationship oriented around (and perhaps anchored to) the jewelry.   It means delving into the how and why the jewelry would be valued or worth determined or evaluative judgements made, and, furthermore, how such judgements and determinations might be contingent in their expression.   It also means understanding what jewelry is as it is worn, and the required artistic, functional and design choices and compromises which must be made, if the piece of jewelry is to be judged finished and successful.

Literacy in jewelry design includes such things as:

  • Learning art and design vocabulary, including design elements, principles of composition, manipulation and construction, and basic vocabulary words
  • Developing an understanding of a range of materials, how these are selected, and the possibilities for their use, or mis-use, in any one project
  • Developing a range of technical and technological knowledges and skills, how to vary them, and when to apply them and when not to apply them
  • Translating inspirations into aspirations into specific designs and execution
  • Choosing media, technique and strategy to convey concepts, forms and themes
  • Organizing, managing and controlling a jewelry design process, from start to finish, especially over an extended period of time
  • Deciphering the graphic representation of ideas
  • Communicating these ideas through critique and analysis of jewelry genres, styles, media use, and artist/designer intent
  • Reconciling tensions and conflicts between appeal and functionality, especially as the jewelry is worn
  • Introducing their work to others, coordinating artist goals with marketing goals, and exhibiting or selling publicly
  • Working with various client audiences, and translating, influencing or mitigating their understandings and desires about jewelry with those of the designer, whether a piece should be judged as finished and successful
  • Figuring out “fix-it” strategies where things do not turn out as desired, are uncertain, or things go wrong
  • Reflecting on one’s own thought processes and choices, increasing that metacognitive awareness of what things lead to better design
  • Developing a personal style and originality and strategies for how these get reflected in the artist’s finished compositions

Why Do We Need More Fluent Designers?

The standard curriculum and approach for teaching the making and designing  of jewelry is commonly viewed as teaching basic literacy.  This includes teaching a basic set of skills, widely adaptable and applicable to all kinds of jewelry making situations.  These basic skills are highly generalizable and adaptable.

In the standard curriculum, it is assumed that the challenge of improving jewelry making skills is a function of making more and more jewelry.    The designer, thus over time, would automatically evolve into a better designer with better, more satisfying, more appealing designs.      We refer to this as the vaccination conception of teaching.

In some sense here, these ideas about teaching basic literacy are partly right.   All students need a basic vocabulary.    All jewelry designers need these basic perceptual and decoding skills which are very connected to early learning.     These are entailed in all jewelry designs and crafting tasks.

However, as the designer moves from basic decoding to fluency, flexibility and originality, the basics which were learned become less generally useful.   For example, the designer may learn basic color schemes, but not learn how to adapt these in different situations, with components which do not easily match colors on the color wheel, and which present differently when used in combination, or under different lighting or contextual situations.

Our standard teaching curriculum, if that is all we teach, becomes less than useful.    We rely on a bad assumption:  If we only provide adequate basic skills, so we assume, from that point forward, the student with adequate background knowledge will be able to design and make anything successfully.    When the emphasis is on giving out more information and instructions rather than on discussion and challenge, students have little chance to learn to think as a fluent jewelry designer.

But this also begs the question:  Why do we need more fluent designers?

Isn’t turning out basic technicians sufficient?    Aren’t there enough designers meeting everyone’s jewelry needs?    Even if there are not, are there enough clients and customers who would want to see and purchase better, more insightful, jewelry designs?

My answer, obviously, is Yes!    We need more fluent designers who have been taught and are fluent in a disciplinary literacy.   That is because there are many things going on around us which increase the need for all this.

These include,

  • The need to adapt to more global competition, better ride the ever-faster waves and changes of fashion and style trends, and more strategically confront and challenge global “sameness” in design
  • The need to adapt, and adapt more quickly, to changes in technologies and materials
  • Automaticity in how designers more easily and successfully meet their various client needs – self, wearer, viewer, seller, exhibiter, and collector
  • Creating a clearer, publicly sanctioned professionalization of the jewelry design discipline
  • Expanding the connectedness and networking of jewelry designers in today’s world
  • Increasing opportunities for more attention, visibility, communication, support, demand and income
  • Encouraging individual student pursuits, diversity and experimentation

How Should Disciplinary Literacy

Be Incorporated Into Jewelry Design Education?

Jewelry Design is rarely taught at this disciplinary level.

There is a need to identify what an advanced literacy curriculum in jewelry design might be, how it differs from that in art or craft, and how best to implement it.

We need to move away from the ideas of “teacher of art” or “teacher of craft”, and begin to understand the role of teacher as “teacher of disciplinary literacy in jewelry design”.    How can we best prepare all jewelry design students for the thinking, the making, and the critically reflecting upon required by more intermediate and advanced work?    How can we prepare students to be independent thinkers?   Self-starters?   What program of authentic learning more closely reflects what a jewelry designer does in the field?

A disciplinary literacy program should not, however, be understood as a separate curriculum.    It is not something supplemental.    Rather, disciplinary literacy should be a part of and embedded within all existing instruction, from basic to advanced.   Disciplinary literacy should support the standard curriculum with literacy tools uniquely tailored to jewelry design.

Some ideas for integration…

  1. Build more depth into what is already taught and increase student engagement
  2. Leverage a wide range of resources – popular articles and images, academic articles, interviews, gallery exhibits and their presentation and marketing materials, online videos, bead and jewelry making magazines
  3. Task students with communicating what they read, viewed, experienced and attempted to do, and elaborate more on their understandings
  4. Ask questions which encourage students to think like jewelry designers
  5. Model design strategies and fix-it strategies
  6. Allow students to do more problem-solving and experimentation

 

Students should be encouraged to…

Experiment

Perform

Demonstrate

Discuss findings

Anticipate the

understandings of others

Monitor their thinking

Deal with ambiguity

Problem solve

Read

Write

Debate options

Compare their work to

others

Challenge assumptions

Go beyond the ordinary

and obvious

Comment

Communicate

Ask questions

Seek evidence to inform their

work

Gather information

Detect bias

Expose their ideas and works to

others

BLOOM’S TAXONOMY

If you are not already familiar with Bloom’s Taxonomy (1956)[6], and its model’s evolution and various adaptations in different disciplines, I urge you to do so.    This is a particularly useful tool when teaching higher level thinking and creative problem solving.    Are your lesson plans, assignments, projects, questioning strategies touching on each progressive level in Bloom’s Taxonomy?   The Taxonomy helps you evaluate the level of rigor in your instruction and the degree you are presenting your students and involving them in  learning higher level thinking skills in a subject or discipline.

In jewelry design, we might adapt Bloom’s Taxonomy like this…

Creating:  designing, constructing, developing, producing, manipulating, translating inspiration into aspiration and aspiration into a design

Evaluating:  judging, evaluating, appraising, defending, challenging, showing connections, linking design choices to emotional and resonant outcomes or sense that piece feels finished

Analyzing:  comparing, contrasting, experimenting, testing, questioning, examining, what happens when analyses with different materials, techniques, technologies, and construction and composition strategies

Applying:  dramatizing, sketching, using, solving, illustrating, writing, demonstrating, instructing, diagramming, arranging, using different techniques and technologies in making jewelry

Understanding:  classifying, describing, discussing, explaining, paraphrasing, locating, translating, decoding

Remembering:  memorizing, listing, recalling, repeating, reproducing, copying, building up a specialized vocabulary

As teachers of jewelry design, we want to build up our students’ design knowledge and skills through literacy.   This means such things as,

  1. Building prior knowledge – showing connections between what they are expected to do now with what they have done or experienced before
  2. Building a specialized vocabulary and how to use this in context
  3. Learning, applying, varying and experimenting with different materials, techniques and technologies
  4. Practicing translating inspirations into aspirations
  5. Learning to deconstruct complex visual representations of ideas which each piece of jewelry encapsulates
  6. Using knowledge of artistic design elements and genres to identify main and subordinate ideas expressed within any piece
  7. Articulating what the graphic representations mean and how they are used within a piece of jewelry, and how this supports the artist’s intent
  8. Posing disciplinary relevant questions
  9. Critically comparing one piece of jewelry to others
  10. Using reasoning with jewelry design, such as searching for alternatives, or selecting evidence to evaluate claims of finish and success
  11. Enabling students to be metacognitive – that is, become aware of the ways in which they think, learn, create and problem-solve, and aware of how they overcome those times of creativity block
  12. Anticipating shared understandings about what it means for a piece to be finished and successful
  13. Bridging creative learning to the creative marketplace

What Are Some Specific Useful Techniques?

We should teach students to design jewelry, not draw it, not sculpt it, not craft it.    And that should be our primary goal as teachers: developing our students’ Fluency, Flexibility and Originality with design.

This involves:

  1. a developmental approach and organization of knowledges, skills and understandings to be taught, usually taught as sets of interrelated, integrated skill sets, rather than one skill at a time
  2. a multi-method teaching plan and program with a shared goal of teaching disciplinary literacy,
  3. a rubric specifying degrees of accomplishment and the criteria of evaluation – all shared with the student
  4. a willingness to adjust teaching styles because different students rely on different senses and strategies for learning

I am going to touch on each of these below, but you will find numerous articles in print and online which go into much more detail.

Developmental Approach

Think of jewelry design as a large matrix.    The rows are the various knowledges, skills and understandings students need to master.    The columns represent ordered stages of learning, indicating what needs to be learned first, second and third, etc.

In the example below, learning objectives were specified for an introductory bead stringing class.   The learning objectives were characterized by skill level needed.    These objectives were clustered together and taught as a set.   The student could identify what things were learned at what level, and what things needed to be learned in another class.   Emphasis was placed during the instruction to visibly point out to the student how each learning objective was interrelated to the others.

At the conclusion of the class, students were asked to self-evaluate what they learned about each learning objective, and what else they would like to know or learn about it.    What were their take-aways, and what would they like to do next.

EXAMPLE MATRIX

LEARNING OBJECTIVES

BEAD STRINGING

Crimping

  BEGINNER  INTERMEDIATE  ADVANCED 
TECHNICAL MECHANICS
1. Holding Your Piece To Work It BEGINNER     
2. Reading Simple Pattern, Figure and/or Graph; Diagramming BEGINNER     
3. Selecting Stringing Materials BEGINNER     
4. Selecting Clasps and other Jewelry Findings BEGINNER     
5. Selecting Beads and other Components BEGINNER     
6. Laying Out Your Piece BEGINNER     
7. Identifying Areas of Potential Weakness, and

Strategies for Dealing With These

BEGINNER     
8. Selecting and Using Adhesives      
9. Use of Tools and Equipment BEGINNER     
10. Determining Measurements and Ease, including Width and Length of a Piece, Especially In Relationship To Bead Sizes BEGINNER     
11. Finishing Off Threads, Cable Wires or Other Stringing Materials in Piece or Adding Threads/Cable Wires/Stringing Materials BEGINNER     
UNDERSTANDING CRAFT BASIS OF STRINGING METHODS
1. Starting the Piece BEGINNER     
2. Implementing the Basic Method BEGINNER     
3. Finishing Off Your Piece With A Clasp Assembly BEGINNER     
4. Managing String/Cord/Thread/Wire Tension BEGINNER     
5. Crimping BEGINNER     
6. Making Simple and Coiled Loops Using Hard Wire      
7. Making and Using Connectors; Segmenting; Directional Control      
8. Adding Dangles and Embellishments      
9. Making Multi-Strands Piece      
10. Making Twist-Strands Piece      
UNDERSTANDING ART & DESIGN BASIS OF BEAD STRINGING
1. Learning Implications When Choosing Different Sizes/Shapes of Beads, or Using Different Stringing Materials  BEGINNER     
2. Learning Implications When Choosing Different Kinds of Clasps, or Using Different Jewelry Findings and Components BEGINNER     
3. Understanding Relationship of this Bead Stringing Method in Comparison to Other Types of Bead Stringing Methods  BEGINNER     
4. Creating Support Systems Within Your Piece In Anticipation of Effects of Movement, and other Architectural considerations BEGINNER     
5. Understanding How Bead Asserts Its Need For Color When Stringing Beads      
6. Creating Your Own Design with This Bead Stringing Method, in Reference to Jewelry Design Principles of Composition      
7. Creating Shapes, Components and Forms To Use With This Bead Stringing Method, and Establishing Themes      
BECOMING BEAD STRINGING ARTIST & DESIGNER
1. Developing A Personal Style      
2. Valuing or Pricing Your Work      
3. Teaching Others Bead Stringing Methods      
4. Promoting Yourself and Your Work      

 

When taking a developmental approach, you teach groups of integrated knowledges, skills and understandings.   You teach technical mechanics concurrently with art and craft history, and concurrently with discipline-specific literacy.     We want our students to be able to think strategically and critically, deal with unfamiliar or problematic situations, and be self directed.

In the Developmental Approach, you start with a cluster of a core set of skills.    You show, demonstrate, and have the student apply, communicate about, and experiment with how these skills inter-relate in jewelry design.

You then introduce another cluster of knowledges, skills, and understandings.    As with the core, you show, demonstrate, and have the student apply, communicate about, and experiment with how all these inter-relate.   Then you repeat all this by teaching how this second cluster of things inter-relates to the core.

And again, you introduce a third cluster, and link to the second, then link to the core.     And so forth.

Jewelry design covers a wide range of factors beyond the physical and structural aspects of jewelry.    It incorporates aesthetics, structure, value systems, philosophies, sustainability, technologies, and their integrations.   Thus the jewelry designer has to know some things about art, and some things about architecture, and about physical mechanics, and anthropology and psychology and sociology, and engineering, and be a bit of a party planner.   Here, this developmental approach serves them well.     It helps the student learn the inter-connectedness and inter-dependencies of them all, in a gradual, developmental, building-up-to-something sort of way.

Multi-Method Teaching Plan

Students need to come at jewelry design problems from different angles.    Within each lesson, teachers need to gradually relinquish control over the learning process to the student.     Using a single teaching method, such as having students keep rehearsing a series of steps, or relying on a single textbook won’t cut it.   We also need to infuse opportunities for reflection within virtually every activity.

Some of things I find especially useful include,

(a) Guided Thinking

(b) Thinking Routines

(c) Developing an effective questioning strategy

(d) Application, practice and experimentation

One approach is called “Guided Thinking”.    Here, within each lesson, the teacher begins with controlling the information and how it is presented.  This involves some lecture, some demonstration, some modelling.    The teacher never insists that there is only one way to accomplish any task.    Over the course of the lesson, the teacher gradually relinquishes more and more control to the student for directing the learning activity.

For example, we might encourage students to construct and feel and touch similar pieces made with different materials, beads or techniques, and have them tell us what differences they perceive. We should guide them in thinking through the implications for these differences. When teaching a stitch, I typically have students make samples using two different beads – say a cylinder bead and a seed bead, and try two different stringing materials, say Fireline and Nymo threads.

We also should guide them in thinking through all the management and control issues they were experiencing. Very often beginning students have difficulty finding a comfortable way to hold their pieces while working them. I let them work a little on a project, stop them, and then ask them to explain what was difficult and what was not. I suggest some alternative solutions – but do not impose a one-best-way – and have them try these solutions. Then we discuss them, fine-tuning our thinking.

After some trial-and-error and experimentation, I begin to introduce some goals.  They had identified some management and control issues, and had some observations about what they were trying to do.    I link these developing discussions to these goals. These are issues because….  And I let them fill in the blanks.    What do they think needs to be happening here?

I begin to put words to feelings.   I guide them in articulating some concrete goals.   We want good thread tension management for a bead woven piece. We want the beads to lay correctly within the piece. We want the piece to feel fluid. We want an easier way to work the piece and hold it, so it doesn’t feel so awkward.

We return to Guided Thinking. I summarize all the choices we have made in order to begin the project: type of bead, size of bead, shape of bead, type of thread, strategy for holding the piece while working it, strategy for bringing the new bead to the work in progress. I ask the students what ideas are emerging in their minds about how to bring all they have done so far together.

At this point, I usually would interject a Mini-Lesson, where I demonstrate, given the discussions, the smarter way to begin and execute the Project. In the Mini-Lesson, I “Think Aloud” so that my students can see and hear how I am approaching our Project.

And then I continue with Guided Thinking as we work through various sections of the Project towards completion. Whatever we do – select materials, select and apply techniques, set goals, anticipate how we want the Project to end up – is shown as resulting from a managed process of thinking through our design.

In “Guided Thinking”, I would prompt my students to try to explain what is/is not going on, what is/is not working as desired, where the student hopes to end up, what seems to be enhancing/impeding getting there.

As the lesson proceeds, I reduce the amount of direction and information I provide.    I relinquish this responsibility gradually to the student.   The student is asked to try out a technique or strategy, then try an alternative.   The student is asked to communicate the differences, their preferences, their explanations why, and what they might try to do next.

Experimentation with evaluation is encouraged.   The student is asked to develop a more concrete jewelry project, and explain the various choices involved.    What-if and what-next questions are posed.    The student is allowed to follow a pathway that might be not as efficient, or even a dead-end.    More discussion about what occurs begins.   If the student asks me what would happen if, I tell them to try it and see, and then discuss their experience and observations.

Towards the end of the lesson, I prompt the student to communicate what they have done and what they have discovered.   I ask them, in various ways, what take-aways they have from the class, or how they think they might apply what they learned in the future.   I suggest the “what next.”   I identify different options and pathways they might pursue next.    Metacognition and reflection are important skills for any jewelry designer to have.

And we’re ready for the next lesson.

Another approach is called “Thinking Routines”.    With guidance, demonstration and repetition, it is my hope that these experiences become a series of Thinking Routines my students resort to when starting a new project. As students develop and internalize more Thinking Routines, they develop greater Fluency with design.

Thinking Routines are different strategies for structuring a set of steps which lead a person’s thinking.    “They are the patterns by which we operate and go about the job of learning and working together in a classroom environment. A routine can be thought of as any procedure, process, or pattern of action that is used repeatedly to manage and facilitate the accomplishment of specific goals or tasks. Classrooms have routines that serve to manage student behavior and interactions, to organizing the work of learning, and to establish rules for communication and discourse. Classrooms also have routines that structure the way students go about the process of learning. These learning routines can be simple structures, such as reading from a text and answering the questions at the end of the chapter, or they may be designed to promote students’ thinking, such as asking students what they know, what they want to know, and what they have learned as part of a unit of study.[3]

Some examples:

  1. What Do You See…..What Do You Think…..What Do You Know
  2. Think – Pair – Share
  3. What Makes You Think That?
  4. I used to think…  Now I think…
  5. Connect – Extend – Challenge
  6. True for Who?
  7. Look – Score — Explain

We use Thinking Routines mirror the kinds of thinking and analytic practices common to the discipline of jewelry design.     We encourage students to reflect on what they were thinking.   We ask how they were anticipating getting to the point where they would call their piece finished.    We ask them whether there was some kind of order or routine to their process.    We ask them what criteria they would use to know that they were successful.    We ask them to anticipate what others would think, and whether others would agree that the piece was finished and successful.

These are some of the kinds of situations we want our students to develop thinking routines for:

a. Exploration of experience for a purpose; translating inspiration into designs

b. Search for meaning as conveyed by various design elements alone, clustered together, or arranged within a composition

c. Formulating how to deal with unfamiliar tasks or roadblocks preventing the finishing of a task

d. Completing well practiced technical tasks

e. Varying well practiced technical tasks

f. Contingent thinking and fix-it strategies

g. Incorporating the shared understandings of others into the thinking about what constitutes a finished and successful design

h. Introducing jewelry publicly, such as for exhibit or for sale

Another approach I want to point out is having an Effective Questioning Strategy.  Students need to be engaged in thinking and talking about jewelry and its design and its powers when worn.     The questions we ask them, and the way we phrase them, can have a big impact on this.

Questions should lead the student towards greater understanding.    Ask questions which encourage students to think like jewelry designers and understand jewelry design as a series of problems to be solved.

  • Decode piece of jewelry; measure jewelry’s impact; relate to artist intent
  • Correlation or causation when explaining and identifying design issues
  • What q’s weren’t answered; ability to assess the information at hand relevant to the design problem
  • Do the results solve the design problem and support the conclusions
  • Other explanations for the results
  • Given an artist intent, sketch a jewelry design
  • Given a piece of jewelry to be sold, develop a sales pitch

Some pointers:

  1. Avoid questions with Yes/No answers
  2. Avoid questions which contain the answers, such as “don’t you think the designer did a good job?”
  3. Avoid questions which seem to have a particular answer in mind, such as “how did the designer use materials to represent the upper class?”
  4. Do elicit questions with multiple answers.
  5. Do elicit questions which incorporate each of our senses, not just the visual, such as “what sounds do you think this piece of jewelry would make?”
  6. Do elicit questions of varying levels of difficulty and rigor.
  7. Do elicit personal interpretations of ideas and feelings, coupled with questions about what evidence the student used to come to these conclusions.
  8. Do elicit questions about how to value or judge worth, and how such values might differ among different audiences, and why.
  9. Do elicit questions about contingent situations — if such and such a variable or piece of information changed, how would our thoughts, feelings and understandings change?
  10. Do elicit follow-up questions.
  11. If no one responds immediately to a question, pause and wait about 5 seconds.
  12. Encourage conversation among all participants in the room.
  13. Encourage students to generate their own questions.

When looking at a piece of jewelry, students might be asked (in reference to Bloom’s Taxonomy)[6] to:

DESCRIBE IT:   What do you see?   What else do you see?   If you were describing this to another person who has not seen it, what would you say?

RELATE IT:   What things do you recognize?   Do you feel connected to the piece in any way?  Would you buy it?  Would you wear it?  How does this piece of jewelry relate (to any other piece of jewelry)?   What interests you the most in this piece?   If you passed this piece of jewelry onto your children or grandchildren, do you think they would relate to it in the same way you did; explain?    Would this jewelry be successful or appropriate in any culture or situation; explain with examples?

ANALYZE IT:   What can you tell me about the design elements used in this piece of jewelry?    About the arrangement and composition?    About its construction?   What type of person would wear this piece and why?    What is the most critical part of this piece of jewelry which leads to its success (or failure)?   What questions would you want to ask the designer?   What internal or external forces will positively or negatively impact the piece?   What about the piece creates good support, enabling it to move, drape and flow?  What about the piece creates good structure, enable it to keep its shape and integrity when worn?

INTERPRET IT:  What name would you give this piece of jewelry, and why did you pick this name?    What sounds do you think this piece of jewelry would make?   What role(s) would this piece of jewelry serve for the wearer, and why?    Why do you think the designer made this piece of jewelry, and made it this way?

EVALUATE IT:  Does this piece seem finished; explain?    Would you see this piece as successful; explain?    Would this piece evoke an emotion, and how?    Does this piece resonate, and how?    Does this piece feel parsimonious – that is, if you added (or subtracted) one more thing, would it make the piece seem less finished or successful?   How has the artist selected and applied materials, techniques and technologies, and could better choices have been made and why?   What do you think is worth remembering about this piece?    What do you think other people would say about this piece?   If you were selling this piece, what would be the selling points; explain?  In what ways might this piece have value and worth for various audiences?   Anticipating the artist’s purpose and intent, to what degree was the artist successful?   What would make the piece better, and what would make it worse?

RE-CREATE IT:  If you were making a similar piece, what would you do similarly and what would you do differently; explain why?    If you wanted to re-create something similar, but for a different audience or context than you thought it was originally made, what kinds of things might you do; explain?   What would you change about the piece to make it more appealing to you?   What would you change about the piece to change the “sound” it seems to make?   How could we make the piece more Traditional?  Or Avant Garde?   How could you build in more or better support or structure?  How might your own work be influenced (or not) by this piece?   Have you learned something from this piece that would influence you to do something differently in your own work in the future?   If a particular color / material / finding had not been available, what could you substitute instead?

One last approach is encouraging lots of opportunities for Application, Practice, and Experimentation.

Jewelry design students need time to create various understandings, correct or not, and to put these understandings to the test.   They should be encouraged to imagine, experiment, play, practice and apply their emerging knowledges and skills.    We need to ween them off the standard design-by-number curriculum.     We should provide opportunities for students to develop the skills to work intuitively and practically in context.

Towards this end, we should

  1. Provide space/time for artistic creativity and discovery
  2. Provide opportunities to discuss, reflect and critique about the design, management and control issues which arose
  3. Have students actively anticipate, through discussion and/or writing, what kinds of reactions various audiences might have to various design and composition choices
  4. Ask students to compare and contrast various designs or design approaches, including what is appealing (or not) and wearable (or not) and representative of an artist’s ideas and intent (or not)
  5. Students should be given various pieces to decode; that is, breaking them down into their essential design elements and compositional arrangements
  6. Students should be asked to reflect upon how the jewelry would hold up or be evaluated in different situations or cultures
  7. Students can be given different open-ended design tasks, such as creating a piece of jewelry that celebrates the student; or having students write “recipes” for the ingredients in a piece of jewelry and give these to other students to see what they come up with; or creating jewelry with social or political content; of develop a marketing and promotion strategy with a sales pitch for a particular piece of jewelry; or write a poem or short story about a piece of jewelry

A Rubric
RUBRIC[8] AS THINKING ROUTINE

Students who plan on becoming jewelry designers need a simple map to all these ideas about literacy and fluency – something they can easily review and determine where their strengths and weaknesses are, what kinds of courses they need to take, what kinds of learning goals they need to set in order to grow within the profession and gain proficiency and fluency in design over time.     One type of map is a rubric.

A rubric is a table of criteria used to rate and rank understanding and/or performance.   A rubric answers the question by what criteria understanding and/or performance should be judged.    The rubric provides insightful clues for the kinds of evidence we need to make such assessments.    The rubric helps us distinguish degrees of understanding and/or performance, from the sophisticated to the naïve.   The rubric encapsulates what an authentic jewelry design education and performance would look like.

Here is one rubric we provide students to give them insight to the educational curriculum we offer in our program.   We divide the program into Skill Levels, from preparation to beginner, intermediate, advanced, and integrated.   We identify how jewelry is defined and conceptualized at each level.   We specify the kinds of learning goals at each level – that is, what the students needs to have mastered before continuing on to the next level.   We list the classes a student could take at each Skill Level.

