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Jewelry
Design And Its Application:
Principles of Composition
Jewelry Design is the application of basic principles of artistic expression.
These principles involve:
1. COMPOSITION
2. MOVEMENT, Flow, Drapery, and Torque
3. FORMS in Relationship to the Body and the Mind,
including Functionality
and Support
4. TECHNIQUES and MATERIALS
In this discussion,
we focus primarily on Principles of Composition. These include,
a. Rhythm
b. Pointers
c. Planar Relationships
d. Interest
e. Statistical Distribution
f. Balance
g. Dimensionality
h. Temporal Extension
i. Physical Extension/Finishing
j. Parsimony
The jewelry artist
applies these Principles of Composition by manipulating the elements
of the piece. These elements might include:
- the Positioning and/or Ordering of things
Example: Black/White/Black/White
vs. Black/Black/Black/White
- the Volume or Area the piece takes up
Example: One row
of beads vs. Three rows of beads
- the Scale and Size of the pieces
Example: A 36" string of 6mm round beads vs. an 18" string of 10mm
round beads
- the Colors, Textures and Patterns of individual pieces, and/or
sets or groupings of pieces
Example: A necklace of all shiny beads vs. a necklace mixed with
shiny and matte beads
- the Forms and Structures (identifiable sets of pieces, highly
integrated)
Example: A
necklace made up of 6 sets of beads, one set connected to the
next with
a large wire ring. Each set of beads represents types of
animals found in a zoo.
- the Materials
Examples:
Glass, Gemstone, Plastic, Wood, Bone, Horn, Paper, Clay, Polymer
Clay, Pewter, Base Metal, Brass, Sterling Silver, Argentium,
Gold-Filled, Plated, Glazed, Embossed, Frosted, Galvanized, Color
Lined, and the like.
- the interplay of Light, Dark, Shadow, Reflection and
Refraction
Example: Dark/Dark/Transparent/Dark/Dark vs. Transparent/Transparent/Translucent/Transparent/Transparent
- the clasp assembly and other supporting systems
Examples: Hidden
Clasp, Clasp in Front, Clasp in Rear, Hand-crafted clasp, pre-formed
clasp, hinges, rivets, joints, connectors, linkables, and the like.
"Teaching" Jewelry Design - 3 Approaches
There are 3 different
approaches for teaching “Jewelry Design”.
Each approach makes different assumptions about the process of making
jewelry and about the skills/ abilities/ and capabilities the jewelry designer
will require.
It’s important
to understand how you are being taught and led – that
is, where the teacher (or how-to author) is coming from – so that
you can appreciate what the teacher is saying and trying to accomplish,
and how this may or may not apply to your own goals as a jewelry designer.
THE CRAFT APPROACH
By
far, the most typically-encountered approach is called the Craft
Approach. Here
you are taught a set of specific steps to follow in order to complete
a very defined project. You might be expected to follow a set of
step-by-step instructions in a class or read a pattern in a book.You
are not taught
how to apply those steps to any other
project. You are not taught the consequences for choosing one type
of bead or clasp or stringing material over another. You are not provided
any kind of evaluation about the steps -- for example, are they clear,
well-written, relevant, pertinent, user-friendly?
You find the Craft
Approach taught most often in a bead store or crafts store, or as the
basis of how-to books. These stores are in the business
of selling classes, books and kits -- basically, selling you "STEPS".
If the student has difficulty completing the steps, the Crafts Approach
teacher usually suggests going back and re-doing the steps, buying
another book of more steps, or taking another class to learn more steps.
Some students enjoy
learning from this approach. It's relatively straightforward. It's easy.
There's no pressure to create "Art". The only challenge
is to finish. You don't have to make a great commitment to the craft.
You can concentrate on having fun.
The Craft Approach assumes:
1. That you are either born with creative talents or are not. They
can’t be taught in any way.
2. The only thing that matters when stringing is to complete the task.
3. Jewelry is a craft that anyone can do. It is not art.
Some consequences:
a. No thought is given about the durability and functionality of the
piece, or how, through the choice of parts and stringing materials,
the student
may
enhance this durability and functionality
b. Appeal and beauty are based on simply completing the project – no
matter how it looks or feels
c. The jewelry artist
is taught to start with a set of instructions or a pattern.
d. Not concerned that the beader truly learn anything. A better
beader is one who does more and more steps (that is, follows more
and more patterns).
In most of the places that teach from a Craft Approach, the primary
concern tends to be selling kits and beads and collecting class
fees.
e. Easy to define an acceptable outcome. Easy to respond to a student
who says s/he doesn’t understand the directions for the project.
Tell them to go back and re-do the steps, or take another class to
practice some additional steps.
