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At Land of Odds / Be Dazzled Beads – Beads, Jewelry Findings, and More

Posts Tagged ‘Artistic Success’


Posted by learntobead on June 8, 2020

“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


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 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

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.

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.

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.

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, dancing around an object each calls jewelry, 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.


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.

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.

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. Emotion can be seen in the reaction, “That’s beautiful.” Resonance can be seen in the reactions, “I want to wear that, “ or “I want to buy that.”

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.

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.


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…

RUBRIC: How Proficient Am I In Achieving Resonance?

The piece…


 [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.
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.

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 .

Other Articles of Interest by Warren Feld:

The Jewelry Design Philosophy: Not Craft, Not Art, But Design

What Is Jewelry, Really?

The Jewelry Design Philosophy

Creativity: How Do You Get It? How Do You Enhance It?

Disciplinary Literacy and Fluency In Design

Becoming The Bead Artist and Jewelry Designer

5 Essential Questions Every Jewelry Designer Should Have An Answer For

Getting Started / Channeling Your Excitement

Getting Started / Developing Your Passion

Getting Started / Cultivating Your Practice

Becoming One With What Inspires You

Architectural Basics of Jewelry Design

Doubt / Self Doubt: Major Pitfalls For The Jewelry Designer

Techniques and Technologies: Knowing What To Do

Jewelry, Sex and Sexuality

Jewelry Making Materials: Knowing What To Do

Teaching Discplinary Literacy: Strategic Thinking In Jewelry Design

The Jewelry Designer’s Approach To Color

Point, Line, Plane, Shape, Form, Theme: Creating Something Out Of Nothing

The Jewelry Designer’s Path To Resonance

Jewelry Design Principles: Composing, Constructing, Manipulating

Jewelry Design Composition: Playing With Building Blocks Called Design Elements

Contemporary Jewelry Is Not A “Look” — It’s A Way Of Thinking

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