BE DAZZLED BEADS:    EDUCATIONAL RUBRIC:   Learning How To Think Like A Jewelry Designer
Learning Stage Jewelry Defined As… I know I’ve mastered this level when… BEAD WEAVING CLASSES

Using needle and thread with seed beads to make things which approximate cloth

BEAD STRINGING and HAND KNOTTING CLASSES

Putting beads on stringing material to make necklaces and bracelets

WIRE WORKING and WIRE WEAVING  CLASSES

Incorporating wires and sheet metal in jewelry by making shapes, structural supports, or patterns and textures

BUSINESS OF CRAFT CLASSES

Bridging creative learning to the creative marketplace

JEWELRY DESIGN CLASSES

Using creative skills to conceptualize, construct and present jewelry pieces

PREPARA-TION   I have assembled basic supplies and tools, and set up a workspace ORIENTATION TO BEADS & JEWELRY FINDINGS CLASS   (**Required First Class)

Here we teach you about the choices you will need to make when buying or using different kinds of beads, metals, findings, stringing materials, tools, and various jewelry making techniques.   Focus on quality issues, contingencies and implications of making one choice over another

BEGINNER

(Decoding)

Object – defined apart from the maker, wearer and viewer, and apart from any inspiration or aspiration I am familiar with the range of materials, beads, jewelry findings, components, stringing materials, tools and types of techniques used in jewelry making, and all associated quality issues and issues of choice.

I can identify and list the basic design elements present in any piece of jewelry.

I can explain which design elements are independent – that is, can function on their own, and which are dependent – that is, require the presence of other design elements

I have mastered the mechanics of the major techniques in the interest area(s) I have chosen

* Bead Weaving Basics

* Basic Wrap Bracelet (laddering)

Clinics/Mini-Lessons:

– Flat Peyote

– Tubular Peyote

– Right Angle Weave

– Ndebele

– Petersburg Chain

– Brick Stitch

– Square Stitch

– Kumihimo

– Attaching End Caps

* Basics of Bead Stringing and Attaching Clasps

* Introduction to Pearl Knotting

* Mahjong Tile Bracelet

* Cozumel Necklace (micro-macrame)

Clinics/Mini-Lessons

– Crimping

– Elastic String

– Using Fireline

– Simple and Coiled Wire Loops

– Adjustable Slip Knots

* Wire Mix N Match Bracelet

* Viking Knit

*Wire Weave I: 2 base wires

*Wire Weave II: 3+ base wires

* Basic Soldering

* Intro to Silver Smithing

Clinics/Mini-Lessons:

– Simple and Coiled Wire Loops

– Let’s Make Earrings on Head Pins

– Let’s Make Earrings Off of Chain

* Getting Started In Business

* Pricing and Selling

* So You Want To Do Craft Shows

* Naming Your Business / Naming Your Jewelry

Clinics/Mini-Lessons:

– Pricing Formula

* Beads and Color
INTERMEDI-ATE

(Comprehending)

Content / Expression – conveys and expresses meaning; reflects ideas about how inspiration is to be translated into a design; inspires someone to respond emotionally I can select and arrange design elements into a pleasing composition.

I can anticipate both aesthetic and architectural requirements of my piece as it is to be worn.

I am comfortable self-directing my design process.   I know 1 – 2 variations in techniques I use.

I am beginning to develop “Fix-It” strategies when approaching new or difficult situations.

* Various Workshops during year

* Aztec Wrap Bracelet

Clinics/Mini-Lessons:

– Peyote Cabochon Bezel

* Mala Necklace w/Tassel * Cold Connections Bracelet

* Wire Wrap Bracelet w/Beads

* Wire Wrap Cabochon Pendant

* Wire Sparkle and Shine Necklace

* Wire Swirled Pendant w/Earrings

* Wire Contemporary Pendant

* Wire Woven Mayan Pendant

* Wire Woven Curvy Bracelet w/Beads

* Branding * Jewelry Design I: Principles of Composition
ADVANCED

(Fluent, Flexible, Original)

Action / Intent / Communica-tive Interaction – conveying content in context;  design choices understood as emerging from interaction between artist and various client audiences; jewelry reflects artist’s intent I have well-developed tool box of “Fix-It” strategies for dealing with unknown situations, with a high degree of automaticity in their use.

I understand how parts of the mechanics of every technique I use  allow the piece to maintain its shape (structure), and how other parts allow the piece to maintain good movement, drape and flow (support).

My jewelry reflects both parsimony in the choices of elements, and resonance in its expressive qualities for the wider audiences; I understand how this differs from traditional art concepts of “harmony” and ‘variety”

I can anticipate shared understandings as these are used to judge my piece as finished and successful; I understand how wider audiences affect the coherence – decoherence- contagion impacts of my designs

I am very metacognitive of all the composition, construction, and manipulation choices I have made, and constantly reflective of the effects and implications of these choices

* Various Workshops during year   * Wire Woven Cabochon Pendant

* Wire Woven Pagoda End Cap

  *Jewelry Design II: Principles of Form, Function, Structure, Body, Mind, Movement

*Architectural Bases

INTER-RELATING AND INTEGRAT-ING ALL LEVELS

(Disciplinary Literacy)

How we begin to build and expand our definitions of jewelry and design I am learning how all these things inter-relate, leading to better design and construction:

– art

– craft

– design

– architecture and engineering

– physical mechanics

– anthropology, sociology, psychology

– perception and cognition

– management and control

– systems theory

– party planning

– creative marketplace

JEWERLY DESIGN DISCUSSION SEMINARS
1. Good Design

2. Contemporary Design

3. Composition

4. Manipulation

5. Resonance

6. Beads and Color

7. Points, Lines, Planes, Shapes, Forms, Themes

8. Architectural Basics

9. Contemporizing Traditional Jewelry

10. Mixed Media / Mixed Techniques

11. Designing An Ugly Necklace

12. Backwards Design

13. What Is Jewelry, Really?

14. Is Jewelry Making Teachable, or Merely Intuitive?

15. Can I Survive As A Jewelry Artist?

16. Creativity Isn’t Found, It Is Developed

17. Jewelry Design Management

18. 5 Questions Every Jewelry Designer Should Have An Answer For

19. The Multiple Responsibilities of Being a Professional Jewelry Artist

20. Your Work Space

21. Design Theater

22. Overcoming Designer’s Block

23. Fashion, Style, Taste or Art?

24. Threading the Business Needle

Willingness To Adjust Styles To The Different Ways Students Think

Students learn in different ways.   Some are more visual, some more oral, some more tactile, some more experiential.   It is important that teachers vary their styles within each lesson.

For example, better instructions are presented not only with written steps, but also images illustrating each step, and diagrams or patterns explaining each step.

It is important to provide opportunities for students to reflect on what they did, and evaluate the thinking, management and control issues they confronted, and what they attempted to do to overcome these.

Last, it is just as important for the teacher to model (and think aloud) their own thought processes when attempting to design or construct a piece of jewelry.

Why Should The Teacher Be Motivated

To Take A Disciplinary Approach?

The unwillingness of instructors to break out of that mold of standard craft or art content curriculum is rooted in many things.

For one, it is not very lucrative.   Teaching disciplinary literacy on top of the standard content curriculum is more work.  It requires more thought and integration.   Initially, it requires more effort and planning.   Yet the earned instructional fees would remain the same had the instructor not made the additional effort.

Teaching disciplinary literacy involves making very public and visible the teacher’s design thinking and choices.    The teacher is expected to model design behaviors.    The teacher will introduce think-alouds, experimentation, thinking routines.   The teacher, within each lesson, gradually relinquishes control of the teaching task to the student.    The student takes over the design process, making more and more choices, whether good or bad, right or wrong.    The student then evaluates, citing evidence, what appears to be working, what not working, some reasons why, and some possible consequences.    These disciplinary literacy techniques might make the teacher feel very exposed, vulnerable and uneasy where such thinking and choices of the teacher might be questioned or challenged, or where the student begins to take over and assert control over learning about design.

Teachers must also expand their training and learning to go beyond art and craft.   They must more clearly incorporate ideas about architecture and functionality into their teaching.   They must train their students to be aware of how jewelry design is a process of communicative interaction.

Teacher reluctance to incorporate disciplinary learning into the standard curriculum might also be due to the fact that there is little professional recognition.   The recognition that tends to exist gets very tied to criteria based on a standard content which understands jewelry as an object, not a dialectic between artist and relevant other.   Jewelry design is an occupation becoming a profession, and it may feel safer for the teacher to remain in craft or art, rather than design, because the criteria for teacher evaluation is more well defined and agreed-upon.

And there is no student demand.   Jewelry design is often viewed more as an avocation or occupation, rather than a professional pursuit.   It’s a way to exercise creative thoughts.  A way to earn some extra money.  A way to have fun.   Jewelry design is not seen in professional terms with specialized knowledge and specific responsibilities.

Partly demand reflects low student expectations.   There are assumptions that you cannot teach creativity – you have it or you don’t.    There are assumptions that anyone can make jewelry, and that once you learn some basic vocabulary and techniques, better design skills will naturally evolve over time.   And these assumptions get affirmed because all students ever see and experience is good ole basic craft or art education.

Partly demand reflects some realities of the marketplace.  Most people who buy jewelry have little understanding about quality issues, art and design considerations, who the artists are and what their reputations are.   They don’t know better so they don’t demand better.   Jewelry purchases skew heavily toward the upper classes.     However, this does not mean that we should assume that better designed jewelry has to equate to more expensive jewelry.

It is my firm belief, however, that if instructors integrate disciplinary literacy – thinking routines for how designers think design – into the standard curriculum, both student and client demand will follow, as well as teacher pay and recognition.

As teachers of jewelry design, we should be motivated to create that demand for deeper, disciplinary learning.     We need to support the professionalization of the field.    We should want to make jewelry design even more fulfilling for our students.

Towards this end, we should teach jewelry design knowledge and skills development which lead to greater fluency, comprehension, self-direction, flexibility, originality and automaticity in design.   This means developing our students as architects, as well as artists.   It means helping our students develop those critical thinking skills so they can adapt to different design situations, and more easily problem-solve when things go awry.   It means enabling our students to evaluate situations and contexts in ways which make clear how the shared understandings of others impact the jewelry design process.  It means giving our students a clear understanding of how creative thinking relates to the creative marketplace.   It means teaching our students to be able to assert their worth – the worth of the pieces they create, their skills, their ideas, and their labor.    Only in these ways will we play an active part in enhancing the ability of our students to make a living from their artistry and design work.   Only in this way, moreover, will we elevate contemporary jewelry design so that it has a life outside the studio, and so that it doesn’t get whipped by the whims of fashion or seen only as a design accessory.

How Should We Measure Successful Teaching?

In the standard design curriculum, it is relatively easy to measure our success as teachers.   We can gauge how many students take our classes.   We can refer to the number of concepts learned.   We can count the number of successfully completed steps students have completed.    We can get a sense of how many students are able to sell or exhibit their pieces.

What is more difficult to measure, from a disciplinary literacy standpoint, is how well our students are able to think, analyze, reflect, create and engage in jewelry design, given variation and variability in audience, client, context, situation, society and culture.

It is difficult, as well, to gauge the degree we have been able to elevate the importance of jewelry design as a profession.    Something beyond craft.   Something beyond occupation.   Something even beyond art.


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?

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FOOTNOTES

[1] T. Shanahan, C. Shanahan.  “Teaching disciplinary literacy to adolescents: Rethinking content-area literacy,” Harvard Educational Review, 2008.

[2] Historians gathering evidence like letters, journals, newspaper articles, photographs, analyze them and compare then.   They look for patterns and corroboration.   From that they infer understanding and conclusions.    The historian may take many paths and turns to discover information that may or may not be factual, but may be helpful.

Scientists set up controlled experiments, typically using information they consider facts, and interrelated these facts mathematically in order to establish understandings and conclusions.    They go about things following the scientific method and approach, beginning with observations, formulating hypotheses, setting experiment and collecting data, and so forth.

Jewelry designers manage tensions between appeal and functionality.     The successful managing of these tensions involves adequately anticipating the shared understandings of various client groups about whether a piece should be considered finished and successful.   The designer is able to establish something in and about the piece which signals such anticipation and understanding.

[3]Thinking Routines.  I teach jewelry design.   I find it useful to engage students with various ways of thinking out loud.    They need to hear me think out loud about what choices I am making and what things I am considering when making those choices.   They need to hear themselves think out loud so that they can develop strategies for getting more organized and strategic in dealing with information and making decisions.    My inspiration here was based on the work done by Visible Thinking by Project Zero at Harvard Graduate School of Education .   http://www.visiblethinkingpz.org/VisibleThinking_html_files/VisibleThinking1.html

[4] Fluency.  I took two graduate education courses in Literacy.   The primary text we used was Literacy: Helping Students Construct Meaning by J. David Cooper, M. Robinson, J.A. Slansky and N. Kiger, 9th Edition, Cengage Learning, 2015.   Even though the text was not about jewelry designing per se, it provides an excellent framework for understanding what fluency is all about, and how fluency with language develops over a period of years.    I have relied on many of the ideas in the text to develop my own ideas about a disciplinary literacy for jewelry design.

[5] Shared Understandings.  In another graduate education class, the major text reviewed the differences between understanding and knowledge.   The question was how to teach understanding.    Worth the read to gain many insights about how to structure teaching to get sufficient understanding to enrich learning.    Understanding by Design by Grant Wiggins and Jay McTighe, 2nd Edition, Association for Supervision and Curriculum Development, 2005.

[6] Bloom’s Taxonomy.

Bloom, Benjamin S. 1956. Taxonomy of educational objectives; the classification of educational goals. New York: Longmans, Green.

Anderson, L. W., Krathwohl, D. R., & Bloom, B. S. (2001). A taxonomy for learning, teaching, and assessing: A revision of Bloom’s Taxonomy of educational objectives (Complete ed.). New York: Longman.

Bloom’s Taxonomy and the Arts.   Incredible Art Department.    As referenced at

https://www.incredibleart.org/files/blooms2.htm

Bloom’s Taxonomy.   Vanderbilt University.  Center for Teaching.   As reference at

https://cft.vanderbilt.edu/guides-sub-pages/blooms-taxonomy/

[7] Backwards Design. I had taken two graduate education courses in Literacy and one in Planning that were very influential in my approach to disciplinary literacy. One of the big take-aways from Understanding by Design by Grant Wiggins and Jay McTighe, 2nd Edition, Association for Supervision and Curriculum Development, 2005, was the idea they introduced of “backwards design”. Their point is that you can better teach understanding if you anticipate the evidence others will use in their assessments of what you are trying to do. When coupled with ideas about teaching literacy and fluency (see Literacy: Helping Students Construct Meaning by J. David Cooper, M. Robinson, J.A. Slansky and N. Kiger, 9th Edition, Cengage Learning, 2015), you can begin to introduce ideas about managing the design process in a coherent and alignable way.

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THE JEWELRY DESIGNER’S APPROACH TO COLOR

Posted by learntobead on February 16, 2019

THE JEWELRY DESIGNER’S APPROACH TO COLOR

by Warren Feld, Jewelry Designer


Abstract
Color is the single most important Design Element, whether used alone, or in combination with other Design Elements.    Yet jewelry creates a series of dilemmas for the colorist not always anticipated by what jewelry designers are taught in a typical art class.    This article reviews the basic concepts in color theory and suggests how to adapt each of these to the special requirements of beads and jewelry.   Special attention is paid to differentiating those aspects of color use we can consider as objective and universal from those which are more subjective.    The fluent designer is one who can maneuver between universal understandings and subjective beliefs when selecting and implementing colors, color combinations and color blends.  This involves managing the sensation of color light value (balance), the sensation of color contrasts (proportion), and the sensation of simultaneous color contrasts (context) among designer, wearer and viewer.

RETHINKING THE TEACHING OF “COLOR” IN JEWELRY DESIGN
You cannot paint with beads and other jewelry components.
I am going to repeat this:   You cannot paint with beads and other jewelry components.
When you take color class after color class rooted in art, they are teaching you how to paint.    You can’t do this with jewelry and beads.

As frustrating as this can be, you cannot ignore the fact that Color is the single most important Design Element.   Colors, their selection, use and arrangement, are believed to have universal powers to get people to see things as harmonious and appealing.   Color attracts attention.   A great use of color within and object, not only makes that object more coherent, it can be contagious, as well.    Using colors that do not work well together, or using too many colors or not enough colors, or using colors which look good on paper but distort in reality can put people off.

Designers can learn the artistic basics of Color concepts and theories.   They can reference this visual language of color to influence how they go about making choices, including those about picking and using colors.    However, jewelry artists who are fluent in design will be very aware of the limitations this artistic, painterly language imposes on them.    They will have to learn how to decode, adjust and leverage their thinking to anticipate how the bead and other related and integrated materials assert their needs for color, and how to strategically compose, construct and manipulate them.

Jewelry, unlike painting or sculpture, has certain characteristics and requirements which rely on the management and control of color, its sensation and its variability with a slightly different emphasis than learned in a traditional art class.  Jewelry is a 3-dimensional object, composed of a range of materials.  Jewelry situates, moves and adjusts in relation to the human body and what that body is doing at the moment.   To get the attention their jewelry deserves, jewelry artists must become fluent with color selection and application from their own disciplinary perspective.    We must understand color in jewelry as the jewelry is worn, and worn in a particular context or situation.

Beads  [here I use ‘beads’ as a stand-in for all the component parts and stringing materials used in a piece of jewelry]  are curved or faceted or otherwise shaped, and the shape and texture and material and dimensionality affect the color, its variation and its placement and movement on the beads surface.  They affect how light reflects and refracts, so depending on the angle at which you are standing, and how you are looking at the bead, you get some unexpected, unanticipated, sometimes unwanted colors in your piece of jewelry.

Additionally, you need to anticipate how the bead, when worn, can alter its color, depending on the source of light, the type and pace of movement of the wearer, and how the eye interacts with the bead at any point of time or positioning.   There are many gaps of light between each pair of beads, and you can’t paint these in.  The colors don’t blend, don’t merge, don’t spill over, don’t integrate.    You can’t create the millions of subtle color variations that you can with paint.

I’m not suggesting that beaders and jewelry makers be afraid of colors.    Rather, they should embrace them.  They should learn insights into understanding colors.  They should be inspired by colors.   They should express their artistic and creative selves through color.    They should use color palettes to their fullest.    They should recognize how their various audiences see and claim and interact with color.

It is most important that jewelry designers understand color, its use and application from their own disciplinary standpoint.   In some sense, however, the approaches of most bead artists and jewelry designers too often remain somewhat painterly – too routed in the Art Model.    The Art Model ignores things about functionality and context.    It diminishes how the individuality of the designer, and the subjective responses of the wearer and viewer affect each other.  In many respects, these are synergetic, mutually dependent and reciprocal.  The Art model understands the success of jewelry as if sitting on an easel, not as it is worn.

As a result, color theories get oversimplified for the jewelry artist.   “Value” is barely differentiated from “Intensity”.   Color selection focuses too much on harmony, and too little on resonance and edginess.  Color training too often steers jewelry designers towards a step-by-step, paint-by-number sort of approach to color selection and application.   The co-dependent relationship between Color and other Design Elements is downplayed and glossed over.    This is a major disservice.

So, I’ve tried to re-think how we could and should think about and teach “color” to jewelry artists.     Not easy.   Art and Design Theory suggests that, in order to teach designers to make good choices, we need to break down color concepts and theories into teachable and digestible groups of skills.    And then show how the next set of skills builds upon the first.

We need to show jewelry artists what kinds of color choices they will be making as they create pieces of jewelry, and then put them in situations where they are forced to make these kinds of choices.     We need to think of colors as “building blocks”, and the process of using colors, as one of creative construction.   Creative construction requires focusing on how color (and multiple colors) is (are) sensed, and sensed by various audiences which include the artist him- or herself, and the wearer and the viewer, and the exhibitor, collector, and the seller, if need be.

So, that’s where I’ll begin with color:   Delineating the types of choices that the jewelry artist needs to make, starting with choices about picking colors.

Picking Colors
As a design element, color is used to attract attention.   It aids in grouping some objects and setting boundaries between others.   It can emphasize and focus.   It conveys meaning and value.   Usually color enhances the aesthetics and appeal.    Color can be used as an organizing tool and create segments, components, rhythms, movement, dimension and hierarchical arrangements within your jewelry composition.   Color can affect the figure/ground relationship of the composition.

There are many different kinds of choices involved, when using Color:

Choices about colors based on our understanding of…
– Personal strategies for picking colors or finding inspirations for colors
– Color theories and concepts
– How the bead (and related jewelry materials) asserts its (their) needs for color
– How color affects the viewers of color
– The process for designing jewelry with color
– The situation or context within which the jewelry is to be worn

Part of picking colors is very personal and subjective.   And part of this is very strategic and must be managed.    That is, part of picking colors is about anticipating more universal understandings about how various audiences will sense and pick colors.     How do you actually go about picking your colors, and then deciding on your final colors for your piece?   What kinds of things influence you in choosing colors?   What inspires you?   Where do you look for inspiration?    Do you have favorite colors and color combinations?    Or colors and color combinations that you detest?    How do you anticipate how others will view and evaluate the colors you pick?

Choosing Colors is an involved exercise.     Most people avoid this kind of exercise, and settle for a set of colors that match.    But, in design terms, Colors are used by the designer to clarify and intensify the effects she or he wants to achieve.

What does it mean to “clarify and intensify” the effects you might want to achieve?   For example, the artist may use color to clarify and/or intensify any of these kinds of things…
– delineation of segments, forms, themes, areas
– expressions of naturalism or abstraction
– enhancing the sense of structure or physicality (forward/recede; emphasize mass or lines or surfaces or points)
– playing with light (surprise, distort, challenge, contradict, provoke)
– altering the natural relationship between the jewelry and the situation it is worn in (context, clothing, setting)

Color is the primary Design Element designers choose to express their intent, establish unity, create rhythm, set movement and dimensionality in place, enhance shape, make points, lines and planes come alive, and the like.    Alas, too few people apply this kind of thinking and make this kind of effort when choosing colors.

For myself, I know that as I start to play with my design arrangements, I also begin to identify potential color issues.    Designs are imperfect.   Beads are imperfect.  Colors are imperfect.   With each issue, I try to figure out solutions – other things I can do with colors to make everything work.   My choices begin with scientifically proven color theories – shared universals that virtually everyone has about picking colors.

In literacy terminology, this is called decoding. Then I begin to personalize my choices so that my results show more of my individuality as an artist.   Some of these latter choices do not necessarily reflect shared universal understandings about color, its sensation and its use.   In literacy terminology, my ability to move back and forth between the objective and subjective is called fluency.

Bead Choices
The bead – its very being – creates as series of dilemmas for the colorist.    And each dilemma is only overcome through strategically making and managing choices about color and design.
Such dilemmas include things like… 

  • Beads are not the same as using paints
  • Can’t blend beads
  • Boundary issues
  • Issues associated with shapes, faceting, edges, crevices
  • Jewelry reflects and refracts light, and this may change as the wearer moves, or lighting changes, or perspective and angle of vision changes, or materials or material mixes change
  • Limits in the range of colors (and color tones) you can pick from
  • Issues associated with the fact that jewelry as worn, takes many shapes/positions, as the person moves, and the color appearance may change or vary
  • Beads are parts in whole compositions, and juxtaposition of 2 or more beads may change or vary the colors’ appearance
  • Jumping from bead to bead within the composition, means the viewer’s mind has to fill in where there are gaps of color to give the illusion there is a continuance of color throughout the composition

Yet most people do not recognize or anticipate these kinds of dilemmas.

Emotions, Moods and Choices
The emotional and psychological effects of color are undeniable.  These effects are usually felt through processes of color comparisons and contrasts.   The better designer anticipates the goals of the wearer, and what emotions and moods the wearer wants to evoke in all that see the jewelry as worn.    This might be appeal, beauty, trust, power, wealth, intelligence, and the list goes on.


Designing With Color – Many Choices
The jewelry designer must be strategic with color, which comes down to..

  1. Selection
  2. Placement
  3. Distribution
  4. Transition
  5. Proportion

Designers must be intentional, not only with the selection of colors, but in the placement of color within the piece, as well.     The designer achieves balance and harmony, partly through the placement of colors.    The designer determines how colors are distributed within the piece, and how colors transition from one color to the next.   And the designer determines what proportions of each color are used, where in the piece, and how.   These kinds of choices affect movement and rhythm, dimensionality, and resonance.

Subjective or Objective Choices?
SOME TOOLS FROM ART THEORY

Many people are often skeptical that you can choose colors with any basis of rationality.     Choosing colors is intuitive, subjective, personal.    You can’t teach people to be better users of colors, because you’re either born with a sense of color, or you are not.

People seem to have cultural or social expectations about the meanings of some colors.   When Vanderbilt students see black and gold, they associate it with school colors.   When others see black and gold, they associate it with something else.    The same goes for University of Tennessee Orange, and so forth school to school.

If we are to be able to teach jewelry makers and beaders to be more scientific in their choices of colors, and be able to anticipate how their various audiences respond to colors, then we would need to have some objective rules, rules that refer universally to just about everyone.  Rules that inform people what colors are best.   What colors go together, which ones do not.   Rules that show how to manipulate color and its expression in perfect and predictable ways.

But everything seems so subjective.

When people see colors on the vertical, they may respond very differently than when they see these same colors on the horizontal.

Look at flags of countries around the world.   Many flag colors are red, white and blue.

If you look at France’s flag, you have red/white/blue on the vertical.

Russia’s flag has red/white/blue on the horizontal.

You frequently find that people might like a color arrangement in a vertical organization, but feel very uncomfortable, or have much disdain for those same colors, when found in the horizontal.