THE ART TRADITION
A second approach
to teaching jewelry design is called the Art Tradition. If you were
studying beadwork or other fine crafts at an art school or most jewelry
design
programs
or community college or university, you would probably be taught from
the Art Tradition.
The Art Tradition
believes that you
need to
learn a
set of rules that you can use to apply to any situation where you are
making jewelry. Artistic expression cannot be learned as a set of steps.
It is less important that you follow a set of steps. It’s
more important to know how to apply art theory to your project at each
stage of the process, whatever that process is, and wherever that process
takes you.
The types of rules
you are probably most familiar with are those involving color. What
colors go with each other? Which colors are “spring” and
which are “fall”? There are also rules involving texture/pattern,
shape, balance and harmony, distribution of sizes and colors, interplay
of light and shadow, perspective, dimensionality, and the like.
These art theories
detail what defines successful (and unsuccessful) manipulation of
design elements within a piece of art. The Art Tradition, however,
very narrowly
defines
what it considers an acceptable medium for art work. "Jewelry" is
understood either as a subset of painting or a subset of sculpture, and
subjected
to those theories only. "Jewelry" is not seen as its own discipline
and medium, with its own special rules, theories, techniques and
approaches.
Art,
Jewelry Design and Fine Craft programs teach from this perspective
because they are in the business of selling classes where they teach
art THEORIES. The student is encouraged to learn more and more theories,
and to experiment with different ways and strategies for applying them.
The Art Tradition views jewelry as a subset of either painting or sculpture.
There need not be special jewelry design classes, per se, because learning
theories from painting or sculpture is sufficient. Achieving "beauty" is
paramount. What matters most is how successfully the student has incorporated
art theories within the final piece -- as it sits on a
pedestal or rests on a mannequin.
Thus you see in magazines,
galleries and museums, many pieces that are visually stunning, but often
not wearable. For example, the bracelet with spikes that would kill
the wearer, should she let her arm down; or the ring that would never
stay upright on the finger in real life; or the 35 pound necklace
that would drag the wearer down by the neck.
What is nice about
the Art Tradition, is that the goal is Beauty. The artist is not
encumbered by having to follow specific steps or patterns. Nor is
the artist encumbered by the structural and functional properties
of all the pieces she or he uses -- only their beauty. The artist
does not have to compromise Beauty for Functionality.
The Art Tradition assumes:
1. While different people have different creative abilities, everyone
has some creative ability, and can be influenced in how to apply these
creative talents.
2. What matters in bead stringing is how you approach the process.
If you apply the rules correctly at each step of the way, your end result
will be a very beautiful necklace.
3. Jewelry as art is really a form of sculpture, and should be judged
by the rules of sculpture. The focus is on how you think through the
process. There is no concern about following a set of steps. It doesn’t
matter if the jewelry sits on an easel or on a person.
Some consequences:
a. Little thought is given about durability and functionality of the
piece, or how, through the choice of parts and stringing materials, the
student may enhance this durability and functionality
b. The beauty of the piece, as if it had been painted or sculpted,
is paramount.
c. The jewelry designer
is taught to start with a palette of colors and textures.
d. The beader should focus on the process of making jewelry. More
insights about the process (meaning how to apply rules of art theory)
makes
a better beader.
e. An acceptable outcome is one that is beautiful and appealing.
It doesn’t matter what specific steps you went through to create
your jewelry. It matters how well you applied the rules of art
theory. It
doesn't matter if the piece would hold up or wear well, as it is
worn.
THE ART AND DESIGN TRADITION
A third approach
to jewelry design is what we teach at Land of Odds, Be Dazzled Beads
and The Center For Beadwork & Jewelry
Arts – the
Art and Design Tradition. This approach isn’t widespread. This
approach began in schools of architecture. These schools originally
were departments in Schools of Art. Their students
were initially
taught in the Art Tradition. They designed and built buildings and
bridges, without thinking about and dealing with how people, cars,
the weather,
and the surroundings and context interacted and were mutually interdependent
with, with-in and with-out these buildings and bridges.
These buildings and bridges often
turned out to be “failures”. People couldn't find the entrances,
or the elevators. Buildings were set on vast plazas that people were
afraid to walk across. Ultra-modern buildings were set in the middle
of historical districts. Aesthetics were more important than functionality
and usability and workability and durability and environmental fit
and appropriateness. Bridges undulated in the wind, or had to be closed
to small cars for fear of them blowing off in the winds.
"Departments" of
Architecture rebelled, and became "Schools" of Architecture.
And hence, a new teaching philosophy – Art
and Design – was born. Design was merged with Craft was merged with
Art.