COLOR TOOLS AND THEIR THEORETICAL BASIS
Sensation Management

Color research over the past 100 years or so suggests that there are many universals in how people perceive, understand and respond to colors.   These universals provide the basis for several “sensation-management-tools” jewelry designers might use to help them manipulate various design elements and their arrangements within a jewelry composition.    Some of the most useful color tools are those which designers use to control how to make one color relate to another.     These have to do with creating and managing…

A. Sensations of Color Balance (Light Values)
B. Sensations of Color Proportions (Color Contrast)
C. Sensations of Simultaneous Color (Simultaneous Color Contrasts)

As jewelry designers, we need to know…

  • What these color TOOLS are, and with which we can play
  • What the special demands beads (and all other materials) place on our use of these TOOLS
  • How we can push the limits of these TOOLS to achieve harmony, variety and emotional responses
  • How Far We Can Push the limits of these TOOLS to achieve parsimony and resonance

Toward this end, we need to know a little bit about the research and theories these tools are based upon.We need to understand some things about perception and cognition.That is, we need to understand, as people interact with our jewelry, how the brain comes to see color, recognize color, and interpret color in context.

Theory / Research Underlying These Color-Sensation Management Tools
My favorite book on the research into the theoretical bases of these kinds of color management tools is by Johannes Itten [2] called The Elements of Color.    The most important theories about color universals for jewelry designers, as detailed in his book, include,

  1. After Images
  2. Use of the Color Wheel
  3. Color Schemes
  4. Color Proportions
  5. Simultaneity Effects

As a design element in and of itself, Color (and its attributes) are universally understood as if they were objective facts which comprise a visual grammar.  It is important to understand how to employ universal understandings about color.

Universality, in and of itself, however, is necessary but not sufficient for understanding why some color use draws your attention, and others do not.  Here aspects of subjective interpretations and reactions, given the context, have great influence.The fluent, successful jewelry designer should understand both those universal and subjective aspects of color.

The initial discussion below, however, primarily concerns itself about color as a design element – that is, as something universal and objective.

(1) After Images
The first research had to do with After Images.    If you stare at a particular color long enough, and close your eyes, you’ll begin to see the color on the opposite side of the color wheel.   So, if you stare at red, close your eyes, and you’ll see green.

I know you want to do this, so stare away:


So our first color-sensation tools are based on LIGHT VALUE.    Each color has its own energy signature.  This seems to be universally perceived, and perceived in the same way.

Some colors have a positive energy signature; other colors have a negative energy signature.   The brain wants to balance these out and harmonize them into some kind of zero-sum outcome.    Everyone seems to see after images and see the same after images.    It seems that the eye/brain wants somehow to neutralize the energy in color to achieve some balance or 0.0 point.      The brain always seeks a balanced energy in light and color.   The human eye is only “satisfied” when the complementary color is established.

[This is the basis underlying the various color schemes below. ]

If red had an energy of +10  (I’m making up this scale), and the eye/brain then convinced your psyche to see green, then I would suppose that green would have an energy of -10.   Hence, we reach a 0.0 point (+10 – 10 = 0).

Again, the brain wants balance, harmony, beauty, non-threatening situations.   The brain does not want edginess, tension, anxiety, fear, or ugliness.   So, when you perceive red, your brain, in knee-jerk fashion, and in the absence of other information which might lead to a different interpretation of the situation, tries to compensate for the imbalance by also seeing green.

And we can continue to speculate that your eye/brain does Not want you the designer to overly clarify and intensify, should this result in a more resonant, perhaps edgy, composition.   This takes you too far away from 0.0 energy, and starts to become threatening.   It might excite you.   It might revolt you.   In either case you would react, feel, sense the power of color, but maybe not in a more balanced way the eye/brain would prefer.

But all jewelry designers need to know, and this is important, that their guiding star is “Resonance”, and this can take you a little beyond the harmony the brain seeks.     Creating a little “edginess” in your jewelry can’t hurt, and might better help in achieving finish and success.   But creating too much “edginess” might strike too forcefully at the heart of our pre-wired anxiety response, and our brain will not let us go there.   Your eye/brain does Not want you to push yourself and your jewelry too far to the edge with color.  This countervailing force might create tensions with your artistic and design intentions.

The eye/brain wants balance, harmony, monotony.     Red and green can seem so much fun at Christmas time.    But if you put your red and green necklace on a copy machine, and took a photocopy of it, it would all look like one color of black.    Red and green will always copy as the same color and shade of black.

And that is how we perceive them.    And cognate them.   We see red and green as the same.   As the same color black.    And if we assign red a +10 score, and green a -10 score, the eye/brain is happy to end up with a 0.0 score.  This combination can be boring and monotonous.   Combinations of red and green can feel unified and appear varied, yet somehow fail as choices in our jewelry designs.

And it is important to recognized that if, your composition only uses red, that in reality, when something doesn’t balance off the color red, in this case, the brain will create its own after image – some sensation of green —  to force that balance.   The brain wants to feel safe and in harmony and balance.    Everyone’s brain seems to operate similarly so that this aspect of perceiving color is universally employed.

How far the jewelry designer should fight this universal tendency is up for debate.    However, when initially picking colors to combine in a piece, we might try to achieve this 0.0 balance score (thus, a point of harmony and balance), and then, by clarifying and intensifying, deviate from it a little bit, but always with an eye on that 0.0 – what anyone’s eye/brain is driving it to do.    We want the eye/brain to feel satisfied and “safe”, but as a designer, we also want to give the jewelry a punch, a wow, an edge.    There are many color tricks and techniques that the designer can apply here.


(2) The Color Wheel: A Spectrum of Light Values
Science and Art Theory have provided us with tools to help us pick and combine colors.    One tool is the Color Wheel.    With almost every book about color, there is a Color Wheel.   Some are more detailed than others.   Some are easier to turn and manipulate.    They all have different colors at the North, South, East and West points, but it is the same series of colors, ordered in the same way, color to color.

It is important to understand how to use the Color Wheel.  This curtain of color provides the insights for selecting and arranging colors that might go together well.   The color wheel helps us delineate what color choices we can make, and which combinations of colors might work the best together, to achieve a perceived harmony and balance.

The Color Wheel is a tool and a guide.   It’s not an absolute.   Beads don’t always conform to the colors on the wheel; nor do they reflect light and color in ways consistent with how these colors appear on the wheel.

Look at this color wheel:

Get some color pencils, and color in all the colors around the wheel.

On the Color Wheel, there are 12 colors arranged into three families of color.

The Primary Color [3] family includes three colors:   yellow, blue and red.     These colors present the world as Absolutes.  They are definitive, certain, and steady.   They convey intelligence, security, and clarity.

The Secondary Color family includes those colors you can make by mixing any two primary colors.   These three colors are:  green, orange and violet.    These colors present the world as Contingencies.  They are situational, dependent on something, and questioning.   They convey questioning, inquiry, risks assessed against benefits.

The Tertiary Color family includes six colors.    Each of these colors is a mix of one of the primary colors and one of the secondary colors.  These include:  red-violet, yellow-orange, blue-green, blue-violet, yellow-green, red-orange.   These colors show Transitions.   These colors are useful for transitioning from one primary or secondary color to the next.    They bridge, integrate, tie things together, stretch things out.   They give a sense of before and after, lower then higher, inside and outside, betwixt and between.    They convey ambiguity or a teetering on the fulcrum of a scale.

As you begin to pick colors, you will also want to manipulate them – make them lighter or darker, brighter or duller, more forward projecting or more receding, and the like.   Expressions of color are referred to as attributes.  Expressive attributes are the ways you use color as building blocks in design.   So, here are some important building block/color terms/attributes and vocabulary.


(3) Color Schemes – Rules for Balancing Light Values
Color schemes are different, universally recognized and proven ways to use and combine colors, in order to achieve a pleasing or satisfying result.

Good color combinations based on color schemes have balanced, harmonious tonal values – their light energy levels balance out at the zero-zero (0.0) point.    Better designers like to tweak these combinations a bit, in order to evoke an emotional and resonant response to their work.

Color Schemes, then, as represented in a Color Wheel, are based on harmonizing (e.g., zero-sum) combinations of colors.   Color schemes – like the split complementary scheme of violet, yellow-green and yellow-orange – are different combinations of colors the Light Values of which add up to zero, and achieve harmony.

You can place geometric shapes inside the Color Wheel, and rotate them, and where the points hit the wheel, you have a good color combination.    For example, if you place an equilateral triangle (all sides are equal length) within the circle, as in the diagram below, the points touch Yellow, Red and Blue.   If you rotate it two colors to the right, it touches Orange, Violet and Green.

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:

  1. Whether one color should predominate, or all colors should be more or less equal
  2. Whether there should always be a “splash of color”, as interior designers like to say — a “drama” color to achieve exciting, focal, look at me first effects
  3. If symmetry works with or against your color choices
  4. If you need to adjust intensity (brightness) or value (lightness) in each color, to get a better sense of satisfaction
  5. If you need to adjust the proportions or distributional patterns or arrangements of each color used; that is, experiment with same colors, different placement or different sizes or different quantities or different shapes or mixes of shapes

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… 

  • Filling in the gaps of light between beads
  • Assisting in the blending of colors or the sense of movement of colors along a line or plane
  • Assisting in establishing dimensionality in a piece that otherwise would appear flat
  • Harmonizing 2 or more colors which, on as a set, don’t quite match up on the color wheel
  • Establishing frames, boundaries or silhouettes
  • Re-directing the eye to another place, or creating sense of movement

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.


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.

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.]

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.


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.

 

  • Faceted, Glossy beads will tend to look closer and capture the foreground
  • Smooth, Glossy beads will tend to capture the middle ground
  • Matte, Dull, Frosted, or Muted beads will tend to fall into the background



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: , , , , , | Leave a Comment »

CONTEMPORIZING TRADITIONAL JEWELRY

Posted by learntobead on February 11, 2019

CONTEMPORIZING TRADITIONAL JEWELRY:

Transitioning From Conformity To Individuality

by Warren Feld, Jewelry Designer

    

Etruscan Collar and Inspired Contemporary Pieces

Abstract

Many people, jewelry designers among them, draw inspirations from traditional jewelry styles.   The common inspirational thread here is a feeling of connectedness, coupled with a desire to feel connected.   But the core issue for jewelry designers today, striving to achieve jewelry which is more contemporary than merely a replay or reworking of traditional preferences and styles, is how to contemporize it.      That is, how to construct ideas into objects, challenge history and culture, produce that which is in opposition to standardization and monotony.    Contemporizing Traditional Jewelry has to do with how designers take these particular traditional forms and techniques, and both add in their personal style, as well as make them more relevant to today’s sense of fashion, style and individuality or personal expression. The challenge for the designer, when contemporizing traditional jewelry, is how to marry personal artistic intent with traditional ideas, keeping the jewelry design essential and alive for today’s audience.

 

CONTEMPORIZING TRADITIONAL JEWELRY:
Transitioning From Conformity To Individuality

Many people, jewelry designers among them, draw inspirations from traditional jewelry styles.   These styles could be ancient, like those of Egypt, Peru, Persia, India and China.    These styles could be more recent, like those of Art Deco, Art Nouveau, and Modern.    These styles could be primitive, like those of tribal cultures in the rain forests of Brazil or the savannas of Africa or the Native American traditions in North, Central and South America.

The common inspirational thread here is a feeling of connectedness, coupled with a desire to feel connected.    These styles strongly reflect particular premises, cultures, moralities, characters, and perspectives.    People not only identify and connect with these, but use these style traits – almost ideologies – to explain and position themselves within the larger social contexts in which they find themselves.

Traditions represent reasons.    Reasons justify everyday life.   These reasons are the conditions and shared understandings necessary to regulate ideas, to generate opportunities for success, and to minimize the risk that comes from making choices about what to do next.    Traditions justify thought and action, and because many people share these traditional understandings, living life becomes safer, easier, clearer.    Traditions help people to understand each other and predict their behaviors.  Traditions are often expressed within the designs of jewelry.

Jewelry, then, often signifies certain traditions through imitation or reference, and when mirroring them, reaffirms the wearer’s thoughts, actions, self-identity, and self-reflection.   Jewelry design which recognizes tradition feels more understandable.   It feels safer and less risky to say out loud that it is beautiful, knowing that others will think so, too.   It is no wonder that many jewelers resort to traditional forms and themes of expression, traditional techniques, traditional materials, traditional uses of color, texture, pattern, point, line, plane and shape.    It feels like a short-cut to success.

But the issue for jewelry designers today, striving to achieve jewelry which is more contemporary than merely a replay or reworking of traditional preferences and styles, is how to contemporize it.      That is, how to construct ideas into objects, challenge history and culture, produce that which is in opposition to standardization and monotony.    Contemporizing Traditional Jewelry makes sense because this mirrors how most people live their lives today.   They adhere less rigidly to societal and cultural norms, and moreso create their own.  Jewelry, and its identify-reconfirming role it plays for the wearer, should reflect this.

The contemporary jewelry designer who wants to incorporate traditional elements or styles in some way, must come to grips with…

  1. How Traditional jewelry differs from Contemporary Jewelry
  2. Why so many people draw inspirations and connectedness to traditional styles
  3. How literal the designer should be when contemporizing a traditional piece

 

Contemporizing Traditional Jewelry

Contemporizing Traditional Jewelry has to do with how you take these particular traditional forms and techniques, and add both your personal style to the pieces, as well as make them more relevant to today’s sense of fashion, style and individuality or personal expression. The challenge for the designer, when contemporizing traditional jewelry, is how to marry personal artistic intent with traditional ideas, keeping the jewelry design essential and alive for today’s audience.

This may be trickier than it might first appear. To what degree should you reference the traditional design elements in your contemporary piece? Just the colors? The colors and the pattern? The materials?  The stitching, stringing or other techniques? The structural components, as well? How do you break down the traditional piece, in order to better understand it? And how do you use this understanding to figure out how and what you should manipulate, as you design and construct your contemporary piece?

If you walked into a Museum of Contemporary Art, you would find some things that were abstract, but other things that were realistic or impressionistic or surrealistic. You would find a lot of individualized expression – works associated with a particular artist, rather than a particular culture. You would find a wide use of modern materials and techniques and technologies. You would find unusual or especially noteworthy assemblages of pieces or materials or colors or textures. You would find pieces that in some way reflect modern culture and sensibilities – fashions, styles, purposes, statements. The exhibits would change on a regular basis, and you would also find something new and different to experience and marvel at each time.

Traditional Art, on the other hand, suppressed individualized expression. Instead, whatever the art form, traditional art emphasized a restatement of its cultural narrative. That is, artists, working within that cultural tradition, would use similar materials, similar designs, and similar motifs. The artwork was a symbolic representation of that culture’s values and self-image. The “doing of the artwork” was a reaffirmation of one’s place within that culture. Simply, if you did the same kinds of things in the same kinds of ways as everyone else, this reaffirmed your membership within that group and culture. And if you visited a Museum of Traditional Art, there would be many displays of wonderful, sometimes elaborate, pieces, but the exhibits would never have to change.

Approaches To Contemporizing Traditional Jewelry

There are many approaches jewelry designers use to contemporize traditional jewelry.   Some approaches rely on mimicking traditional visual styles, techniques and materials.   Some approaches rely on modifications.   Still others seek to reinterpret traditional elements or introduce new elements into traditional designs.    And yet other approaches attempt to create a completely different aesthetic starting from some traditional core.

I want to develop a very narrow, legitimate lane for what should be called “Contemporized”.   I want to differentiate the thinking and practice that underlies Contemporizing, from other things artists do when addressing traditional design in contemporary pieces.

The way these different approaches get defined in the literature can get very muddied, so I want to begin with some simple categorization before elaborating more on ideas about contemporizing traditional jewelry.    It is important to know how literal the artist should be.    It is equally as important to know how much of the artist’s hand should be reflected in the new piece.

APPROACHES TO ADDRESSING TRADITIONAL DESIGN IN CONTEMPORARY PIECES
APPROACH DESCRIPTION DEGREE NOW FROM THEN IS DIFFERENTIATED RISK FOR THE CONTEMPORARY DESIGNER
ARCHAEOLOGICAL Preserving the style and techniques of historic artisans, characterized by attention to duplicating and mimicking period styles, craftsmanship, and materials. All about what existed then, and what should be preserved. No risk
HISTORICISM Imitating or recreating the work of historic artisans, characterized by attention to accurate period detail and thinking.  Very literal.   If new elements are added, these do not compete with or overshadow the historic vernacular. Primarily about what was relevant then, and what should be imitated or copied now. Very little risk
REVIVAL (sometimes referred to as CLASSICAL) Begins with an existential or sentimental romanticism of feelings about lifestyles, beliefs, imagery, symbols, cultures strongly associated with a particular historic group, society or period.    Characterized by use of traditional themes, materials and styles based on inspirations from the past.   Mostly literal with opportunities for reinterpretation and expression. Often emphasizes some contrast between antiquity and modernity, industrial and hand-crafted, power now vs. power then, then and now. Some risk, but does not create a barrier or roadblock to design
DECONSTRUCTIVE Here the artist begins with traditional pieces, components and materials, and breaks them up to form new pieces, components and materials.   The new piece results from the parts of the old piece, but that is the only connection.   Nothing is literal; everything is reinterpreted. Emphasizes the now, not much of the then. High risk
CONTEMPORIZED The artist imbues the design with inspirations from a rich cultural past, but creates a piece that has the sense it belongs in contemporary time.   Characterized by how tradition is leveraged to conceive new ideas and forms. Emphasizes the now, sometimes with reference to the then, but not really a matter of differentiating now from then. Considerable risk, where artist substitutes his/her ideas and values for those extending from various traditions.

 

Archaeological Approach

 

Zoe Davidson recreated this Pictish Necklace (circa 600 AD) using original techniques and materials

 

The Archaeological Approach seeks to replicate and preserve the original ways of making jewelry and the original materials used to make them.   The goal is to bring to life how things were thought about and constructed back then for a new contemporary audience.    New techniques, technologies and materials are not introduced.   There is a purity of belief in the traditional craftsmanship, norms and values reflected in these pieces of jewelry.

Often the Archaeological Approach requires years of detective work.   There is a sense of urgency to rescue the past before it decays or fades away.

There is an accompanying assumption that this is what people who make and wear jewelry want to see happen today.    This assumption seems to bear out because so many people express some kind of connectedness to these pieces and how they were originally crafted.    They draw a line from the past to the present, and the clearer and cleaner that line is, the more legitimate the present seems to be.

 

Historicism

Castellani Jewelry Company, Italian, circa 1927, reproduction of Roman piece to commemorate historic occasion

 

Historicism seeks to recreate or imitate the work of artisans in past periods of time, culture and society.    There is great attention to accuracy of period detail.     They might use new materials or modern equipment and technique, but these should never replace or overshadow the historic visual vernacular and grammar.

Historicism may draw parallels between the then and the now, but these are not sentimentalized or romanticized, as in Revival or Classicism approaches.    In Historicism, the emphasis is on thoughts and reasons.   History is presented as an analogy between then and now.   It creates a logical linkage.  Characteristics are specific and shared.  (This is in contrast to Revival or Classicism, where the emphasis is on feeling).   In Historicism, the past is presented as metaphor for now.   As it was then, so it is now.   It creates a meaningful, felt linkage.   Characteristics are not necessarily literal, but are to be interpreted and experienced.   Again, in contrast to Historicism, Revival styles (discussed below) more easily and powerfully evoke emotions, which is one of the primary goals of artists.

Revival or Classicism

Isadoras, Etruscan Earrings, 2015, created with the look and flourishes of gold, metal work, granulation, turquoise stones strongly associated with Etruscan style and culture, but befitting current earring styles, as well

 

Revival or Classicism approaches reflect the influences of pivotal fashion eras.    The goal in Revival or Classicism styles is to evoke a personal emotional experience, rather than something that is learned from afar or as part of an intellectual exercise.   The romanticized experience is like a call to conversion or rebirth, with a radical change in one’s sense of identity and existence.   There is a sense of a revived spirit in relation to the standard, dull, repetitive and boring jewelry seen all over.   Often revival jewelry evokes a reaction against modern technology, materials and ways.   Sometimes there is a call or push to connect the present day to some glorious past.

Revival approaches begin with inspirations from traditional themes and jewelry.   The past is felt as a simpler and purer time, where the individual was much closer to the earth and the earth’s spirit.   Inspiration is coupled with the natural curiosity of peoples around the world, their events, and their pasts.    The jewelry is not only an opportunity to express a personal identify and emotion, but a chance to explore something other than the everyday mundane and routine.   There is always this underlying tension of comparison and contrast between the past and the present, the current situation and situations faced by others, the advantages and disadvantages of modern life and antiquity.

The use of hand-craft, rather than machine-craft, is highlighted, even when the pieces are actually manufactured by machine.   Jewelry is defined as art-centered and artist-centered, one-of-a-kind, again, in spite of the fact that it is often machine made and mass produced.

Revival approaches often capitalize on the use of representative motifs and symbols.   These are evocative elements.    Often they are anti-Industrial.   As often, they are used to either impose or ease restrictions upon the female form and expressions of sensuality.

Deconstructivism

    
Pieces by Walid, for CoutureLab, 2009

 

Deconstructivism tears apart old pieces, and repositions all the parts into a new design.    It is a play on evoking those feelings of connectedness and recognizability in the wearer, but forcing that wearer to redefine or somehow rethink those feelings in terms meaningful for this individual and at the moment or within a context.

Deconstructivism anticipates the shared understandings of its various audiences about what contemporized jewelry should reflect, which include,

 

a. An appreciation for hand-craft

  1. Equating things of wealth and value with elegance and status
  2. Disengagement from, then a new re-engagement with ideas and values
  3. Sense of eccentricity and individuality – uniqueness in a cookie-cutter era
  4. Ephemeral – Here today, gone tomorrow

 

Contemporizing

Etruscan Collar and Inspired Contemporary Pieces (Feld, 2012)

 Contemporizing traditional jewelry really has nothing to do with nostalgia for a bygone era.   It might reinterpret tradition, but not preserve it.    It may strategically utilize tradition and leverage something about it in the current context.    While contemporized jewelry designs may be imbued with inspirations and symbolism from a rich cultural past, the design is kept contemporary.   That means, the piece is seen as belonging in a contemporary time.

The contemporized traditional piece is conceived as a new idea with new forms emerging from the inspirations of an individual artist and with aspirations to be judged by various contemporary audiences as finished and successful.    The jewelry designer, in effect, is bringing together modern aesthetics with traditional craftmanship, to give a fresh outlook on contemporary individual and/or group culture.    The jewelry designer is using a visual grammar, partly rooted in tradition, to portray or reveal a different narrative.

The difficulty for the contemporizing artist is how to disconnect or divorce the wearer from the memories and traditions of the past, while still representing inspirations and influences of tradition within the piece.  The past provides a visual alphabet and a strong and established sense of legitimacy of meanings that is difficult to compete with and overcome.

The jewelry designer must address and manage all the identify issues people have when viewing and experiencing traditional designs, or contemporary designs with traditional components.    The ultimate goal is for the jewelry designer, through the design and implementation of the piece, to establish new ideas and meanings about identity, history, culture, the present, perspectives, challenges, moralities, values, and characterizations.    This involves recognizing and managing the shared understandings among various client groups.

Contemporizing Etruscan Jewelry:

Process and Application

Etruscan Collar (circa 300 B.C.)

I was contracted to do a series of workshops in Cortona, Italy regarding Contemporizing Etruscan Jewelry.    I began with examining several pieces of Etruscan jewelry.    For the Etruscans, jewelry was a display of wealth and a depository of someone’s wealth maintained and preserved as jewelry. Jewelry tended to be worn for very special occasions and was buried with the individual upon her or his death.  One piece, an Etruscan Collar, (see above), was one I immediately connected with.

The challenge, here for me, was to create a sophisticated, wearable, and attractive piece that exemplified concepts about contemporizing traditional jewelry.    I began to interpret and analyze it.

I first broke it down in terms of its Traditional Components.

The use of Traditional Components serves many functions. When the whole group uses the same design elements — materials, techniques, colors, patterns and the like — this reinforces a sense of membership and community. Often Traditional choices are limited by what materials are available and the existing technologies for manipulating them. Traditional choices also reflect style and fashion preferences, as well as functional prerequisites.

If you were contemporizing a traditional piece, the first thing you would need to do would be to re-interpret the piece – that is, decode it — in terms of its characteristics and parts.These are the kinds of things you the designer can control:colors, materials, shapes, scale, positioning, balance, proportions, # of elements, use of line/plane/point, silhouette, etc.

Traditional Components in our Traditional Etruscan Collar included:

Gold metal plates, pendants and chain. The use of metal, especially precious metal was important to the Etruscans. They had a strong preference for gold.

Linearity. In traditional work, there is often a regimented use of line and plane, with a greater comfort for simple straight lines and flat planes. The Etruscans did not often use many variations of the line, such as a wavy-line or spiral.

Predictable, regular, symmetrical sequencing and placement of rectangular metal objects, pendant drops, centered button clasp, and chain embellishment. Balance and symmetry are always key.

Flat. The surface is flat, and there is little here that intentionally pushes any boundaries with dimensionality.

Rigidity – seemed that, while it definitely makes a power statement, it would be uncomfortable to wear

Silhouette.  Brings attention to the wearer’s face. Traditional silhouettes were often drawn to the face.

Focal Point.   Often resorted to clearly defined and centered focal point.

Wire and metal working techniques. There were not many choices in stringing materials. Wire working, by creating links, rings, rivets, chains and connectors secured individual metal components.  The metal plates were created using repousse.

The designer would also try to surmise who, why and when someone might wear the piece.    A final assessment would be made about how finished and successful the Traditional piece would have been seen at the time it was made.

I researched what jewelry meant to the Etruscans, and how their jewelry compared to other societies around them.

There is considerable artistry and craftsmanship underlying Etruscan jewelry. They brought to their designs clever techniques of texturing, ornamentation, color, relief, filigree, granulation and geometric, floral and figurative patterning. While their techniques were borrowed from the Greeks and other Mediterranean cultures, the Etruscans perfected these to a level of sophistication not seen before, and not often even today.

While Roman law outlawed the wearing of more than one ring or more than ½ ounce of jewelry at any one time, the Romans loved their jewelry, and wore many pieces, in spite of this. Most Roman jewelry designs were rigid interpretations of Greek and Etruscan jewelry.

I reflected on what might it mean to contemporize these Etruscan and Roman pieces? In other words, how would we manipulate the design elements to end up with something that was contemporary, paid some kind of reference or homage to the traditional piece, and was also a satisfying work of art?

I designed each of these two contemporized pieces, each taking me in a slightly different direction in what it means to Contemporize Traditional Jewelry.   The Vestment is definitely more literal, with a mix of Revival and Contemporized approaches.    The Collar is more Contemporized.

Vestment, Feld, 2012

Materials: Japanese seed beads, cube beads, delicas, Swarovski 2mm rounds, 14KT findings, Lampwork glass bead, fireline cable thread

Two overlapping and staggered layers of Ndebele stitched strips

Etruscan Collar, Feld, 2012

Materials:  Japanese seed beads, cube beads, delicas, Swarovski 2mm rounds, 14KT findings, fireline cable thread

Two overlapping and staggered layers of Ndebele stitched strips

Detail

 

Detail

 

To contemporize the traditional Etruscan Collar, I wanted to:

Simplify design.  Reference the overall sense of the design, but simplify the overall appearance a bit. Contemporary pieces find that point of parsimony — not too many elements, not too few — that best evokes the power of jewelry to resonate.

Use contemporary materials. I wanted to use glass seed beads and cable threads, with the addition of gold ornamentation and clasp.

Make it more feminine. I wanted my piece to have a sexy-ness about it.

Give it a curvilinearity, rather than a flatness and straightness. Dimensionality and curvilinearity are very characteristic of Contemporary design.   Here two Ndebele bead woven strips are layered, overlapping and staggered to get a curved edge.

Coordinate color choices, but not feel forced to match them.

Challenge strict linearity.  Keep the general symmetry, but with a lighter hand – for example, overlapping, staggered layers that don’t conform as tightly to an outline boundary. I wanted less social conviction and more artistry and the representation of the artist’s hand.

To break the sense of rigidity and predictability, I used the Ndebele Stitch, which is very fluid with an unexpected patterning, and stitched two overlapped, staggered layers of beadwork together.

Use of simultaneity color effects.    The application of more involved color theories and tricks to create more of a sense of excitement, as well as more multi-dimensionality. There is a complex interplay of colors within either strip of Ndebele bead work, as well as between each strip, as one lays on top of the other.

Use of contemporary techniques.  The use of bead weaving techniques which result in a soft, malleable, piece that drapes well and moves well. The result with bead weaving is something much more cloth-like.

_____________________________________________________________

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?

_________________________________________________________

COPYRIGHT, FELD, 2019

 

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Contemporizing Traditional Jewelry

Posted by learntobead on January 31, 2019


CONTEMPORIZING TRADITIONAL JEWELRY:

Transitioning From Conformity To Individuality

by Warren Feld, Jewelry Designer

    
Etruscan Collar and Inspired Contemporary Pieces

Abstract
Many people, jewelry designers among them, draw inspirations from traditional jewelry styles.   The common inspirational thread here is a feeling of connectedness, coupled with a desire to feel connected.   But the core issue for jewelry designers today, striving to achieve jewelry which is more contemporary than merely a replay or reworking of traditional preferences and styles, is how to contemporize it.      That is, how to construct ideas into objects, challenge history and culture, produce that which is in opposition to standardization and monotony.    Contemporizing Traditional Jewelry has to do with how designers take these particular traditional forms and techniques, and both add in their personal style, as well as make them more relevant to today’s sense of fashion, style and individuality or personal expression. The challenge for the designer, when contemporizing traditional jewelry, is how to marry personal artistic intent with traditional ideas, keeping the jewelry design essential and alive for today’s audience.

CONTEMPORIZING TRADITIONAL JEWELRY:
Transitioning From Conformity To Individuality

Many people, jewelry designers among them, draw inspirations from traditional jewelry styles.   These styles could be ancient, like those of Egypt, Peru, Persia, India and China.    These styles could be more recent, like those of Art Deco, Art Nouveau, and Modern.    These styles could be primitive, like those of tribal cultures in the rain forests of Brazil or the savannas of Africa or the Native American traditions in North, Central and South America.

The common inspirational thread here is a feeling of connectedness, coupled with a desire to feel connected.    These styles strongly reflect particular premises, cultures, moralities, characters, and perspectives.    People not only identify and connect with these, but use these style traits – almost ideologies – to explain and position themselves within the larger social contexts in which they find themselves.

Traditions represent reasons.    Reasons justify everyday life.   These reasons are the conditions and shared understandings necessary to regulate ideas, to generate opportunities for success, and to minimize the risk that comes from making choices about what to do next.    Traditions justify thought and action, and because many people share these traditional understandings, living life becomes safer, easier, clearer.    Traditions help people to understand each other and predict their behaviors.  Traditions are often expressed within the designs of jewelry.

Jewelry, then, often signifies certain traditions through imitation or reference, and when mirroring them, reaffirms the wearer’s thoughts, actions, self-identity, and self-reflection.   Jewelry design which recognizes tradition feels more understandable.   It feels safer and less risky to say out loud that it is beautiful, knowing that others will think so, too.   It is no wonder that many jewelers resort to traditional forms and themes of expression, traditional techniques, traditional materials, traditional uses of color, texture, pattern, point, line, plane and shape.    It feels like a short-cut to success.

But the issue for jewelry designers today, striving to achieve jewelry which is more contemporary than merely a replay or reworking of traditional preferences and styles, is how to contemporize it.      That is, how to construct ideas into objects, challenge history and culture, produce that which is in opposition to standardization and monotony.    Contemporizing Traditional Jewelry makes sense because this mirrors how most people live their lives today.   They adhere less rigidly to societal and cultural norms, and moreso create their own.  Jewelry, and its identify-reconfirming role it plays for the wearer, should reflect this.

The contemporary jewelry designer who wants to incorporate traditional elements or styles in some way, must come to grips with…

  1. How Traditional jewelry differs from Contemporary Jewelry
  2. Why so many people draw inspirations and connectedness to traditional styles
  3. How literal the designer should be when contemporizing a traditional piece

 

Contemporizing Traditional Jewelry

Contemporizing Traditional Jewelry has to do with how you take these particular traditional forms and techniques, and add both your personal style to the pieces, as well as make them more relevant to today’s sense of fashion, style and individuality or personal expression. The challenge for the designer, when contemporizing traditional jewelry, is how to marry personal artistic intent with traditional ideas, keeping the jewelry design essential and alive for today’s audience.

This may be trickier than it might first appear. To what degree should you reference the traditional design elements in your contemporary piece? Just the colors? The colors and the pattern? The materials?  The stitching, stringing or other techniques? The structural components, as well? How do you break down the traditional piece, in order to better understand it? And how do you use this understanding to figure out how and what you should manipulate, as you design and construct your contemporary piece?

If you walked into a Museum of Contemporary Art, you would find some things that were abstract, but other things that were realistic or impressionistic or surrealistic. You would find a lot of individualized expression – works associated with a particular artist, rather than a particular culture. You would find a wide use of modern materials and techniques and technologies. You would find unusual or especially noteworthy assemblages of pieces or materials or colors or textures. You would find pieces that in some way reflect modern culture and sensibilities – fashions, styles, purposes, statements. The exhibits would change on a regular basis, and you would also find something new and different to experience and marvel at each time.

Traditional Art, on the other hand, suppressed individualized expression. Instead, whatever the art form, traditional art emphasized a restatement of its cultural narrative. That is, artists, working within that cultural tradition, would use similar materials, similar designs, and similar motifs. The artwork was a symbolic representation of that culture’s values and self-image. The “doing of the artwork” was a reaffirmation of one’s place within that culture. Simply, if you did the same kinds of things in the same kinds of ways as everyone else, this reaffirmed your membership within that group and culture. And if you visited a Museum of Traditional Art, there would be many displays of wonderful, sometimes elaborate, pieces, but the exhibits would never have to change.

Approaches To Contemporizing Traditional Jewelry

There are many approaches jewelry designers use to contemporize traditional jewelry.   Some approaches rely on mimicking traditional visual styles, techniques and materials.   Some approaches rely on modifications.   Still others seek to reinterpret traditional elements or introduce new elements into traditional designs.    And yet other approaches attempt to create a completely different aesthetic starting from some traditional core.

I want to develop a very narrow, legitimate lane for what should be called “Contemporized”.   I want to differentiate the thinking and practice that underlies Contemporizing, from other things artists do when addressing traditional design in contemporary pieces.

The way these different approaches get defined in the literature can get very muddied, so I want to begin with some simple categorization before elaborating more on ideas about contemporizing traditional jewelry.    It is important to know how literal the artist should be.    It is equally as important to know how much of the artist’s hand should be reflected in the new piece.

APPROACHES TO ADDRESSING TRADITIONAL DESIGN IN CONTEMPORARY PIECES
APPROACH DESCRIPTION DEGREE NOW FROM THEN IS DIFFERENTIATED RISK FOR THE CONTEMPORARY DESIGNER
ARCHAEOLOGICAL Preserving the style and techniques of historic artisans, characterized by attention to duplicating and mimicking period styles, craftsmanship, and materials. All about what existed then, and what should be preserved. No risk
HISTORICISM Imitating or recreating the work of historic artisans, characterized by attention to accurate period detail and thinking.  Very literal.   If new elements are added, these do not compete with or overshadow the historic vernacular. Primarily about what was relevant then, and what should be imitated or copied now. Very little risk
REVIVAL (sometimes referred to as CLASSICAL) Begins with an existential or sentimental romanticism of feelings about lifestyles, beliefs, imagery, symbols, cultures strongly associated with a particular historic group, society or period.    Characterized by use of traditional themes, materials and styles based on inspirations from the past.   Mostly literal with opportunities for reinterpretation and expression. Often emphasizes some contrast between antiquity and modernity, industrial and hand-crafted, power now vs. power then, then and now. Some risk, but does not create a barrier or roadblock to design
DECONSTRUCTIVE Here the artist begins with traditional pieces, components and materials, and breaks them up to form new pieces, components and materials.   The new piece results from the parts of the old piece, but that is the only connection.   Nothing is literal; everything is reinterpreted. Emphasizes the now, not much of the then. High risk
CONTEMPORIZED The artist imbues the design with inspirations from a rich cultural past, but creates a piece that has the sense it belongs in contemporary time.   Characterized by how tradition is leveraged to conceive new ideas and forms. Emphasizes the now, sometimes with reference to the then, but not really a matter of differentiating now from then. Considerable risk, where artist substitutes his/her ideas and values for those extending from various traditions.

 

Archaeological Approach


Zoe Davidson recreated this Pictish Necklace (circa 600 AD) using original techniques and materials


The Archaeological Approach seeks to replicate and preserve the original ways of making jewelry and the original materials used to make them.   The goal is to bring to life how things were thought about and constructed back then for a new contemporary audience.    New techniques, technologies and materials are not introduced.   There is a purity of belief in the traditional craftsmanship, norms and values reflected in these pieces of jewelry.

Often the Archaeological Approach requires years of detective work.   There is a sense of urgency to rescue the past before it decays or fades away.

There is an accompanying assumption that this is what people who make and wear jewelry want to see happen today.    This assumption seems to bear out because so many people express some kind of connectedness to these pieces and how they were originally crafted.    They draw a line from the past to the present, and the clearer and cleaner that line is, the more legitimate the present seems to be.

Historicism

Castellani Jewelry Company, Italian, circa 1927, reproduction of Roman piece to commemorate historic occasion


Historicism seeks to recreate or imitate the work of artisans in past periods of time, culture and society.    There is great attention to accuracy of period detail.     They might use new materials or modern equipment and technique, but these should never replace or overshadow the historic visual vernacular and grammar.

Historicism may draw parallels between the then and the now, but these are not sentimentalized or romanticized, as in Revival or Classicism approaches.    In Historicism, the emphasis is on thoughts and reasons.   History is presented as an analogy between then and now.   It creates a logical linkage.  Characteristics are specific and shared.  (This is in contrast to Revival or Classicism, where the emphasis is on feeling).   In Historicism, the past is presented as metaphor for now.   As it was then, so it is now.   It creates a meaningful, felt linkage.   Characteristics are not necessarily literal, but are to be interpreted and experienced.   Again, in contrast to Historicism, Revival styles (discussed below) more easily and powerfully evoke emotions, which is one of the primary goals of artists.

Revival or Classicism

Isadoras, Etruscan Earrings, 2015, created with the look and flourishes of gold, metal work, granulation, turquoise stones strongly associated with Etruscan style and culture, but befitting current earring styles, as well


Revival or Classicism approaches reflect the influences of pivotal fashion eras.    The goal in Revival or Classicism styles is to evoke a personal emotional experience, rather than something that is learned from afar or as part of an intellectual exercise.   The romanticized experience is like a call to conversion or rebirth, with a radical change in one’s sense of identity and existence.   There is a sense of a revived spirit in relation to the standard, dull, repetitive and boring jewelry seen all over.   Often revival jewelry evokes a reaction against modern technology, materials and ways.   Sometimes there is a call or push to connect the present day to some glorious past.

Revival approaches begin with inspirations from traditional themes and jewelry.   The past is felt as a simpler and purer time, where the individual was much closer to the earth and the earth’s spirit.   Inspiration is coupled with the natural curiosity of peoples around the world, their events, and their pasts.    The jewelry is not only an opportunity to express a personal identify and emotion, but a chance to explore something other than the everyday mundane and routine.   There is always this underlying tension of comparison and contrast between the past and the present, the current situation and situations faced by others, the advantages and disadvantages of modern life and antiquity.

The use of hand-craft, rather than machine-craft, is highlighted, even when the pieces are actually manufactured by machine.   Jewelry is defined as art-centered and artist-centered, one-of-a-kind, again, in spite of the fact that it is often machine made and mass produced.

Revival approaches often capitalize on the use of representative motifs and symbols.   These are evocative elements.    Often they are anti-Industrial.   As often, they are used to either impose or ease restrictions upon the female form and expressions of sensuality.

Deconstructivism

    
Pieces by Walid, for CoutureLab, 2009


Deconstructivism tears apart old pieces, and repositions all the parts into a new design.    It is a play on evoking those feelings of connectedness and recognizability in the wearer, but forcing that wearer to redefine or somehow rethink those feelings in terms meaningful for this individual and at the moment or within a context.

Deconstructivism anticipates the shared understandings of its various audiences about what contemporized jewelry should reflect, which include,

a. An appreciation for hand-craft

  1. Equating things of wealth and value with elegance and status
  2. Disengagement from, then a new re-engagement with ideas and values
  3. Sense of eccentricity and individuality – uniqueness in a cookie-cutter era
  4. Ephemeral – Here today, gone tomorrow

 

Contemporizing

Etruscan Collar and Inspired Contemporary Pieces (Feld, 2012)

 Contemporizing traditional jewelry really has nothing to do with nostalgia for a bygone era.   It might reinterpret tradition, but not preserve it.    It may strategically utilize tradition and leverage something about it in the current context.    While contemporized jewelry designs may be imbued with inspirations and symbolism from a rich cultural past, the design is kept contemporary.   That means, the piece is seen as belonging in a contemporary time.

The contemporized traditional piece is conceived as a new idea with new forms emerging from the inspirations of an individual artist and with aspirations to be judged by various contemporary audiences as finished and successful.    The jewelry designer, in effect, is bringing together modern aesthetics with traditional craftmanship, to give a fresh outlook on contemporary individual and/or group culture.    The jewelry designer is using a visual grammar, partly rooted in tradition, to portray or reveal a different narrative.

The difficulty for the contemporizing artist is how to disconnect or divorce the wearer from the memories and traditions of the past, while still representing inspirations and influences of tradition within the piece.  The past provides a visual alphabet and a strong and established sense of legitimacy of meanings that is difficult to compete with and overcome.

The jewelry designer must address and manage all the identify issues people have when viewing and experiencing traditional designs, or contemporary designs with traditional components.    The ultimate goal is for the jewelry designer, through the design and implementation of the piece, to establish new ideas and meanings about identity, history, culture, the present, perspectives, challenges, moralities, values, and characterizations.    This involves recognizing and managing the shared understandings among various client groups.

Contemporizing Etruscan Jewelry:
Process and Application


Etruscan Collar (circa 300 B.C.)

I was contracted to do a series of workshops in Cortona, Italy regarding Contemporizing Etruscan Jewelry.    I began with examining several pieces of Etruscan jewelry.    For the Etruscans, jewelry was a display of wealth and a depository of someone’s wealth maintained and preserved as jewelry. Jewelry tended to be worn for very special occasions and was buried with the individual upon her or his death.  One piece, an Etruscan Collar, (see above), was one I immediately connected with.

The challenge, here for me, was to create a sophisticated, wearable, and attractive piece that exemplified concepts about contemporizing traditional jewelry.    I began to interpret and analyze it.

I first broke it down in terms of its Traditional Components.

The use of Traditional Components serves many functions. When the whole group uses the same design elements — materials, techniques, colors, patterns and the like — this reinforces a sense of membership and community. Often Traditional choices are limited by what materials are available and the existing technologies for manipulating them. Traditional choices also reflect style and fashion preferences, as well as functional prerequisites.

If you were contemporizing a traditional piece, the first thing you would need to do would be to re-interpret the piece – that is, decode it — in terms of its characteristics and parts.These are the kinds of things you the designer can control:colors, materials, shapes, scale, positioning, balance, proportions, # of elements, use of line/plane/point, silhouette, etc.
Traditional Components in our Traditional Etruscan Collar included:
Gold metal plates, pendants and chain. The use of metal, especially precious metal was important to the Etruscans. They had a strong preference for gold.
Linearity. In traditional work, there is often a regimented use of line and plane, with a greater comfort for simple straight lines and flat planes. The Etruscans did not often use many variations of the line, such as a wavy-line or spiral.
Predictable, regular, symmetrical sequencing and placement of rectangular metal objects, pendant drops, centered button clasp, and chain embellishment. Balance and symmetry are always key.
Flat. The surface is flat, and there is little here that intentionally pushes any boundaries with dimensionality.
Rigidity – seemed that, while it definitely makes a power statement, it would be uncomfortable to wear
Silhouette.  Brings attention to the wearer’s face. Traditional silhouettes were often drawn to the face.
Focal Point.   Often resorted to clearly defined and centered focal point.
Wire and metal working techniques. There were not many choices in stringing materials. Wire working, by creating links, rings, rivets, chains and connectors secured individual metal components.  The metal plates were created using repousse.
The designer would also try to surmise who, why and when someone might wear the piece.    A final assessment would be made about how finished and successful the Traditional piece would have been seen at the time it was made.
I researched what jewelry meant to the Etruscans, and how their jewelry compared to other societies around them.
There is considerable artistry and craftsmanship underlying Etruscan jewelry. They brought to their designs clever techniques of texturing, ornamentation, color, relief, filigree, granulation and geometric, floral and figurative patterning. While their techniques were borrowed from the Greeks and other Mediterranean cultures, the Etruscans perfected these to a level of sophistication not seen before, and not often even today.
While Roman law outlawed the wearing of more than one ring or more than ½ ounce of jewelry at any one time, the Romans loved their jewelry, and wore many pieces, in spite of this. Most Roman jewelry designs were rigid interpretations of Greek and Etruscan jewelry.
I reflected on what might it mean to contemporize these Etruscan and Roman pieces? In other words, how would we manipulate the design elements to end up with something that was contemporary, paid some kind of reference or homage to the traditional piece, and was also a satisfying work of art?
I designed each of these two contemporized pieces, each taking me in a slightly different direction in what it means to Contemporize Traditional Jewelry.   The Vestment is definitely more literal, with a mix of Revival and Contemporized approaches.    The Collar is more Contemporized.


Vestment, Feld, 2012
Materials: Japanese seed beads, cube beads, delicas, Swarovski 2mm rounds, 14KT findings, Lampwork glass bead, fireline cable thread
Two overlapping and staggered layers of Ndebele stitched strips

Etruscan Collar, Feld, 2012
Materials:  Japanese seed beads, cube beads, delicas, Swarovski 2mm rounds, 14KT findings, fireline cable thread
Two overlapping and staggered layers of Ndebele stitched strips

Detail
 
Detail


To contemporize the traditional Etruscan Collar, I wanted to:

Simplify design.  Reference the overall sense of the design, but simplify the overall appearance a bit. Contemporary pieces find that point of parsimony — not too many elements, not too few — that best evokes the power of jewelry to resonate.

Use contemporary materials. I wanted to use glass seed beads and cable threads, with the addition of gold ornamentation and clasp.

Make it more feminine. I wanted my piece to have a sexy-ness about it.

Give it a curvilinearity, rather than a flatness and straightness. Dimensionality and curvilinearity are very characteristic of Contemporary design.   Here two Ndebele bead woven strips are layered, overlapping and staggered to get a curved edge.

Coordinate color choices, but not feel forced to match them.

Challenge strict linearity.  Keep the general symmetry, but with a lighter hand – for example, overlapping, staggered layers that don’t conform as tightly to an outline boundary. I wanted less social conviction and more artistry and the representation of the artist’s hand.

To break the sense of rigidity and predictability, I used the Ndebele Stitch, which is very fluid with an unexpected patterning, and stitched two overlapped, staggered layers of beadwork together.

Use of simultaneity color effects.    The application of more involved color theories and tricks to create more of a sense of excitement, as well as more multi-dimensionality. There is a complex interplay of colors within either strip of Ndebele bead work, as well as between each strip, as one lays on top of the other.

Use of contemporary techniques.  The use of bead weaving techniques which result in a soft, malleable, piece that drapes well and moves well. The result with bead weaving is something much more cloth-like.

_____________________________________________________________
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?
_________________________________________________________

COPYRIGHT, FELD, 2019

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RETHINKING THE TEACHING OF “COLOR” IN JEWELRY DESIGN or, HOW JEWELRY DESIGNERS SHOULD APPROACH COLOR by Warren Feld, Jewelry Designer

Posted by learntobead on May 31, 2018



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An Article For You from Land of Odds-Be Dazzled Beads by Warren Feld, 2018


RETHINKING THE TEACHING OF “COLOR” IN JEWELRY DESIGN
or,

HOW JEWELRY DESIGNERS SHOULD APPROACH COLOR


by Warren Feld, Jewelry Designer

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Abstract

Color is the single most important Design Element, whether used alone, or in combination with other Design Elements.    Yet, the bead, and its use in jewelry,  – its very being – creates a series of dilemmas for the colorist.    And each dilemma is only overcome through strategically making choices about color and design.  This article reviews the basic concepts in color theory and suggests how to adapt each of these to the special requirements of beads and jewelry.   This paper seeks to answer how the bead (and its use in jewelry) asserts its need for color.   Special attention is paid to differentiating those aspects of color use we can consider as objective and universal from those which are not.    The fluent designer is one who can maneuver between universality and individuality when selecting and implementing colors, color combinations and color blends.

 
 

RETHINKING THE TEACHING OF “COLOR” IN JEWELRY DESIGN

 
Color is the single most important Design Element.   Color concepts and theories form a language about how to best make choices about picking and using colors for universally attracting and involving both the wearer and the viewer.   The artist who is fluent in design will be very aware of how the bead and other materials assert their needs for color, and how to strategically compose, construct and manipulate them.
 
I’m always thrilled when someone tells me “I never thought of using those colors before, …But they work!”    I like to push the envelop with color, and incorporate some subtle tricks such as the use of “grays”, the selection of tertiary or “just-off” colors, the strategic use of color proportions, and the combinations of finishes and effects which often don’t get combined, but, from a color-theorist’s perspective, can be made to work, and made to work quite well.    As my friend Vera always tells me, “You have a way of using a lot of “pukey” colors, and making something spectacularly beautiful with them.”
 
But I also have this tendency, that I keep having to fight, to want to “paint” with the beads.   Painting with beads doesn’t work.  The colors don’t blend, don’t merge, don’t spill over, don’t integrate.    You can’t create the millions of subtle color variations that you can with paint.    Plus the beads are curved or faceted or otherwise shaped, and the shape and texture and dimensionality affects the color, its variation and its placement and movement on the beads surface.  They affect how light reflects and refracts, so depending on the angle at which you are standing, and how you are looking at the bead, you get some unexpected, unanticipated, sometimes unwanted colors in your piece of jewelry.   There are many gaps of light between each pair of beads, and you can’t paint these in.
 
So, when I plan a piece or visualize it in my mind, I have to fight this tendency to see things as a painter, or approach design from a painterly way.    It doesn’t work well.   You need to bring an understanding of both color and beads, not just color, to the project.   You need to understand how the bead asserts its need for color.   Contemplate.    You need to approach the subject of color as a jewelry designer who uses beads, not a painter who uses paints.   Additionally, you need to anticipate how the bead, when worn, can alter its color, depending on the source of light, the type and pace of movement of the wearer, and how the eye interacts with the bead at any point of time or positioning.
 
 
Beaders should not be afraid of colors, but should embrace them.  They should learn insights into understanding colors.  They should be inspired by colors.   They should express their artistic and creative selves through color.    They should use color palettes to their fullest.
 
In some sense, however, the approaches of most bead artists and jewelry designers are still somewhat painterly – too routed in the Art Model.    The Art Model ignores things about functionality and context.    It diminishes the individuality of the designer, and the subjective responses of the wearer and viewer.   As a result, color theories get oversimplified for the jewelry artist.   “Value” is barely differentiated from “Intensity”.   Color selection focuses too much on harmony, and too little on edginess.  It too often steers jewelry designers towards a step-by-step, paint-by-number sort of approach to color selection and application.   The co-dependent relationship between Color and other Design Elements is downplayed and glossed over.    This is a major disservice.
 
So, I’ve tried to re-think how we could and should teach “color” to jewelry artists.     Not easy.   Art and Design Theory suggests that, in order to teach designers to make good choices, we need to break down color concepts and theories into teachable and digestible groups of skills.    And then show how the next set of skills builds upon the first.    We need to show jewelry artists what kinds of choices they will be making as they create pieces of jewelry, and then put them in situations where they are forced to make these kinds of choices.     We need to think of colors as “building blocks”, and the process of using colors, as one of creative construction.  
 
We need to add a sense of realism and practicality to what we teach.   I doubt most beaders and jewelry makers start with the Color Wheel or Color Schemes when they pick their colors.    They start with colors they like, and then keep tweaking them until they feel the mix of colors are right.    So we should add some behavioral reality to how we teach about color and how we teach how/when/why to use the Color Wheel and Color Schemes.
 
So, that’s where we’ll begin with color:   Delineating the types of choices that the jewelry artist needs to make, starting with choices about picking colors.
 
 
 
Picking Colors

 
There are many different kinds of choices involved, when using Color:

Choices about colors based on our understanding of…

– Personal strategies for picking colors or finding inspirations for colors
– Color theories and concepts
– How the bead asserts its needs for color
– How color affects the viewers of color
– Designing jewelry with color
– The situation or context within which the jewelry is to be worn
 
 
How do you actually go about picking your colors, and then deciding on your final colors for your piece?   What kinds of things influence you in choosing colors?   What inspires you?   Where do you look for inspiration?    Do you have favorite colors and color combinations?    Or colors and color combinations that you detest?
 
 
Most people pick colors a little like they pick lottery tickets – they rely on a random numbers generator, OR, choose the same numbers like birth dates over and over again, OR use some kind of mystical “system”, the logical basis of which is never quite fully known and seems too good to be true.
 
Picking colors is about making strategic choices.   And picking Bead Colors is about understanding how the bead (and other materials) asserts its needs for color.
 

[If you are in your bead or jewelry making room, you might pause a few minutes, and go pick out three colors of beads that you feel go together well.    Try to be very conscious of why you picked them.    

 
Then pick a fourth color that you think goes with the first three.   

 
Take away one of the four colors, and see if you like a combination of 3 better than that of 4, or better than any other combination of 3.   Re-arrange the order of the cords.   Make a difference in how you like them?   

 
Try to think about why you prefer one combination or arrangement over another.]

 

 
 
Recently, I asked three of my students to pick 3 colors, and then a fourth.  One student picked pink and light purple colors.    She explained that these colors were bright and matched everything she wore.    Her mom had made her wear dark navy clothes, and only dark navy clothes, when she was a girl, so as an adult, she picked colors as different from navy as she could get.   
 
Another student had been up all the previous night making Easter-themed gifts for the customers of a store she worked at.    At class, she picked pastel pink, pastel purple and pastel green, as her first 3 colors.    At first, she said these were colors she liked, and they were very spring-like.   But after thinking how she had lived with these colors for the past 24 hours, she remarked that these were the colors on her brain, and that’s probably why she picked them.   
 
The third student picked colors with high contrast, and, searched for a fourth color that would tone them down or balance them off.   One color was Capri silver lined, and a 2nd was a metallic hot coral pink.   Her additional colors were gold and brown.    She did a lot of ballroom dancing and made her own costumes.   Her choice of colors anticipated what she felt she needed for these costumes.    She discussed at length how the costumes moved as she danced, and what her goals for color and bead embellishment were, given the movement.
 
I know I like to pick one or two colors to begin with, and then tweak them.    Based on my knowledge of the Color Wheel and Color Schemes, I might pull another 5 or 6 colors.    Then I narrow my choices.  I play with different shades and tones of these colors.  I rearrange the order of them.   I reposition their orientation – horizontal, vertical, diagonal.   I test whether an AB-effect (or other effects or finishes) works with or against my developing ideas.    As I settle in with a more limited number of colors, I try to play with proportions.    At this point, I start to lay out the beads into some kind of design and arrangement.
 


About Yellow

The great colorist debates about yellow in the latter part of the 19th century were whether urine could be a component, and if so, who’s.    People do have a lot of time on their hands.  
 
Tales from Pakistan and India told of secret animal urine added to the spice turmeric to create the basis of yellow pigment.   This was difficult to duplicate.   Camel or Cow or, Please-Don’t-Say-Human?   One scientist happened upon a farm in India that made this “puree of India”.   Here the cows were fed mangos, and their urine was very yellow.    But there were not enough cows to account for all the yellow pigment available in India at the time.    Whatever the recipe, production ceased around 1908, in favor of other methods.
 
Yellow is an attention getter.    It is often used to signal “caution”, as in a yield sign, or as in the “yellow” in yellow fever.    People lose their tempers more often in yellow rooms, and babies cry more.
 
I know I’m yellow-phobic, and, am not alone.    I can only use it in small doses. 
 

 
 
 
 
 
 
 
Color Choices

 
Choosing Colors is an involved exercise.     Most people avoid this kind of exercise, and settle for a set of colors that match.    But, in design terms, Colors are used by the designer to clarify and intensify the effects she or he wants to achieve.  
 
What does it mean to “clarify and intensify” the effects you might want to achieve?   For example, the artist may use color to clarify and/or intensify any of these kinds of things…

 
– delineation of segments, forms, themes, areas
– expressions of  naturalism or abstraction
– enhancing the sense of structure or physicality (forward/recede; emphasize mass or lines or surfaces or points)
– playing with light   (surprise, distort, challenge, contradict, provoke)
– altering the natural relationship between the jewelry and the situation it is worn in  (context, clothing, setting)
 
Color is the primary Design Element designers choose to express their intent, establish unity, create rhythm, set movement and dimensionality in place, enhance shape, make points, lines and planes come alive, and the like.    Alas, too few people apply this kind of thinking and make this kind of effort when choosing colors.
 
One designer I know – Jenna – spends an agonizingly amount of time trying to match colors within her pieces, but never tries to clarify and intensify her jewelry.    Her necklaces and bracelets are strings of matched colors.    Anyone could have strung them.  Anyone can wear them.   No one wearing them should expect to attract the kinds of compliments, interest and attention a well-designed piece should command.    These are pieces of jewelry best viewed through cataract’d eyes.    Acceptable, yet not appealing.    Wearable, but not exciting.   Matching, yet not wowing.   
 
We refer to her jewelry, with some sarcastic bite, as “Old Lady” jewelry – jewelry for older ladies who were used to having someone else make the decisions about color and design for them.    Older ladies who settled for blander necklaces which were not threatening, and jewelry which did not enhance or detract from their identities and places in the social scheme of things.   Adornment without emotion.     Art without intent.   
 
Jenna could have done lots of things with color, though she didn’t.   She could have delineated segments within the piece and establish a rhythm.   She could have selected colors which emphasize a naturalism, or conversely an abstraction.   Colors recede, project forward, have warmth, are cold, have tensions between mass, line and point, surprise, distort, challenge, contradict, provoke.   Colors intentionally designed can even alter the natural relationship between jewelry and the situation it’s worn in.  
Jenna did none of this.  
 
Annisette was a slave to fashion colors.     On her web-blog, she bookmarked every reference she could find to the current fashion colors for Spring, then for Summer, then for Autumn, then for Winter, and once again for Spring.    She was determined to make and sell jewelry that was up-to-date and current.    Never mind that different fashion magazines and other fashion sources often disagreed on what were the “IT” colors of the moment.   Annisette would usually pick one, just because.    
 
In reality, while some people follow color trends, most do not.   Most people wear similar colors from year to year.   They don’t change much.    And while fashion excitement might originate in New York and Los Angeles, it doesn’t necessarily trickle down to anywhere else.
 
For myself, I know that as I start to play with my design arrangements, I also begin to identify potential color issues.    Designs are imperfect.   Beads are imperfect.  Colors are imperfect.   With each issue, I try to figure out solutions – other things I can do with colors to make everything work.   My choices begin with scientifically proven color theories – shared universals that virtually everyone has about picking colors.   In literacy terminology, this is called decoding. Then I begin to personalize my choices so that my results show more of my individuality as an artist.   Some of these latter choices do not necessarily reflect shared universal understandings about color and its use.   In literacy terminology, my ability to move back and forth between the objective and subjective is called fluency.
 
 


About Red


 
Red is emotionally intense, full of itself, causing the heart to beat faster and the lungs to breathe faster, as well.   Red can be an extreme color.  
 
The ancient Egyptians wrote their curse-words in red ink.   I guess now we know that ancient Egyptians had curse-words.  
 
Red can evoke love, and anger.    Red can indicate a person (or people) is in control, and challenge others to question that control.  
 
Red can be destructive, as well as signify re-birth.    Red stimulates appetite.   Red does a lot – a lot of extreme things.
 
I like working with red to a point.    But I’m uncomfortable sitting in an entirely red room.
 

 
 
 
Bead Choices

 
The bead – its very being – creates as series of dilemmas for the colorist.    And each dilemma is only overcome through strategically making choices about color and design.

Such dilemmas include things like…

 

  • Beads are not the same as using paints
  • Can’t blend beads
  • Boundary issues
  • Issues associated with shapes, faceting, edges, crevices
  • Limits in the range of colors (and color tones) you can pick from
  • Issues associated with the fact that jewelry as worn, takes many shapes/positions, as the person moves, and the color appearance may change or vary
  • Beads are parts in whole compositions, and juxtaposition of 2 or more beads may change or vary the colors’ appearance
  • Jumping from bead to bead within the composition, means the viewer’s mind has to fill in where there are gaps of color to give the illusion there is a continuance of color throughout the composition
     

 
Yet most people do not recognize or anticipate these kinds of dilemmas.    They ignore the bead, instead of contemplating it.   The bead is a spiritual void, without much impact or consequence.    They look at color wheels, read color guides, and rely on a Pantone’d world – “from Pantone [1], the world-renowned authority on colour and provider of colour systems and leading technology for the selection and accurate communication”.    Each season’s fashion colors are reduced to Pantone codes, and beads are forced to conform to Pantone.   But this never works out well.
 
The bead is reduced to a flat circle in a diagram or in a photo.    It’s colored in with Crayola pencils or jet-dry inks.    It is static on the page.   Lifeless.   It makes no shifts.   The spaces between beads are white and show no shadows.    The threads are shown as lines at the beginning and end of the piece, and maybe a dotted line, if any, through the beads as they line up and progress along.   The bead is a monolith.    It’s trapped in a spatial odyssey, computer-designed, and reduced to a 1 and 0, Yes and No, black and white.   
 
So, when someone like Esther, always chooses blue, she does the bead a disservice, almost a put-down.   Blue, for Esther, is a safe choice, but it’s not necessarily a designed choice.   And it’s not a choice about beads.
 
Beads are not paints.  They are not inks, or colored pencils or magic markers.    You can blend paints, and inks and stains.   You can’t blend beads.   Beads do not come in every color.    Bead colors do not necessarily coordinate with similar palettes and in tones, shades or tints.
 
Beads have boundaries.   They have curvatures, other shaping, faceting, edges, crevices.
 
Beads reflect and refract light, and this reflection and refraction changes as the wearer moves from space to space, lighting to lighting, shade to shadow, angle and perspective to another angle and perspective.
 
Beads are parts in whole compositions.    The sum of the parts may not add up to the value of the whole.
 
Jumping from bead to bead within the composition – almost like your mind/eye jumping off a cliff — means the viewer’s mind has to fill in where there are gaps of color and light.   This requires some work.   It is effort.   What color choices – selections, combinations, arrangements — would motivate the person to be actually willing to jump off a cliff?   How many people will have the necessary energy it will take to intellectually work their way through a composition of beads, so that they can make sense of it and appreciate it?    That means filling in the gaps of light with color.    That means responding to all the myriad color choices – good, bad, incomplete, redundant or indifferent — in the composition.   Jewelry has to be really special to have this kind of motivating power.
 
And jewelry must be appreciated as it is worn.   That means the colors must be appreciated as well – as the person moves up and down, and side to side, and back and forth, and cattycorner to cattycorner.    The jewelry and its associated colors have to maintain their “power and appeal”, no matter what.   No matter if the person is working at a desk.  No matter if the person is dancing on the dance floor.   No matter if the person is negotiating a contract.  No matter if the person slips on a banana peel.

 


About Blue


 
It’s always disturbed me that there are virtually no blue fruits and vegetables.   Blue is so calming.   Did Nature not want us to be calm when we ate fruits and vegetables?    Blue is so In Nature, but seems so out of it as well.   The contradiction is disturbing.   The skies are blue, the ocean is blue, some flowers are blue.   Yet when we hear of a blue lobster or blue spider monkey, we are somehow surprised and taken aback by their “blue-ness”.    Don’t they have a right to be blue?   Shouldn’t we be calm about it?
 
Blue is the most popular color for fashion.    It shows loyalty, honesty, calmness, reliability.     It should come as no surprise – although it did to me – that people are most productive in rooms that are painted blue.     Even weight lifters can lift heavier weights in blue settings, than in non-blue settings.    Have you checked the color of the walls at your local gym lately?
 

 
 
Emotions, Moods and Choices

 
The emotional and psychological effects of color are undeniable.  These effects are usually felt through processes of color comparisons and contrasts.   The better designer anticipates the goals of the wearer, and what emotions and moods the wearer wants to evoke in all that see the jewelry as worn.    This might be appeal, beauty, trust, power, wealth, intelligence, and the list goes on.
 
 


About Green


 
Green was once the preferred color choice for wedding gowns and veils.   I wonder at what point brides-to-be decided that looking like a tree was no longer a positive thing.    They jumped ship and went to white.   
 
Green has so many good feelings going for it.   It brings you closer to nature.  It refreshes you.   It has a sense of renewal.   So it always seems so out of place to go from saying someone has a Green Thumb, to saying someone is Green With Envy or Green With Jealousy.  
 
Did you know that people in green rooms experience fewer stomach aches than people not in green rooms?  Or that if you lay a green transparent piece of plastic over a page in a book, you can read more attentively, and retain more of what you read?  
 

 
 
Designing With Color – Many Choices

 
The jewelry designer must be strategic with color, which comes down to..
 

  1. Selection
  2. Placement
  3. Distribution
  4. Transition
  5. Proportion

 
Designers must be intentional, not only with the selection of colors, but in the placement of color within the piece, as well.     The designer achieves balance and harmony, partly through the placement of colors.    The designer determines how colors are distributed within the piece, and how colors transition from one color to the next.   And the designer determines what proportions of each color are used, where in the piece, and how.   These kinds of choices affect movement and rhythm, dimensionality, and resonance.   
 
 


About Orange


 
Orange is another color, like Yellow, that is difficult for me to work with.   I like burnt oranges and hyacinths, but a simple bright orange is not usually my thing.   I hear that I am not alone.  Orange, it appears, is the least favorite color on earth.
 
The Sumptuary Laws in Elizabethan England dictated who could wear orange in their clothing, how much, and in what areas of the clothing.     This inclusion and placement of orange signaled to others the social status of the wearer in terms of wealth, social status, and religious conviction.     The Laws applied to the lower classes, as well as the upper classes.
 
It seems fascinating that the dye used to make orange at the time was very cheap and bled out and faded over time.    I guess this allowed for a little bit of democracy in action, ups and downs in class status, and some avoidance of class warfare, as well.     But I’m glad we get to pick our own colors to wear, and no longer have any limits proscribed by law.
 

 
 

Subjective or Objective Choices?

 
Can choices about color(s) ever be objective? Or are they primarily subjective?
 
If there are no objective, scientific, universally accepted understandings about color, can you ever teach jewelry artists to be better users of colors, that is, to clarify and intensify the effects the artist is trying to achieve?
 
Much of choosing colors is very subjective.    Different people prefer different colors and combinations of colors.   There are socio-cultural, preset expectations about colors, as well, where some colors are used to reaffirm membership in a larger group, or exclude others.   Some people like certain colors when part of a vertical positioning and arrangement, but may dislike those same colors when organized horizontally.   Some people gravitate to pristine colors, with little shading, and sharp boundaries, where others prefer shading and tinting, and blurred boundaries.    Some people prefer very rhythmic arrangements of colors where others are more satisfied with pieces which are more subdued and measured.
 
However, if we are to teach the use of color, and give students tools toward that end, we want some things which can be seen as objective and universally understood.    There has to be a set of objective, grammatical rules, for using and combining colors that have been proven over time, are workable, and good rules of thumb to use when selecting colors for any design.    
 
Here we can turn to some research history on color and universals about how people recognize color and satisfying color combinations. We can begin to know that there is an “Objective, Grammar of Color” by exploring some of the research on our reactions to color.    Understanding how viewers react to color helps us make choices.   Research shows us Universals – how everyone seems to be pre-wired to experience color and relationships between and among colors.     We find that there are certain universally agreed upon ways that people decode color, its selection and its expressive use in art and jewelry.   As teachers, we can think aloud and demonstrate for our students how to decode and become more fluent with design and color.
 
 
 

SOME TOOLS FROM ART THEORY


 
Many people are often skeptical that you can choose colors with any basis of rationality.     Choosing colors is intuitive, subjective, personal.    You can’t teach people to be better users of colors, because you’re either born with a sense of color, or you are not.
 
People seem to have cultural or social expectations about the meanings of some colors.   When Vanderbilt students see gold, they associate it with school colors.   When others see gold, they associate it with something else.    The same goes for University of Tennessee Orange, and so forth school to school.
 
I remember when I was a kid, I worked in my father’s pharmacy.  His pharmacy was in an old-world Italian community in central New Jersey.   One of the things I did was manage the Hallmark cards section.    I noticed that in the general cards, as well as the seasonal ones, we seemed to always be stuck with brown cards.   These old-world Italians did not like brown.   No brown.  No way.  
 
To save us from ending up with all brown cards in every general card slot, and in every seasonal card slot, I frantically called Hallmark.  How can I bypass your system, so I can weed out brown cards? I asked.   They told me how I could alter the computer codes.   I did.  And success.    In about a year’s time, I had weeded out all the unsalable brown cards.
 
And I got rid of brown wherever it predominated, (and wherever I could) – no brown earring cards, no brown cosmetic packaging, no brown displays, no brown bags, no brown stationery or stationery ink.    Again, big success.
 
But this doesn’t mean that all people, or even all Italians, have a distaste for brown.
 
If we are to be able to teach jewelry makers and beaders to be more scientific in their choices of colors, and be able to anticipate how their various audiences respond to colors, then we would need to have some objective rules, rules that refer universally to just about everyone.  Rules that inform people what colors are best.   What colors go together, which ones do not.   Rules that show how to manipulate color and its expression in perfect and predictable ways.    But everything seems so subjective.
 
 


About Purple


 
Purple has always been the color of royalty.    This was probably because purple dyes were very expensive.    One source was mollusk shells, and it took something like 10,000 crushed shells to produce enough purple dye to make a simple scarf.
 
The color purple is associated with spirituality, psychic powers, and healing.   
I love the poem by Jenny Joseph called Warning, in which she writes, “When I am an old woman, I shall wear purple, with a red hat that doesn’t go, and doesn’t suit me.”    Later this line in the poem was used to expand on a collection of writings about growing older.  
There are many famous purple stories in literature.   There is the story of the two Japanese girls who went to Australia to see the purple kangaroos, only to be told that they were just two people, and that “two” people was not enough to warrant the opening of the zoo’s gates.  
There is the little girl whose parents told her to go to the forest to wait for the purple wood.    The girl is still waiting.    
And there is the story of purple friends who look green.    Too gory to go into the details.
 

 
 
When people see colors on the vertical, they may respond very differently than when they see these same colors on the horizontal.
 
Look at flags of countries around the world.   Many flag colors are red, white and blue.     If you look at France’s flag, you have red/white/blue on the vertical.
8efffe47-fd90-492c-80e6-c9a9c7a72328.png

French Flag
 
Russia’s flag has red/white/blue on the horizontal.
8f4863ec-9d29-47bc-93b2-5416c8af37b9.jpg

Russian Flag
 
Do French people turn their head to the side when viewing the Russian flag?   Do French think Russians are gloomy and do not know how to have fun, because the rhythm on their flag, as suggested by the horizontal layout, is so much less energetic than the vertically organized colors on the French flag.     
 
Or do Russians, because of the color layout on the flags, have a great deal of suspicion about the French, when they see their flag?    Are the French too indecisive and too ready to change their minds?  
 
You frequently find that people might like a color arrangement in a vertical organization, but feel very uncomfortable, or have much disdain for those same colors, when found in the horizontal.
 
The same might be said of objects.    People often tend towards themes when buying jewelry, and collect jewelry which are all Native American, or all Wicca, or all Horses, or all Wolves, or all something.     The Fish people are especially interesting.   Some Fish people prefer to wear Dead Fish (hanging vertically), and others Live Fish (swimming horizontally). 

Debby was a student of mine.   She related to colors as if they were notes in a marching band’s score.    Sharp cacophony!  Sharp boundaries.   No color shall begin before the next color ends.   Each color’s note should be pure and clear.    COLOR A, COLOR B, COLOR A, COLOR B, COLOR A, COLOR B, Left, Right, Left Right.    Debby, in fact, goes ballistic over blurring, and shading, and tinting.   Any color pattern that isn’t the One-Two variety, is very disconcerting.    She doesn’t like it.
 
Again, the world and all its people seemed so preset to be biased in viewing colors, opinionated in understanding colors, and subjective in choosing colors.      Is there no place for Art Theory, Science, and the Objective Way?
 
Color Research suggests that there is.
 
 


About Black


 
Some fashion experts say a woman wearing black implies submission to men.   I’d don’t know about that.   A lot of women wear black.   Dracula wears black.   Villains and bad cowboys and mobsters wear black.    Priests and nuns wear black.  
 
Wearing black with another color can enhance that color’s energy, just like wearing black can enhance your body’s energy.      Black can convey an inner strength and control.  
 
I like to use black a lot.   I use it to create shadows, to frame things, to back up things, to create borders, to create a sense of negative spaces.    Black is a great non-color color.
 

 
 
Some Research History on Color

 
Color research over the past 100 years or so suggests that there are many universals in how people perceive, understand and respond to colors.   My favorite book on this research is by Johannes Itten [2] called
The Elements of Color
.    The most important color universals for jewelry designers, I feel, include,

  1. After Images
  2. Simultaneity Effects
  3. Color Proportions
  4. Color Schemes
  5. Use of the Color Wheel

 
 
 

 
(1) After Images

The first research had to do with After Images.    If you stare at a particular color long enough, and close your eyes, you’ll begin to see the color on the opposite side of the color wheel.   So, if you stare at red, close your eyes, and you’ll see green.      
 
I know you want to do this, so stare away:
d439fb99-c95a-494c-94d9-11ffd7030287.jpg 
 

 
 
 
Everyone seems to see after images and see the same after images.    It seems that the eye/brain wants somehow to neutralize the energy in color to achieve some balance or 0.0 point.      The brain always seeks a balanced energy in light and color.   The human eye is only “satisfied” when the complementary color is established.    [This is the basis underlying the various color schemes below.]

 
If red had an energy of 10  (I’m making up this scale), and the eye/brain then convinced your psyche to see green, then I would suppose that green would have an energy of -10.   Hence, we reach a 0.0 point.     Again, the brain wants balance, harmony, beauty, non-threatening situations.   The brain does not want anxiety, feel, ugliness.
 
And we can continue to speculate that your eye/brain does Not want you the designer to overly clarify and intensify, should this result in a more resonant, perhaps edgy, composition.   This takes you too far away from 0.0 energy, and starts to become threatening.   It might excite you.   It might revolt you.   In either case you would react, feel, sense the power of color.   
 
Your eye/brain does Not want you to push yourself and your jewelry to the edge with color.   The eye/brain wants balance, harmony, monotony.     Red and green can seem so much fun at Christmas time.    But if you put your red and green necklace on a copy machine, and took a photocopy of it, it would all look like one color of black.    Red and green will always copy as the same color black.  
 
And that is how we perceive them.    And cognate them.   We see red and green as the same.   As the same color black.    And if we assign red a 10 score, and green a -10 score, the eye/brain is happy to end up with a 0.0 score.  This combination can be boring and monotonous.   If, in reality, something doesn’t balance off the color red, in this case, the brain will create its own after image to force that balance.   The brain wants to feel safe.    Everyone’s brain seems to operate similarly so that this aspect of perceiving color is universally employed.
 
How far the jewelry designer should fight this universal tendency is up for debate.    However, when initially picking colors to combine in a piece, we might try to achieve this 0.0 balance score, and then, by clarifying and intensifying, deviate from it a little bit, but always with an eye on that 0.0 – what anyone’s eye/brain is driving it to do.    We want the eye/brain to feel satisfied and “safe”, but as a designer, we also want to give the jewelry a punch, a wow, and edge.    There are many color tricks and techniques that the designer can apply here.
 
 
 
(2) Simultaneity Effects

 
A second line of research dealt with Simultaneity Effects.   Colors can be affected by other colors around them.    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…
 

  • Filling in the gaps of light between beads
  • Assisting in the blending of colors or the sense of movement of colors along a line or plane
  • Assisting in establishing dimensionality in a piece that otherwise would appear flat
  • Harmonizing 2 or more colors which, on as a set, don’t quite match up on the color wheel
     

 
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.
 
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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 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.
90de6b5d-bddf-4a2e-94a7-0a58609d8678.jpg

 
 
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. 
 
 


About White


 
Don’t wear white after Labor Day.    This is a rule among rules among rules.   It’s an instructive piece of advice to help the fashionista and colorist to maneuver their what-with-alls and get through the remainder of the year.
 
White is neutral.  It goes with everything.   And I extend the idea of White to that of Clear, Crystal, and Transparent.
 
White can also be used to frame and boundary.   It can be used to fill negative space.  
 
I once read an article about Europeans’ impressions about Americans.   One of the comments always stuck in my mind.    “WHITE TEETH”.     Americans have White Teeth, implying that Europeans don’t, and don’t care.    The article was illustrated, and next to this comment was a picture of ruby red lips and very white teeth.
 

 
 
 
(3) Color Proportions

 
A last series of research on color focused on balance and harmony by proportion of color use.   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).    
 
And again, I’ll make the point that not all compositions have to be harmonious.

 
You can play with these concepts about proportions most easily with the colors Purple and Yellow.
 

Using your Yellow and your Violet pencils, color each row in with the following pattern:
First row:    alternating Yellow/Violet/Yellow/Violet etc.
Second row:   set this pattern:  Violet/Yellow/Violet/Violet/Violet/Yellow/Yellow/Violet/Violet/Violet/Yellow/Violet

Third row:   Violet/Violet/Yellow/Violet/Violet Violet/Yellow/Violet/Violet/Violet/Yellow/Violet

 

                       

 

                       

 

                       

 
 
Which arrangement do you find most attractive or satisfying?
 
Yellow is very bright and draws your attention immediately.  You don’t need much yellow to make your point.    In fact, the scientific formula which balances yellow with purple is 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.     (This is the pattern in Arrangement 3/Third Channel above).
 

 
 
 
Some other harmonious proportional relationships:
Orange to blue, 1:3
Red to green, 1:2
Yellow to orange: 1:1.3
 
Itten has a picture of the relative proportions of colors.
 
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(4) The Color Wheel


 
With almost every book about color, there is a Color Wheel.   Some are more detailed than others.   Some are easier to turn and manipulate.    They all have different colors at the North, South, East and West points, but it is the same series of colors, ordered in the same way, color to color.  
 
It is important to understand how to use the Color Wheel.  The Color Wheel is a tool and a guide.   It’s not an absolute.   A rainbow bent into a circle is a color wheel.   This curtain of color provides the insights for selecting and arranging colors that might go together well.   But beads don’t always conform to the colors on the wheel; nor do they reflect light and color in ways consistent with how these colors appear on the wheel.
 
Look at this color wheel:
 
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Get some color pencils, and color in all the colors around the wheel.
 
Science and Art Theory have provided us with tools to help us pick and combine colors.    One tool is the Color Wheel.   This curtain of color provides the insights and tools for selecting and arranging colors in jewelry design.    The color wheel helps us delineate what color choices we can make, and which combinations of colors might work the best together.
 
There are 12 colors arranged into
three families of color
.
 
The Primary Color family includes three colors:   yellow, blue and red.     These colors present the world as Absolutes.  They are definitive, certain, and steady.   They convey intelligence, security, and clarity.
 
The Secondary Color family includes those colors you can make by mixing any two primary colors.   These three colors are:  green, orange and violet.    These colors present the world as Contingencies.  They are situational, dependent on something, and questioning.   They convey questioning, inquiry, risks assessed against benefits.
 
The Tertiary Color family includes six colors.    Each of these colors is a mix of one of the primary colors and one of the secondary colors.  These include:  red-violet, yellow-orange, blue-green, blue-violet, yellow-green, red-orange.   These colors show Transitions.   These colors are useful for transitioning from one primary or secondary color to the next.    They bridge, integrate, tie things together, stretch things out.   They give a sense of before and after, lower then higher, inside and outside, betwixt and between.    They convey ambiguity or a teetering on fulcrum of a scale.
 
In fact, you can create your own chart of colors, if you wish.   Perhaps your Color Wheel should show Winter, Spring, Summer and Fall quadrants of colors and transitional colors.    After all, we frequently name our fashions and cosmetics and moods after the seasons and their colorations.    What should you wear in May, and how would that differ than what you should wear in June?    What should someone with a Winter skin tone wear in July?
 
Or perhaps your Color Wheel should show Earth, Wind, Fire and Water quadrants of colors and transitional colors.      Take Water, for example, what colors would be Fish (water) or Mermaids (water-air) or Flying Birds (air-water) or Turtles (water-land)?    How would you color-illustrate a Surf N’ Turf necklace?     Or, Fire and Ice?     Our color and design choices are so often influenced by our experiences of nature and natural phenomenon, why not Earth, Wind, Fire and Water?
 
Whatever your take on The Color Wheel, the wheel provides you some ways to view and interrelate colors.   But remember the power to pick colors is in your hands – you have the power.  The Wheel is not the power.  
 
As you begin to pick colors, you will also want to manipulate them – make them lighter or darker, brighter or duller, more forward projecting or more receding, and the like.   Expressions of color are referred to as attributes.  Expressive attributes are the ways you use color as building blocks in design.   So, here are some important building block/color terms and vocabulary.
 
 
 
Expressive Attributes of Color:
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, and light and dark.    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 the other colors.
 
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
– simultaneity effects
– balance and harmony (distribution, placement, and proportions)
– intensities
– values
 
 
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.
 
53f2cf40-a8bd-4a47-8bb6-f5a52957013e.jpg

 
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.
 
 
 
 

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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.
 

  • Faceted, Glossy beads will tend to look closer and capture the foreground
  • Smooth, Glossy beads will tend to capture the middle ground
  • Matte, Dull, Frosted, or Muted beads will tend to fall into the background

 
 
 
 
 
 
Colors Have Quirks

 
Color names have always fascinated me, but they are a bit quirky.    When I started in the bead business, many colors went by names I had never heard of before – like Smaragd (Kelly green) or Chroust (a brown tiger eye looking color), or were colors that I did not associate with the color name, like Hyacinth (which was orange) and Amber (which was a bright yellow).   There are over 12,000 named colors.  
 
Glass beads, particularly glass seed beads, are created in so many colors, that you can’t make every color using glass alone.   Some of the processes used to make some of the colors are unstable.   That means, the color can fade, bleed out or rub off.    That could end up as a nasty surprise.   And somewhat quirky.
 
And each time the factory makes a batch of a particular color, that same color but next batch, may be different.   The color of the beads is affected by the barometric pressure outside the factory when they are made.   This is something the factory cannot control.
 
Traditionally in Europe, transparent color names were given jewel tone names and opaque color names were given what I call crayon color names.    So we have Amethyst and Purple, Sapphire and Blue, Rosaline and Pink, Ruby and Red, Emerald and Green, Jet and Black, Black Diamond and Gray, Hyacinth (for the orange version of Zircon) and Orange, and so forth.     But this tradition, however elegant, is not kept to very much these days.   Things are quirkier.
 
The violet and blue violet colors of purple were reserved for European royalty, so today, we find very few choices of beads in this part of the color spectrum.    Too bad, because people seem to love purples.
 
The Japanese like to rename their colors every two years.   They view color naming in a similar way to “fashion”, and, they reintroduce colors in new names every two years or so.    Over the years, I’ve seen “yellow-lined crystal” become “transparent yellow Ceylon” become “daffodil lined transparent crystal” become “daffodil Ceylon lined crystal” become “luminescent yellow lined Ceylon crystal”.    The color names don’t make it seem like the bead is the same color.   Ceylon means “pearlized”, but none of these color names are used with pearlized beads.  The beads are clear with a yellow lining.   And so this changing-name-thing is quirky.
 
The Czechs started doing this.    Smaragd is now Kelly.   Chroust is now Tiger Eye.   Sphinx first became Hematite.   More recently, Hematite has become Gunmetal.   With some lines, Gunmetal is morphing into Antique Brass.  Amber is Citrine.     It’s very difficult keeping  up when you don’t deal with these quirks of naming on a day-to-day basis.
 
I came to find out over the years that people claim to own certain colors.   This sounds strange, but it’s true.    Like in, “Janice, here’s your brown.”   Or, “Elaine, come quick, this was the red you wanted.”    Or, “Cynthia, that’s not my purple.   That’s Ellen’s purple.  You know she’ll only work with that one purple color.   And I don’t like it.  It’s not for me.   I don’t even think it’s for Ellen, but God knows, she sure loves that purple.  No, it’s not mine.   It’s hers.   Not mine.  No.”
 
Other quirky things come up with color as well.   A lot of people get unpleasantly surprised when they cut seed beads off the hank, or pour them out of the tube.    The color of 1 bead alone is often different than when bulked up together.
 
You cannot easily mix Czech glass and Japanese glass.    They use different color palettes.   This is most noticeable with the purple color.   The Czech purple is reddish; the Japanese purple is dark bluish/black.     There is a similar problem with seed beads and delica beads.   Again, look at the color purple iris in each.    These don’t mix.
 
Nor can you easily mix Swarovski crystal with glass, or different Swarovski crystal colors with each other, because Swarovski doesn’t coordinate the tones/shades/tints of all the colors.   Your eye/brain also wants to blend all the crystal colors, when confronted with more than one color in a composition.    It’s very difficult to work with Swarovski Crystallized Elements and control your colors, as a designer should, would, and can.
 
And it’s difficult to mix crystal beads made in different countries.   Swarovski, the Czechs and the Chinese do not use the same color palettes.     Swarovski’s color palette is more intense.   Swarovski and the Czechs use more lead so their beads are brighter; the Chinese less lead, so their beads are duller.  Swarovski modifies the shapes of their beads so that the light refracts through the glass differently than similar beads made in other countries.   This altered shaped – a 4mm bicone is 3x4mm, a 10mm round is 9.5x10mm – also changes the way the light refracts through the glass, and results in an intensifying of the bead color.
 
Familiarity with these different quirks about color make it a little easier to apply and interpret color schemes and theories to beads.
 
 


The Kayapo


 
The Kayapo live in villages in the Amazon River basin in Brazil.     One of my anthropology friends studied them for awhile.    An interesting thing that she found was a peculiar cultural behavior related to naming colors.   
 
The Kayapo have three names for colors:  White, Black and Red.    They can see and recognize all the colors of the rainbow, but have not found the cultural or social need to have specific names for them all.   So some colors might be light white, or dark white, or very dark white, off-white, and so forth.
 
When the Kayapo perform ritual feasts and ceremonies, they drop one of the color names – the name for Red.   So during rituals, they use White and Black for all colors.   During non-ritual times, they use White, Black and Red for all colors. 
 
During the rituals, and I was lucky to watch hours of video on this, when the anthropologist points to red, and asks what color it is, the Kayapo will say Black.   If you tell them, that an hour earlier before the ritual, they called this Red, they look at you quixotically and wonder what planet you live on.   It’s clearly Black, at least at this moment.     During non-ritual times, when you ask them about what just happened, they still think you’re crazy.    It’s obviously Red, at least at this new moment.
 
These naming behaviors triggered several lines of inquiry.   One of them was to see if there was a predictable ordering to when color names are created for specific colors.   It turns out that you can highly correlate the level of technological development to the number of colors which have specific names.   Moreover, every society in the world seems to find the need to name colors in the same order.
 
So, the least technologically developed cultures have two names – Black and White.   Again, they can see and describe all colors, but only have the need for two color names.    The next color to be named is Red.   Red, then, is the first true Hue or color that people recognize and want the kind of control over it, that giving a name to it would provide.    We can only speculate Why.    Perhaps it is a color that is easy to make and the materials to make it are readily at hand.   Perhaps it relates to the color of blood or the color of something else that is particularly important in society.
 
Nevertheless, after Red comes Yellow.    Then it’s a toss up.  Some groups go with Green, then Blue.  Other groups go with Blue, then Green.    Finally then, comes Orange, and last Purple.
 
As a jewelry designer, your choice of colors might mimic some of this naming behavior.   If you wanted to do a more primitive look, you  might emphasize Black, White and Red.    An ancient Egyptian piece might emphasis White, Red, Yellow and Blue.   A contemporary piece might emphasize Green, Orange and Purple.  
 

 
 
 

(5) Color Schemes – Rules of Composition


 
Color schemes are different, proven ways to use and combine colors, in order to achieve a pleasing or satisfying result.    Good color combinations based on color schemes have balanced, harmonious tonal values – their light energy levels balance out at the zero-zero (0.0) point.    Better designers like to tweak these combinations a bit, in order to evoke an emotional and resonant response to their work.
 
You can place geometric shapes inside the Color Wheel, and rotate them, and where the points hit the wheel, you have a good color combination.    For example, if you place an equilateral triangle (all sides are equal length) within the circle, as in the diagram below, the points touch Yellow, Red and Blue.   If you rotate it two colors to the right, it touches Orange, Violet and Green.
 

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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:

  1. Whether one color should predominate, or all colors should be more or less equal
  2. Whether there should always be a “splash of color”, as interior designers like to say.  Do you always need a “drama” color to achieve exciting, focal, look at me first effects?
  3. If symmetry works with or against your color choices
  4. If you need to adjust intensity or value in each color, to get a better sense of satisfaction
  5. If you need to adjust the proportions  or distributional patterns or arrangements of each color used; that is, experiment with same colors, different placement
     

 
With any Color Scheme, you not only pick particular colors to play with, but you also must decide if one is to be Predominant, and the others Subordinate, or not.   Some Color Schemes work best if one color is dominant; others work best where all the colors are co-equal.
 
With some Color Schemes, symmetrical arrangements are more satisfying and asymmetrical ones are less.    
 
When you select a Color Scheme, sometimes tweaking the intensities and/or values of some of the colors you’ve chosen, will end up with a more satisfying outcome.
 
In a similar way, when you select a Color Scheme, sometimes tweaking the proportions or placement of colors will end up with a more satisfying outcome.
 
When you study Interior Design, there is a rule accepted by most Interior Designers about always adding a “Splash of Color.”   I don’t know if this is critical to jewelry design, or not.    A room will not look right without some drama, some focal point, some surprise.      Does jewelry need the equivalent of that Splash of Color?    If so, how does this relate to choosing colors on the Color Wheel?   Or is it to be some afterthought – some fourth color from the fourth dimension?     Is there a science here, or some intuitive emotional irrational choice?
 
We’re not going to find the answer to this mystery today.    So 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.
 

Exercise: Test drive the Analogous Color Scheme.    Take 10 beads of each of 3 analogous colors, and arrange them on the bead board into a pleasing analogous design.    Try changing the proportions of each color, and then evaluate which arrangement seems more satisfying.
 

           
 
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.
 
 
 

Try these exercises:
Exercise:   Take 15 beads of each of two complementary colors, and arrange them on the bead board into a pleasing design.      
 
Exercise:  Now put back 10 beads of one color, and replace with 10 beads of the other color, so you now have 5 beads of one color and 25 beads of the other.     Arrange them on the bead board into a pleasing complementary design.

 
Which arrangement is more satisfying?

 

 
 
 
Split Complementary

This is the most popular color scheme.  Here you choose a hue and the hues on either side of its complement.   For example, you might choose yellow and blue-violet and red-violet.   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.
 

Exercise:   Choose a hue and its two split complements.   Take as many beads of each of these three colors as you like, up to a maximum of 30 beads, and arrange them on the bead board into a pleasing split complementary design.
 
Play with these beads awhile.   Take some away.  Add some.   Replace one color with another.  Change patterns.   Change rhythm.  Which approaches feel more satisfying than others?
 
 

 
 
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.
 
 

BEADS AND COLOR


 
The bead presents greater complexity and depth, in terms of color, than any flat surface, like paint.   We need to know how the bead asserts its need for color.   We need to spend some time contemplating this.   [In fact, we need to know how all the materials we use in our jewelry compositions assert their needs for color and spend time in contemplation.]

 
After you thread the needle and pierce the hole of a bead, you are eyeball to Bead.   You cannot fail to notice the sharp and steady interplay of color that rushes to your eye and your brain.   That interplay could be subtle, as shadows and subtle differences in shade and tone.   Or it could be dramatic, as an Aurora Borealis effect on the bead opens up like a silk and paper fan across the lenses of your eyes.    That interplay is often unexpected, as if directed by “someone else’s hand”.    
 
Before you know it, your needle is through this bead and on to the next.   You almost gasp, to take in all the color, its powers and effects.    As you string or weave more beads together, the developing composition provides more intellectual challenges and stimulations to your mind and eye.   Beads demand much more commitment, they are much more assertive, they require much more attention, than paint.   And you are there to provide it.
 
Bead shapes, dimensionality, and movement-when-worn create shadows and highlights.    They force you to perceive and have to interpret your perceptions.    They offer many plays on light, reflections and refractions, some anticipated, others not.   
 
The Bead has many levels upon which to target your eye.     There is the surface.   There are the outer edges.   There are the inner edges that come with faceting, and texturing, and crevicing.   There are the layered inner spaces you see in opalescents and micas and color lined and quartzes and Picassos and hurricanes and tortoises and cubas and conglomerations.    There are many other applied effects from aurora borealis to celsian to valentinit to azuro to Labrador to clarit to vega.
 
And there is the hole, its rim, its recesses, and its channel through the object we call Bead.    And as the eye and brain try to target the eye on the bead, it is important to realize that some materials of beads restrict the eye to its surface colors; other materials bring the eye into the bead to different levels or layers below the surface and within the bead itself.
 
Although many people try to “paint” with beads, you really can’t.    Beads don’t come in every color, and they don’t “blend” like paints.   Often, you have to make work the limited color palette you have with beads on hand.   You rely on techniques based in proven color theories to trick the brain and steer the brain into seeing blends, seeing coherence, seeing continuity, seeing unity of effect.

Each bead already presents some color variation in terms of intensity and value, as the viewer experiences the bead in its entirety, examining the bead over and around each curve and surface.    The intensity of value of the bead color may be more or less near the curvature or hole, and more or less at its center.
 
Sometimes this works to the artist’s advantage, in that the color as experienced on, with, within, through and around the bead might be more “forgiving” than picking a paint color.    On some beads, you find color effects fired on to one side, but not the other, and this affects intensity and value, as well.

Color must “jump a cliff” in the spaces between any two beads.    The smaller the bead, the less “gap” created between beads, and the more intense and sharper the colors.   A composition with 15/0 seed beads would be viewed more favorably, than if the same piece had been done with 11/0 seed beads or 8/0 seed beads.   Smaller gaps.

The color and its effects with a bead, as you hold it in the air, may vary considerably than when you place it over cloth.   In a similar way, the color of beads on hanks or in tubes or on strands, may be very different than when used within a particular composition. 
 
The time of day, the brightness or dimness of the sun or moon, the casts of shadows along the landscape – these all affect perceptions of color, and the bead, its shape and texturing and coloration effects only makes these perceptions more complex and multi-plex.   The color of lighting in a room – fluorescent day, cool or white, or incandescent yellow – and the colors of the walls and floors and ceilings, and the amount of windows, and their positioning – these all affect perceptions of color, as well.    The list can go on – the direction of lighting, directed lighting, filtering of lighting, and so forth.    The good jewelry designer needs to understand these things.

 
 
COLOR MATCHING

 
With Beads, to understand color combination, you must also understand the materials the beads are made of, and how the materials contribute to or work against such combinations.   Whether the material is of the bead itself, or of the stringing material, the light-conveying and light-inhibiting qualities of these materials will also be critical, when choosing color combinations.
 
One time, we were experimenting with making simple beaded beads.    Traditionally, you would use a wooden bead as the “core”, and bead weave all around it.    Usually, you would color the wood bead with magic markers or paint, in a color similar to the beads you were weaving with.   We tried doing the same beaded bead, first around an acrylic bead, and then around a glass bead.    Bead weaving around the acrylic bead seemed more attractive and satisfying than around the wood one.   Bead weaving around the glass bead had a considerably bigger and more positive impact on the result.   
 
With the wood core bead, the beaded bead looked a little listless, with little resonance.   With the glass core bead, the beaded bead had a lot of resonance.   Light flashed all around and through the bead from side to side.   The colors seemed more vibrant.   With the acrylic bead, the resonance seemed in between that of wood and glass.
 
It’s very difficult to mix materials within the same piece of jewelry.    The eye/brain interacts differently with different materials.     When you mix materials, it can get awkward for the eye/brain to perceive and interpret what it’s seeing.   When this happens, you begin to trigger our pre-wired fear and anxiety response.  This makes the brain edgy because the brain always prefers harmony and balance.   So things start to get translated as ugly, boring, monotonous, unsatisfying and the like.
 
With most glass, the eye/brain sees the outer surface.   The light travels to the surface and reflects back from the surface.  With most gemstones, the eye/brain sees the surface, as well as sees into the bead and below the surface among many levels and layers.   The light travels below the surface, and then is reflected back from below the surface.  
 
When you mix glass and gemstones, you need to try to pick glass that duplicates the eye/brain/gemstone interaction.   Opalescent colors of glass work well.    Matte transparent beads with color lining, or color effects beneath the surface layer work very well.
 
It’s also difficult to mix glass and glass crystal (leaded glass) within the same piece.   Swarovski crystals use a very different color palette than Czech glass and from which to work.   Crystal beads draw the eye/brain deep within the bead and below the surface.   Light diffuses, and often, with crystal beads, we see the brightness before we recognize the color itself.   This is a very different dynamic than our brain/eye/material interactions associated with most glass and most gemstones.
 
Each color within the Swarovski crystal line does not seem to be from the same color palette when compared to each other, either – they don’t have the same underlying tones/shades/hues.  When mixed, many colors become muted, and less distinct, then when separated.   There are many color boundary issues – your eye wants to merge/blend/wash the colors together.  Some lighter colors seem to fade or wash out, when next to others, or in a finished piece.
 
Mixing fibers and other related stringing materials have big impacts on perceptions of color and color combinations.     In transparent or translucent beads, the color of the stringing material, or its finish, (glossy, matte, waxed, metallic, dull), can affect the perception of the bead color.  Your eye/brain can actually see the stringing material between each pair of beads butted up against each other.   This affects color.  
 
How you finish off your necklace or bracelet, and attach a clasp – The Clasp Assembly – can affect perceptions of color.    This can be as simple as a gold clasp vs. a silver clasp, or it could be more involved.
 

The Color Effects of Threads


The color of the stringing material has a big impact on color perceptions of the piece as a whole.
 
With Black Thread, you see shadows.   Black seems to make things look richer, older, more antique-y, with a patina.   Black Thread works in most pieces. 
 
With White Thread, you can see the white, where you tie knots.   White seems to make things look sharper, brighter, more contemporary.
 
Most people, when using color threads, match the color of their thread to the predominant color in their piece.  In this case, there is little color effect.  However, you can get very strategic with color threads.  You can take an amethyst colored thread and an olivine colored bead, and get a neat color-lined effect.    There is no reason that you have to use the same color of thread throughout your piece.  You can change colors, and also get unusual color effects.
 

Mixed Media Projects


When you mix Beads and Other Media, like fibers, in the same composition, the different materials compete for attention and dominance.     The Designer leads the way in how this unfolds.    Frequently, though, the person making the jewelry loses control over the materials, their powers, their essence, their color.    One of the major things that goes wrong here is a failure to control the colors and the light reflections and refractions.  
 
Say you were creating a felted piece with some additional braiding on it, and embellished the piece with crystal beads.   You might have created some fascinating scroll work and layering with your fibers.     The brightness of the beads, however, might distract the viewer, or the experiencing of colors within each material might be distracting, making her turn her head.   The crux of your piece, then, goes unnoticed.  
 
 
 
 

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, Colorado topaz – colors that have a lot of black tones to them.    Most color lined beads result in a gray effect.    Metallic finishes can result in a gray effect.
 
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 amethyst  beads together.    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.
 
 

Framing


I like to put “frames” around things.    I like to frame segments of beads in my pieces, to delineate sections, forms and themes.  I like to frame pendant drops so that there is a clear top and bottom, beginning and end.   I like to frame color blocks to play with line, silhouette and boundaries.
 
Framing means using colors on either end of something, so that you establish a start and stop, a beginning and end, a top and bottom, or some related boundary.   For example, you can put two black seed beads on either side of an 8mm round red bead, to frame the bead, not detract from it, and enhance the viewer’s experience with it.
 
 
 

Need Focal Point In Piece


Not necessarily a “splash of color”, but there is some need to create a sense of drama, life, excitement, a look-at-me-first bead or color.   These could be high contrast, or a monochromatic piece.  But something because of size or pattern or texture needs to draw focal interest.
 
 
 

Color Blending


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.  “Alternating” or “graduating” colors doesn’t always work well.    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.
 
One 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.  
 
 
 

DESIGNING JEWELRY WITH COLOR


 
QUESTION: If your jewelry needs something else, how do you make these choices…That color’s not right, what’s not right about it? I want to add a color, which one?   My colors are not working 100% within the composition, what can I tweak?

 
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.    It is more like a building component.    The specific term is “Design Element”.    Color is the most important Design Element.      It can both stand alone, as well as easily be combined with other Design Elements.
 
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
 
Often, the first problem with color in design is the distribution of lights and darks.      Using the same colors, you can get very different results, based on how the colors are arranged.    When you have questions, it is useful to take a black and white photocopy of the different patterns, and to choose, based on the black and white image.
 
The second problem is creating a focal point with color.
 
The third problem is creating a rhythmic feeling, using the distribution of colors and their proportions.
 
Better pieces are either
(a) those with a dominant color, and some variation in values or intensities, or
(b) those that are dominant in 1 or 2 complementary or analogous colors, with some change in values and/or intensities
 
Better designers are able to decode the use of color and its expression within any piece.   This means being able to determine which colors were selected, define the intensity of values of these colors, determine whether placement, distribution and proportion is applied well, identify where color combined with other Design Elements creates additional expressive qualities, such as movement, dimension, and balance.    Fluent designers can decode 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.
 
 
 
 

Good Jewelry Design has
:
1. Resonance
2. Strategic Use of Line
3. Strategic Placement of Colors and Proportions of Colors
4. The Use of Shapes, Forms and Themes
5. The Power To Affect the Viewer’s Emotions, Moods and Understandings of the Situations Around Her
6. Parsimony  (knowing when enough is enough)
 

1. Resonance

Resonance is the energy the jewelry exudes.   Without resonance, jewelry is lifeless and listless.   Resonance reflects the jewelry designer’s control of light and shadow, warm and cold, receding and extending out.
 
Resonance doesn’t mean “sparkle.”   It doesn’t mean “bright”.   It means the mood, the rhythm, the tonality.    It means that the piece of jewelry reflects a sense of design, and a sense of the designer.    Not just art.  And definitely not just craft.    Resonance is the reason why some jewelry gets your attention, and others do not.    Pick up a fashion magazine or a bead magazine, and page through it.    Which pieces catch your eye, and which ones do not?   
 
The jewelry designer is responsible for creating jewelry which resonates.   That is, the jewelry reflects the artist’s intentions, and fully utilizes the powers of color, their combinations, their variations, their arrangements, and distributions with their pieces.
 
 
 
2.  Strategic Use of Line

A second aspect of good jewelry design is the strategic use of line.    First off, most jewelry is, in essence, a line.    Things are lined up.  They are organized into a line.   They are worn as a line.   You don’t necessarily want that line to be creepy or disjointed or disconnected.   
 
The line has many points along it.   It outlines things.  It sets boundaries.   It separates things which are above it from things which are below it.  

The line can come to a point.   It can curve.   It can undulate.   It can snake in and around things.  
 
It can be very long.   Or it can be short.   It can serve alone, or be joined by other lines in sequence or opposition.
 
The use of line accomplishes two goals.   

First, the use of line creates an outline or a shape or boundary.  We call this “silhouette”.   Usually the silhouette identifies for the viewer, where the wearer feels comfortable accepting the viewer’s gaze, and where she does not.    Can/Should the viewer gaze upon the wearer’s face, neck, breasts, belly button, wrist, elbow, upper arm, ankle, knee, thigh, groin?    The line demarks the acceptable paths for gazing.

Second, the use of line creates a contour, as the eye moves all around the piece as it is worn; the line and the use of color choreographs the sense and direction and speed of movement that the viewer’s eye follows.    This choreography reveals part of the wearer’s personality, moods, and aspirations.    It can excite the viewer, or bore her.   It can resonate power, or be demure.    It can command the viewer to step forward, follow, hesitate, wait, or turn around.    It can affect self-image or social class.
 
Many women are afraid to wear jewelry which does not conform to a straight line.   They don’t know how to wear it.     They seek the simple straight line, over the multiple straight lines.   They seek the simple straight line, over non-straight lines.   They seek parallel lines over ones which are skewed.  
 
It’s the jewelry designer’s duty to make the wearer comfortable with whatever line(s) the jewelry embodies.   Often this is done with the use of color.
 
 
 
3. Strategic Placement of Colors and Proportions of Colors

A third aspect of good design is the placement and proportions of colors.   Colors and their placement work best when they appear to have been coordinated, not necessarily matched perfectly, but neither as afterthoughts.   Everything must feel balanced and harmonious, even when the piece is asymmetrical.   Placement shows purpose.   It reflects choice.   It provides a mechanism for the viewer to evaluate the success of the piece, therefore, the success of the wearer.   It is very signifying.
 
 
 
4.  The Use of Shapes, Forms and Themes

 
Interpretations and experiences with colors may change, when the color is presented within a shape, or is part of a form or theme within your piece.   After all, clusters of Design Elements can have synergistic or antagonistic effects.
 
Shape is an important Design Element, made up of lines and points, yet different than lines and different than points, when these stand apart from shape.  Shapes serve to provide positioning, direction and orientation to the pieces, often better than lines and points. This is an important psychological function. 
 
Shapes provide more dimensionality to pieces.   Greater dimensionality is often perceived as more contemporary, smarter, wealthier, higher status, more creative, more beautiful.  
 
Shapes convey symbolic meanings.   Triangles suggest action. They are dynamic. They are directional. They seem purposeful and strong. They have a power over the viewer, in that they can control the viewer’s process of perception.   Triangles can be made into pyramids, flags, arrows, beacons. They are often used as elements in religious symbols.
 
Square shapes denote honesty and stability. They are trusted, familiar, safe, comfortable. Most shapes we encounter are squares and rectangles. Squares could also symbolize rigidity and uniformity. [An unexpected placement of squares within a piece, could evoke the opposite feelings and symbols.]

 
Circle shapes suggest infinity. They are associated with protection (you’re inside the circle or outside). They are associated with movement and freedom. They suggest completeness.
 
 
 
5. The Power To Affect the Viewer’s Emotions, Moods and Understandings of the Situations Around Her

 
Color affects the viewer.   It affects the viewer’s perceptions about reality.   If affects the viewer’s understandings of social relationships, power relationships, sexual relationships.   It orients the viewer to what is up and down, and left and right, and skews the viewer’s interpretations about right and wrong, beautiful and ugly, satisfying and unsatisfying, that which is to be feared and that which is to be approached.   
 
Some colors get very associated with certain moods.   These include,
 
1.        Power/Highly Emotional  (red)
2.        Rich  (burgundy; red with black)
3.        Romantic  (pink, red with white)
4.        Vital  (red-orange)
5.        Earthy  (red-orange with black)
6.        Friendly (orange-yellow)
7.        Soft  (peach)
8.        Welcoming  (amber)
9.        Moving   (yellow)
10.      Elegant  (pale yellow)
11.      Fresh  (green)
12.      Traditional (green with black)
13.      Refreshing  (blue-green, teal, aqua)
14.      Tropical  (blue-green or teal or aqua with white)
15.      Classic (royal blue)
16.      Dependable  (navy Blue)
17.      Calm  (pale blue, blue with white)
18.      Regal (deep blue-violet)
19.      Magical  (deep red-violet
20.      Energetic  (fuchsia)
21.      Subdued  (any color with gray, like mauve)
22.      Professional/Corporate  (gray)
 
But it is so easy to make a misstep with color.     The choice of the wrong color, or wrong intensity or wrong value can lead to misunderstanding, anxiety, stress, avoidance, diminished social status, destroyed relationships, and the like.    So, if you have the time, you might want to practice a little with color and evoking moods and emotions.
 
 
6.  Parsimony

 
Parsimony means that the designed piece is finished and successful, and should the artist add or subtract one more element, the piece would be less so.    Parsimony signals when enough is enough.    The artist has not overdone or underdone the selection or application of colors.
 
 
 
 
 

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.
 
 

_________________________________________
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
 
 
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, beads, beadwork, design management, design theory, jewelry design, jewelry making | Tagged: , , , | 1 Comment »

The Goal-Oriented Designer: The Path To Resonance

Posted by learntobead on May 18, 2018

THE GOAL-ORIENTED DESIGNER:

The Path To Resonance

by Warren Feld, Designer

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“Vestment”, Warren Feld, 2004, Miyuki cubes, seed beads and delicas, Austrian crystals, with 14KT, gold filled, sterling silver, and antiqued copper chain, clasps and other findings, lampwork bead by Lori Greenberg

Abstract:

Jewelry Designers want to be successful.     But things can get a little muddled when thinking about how to get there.    Our teachers, our friends, our colleagues often disagree on this point, and tell us to look for conflicting measures of success.  We can often lose sight of what we want to end up with.    The Goal-Oriented Jewelry Designer has but one guiding star: To achieve Resonance.   Everything else is secondary.   We achieve Resonance by gaining a comfort in communicating about design.   This comfort, or disciplinary fluency, translates into all our composing, constructing and manipulating choices.    This is empowering.   Our pieces resonate.  We achieve success.

THE GOAL-ORIENTED DESIGNER:

The Path To Resonance

Jewelry Designers want to be successful.   

But things can get a little muddled when thinking about how to get there.    Where should they start?   What should they learn first?  What materials should they accumulate?   What techniques should they start with?   Should they focus on the process of designing jewelry?   Or moreso on making jewelry?   Or still yet, on achieving certain target measures, such as numbers of pieces made, or numbers of sales, or numbers of venues in which their jewelry is sold?    Are there qualitative things which are important to accumulate, such as self-satisfaction or customer-satisfaction?    Or style?  Or recognition?   Acceptance?   Understanding?

Our teachers, our friends, our colleagues often disagree on how to get there, and tell us to look for“Vestment”, Warren Feld, 2004, Miyuki cubes, seed beads and delicas, Austrian crystals, with 14KT, gold filled, sterling silver, and antiqued copper chain, clasps and other findings, lampwork bead by Lori Greenberg

Abstract:

Jewelry Designers want to be successful.     But things can get a little muddled when thinking about how to get there.    Our teachers, our friends, our colleagues often disagree on this point, and tell us to look for conflicting measures of success.  We can often lose sight of what we want to end up with.    The Goal-Oriented Jewelry Designer has but one guiding star: To achieve Resonance.   Everything else is secondary.   We achieve Resonance by gaining a comfort in communicating about design.   This comfort, or disciplinary fluency, translates into all our composing, constructing and manipulating choices.    This is empowering.   Our pieces resonate.  We achieve success.

THE GOAL-ORIENTED DESIGNER: 

The Path To Resonance

Jewelry Designers want to be successful.   

But things can get a little muddled when thinking about how to get there.    Where should they start?   What should they learn first?  What materials should they accumulate?   What techniques should they start with?   Should they focus on the process of designing jewelry?   Or moreso on making jewelry?   Or still yet, on achieving certain target measures, such as numbers of pieces made, or numbers of sales, or numbers of venues in which their jewelry is sold?    Are there qualitative things which are important to accumulate, such as self-satisfaction or customer-satisfaction?    Or style?  Or recognition?   Acceptance?   Understanding?

Our teachers, our friends, our colleagues often disagree on how to get there, and tell us to look for, what turn out to be in effect, conflicting measures of success.  We can often lose sight of what we want to end up with.    We get a lot of contradictory advice.   How should we organize our creative work and our time?  How should we select materials and techniques?   How do we know when our piece is finished?  How should we anticipate our client’s desires?   How should we showcase our jewelry?  How should we be judged and evaluated?   We need to perform, we want to perform authentically, but how – how should we perform as a jewelry designer?   The search for answers can be very frustrating, confusing, even demoralizing.

But it shouldn’t be.    Every jewelry designer should have but one guiding star – Resonance.    If our jewelry does not have some degree of resonance, we keep working on it.   If the process of creative exploration and design does not lead us in the direction of resonance, we change it.    If the results we achieve – numbers of pieces made and numbers of pieces sold – is not synced tightly with resonance, we cannot call ourselves designers.

The Goal-Oriented Jewelry Designer specifies those goals about performance which will lead to one primary outcome:  To achieve Resonance.   Everything else is secondary.   Design elements are selected and applied with that idea of Resonance in mind.    Principles of Composition, Construction and Manipulation are applied with that idea of Resonance in mind, with extra special attention paid to the Principle of Parsimony – knowing when enough is enough.

People may approach the performance tasks in varied ways.   For some this means getting very detailed on pathways, activities, and objectives.  For others, they let the process of design emerge and see where it takes them.   Whatever approach they take in their creative process, for all designers, a focus on one outcome – Resonance – frees them up to think through design without encumbrance.

This singular focus becomes a framework within which to question everything and try to make sense of everything.    Make sense of what the materials and techniques can allow them to do, and what they cannot.   Make sense of what understandings other people – clients, sellers, buyers, students, colleagues, teachers – will bring to the situation, when exploring and evaluating their work.     Make sense of why some things inspire you, and other things do not.   Make sense of why you are a jewelry designer designing jewelry.     Make sense of the fluency of your artistic expression, what works, how it works, why it works.

We achieve Resonance by gaining a comfort and ease in communicating about design.    This comfort and ease, or disciplinary fluency, has to do with how we translate our inspirations and aspirations into all our compositional, constructive and manipulative choices.    It is empowering.   Our pieces resonate.  We achieve success.

Resonance, communication, success, fluency – these are all words that stand in place for an intimacy between the designer and the materials, the designer and the techniques, the designer and inspiration.     They reflect the designer’s aspirations.   They reflect the shared understandings of everyone the designer’s jewelry is expected to touch.   They reflect the designer’s managerial prowess in bringing all these things together.

Resonance and disciplinary fluency result from a well-managed jewelry design process [3].  This process of creativity involves artist, audience and context.   It is very interactional.   Transactional.  Integrative.   Contingent.

For the artist, this process functions on several, coordinated levels, including…

  1. Contemplation
  2. Inspiration
  3. Aspiration
  4. Anticipation
  5. Specification
  6. Application
  7. Fluency and Empowerment

CONTEMPLATION: An Intimacy with Materials and Techniques

Contemplation is a mystical theology.   

Beads have a mystique to them.   You stare at a bead, and, ask what it is. You put some thread on a needle, then the bead on the needle, and ask what to do. You stitch a few beads together, and wonder what will become of this. You create a necklace, and, ask how it will be worn. And you stare at each bead again, and, think where do all these feelings welling up within you come from – curiosity, beauty, peace and calm, reflection, satisfaction, magic, appeal, a sensuousness and sexuality. Your brain and eye enter into this fantastic dance, a fugue of focusing, refocusing, gauging and re-gauging light, color, shadow, a shadow’s shadow, harmony, and discord.

You don’t just bead and make jewelry.   There’s a lot involved here.

You have to buy (or fabricate) beads and findings and stringing materials, organize them, buy some extra parts, think about them, create with them, live with some failed creations, and go from there. If there wasn’t something special about how our materials translate light into color, shade and shadow, then jewelry making would simply be work. But it’s not.

You have to put one piece next to another…and then another. And when you put two beads next to each other, or one on top of the other, you’re doing God’s work. There’s nothing as spectacular as painting and sculpting with light.

This bead before you — why is it so enticing? Why do you beg it to let you be addicted? An object with a hole. How ridiculous its power. Some curving, some faceting, some coloration, some crevicing or texturing, some shadow, some bending of light. That’s all it is. Yet you’re drawn to it in a slap-silly sort of way.

When you arrange many beads, the excitement explodes geometrically within your being. Two beads together are so much more than one. Four beads so much more than two. A hundred beads so much more than twenty-five times four. The pleasure is uncontainable. You feel so powerful. Creative. You can make more of what you have than with what you started.

You need to select a method or strategy for arranging your beads.   There are so many choices.    Your organization should be appealing.   It must enhance the power the bead has for you, then transcend as a power the bead has for others.    It must be architecturally correct because this architecture determines the wear, drape and flow where the jewelry meets the person at the boundary between bead and body.

And this assembling — another gift. String through the hole, pull, tug, align, and string through the hole, pull, tug, align, and string through the hole, pull, tug, align, and string through the hole, pull, tug, align. So meditative. Calming. How could beads be so stress-relieving, other-worldly-visiting, and creative-exciting at the same time?

Contemplation. To contemplate the bead is to enter the deep reaches of your mind where emotion is one with geometry, and geometry is one with art, and art is one with physics, and beads are one with self.

Designing jewelry is an authentic performance task.    This involves a profound intimacy with the materials (and techniques) the artist relies on.   This intimacy means understanding how to select them, how to leverage their strengths and minimize their weaknesses, and how to manage their ability to enhance or impede resonance.

INSPIRATION:   Becoming One with What Inspires You

Inspirations are sacred revelations you want to share through art and design.

The word inspiration comes from the Latin roots meaning “to breathe into.”   But  before you can breathe your inspiration into your jewelry, you need to become one with it.

There are these wonderfully exciting, sensually terrific, incredibly fulfilling things that you find as you try to imagine the jewelry you will create.   They come from many sources:   ideas, nature, images, people, behaviors.   They might be realistic or abstract.   They may be the particular color or pattern or texture or the way the light hits it and casts a shadow.   They may be a need for order over chaos.  They may be points of view.   They may flow from some inner imagination.

For some reason, these inspirations take on a divine, sacred revelation for you – so meaningful that you want to incorporate them somehow into what you do.   A fire in your soul.   You want to translate these inspirations into colors, shapes, lines, patterns and textures.   You want to impose an organization on them.    You want to recapture their energy and power they have had over you.   You feel compelled to bring these feelings into ideas.

There are many challenges to inspiration.    That which we call “inspiring” can often be somewhat fuzzy.   It might be a feeling.  It might be a piece of an idea, or a small spot on an image.   You might feel inspired, but, cannot put the What or the Why into words or images.    On the surface, it may seem important to you, but unimportant to others.   You the artist may not feel in control of the inspiration in that it seems like it is something that is evoked, not necessarily directed, by you.

When inspired, artists perceive new possibilities that transcend that which is ordinary around them.   Too often, the artist feels passive in this process.    This transcendence does not feel like a willfully generated idea.    However, it needs to be.  The successful artist – one who eventually can achieve a level of resonance – is one who is not only inspired by, but also inspired to.    This all requires a great deal of metacognitive self-awareness.   The artist must be able to perceive the intrinsic value of the inspiring object, and how to extend this value in design, where the piece of jewelry becomes its expression.

Inspiration is motivating.  Inspiration is not the source of creativity; creativity does not come from it.   Inspiration, instead, should be viewed as a motivational response to creativity.   It motivates the artist, through jewelry and its design,  to connect this inspiration with others.   It serves as a mediator between the self and the anticipated shared understandings of others.    The jewelry encapsulates the artist’s ability to make this connection.    When the connection is well-made, resonance follows.

But finding inspirations is not only personal, but more importantly, it is an effort to influence others.    It is an act of translating the emotions which resonate in you into some object of art which, in turn, will inspire and resonate with others.     How does the inspiration occur to you, and how do you anticipate how this inspiration might occur to others?

Too often we lose sight of the importance of inspiration to the authentic performance task of creating jewelry.   We operate with the belief that anyone can be inspired by anything.   There’s nothing more to it.   Moreover, inspiration gets downplayed when put next to the discussion of the effort of making jewelry itself.    But it should not.   Inspiration is not less important than perspiration.   It plays an equal role in the creative process.   The artist’s clarity about why something is inspiring, and why this inspiration motivates the artist to respond, will be critical for achieving success, that is resonance.

ASPIRATION: Translating Creativity into A Technical Product Design

Aspiration motivates the artist to actualize inspiration.  

Aspiration is where the artist translates inspiration into a completed product design.   The artist begins to control and regulate what happens next.    This involves selecting Design Elements[1] and clustering them to formulate meaningful expressions.    The artist then applies Principles of Composition, Construction and Manipulation[2] for organizing and arranging things into a more complete whole with more elaborated expressions.    The greater value the artist places on resonance, the stronger the aspiration will be to achieve it.

Aspiration is future-oriented.    It requires a stick-to-it-ness.   The artist must be sufficiently motivated to invest the time, energy and money into designing and making the jewelry that will not necessarily be finished, displayed or sold right away.   It may require some additional learning and skills-development time.   The artist may need to find a level of creativity within, and discover the kinds of skills, techniques and insights necessary for bringing this creativity to the aspired task at hand.

Aspiration requires the calculus:  Is it worth it?    It adds a level of risk to the project.    It forces the artist to pay attention to the world around her or him.    This world presents dynamic clues – what I discuss below as shared understandings – about opportunities, constraints, risks, contingencies, consequences, strategies and goals, and likely successes.

For some artists, motivation primarily is seen as instinctual.    Think of seat-of-the-pants.   Emergent, not controlled.   A search for harmony, balance, rhythm, unity as something that feels right and looks right and seems right with the universe.    Expressive, yes.  Imaginative, yes.   But not necessarily resonant.

Achieving resonance, however, is, for the most part, more than instinctual.  It has some deliberate quality to it.   It is communicative.  It requires a purposeful act on the part of the artist.    It is a different type of motivation — intentional.   The artist might want to convey a specific emotion.   Or advocate for some change.  Or illustrate a point of view.    The artist may want to entertain or teach.   Heal.  Attract mates.  Propagandize.     Where a jewelry’s design is not reflective of an artist’s intent, there can be no resonance.

ANTICIPATION: Shared Understandings[4]

Shared understandings dictate opportunities, contingencies and constraints.

The question of whether the audience correctly infers the presence of the artist’s inspiration, and the sense of how the artist’s hand comes into play within the design, remains.   The answer revolves around a dynamic interaction between artist and audience, as they anticipate understandings they share, and ones they do not.

Shared understandings should be enduring, transferable, big ideas at the heart of what we think of as good jewelry design.   These shared understandings are things which spark meaningful connections between designer and materials, designer and techniques, and designer and client.    We need, however, to recognize that the idea of understanding is very multidimensional and complicated.

Understanding is not one achievement, but more the result of several loosely organized choices.    Understanding is revealed through performance and evidence.    Jewelry designers must perform effectively with knowledge, insight, wisdom and skill to convince us – the world at large and the client in particular — that they really understand what design is all about.     This involves a big interpersonal component where the artist introduces their jewelry to a wider audience and subjects it to psychological, social, cultural, and economic assessment.

Understanding is more than knowledge.  The designer may be able to articulate what needs to be done to achieve something labeled good jewelry design, but, may not know how to apply it.

Understanding is more than interpretation.   The designer may be able to explain how a piece was constructed and conformed to ideas about good jewelry design, but this does not necessarily account for the significance of the results.

Understanding is more than applying principles of construction.    It is more than simply organizing a set of design elements into an arrangement.     The designer must match knowledge and interpretation about good jewelry design to the context.   Application is a context-dependent skill.

Understanding is more than perspective.   The designer works within a myriad of expectations and points of view about good jewelry design.   The designer must dispassionately anticipate these various perspectives about design, and, bring some constructed point of view and knowledge of implications to bear within the design and design process.

We do not design in a vacuum.    The designer must have the ability to empathize with individuals and grasp their individual and group cultures.    If selling their jewelry, the designer must have the ability to empathize with small and larger markets, as well.   Empathy is not sympathy.  Empathy is where we can feel what others feel, and see what others see.

Last, understanding is self-knowledge, as well.   The designer should have the self-knowledge, wisdom and insights to know how their own patterns of thought may inform, as well as prejudice, their understandings of good jewelry design.

How the jewelry designer begins the process of creating a piece of jewelry is very revealing about the potential for success, and ultimately achieving a level of resonance.    The designer should always begin the process by articulating the essential shared understandings against which their work will be evaluated and judged.    For now, let’s refer to this as Backwards Design[5].    The designer starts with questions about assessment, and then allows this understanding to influence all other choices going forward.

Some essential shared understandings for good jewelry design, I would posit, might include the following:

  1. Every designer has some creative ability, but may need to learn concepts and techniques and ways to apply them
  2. Some understandings are universal and objective, particularly in reference to the selection, clustering and application of various Design Elements, such as color, shape, movement and dimension.
  3. Other understandings are both objective and subjective.     There is universal acceptance of what various organization and arrangement schemes — Principles of Composition, Construction and Manipulation – might be applied by the artist.   However, how they are actually applied, and how satisfying that is to various audiences, is very personal and subjective.
  4. The strengths and limitations of various materials or techniques should be respected, maximizing the strengths and minimizing the limitations 
  5. Jewelry should communicate and reflect the artist’s intent
  6. Jewelry should affirm the wearer’s purpose and identity in context
  7. Jewelry can only be considered as art, as it is worn
  8. We know the jewelry is finished and successful when the choices made and the tradeoffs among appeal, function, and context are implemented to the point we see parsimony and resonance.

SPECIFICATION:  Goal-Orientation

It’s not just what you do…it’s how you get there.

Jewelry designers are too quick to focus on the outcome, and too lax to focus on the process.    It’s always things like getting it done.   Getting it to the client on deadline.   Ending up with something concrete to show someone.   Too much concentration on outcome can lead to taking shortcuts.   Shortsightedness.  Inflexibility.  A misunderstanding, perhaps illusion about, whether the piece is finished and successful.

Artists more appropriately should focus on goals.   Artists who are focused on goals tend to embrace process.   It’s about all the smart choices regarding composition, construction and manipulation you made at each increment along the way.     By specifying goals, the artist is encouraged to find connections, and be connected to and aware of shared understandings and their impact on perceived success.   When problems arise, a goal-oriented focus allows the artist to be flexible and problem solve.   The artist is present from contemplation to inspiration and through to aspiration, anticipation, specification and application.   The goal-orientation prevents the artist from becoming lost or paralyzed with inaction.

The jewelry artist pursues several goals at once.    The jewelry should be both appealing and functional.   It should evoke emotion, elicit response, and resonate.   The piece should show both unity and variety.   The piece should create opinions, validate status, and reconfirm a cultural and social identify.   The piece should be reflective and communicative.    It should be pleasurable to the maker, the wearer and the viewer alike.

When specifying goals, it is important to remember that not all goals are alike.    The goals I am discussing here are the essential elements related to effective performance.   That effective performance results in a finished and successful piece of jewelry reflective of the artist’s hand and which resonates among a varied set of audiences.

The artist needs to set goals which clarify what results need to be accomplished by the time any piece of jewelry is finished and showcased.   Goals provide perspective.   They are there to prevent the artist from achieving anything less than resonance.   These goals relate to generating deep understandings and competence at performance.     They are not results-specific per se; they are overarching.    They serve as sign-posts to point to and highlight what jewelry designers need to engage with when thinking through and implementing design.

The jewelry designer specifies goals as standards of professional performance, such as…

  • Leveraging the strengths and minimizing the weaknesses of desired materials and techniques
  • Discussing and reflecting upon inspirations and motivations toward the expression of the creative self
  • Defining aspirational intent, point of view, and what it means to connect to various audiences
  • Delineating shared understandings among self, wearer, viewer, student, master, buyer and seller, in relationship to how the jewelry will be observed and assessed and worn within a context
  • Elaborating on all artistic and architectural elements and principles which should come into play, and why
  • Reflecting on personal learning throughout the process, particularly as it relates to developing and expanding on skills related to fluency in design
  • Determining how skills, insights and lessons learned from the current project might be transferred to your next one

Within each generalized performance goal, the designer can further identify particular tasks, knowledges and skills required in order to accomplish them.    Often, with too many choices about what to do, what to include, and how to proceed, priorities and timeframes will need to be set, as well.

Resonance is more easily achieved when the designer approaches design as a process, an understanding of the myriad sets and levels of choices as made within a coherent system of creative thinking and activity, and with clear performance goals to guide the way.

APPLICATION:  Unity, Emotions, Resonance

Think like an assessor[6]…find evidence related to desired results.

What is the evidence we need to know for determining when a piece is finished and successful?   What clear and appropriate criteria specify what we should look at?

There are different opinions in craft, art and design about what are the most revealing and important aspects of the work, and which every authentic jewelry design performance must meet.

The traditional criteria used in the art world are that the designer should achieve unity, variety and evoke emotions.     These, I feel, may work well when applied to paintings or sculpture, but they are insufficient measures of success when applied to jewelry.   Jewelry involves the creation of objects where both artistic appeal as well as practical considerations of use are essential.   The artistry of jewelry cannot be distinguished from that jewelry as it is worn, and the context within which it is worn.   So, when referencing any jewelry’s design,  I prefer to use criteria of parsimony and resonance, instead.    We know when a piece is finished and successful when the choices of the artist are deemed parsimonious, and the various audiences perceive the piece to resonate.

Parsimony vs. Unity/Variety

In art, the traditional measure of completion and success is a feeling or sense of “Unity.”   Unity signifies how everything feels all right.   All the Design Elements used, and how they were coordinated and placed, are very coherent, clear, balanced, harmonious and satisfying.   I think the idea of unity begins to get at the place we want to end up.   But this concept is not concrete enough for me.

What bothers me the most is that you can have unity, but the piece still be seen as boring when there is no variety.   Criteria provided from the art perspective recognizes this.   But somehow tempering unity with variety starts to add some ambiguity to our measurements of finish and success.   This ambiguity is unacceptable as a principled outcome of jewelry construction.

Another concern I have, is that you can have unity with variety, but, from the art perspective, these assessments rely too much on universal, objective perceptions of design elements and their attributes (for example, the use of color schemes).   Resonance is not about picking the correct color scheme.    It is more about how that color scheme is used, manipulated, leveraged or violated within the piece.   We must not leave the artist, the wearer, and the situation out of the equation.    We must not minimize the artist’s hand – the artist’s intent, thinking, strategizing, arranging, pushing the boundaries, even violating the universal, objective rules.

Jewelry creation usually demands a series of judgment calls and tradeoffs.   Tradeoffs between aesthetics and functionality.  Tradeoffs between artist goals and audience understandings and expectations.   Tradeoffs between a full palette of colors-shapes-textures and a very limited one.    Any measure of completeness and success needs to result from the forced choice decisions of the artist.    It needs to account for the significance of the results, not just the organization of them.    It needs to explain the Why, not just the What.

For me, the more appropriate concept here is Parsimony.  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.  The designer needs to be able to decide when enough is enough.   For jewelry designers, we want that economy or parsimony to apply to functional and situational effects, as well.

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 vs. Evoking Emotions

Finished and successful jewelry should not only evoke emotions, but, should resonate.

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 controls 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

FLUENCY[7] AND EMPOWERMENT: Managing Choices In Expression

Empowerment is about successfully making choices.   These are choices about expressing one’s intent through art and design.

These choices could be as simple as whether to follow through on some inspiration.  They might involve selection of elements of design, or principled arrangements of beads, forms and components.   The designer will make choices about how to draw someone’s attention to the piece, or, present the piece to a larger audience. The designer will make choices between aesthetics and functionality.   She or he may decide to submit the piece to a magazine or contest. She or he may want to sell the piece and market it. The designer will make choices about how a piece might be worn, or who might wear it, or when it might be worn, in what context.

The fluent designer will be adept at making these choices.    The better designer is able to bring a high level of coherence and consistency to the process of managing all this – intent, shared understandings, knowledge and skills, evaluative review, and reflection and adjustment. This is called “fluency in design”.

Fluency is the ability of the designer to select and connect Design Elements smoothly, in visually and functionally and situationally appropriate ways with understanding. The idea of understanding is broadly defined, to include the artist’s personal goals for expression, as well as the expectations of all the audiences – the wearer, the viewer, the buyer, the seller, the student, the master. The better designer achieves a level of disciplinary literacy where fluency becomes automatic, accurate, and rapidly applied.

The better, more fluent jewelry designer is able to anticipate how others will come to understand these mechanisms and the implications for applying them in one way or another.    For example, the better and more fluent designer would be able to select and combine design elements to appropriately differentiate jewelry that would best be worn at work, and jewelry that would best be worn, say, when someone was going to a night club for dancing and socializing.

Lastly, fluency means that the designer has also been taught to look for, anticipate and incorporate context clues. Design does not occur in a vacuum. It has implications which become realized in a context. That context might be historical, cultural or situational.

More proficient, fluent jewelry designers will be comfortable

and somewhat intentional and fluid in their abilities to…

  1. Leverage strengths and minimize weaknesses of materials and techniques.
  1. Decode, select, cluster and apply Design Elements, and implement and apply various organizational arrangements related to Principles of Composition, Construction and Manipulation.
  2. Work within shared understandings about jewelry and its successful design.

  3. Apply key knowledge and skills to achieve the desired result.
  4. Anticipate how their work will be reviewed, judged and evaluated by criteria reflective of these same shared understandings.
  5. Communicate their intent.
  6. Step back, reflect, and validate all their thinking to reject any misunderstandings, and make adjustments accordingly.

 

RUBRIC[8] AS THINKING ROUTINE

Designers need a simple map to all these ideas about literacy and fluency – something they can easily review and determine where their strengths and weaknesses are as they gain proficiency and fluency in design.     One type of map is a rubric.

A rubric is a table of criteria used to rate and rank understanding and performance.   A rubric answers the question by what criteria performance should be judged.    The rubric provides insightful clues for the kinds of evidence we need to make such assessments.    The rubric helps us distinguish degrees of performance, from the sophisticated to the naïve.   The rubric encapsulates what an authentic jewelry design performance would look like.

Such a rubric is presented below for the artist to use as a thinking routine.[9]  Here I have used one rubric to represent both (1) understanding and (2) performance, but, I could have easily created two separate rubrics toward this end.   In this rubric table below, the rows represent contemplation, inspiration, aspiration, anticipation, application, and fluency and empowerment.    The columns represent the degrees of understanding and performance along a continuum, from proficient on one end to not there yet on the other.   By way of example, I use the rubric to assess my performance with a piece I created called Vestment (Feld, 2004).


RUBRIC:  How Proficient Am I In Achieving Resonance?

The Rubric…

           
UNDERSTANDING

&

PERFORMANCE

4- Proficient

Insightful, intuitive understanding, effectively established, with clear intent, and  well supported by details

3-Capable

Well-considered understanding, appropriately established and supported by details

2-Shows Potential

Some plausible understanding, some consistency established and supported by details, but not always sustained

1-Not There Yet

Superficial or no understanding, not consistent or sustained, perhaps vague or incomplete

CONTEMPLATION

Exhibiting an intimacy with the materials and techniques

Purposeful in selection of materials and techniques which synergistically work together

Insightful understanding and clear ability to leverage strengths and minimize weaknesses of materials and techniques

Selects materials appropriate for technique used, and select technique appropriate for task at hand

Some ability to leverage strengths and minimize weaknesses of materials and techniques

Selects materials and techniques for which may have some fit the task at hand, but could not articulate the reasons why

Has limited understanding of the strengths and weaknesses materials and techniques bring to the task at hand

Does not understand the relationship between the selection of materials and techniques and the task at hand

Has no understanding of the strengths and weaknesses materials and technique

INSPIRATION

Sharing sacred revelations art and design

Clearly recognizes intrinsic value between inspiration and the design of finished piece; applies inspiration

Deliberately reflects on using inspiration and the design of the piece to motivate and energized others to so be inspired

Some recognition of the connection between inspiration and the design of finished piece; applies inspiration

Thinks how others might be inspired by and emotionally connected to the piece as well

Passively responds to inspiring objects while designing piece with some intent to evoke a personal emotion but limited intent to evoke that emotion in others; consumes inspiration

Does not think deeply about how the piece might inspire others

Either does not begin with an inspiration, or only a weak connection between an inspiring object and the design of a piece

Does not think about how the piece might inspire others

ASPIRATION

Actualizing inspiration into a design

Can clearly and intentionally

translate a feeling or idea into a jewelry design or model; With considerable intention and control, select and arrange Design Elements, Principles of Composition, Construction and Manipulation resulting in an inspiring design which resonates

Can clearly determine risk-calculus comparing all costs associated with constructing piece relative to all benefits from how the finished piece will be received

Can, with some clarity, translate a feeling or idea into a jewelry design or model, and select Design Elements and Principles of Composition, Construction and Manipulation which come together well and evokes emotion

Has an intuitive feel for the risk-calculus, comparing all costs associated with constructing piece relative to all benefits from how the finished piece will be received

Can translate a feeling or idea into a jewelry design or model, but mostly based on instinct rather than intent; can select Design Elements and Principles of Composition, Construction and Manipulation which results in a satisfying design

Has not taken the time to think about the risk-calculus for implementing a design

A jewelry design emerges somehow, but there is little obvious connection to an inspiration or an artist’s intention

Does not know how to think about the risk-calculus for implementing a design

ANTICIPATION

Awareness of shared understandings

Shows empathy;

can anticipate others’ points of view, and how to incorporate them with his/her own

Can engage with others around this project

Can delineate misunderstandings

Can explain how a piece and its construction conforms to others’ ideas of good jewelry design, and shows some evidence in applying this

Anticipates some understandings, but is somewhat reactive to them

Can explain, in an academic sense, how a piece fits broad understandings about good design, but is weak in applying this

Is weak, in reality, at anticipating others’ understandings about design and is very reactive to them

Cannot explain or apply understandings of how a piece fits a definition of good design

Does not anticipate others’ understandings about design, nor responds to them in any significant way

SPECIFICATION

Clarifying what results need to be accomplished

Can clearly define and articulate those performance goals necessary to achieve resonance

Can implement a coherent process and system of creative thinking and activity as a series of smart choices leading up to the finished product

Can make visible the consequences of his/her design process choices

Can identify what it will take to overcome misunderstandings, and flexibly problem solve, when necessary

Can define some performance goals necessary to achieve resonance

Can implement an organized process of creative production

Can identify some consequences related to his/her design process choices

Can identify misunderstandings and determine some strategies in response, when necessary

Does not overtly define performance goals necessary to achieve resonance; however, may have an intuitive sense of some performance goals which need to occur

Does not work within an organized process of creative production

Does not identify consequences related to his/her design process choices

Does not identify misunderstandings, nor develop strategies for overcoming these when they occur

Is not yet performance goal-oriented.

Does not understand how to define or work within an organized process of creative production

Cannot identify consequences related to his/her design process choices

Does not recognize, or incorporate shared understandings or misunderstandings into the creative process

APPLICATION

Strategically and parsimoniously selecting Design Elements and applying of Principles of Composition, Construction and Manipulation

Provides in-depth, coherent, insightful, and credible reasons, based on evidence and both art and design theory, for all design choices, particularly tradeoffs among aesthetics, function and context

Argues what is central to piece that makes it work; emphasizes application in context

Uses materials, techniques, design elements and principles in an especially novel way

Determines confidently that piece is finished and successful, that is parsimonious and resonant

Provides coherent, insightful reasons based on evidence in art theory for all design choices

Weak or no tradeoffs among aesthetics, function and context.

Uses materials, techniques, design elements and principles in novel way

Judges based on personal and art theory assumptions when piece is finished and successful, that is unified with some variety, and evokes emotions

Provides justifications for design choices, but not grounded in art or design theory and perspective

Does not make any accommodations among aesthetics, function and context

Uses materials, techniques, design elements and principles in interesting or generally appealing way

The piece is finished when the artist stops working on it; no judgements related to success

Does not recognize the design process as a series of choices, or in any way rooted in art or design theory and perspective

Does not understand that tradeoffs may need to get made among aesthetics, function and context

Does not show significant understanding about materials, techniques, design elements, principles, and how to choose, cluster them

Shows no confidence in determining whether piece is finished or successful.

EMPOWERMENT

Managing design process and demonstrating disciplinary literacy

Intuitive; metacognitive; can make choices based on intent, and anticipate implications of choices; can take a critical stance; can

recognize personal and situational biases

Effective and appearing almost effortless decoding Design Elements and applying Principles of Composition, Construction, and Manipulation; has complete and extensive knowledge about Elements and Principles and their application in context

Somewhat intuitive; can articulate some of the intentional choices and their implications made in design process; may not be fully aware of personal and situational biases

Understands what is required for decoding Design Elements and applying Principles of Composition, Construction, and Manipulation, but does this with some effort and some varying degrees of effectiveness; has extensive knowledge of Elements and Principles

Weak demonstration of process management; typically following step-by-step process outline or instructions where most choices have been made for the artist; unaware of implications of choices

Doing some decoding of Design Elements and some applying of Principles, but with some difficulties or misconceptions; may have considerable but not full knowledge of Elements and Principles

No demonstration of process management; requires others to delineate the necessary design and implementation choices; unaware that there are implications for any choice

Noticeable difficulties (or unable to do) decoding Design Elements and applying Principles; generally unfamiliar with full range of Elements and Principles

RUBRIC:  How Proficient Am I In Achieving Resonance?

The piece…

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“Vestment”, by Warren Feld, 2008

I was contracted to do a series of workshops on Contemporizing Etruscan Jewelry.   “Vestment” was one of the pieces I created as a contemporized version of a traditional Etruscan collar.    Contemporized refers to drawing inspiration from a traditional piece, not reviving or imitating it per se.

With my contemporized version of this Etruscan Collar, I’ve used bead weaving techniques (Ndebele stitch and Petersburg chain stitch) to get a more dimensional effect, stronger color play, and a more               contemporary sense of fashion and wearability.

The piece shown uses Miyuki cubes, seed beads and delicas, Austrian crystals, with 14KT, gold filled, sterling silver, and antiqued copper chain, clasps and other findings. With some pieces, I include artist-created handmade lampwork beads made by Lori Greenberg.

My Etruscan VESTMENT is worn like a scarf. It is meant to present a different jewelry profile than a typical necklace. It is at once formal  and relaxed, complementing the body and fashion, rather than  competing with it. The Vestment fastens in the front.

The main strips of the vestment are created using a double-layered, Ndebele stitch. These strips are attached to the clasp with an assemblage of pieces created using the Petersburg chain stitch.

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Detail 1

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Detail 2

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Traditional Etruscan Collar

If I were using the Rubric above to evaluate my conception, design and implementation of this piece – Vestment – I would be thinking about the following…
CONTEMPLATION Score 4

Exhibiting an intimacy with the materials and techniques

The Ndebele stitch allows a fluidity and draping while still maintaining the basic shape.   Using two small beads and a cube to make the Ndebele stitch, rather than the traditional four small beads to complete the stitch, adds resonance.  Creating two overlapping layers of stitching creates unusual color/shadow effects while the piece is worn.

INSPIRATION Score 4

Sharing sacred revelations art and design

This piece draws inspiration from form, cultural color preferences, yet results in a very contemporary piece with more fluidity, dimensionality, movement, and sensual appeal.

ASPIRATION Score 4

Actualizing inspiration into a design

The design shows considerable intent and forethought in bringing together color, materials, techniques, forms, in a coherent arrangement.

ANTICIPATION Score 3

Awareness of shared understandings

The piece is generally well-received, with some questions about how and when it is to be worn, and whether it is sufficiently contemporary in design.

SPECIFICATION Score 3

Clarifying what results need to be accomplished

At the time I created this design, my process was generally organized but with considerable trial and error.   Tried to get result of appealing piece, had difficulty making tradeoffs between aesthetics and functionality.  Did not have a clear understanding of resonance.

APPLICATION Score 3

Strategically and parsimoniously selecting Design Elements and applying of Principles of Composition, Construction and Manipulation

Was primarily driven by art theory, with more last minute choices about functionality.   Otherwise, made strategic choices in selecting materials, construction techniques, and meeting most contemporary expectations.

EMPOWERMENT Score 3

Managing design process and demonstrating disciplinary literacy

Was not fluent in design at this point in time.     Most of my great strategic choices were more intuitive than intentional.

_________________________________________________________

WARREN FELD, Jewelry Designer

warren@warrenfeldjewelry.com

615-292-0610

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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 and silver smithing, 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, 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.

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.

_________________________________________________________

FOOTNOTES
 [1] Feld, Warren.  “Jewelry Design Composition: Playing with Building Blocks Called Design Elements,” 3/17/2018

[2] Feld, Warren.  “Jewelry Design Principles: Composing, Constructing, Manipulating,” 4/25/2018

[3] Feld, Warren.  “Jewelry Design: A Managed Process,” Klimt02, 2/2/18. https://klimt02.net/forum/articles/jewelry-design-managed-process-warren-feld

 [4]Shared Understandings.  In another graduate education class, the major text reviewed the differences between understanding and knowledge.   The question was how to teach understanding.    Worth the read to gain many insights about how to structure teaching to get sufficient understanding to enrich learning.   
Understanding by Design
by Grant Wiggins and Jay McTighe, 2nd Edition, Association for Supervision and Curriculum Development, 2005.
[5]  Backwards Design.  One of the big take-aways from
Understanding by Design
(see footnote 3) was the idea they introduced of “backwards design”.   Their point is that you can better teach understanding if you anticipate the evidence others will use in their assessments of what you are trying to do.    When coupled with ideas about teaching literacy and fluency (see footnote 2), you can begin to introduce ideas about managing the design process in a coherent and alignable way.
[6]
Understanding by Design
by Grant Wiggins and Jay McTighe, 2nd Edition, p. 146, Association for Supervision and Curriculum Development, 2005.
[7]Fluency. I took two graduate education courses in Literacy. The primary text we used was Literacy: Helping Students Construct Meaning by J. David Cooper, M. Robinson, J.A. Slansky and N. Kiger, 9th Edition, Cengage Learning, 2015. Even though the text was not about jewelry designing per se, it provides an excellent framework for understanding what fluency is all about, and how fluency with language develops over a period of years. I have relied on many of the ideas in the text to develop my own ideas about a disciplinary literacy for jewelry design.

[8]Rubrics.  
Understanding by Design
by Grant Wiggins and Jay McTighe, 2nd Edition, p. 146, Association for Supervision and Curriculum Development, 2005.
[9]  Thinking Routines.  I teach jewelry design.   I find it useful to engage students with various ways of thinking out loud.    They need to hear me think out loud about what choices I am making and what things I am considering when making those choices.   They need to hear themselves think out loud so that they can develop strategies for getting more organized and strategic in dealing with information and making decisions.    My inspiration here was based on the work done by Visible Thinking by Project Zero at Harvard Graduate School of Education .

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DIMENSIONALITY: One Principle of Composition

Posted by learntobead on February 25, 2014

DIMENSIONALITY: One Principle of Composition

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Jewelry Design is the application of basic principles of artistic expression. One set of principles involves COMPOSITION.    In an article online – Good Jewelry Design (http://www.landofodds.com/store/goodjewelrydesign.htm ) – I describe 10 Principles of Composition.     Principles of Composition define what types of goals the good jewelry designer should achieve.   Discussion on these principles and their application focus on what elements in our pieces we , as jewelry designers, manipulate in order to achieve a principled, satisfactory outcome.

In this post, I focus on one in particular:   Dimensionality.

QUESTION:
What kinds of things have you manipulated within your piece(s) that helps you achieve a satisfying sense of dimensionality?

Conversely, where do you see failures in attempts to achieve “dimensionality”, and what kinds of wrong-way choices do you think the jewelry designer made, that might have led to this failure?    What better choices could the designer have made?

Share images, if you have them.

gjddimbb1

Dimensionality

Good Dimensionality  refers to the degree to which, whether the piece is flat or 3-dimensional, the placement of objects (and their attributes) is satisfying, and does not compete or conflict with the dimensionality of the piece as a whole.

Sometimes dimensionality is achieved through the positioning of masses of objects or planes of interconnected pieces, such as varying sizes/heights/lengths or layering or cut-aways, or varying positive and negative spaces.

Othertimes, dimensionality is achieved through color/texture optical effects, such as the use of glossy and matte beads in the same piece, or mixing darker/more intense colors with light/less intense colors.

gjddimbb2

How often have you seen something like a flat loomed bracelet and a button clasp, that sits so high on the bracelet, that it detracts from the 2-dimensional reason-for-being of the piece. Would a clasp, and a flatter clasp, at the end of the piece have worked better?

Glossy surfaces move toward the viewer, and matte ones recede.   Can you point to successful examples of this?

Achieving Good Dimensionality is considered, not only a desirable design goal, but a critical and important characteristic of contemporary jewelry.

This doesn’t mean we want to pile up bead up bead and layer upon layer.   It means we want to show how creative we can be to achieve something more satisfying than flat and more satisfying than one-dimensional.

We want to demonstrate more artistic control over line and plane.

gwynian-wine-detail2-medium

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Need for Critical Writing About Beading

Posted by learntobead on August 27, 2009

Need For Critical Writing and Dialog About Beading

One of the major gaps in Bead World is the support of more open and frequent critical writing and dialog about beading.   What it is.  Why it is.   It’s relationship to art.   The relationship of current modes and techniques to historical ones.   Contemporizing Traditional Beadwork.    Adding dimensionality.   Why there are numerous ways to work thru the same stitch, like Peyote, Brick, Daisy Stitch or Right Angle Weave.    Design elements and rules of composition underlying beading.    Beading structures.  Documenting beading techniques.  Forms and functions of beading.    Sex and sexuality, wealth and poverty, emotion and no emotion, and other pertinent themes underlying beading.   Comparative analyses of artists works.    Use of color with beads.    The relationship of jewelry as display item and jewelry as item as it is worn.   Why beads have power.   What makes some jewelry resonate.

Bead World lacks an academic center, which would encourage such discussions.   Bead World lacks magazines and journals which support these kinds of discussions.   Bead World is very step-by-step craft focused, and doesn’t tend to raise a lot of questions.     It doesn’t tend to support detailed documenting of beading traditions.   It doesn’t support urgent efforts to document and collect beadwork of rapidly disappearing ethnic groups, such as those in Dafur Africa.   It doesn’t create a clear sense of what is good beadwork, and what is sloppy beadwork. 

We have a recent history of beading in the US that began around 1960, and few people have witnessed the story.   Few people have asked deeper questions of the artists and teachers who first brought about an unbelievable increase in beading in the  1990s.   A lot of information has been lost.  

The information could be used to broaden the field, attract more people into beading, and encourage experimentation, research, deliberation.

Very sad.

At the Museum of Contemporary Craft in Portland, Oregon, they have created exhibits and ongoing discussions about criticality in craft, in general at least.   Beading and jewelry come into play occasionally.  

Their new discussion series — CALL + RESPONSE — is outlined on their web-site:

http://museumofcontemporarycraft.org/call/introduction.html

It’s definitely worth a visit.   Be sure to read the full essays from each participant, as well as view images of the works associated with each essay.

Anya Kivarkis, area head, jewelry and metalsmithing, University of Oregon

Anya Kivarkis, area head, jewelry and metalsmithing, University of Oregon

 

 

 

Namita Gupta Wiggers, curator, Museum of Contemporary Craft
Complaints about a need for critical writing on craft surface with great frequency. Drawing on the musical concept of “call and response,” this exhibition opens a space for critical dialogue and exchange between craft-based artists and art historians. From nearly three years of discussion, studio visits and exchanges of ideas, the resulting exhibition presents artwork and essays by eight pairs of artists and art historians, all of whom currently teach in Oregon colleges and universities.

 

 

 

 

Kate Mondloch, assistant professor of contemporary art history and theory, University of Oregon on
Josh Faught, assistant professor and program coordinator of fibers, University of Oregon
Knitting was passed down to me from my grandmother. However, I attribute most of my early experiences with craft to my time in summer camp. In fact, I think it’s safe to say that I learned to weave before I learned to draw or paint. It’s a biographical aspect of my work that I still like to talk about since it locates my skill set from a time iconically loaded with issues of identity construction. In college, I studied art history and English but when I graduated I gained a bit more confidence in my creative abilities. 

 

 

 

 

 

Abby McGehee, associate professor, Oregon College of Art and Craft on
Anya Kivarkis, area head, jewelry and metalsmithing, University of Oregon

For any student of material culture, objects provide the means for understanding social values, ritual and domestic procedure, and individual artistic development. Objects and structures are proxies for vanished makers and patrons, and remnants of the world they created. But there is always a tension between the substantiality of these physical remains and the absence of their historical context.

 

 

 

 

Kirsi Peltomäki, assistant professor of art history, department of art, Oregon State University on
Jiseon Lee Isbara, associate professor and fibers department head, Oregon College of Art and Craft

Hand-sewing, whether to join fabric pieces together or make a mark on them by embroidery, remains at the center of Jiseon Lee Isbara’s artistic practice, although she freely makes use of a sewing machine as well, and, on occasion, includes other techniques such as inkjet printing on fabric. A fiber-based artist by training and profession, the material and conceptual dimensions of Lee Isbara’s works simultaneously resonate with contemporary sculpture, particularly work by Eva Hesse and Mona Hatoum, and with the Korean textile tradition of pojagi wrapping cloths. Lee Isbara’s recent work involves pieced fabric stitched into patchwork forms and displayed in three-dimensional installations or two-dimensional wall arrangements. In any configuration, Lee Isbara’s work constitutes mental maps, visualizing territories that are coded and decoded in languages at once familiar and uncharted.

 

 

 

 

Dawn Odell, assistant professor, department of art and art history, Lewis & Clark College on
Sam Morgan, ceramics instructor and art chair, Cascade Campus, Portland Community College

Although the necessity for a division between the fine and decorative arts has been under assault for decades, the ghost of this separation continues to haunt discussions of contemporary craft. When considering ceramics, for example, the fine/decorative divide is often breeched by emphasizing the sculptural qualities of ceramics, both in terms of the objects’ three-dimensional form and also by assuming that the work is best contemplated from a distance. Sam Morgan’s art resists this conflation of ceramic as sculpture. 

 

 

 

 

Rob Slifkin, assistant professor of art and humanities, Reed College on
Studio Gorm (John Arndt and Wonhee Jeong), associate professors, product design, University of Oregon

Understood in its most expansive sense, to design is to forge a possibility. Whether one sketches a preliminary study for a painting or sculpture, or draws a plan for a building or a piece of furniture – or outlines a draft for an essay – the act of design entails the projection of a desired future outcome from a present moment. 

 

 

 

 

Matt Johnston, assistant professor, department of art, Lewis & Clark College on 
Karl Burkheimer, associate professor and head of the wood department, Oregon College of Art and Craft
From Karl Marx to Clement Greenberg and beyond (and probably echoing as a refrain in this collection of essays), both craft and art are portrayed as heroic but losing enterprises within an increasingly pervasive dehumanization of life brought about by the growth of capitalist society. A tool-making species, in this apocalypse of our own creation, we are losing touch with basic hand-eye skills required to fashion, manipulate, and interpret objects; in effect losing the ability to re-imagine and re-make the world, and are instead becoming mere passive consumers of machine-fabricated commodities. 

 

 

 

 

Anne Marie Oliver, assistant professor of intermedia and contemporary art theory, Pacific Northwest College of Art on
David Eckard, chair of the sculpture department and an instructor in the foundation and intermedia departments, Pacific Northwest College of Art

It would be a mistake, however, to view magic simply as a reenactment of social behavior, the logic of belief, or a mere lure or decoy by which attention is drawn away from some tasks in order for others, often traumatic or violatory, to be accomplished. In the final analysis, magic is far more disturbing than any conjectured relation between duplicity and consciousness, belief and disbelief, distraction and destruction. 

 

 

 

 

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