The focus became
teaching design principles and their applications. Some of
these design
principles are applied in similar ways to all art forms, such
as
painting and sculpture, no matter what the medium. For other principles,
architicture (and in our case, jewelry)
creates it’s own challenges, because all architecture (and by
extension, jewelry)
- functions in a 3-dimensional space, particularly sensitive to position, volume
and scale
- must stand on its own as an object of art
- but must also exist as an object of art which interacts with people (and
a
person's
body),
movement,
personality, and quirks of the user (wearer), environment and context
- serves many purposes, some aesthetic, some social and cultural, some psychological
The
Art and Design Tradition believes that you teach steps, like in the
Craft Approach, and you teach rules, like in the Art Tradition, but
that you approach teaching and learning from a developmental perspective.
That
means, that certain steps and rules should be learned before others,
and that continual learning keeps building upon itself. The focus is
on the process of construction, so a lot of attention is paid to all
the parts, and how they should be chosen, how they should/could and
shouldn't/couldn't be used, and how they may or may not be integrated
within the whole.
The Art and Design
Tradition is very relevant for the education and training of jewelry
designers, as well. Here, the Jewelry Artist is seen as a multi-functional
professional, similar to an
engineer who designs and builds bridges. The jewelry designer must
bring a lot of very different kinds of skills and abilities to bear,
when constructing a piece of jewelry. The professional has to be
able to manage artistic design, functionality, and the interaction
of the piece with the individual as well as that person's environment.
This approach also believes that “Jewelry
as Art” should be appreciated as it’s own discipline – not
a part of sculpture or painting. And that Jewelry can only be understood
as Art as it is worn.
The Art and Design Tradition assumes:
1. Everyone has creative abilities, but for most people, these need
to be carefully
groomed and attended to. Expressing creativity is not a matter of turning
a switch on and off. It’s a process that can be influenced by ideas
and situations. The challenge is to teach people to become more intuitive
in expressing their creative abilities and ideas.
2. What matters in bead stringing is that your project be judged as
a work of art. In this case, the definition of “art” is specific
to jewelry and it’s design, in anticipation of how it will be worn.
3. Jewelry can only be understood as “art” as it is worn.
This means that the wearer’s own body, clothing, hairstyle influences
the sense of the piece as art. The context influences this sense. How
the jewelry moves when the wearer moves influences this sense. How
the wearer feels and thinks about
the piece, when worn, influences this
sense.
Some consequences:
a. This approach focuses on design issues. Functionality, wearability,
durability, context, movement are all key considerations in selecting
parts and interrelating these parts in a design. Very concerned with
how you select parts and materials.
b. The beauty of the piece involves it’s construction, it’s
lay-out, it’s consistency with rules of art theory, and how it holds
up (physically and aesthetically) as it is worn. The focus is on how
you organize your construction, piece by piece. The beader needs to bring
many talents to bear in order to achieve a successful outcome. Here
the
beader is similar to an architect or engineer.
c. The jewelry designer
is taught to start, not only with a palette of colors and
textures, but of parts and components, as well.
d. More experience – especially learning skills developmentally – are
required to be a better beader. You learn how skills and techniques
are interrelated. You start with a core set of skills. Then you build
upon these, and learn how to link your new set of skills to the core.
You learn the next set of skills, and link them back to the second
set, and link them back to the core.
e. An acceptable outcome is one where the piece of jewelry maintains
a sense of itself as art, as the piece is worn.
Where the Craft Approach is systematic,
and
the Art Tradition
methodical,
the Art and Design
Tradition is systemic.
JEWERLY DESIGN:
PRINCIPLES OF COMPOSITION
The reason we learn these principles of design is to help us answer the
question:
Why do some pieces of jewelry draw your attention,
and others
do not?
In this discussion, we are going to evaluate 3 pieces of jewelry in
terms of 10 jewelry design principles of composition. Two pieces
are well-designed, though not perfectly. The third piece is an entry
from Land of Odds' The Ugly Necklace Contest.
Contemporary
Materials: sterling
silver tubes, assorted austrian crystal and czech glass beads
in montana blues, indian sapphires, crystals,
with bronze and gold touches, 2-strand adjustable choker clasp,
strung on Soft Touch cable wire, .010".
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Classic
Materials:
Czech glass rondelles in matte amethyst, matte topaz and matte olivine,
some sterling silver pieces such as 3-hole rondelles spacers and
a sterling silver tube bead at the center, 2 hand cut carnelian flat
disc beads, hook and eye clasp, strung on Soft Touch cable wire,
.010"
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Ugly
This submission to our ugly necklace contest is made up of plastic beads,
3 shell drops, strung on elastic string, tied into a knot at the back. |
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1. Rhythm
This is how the piece
leads the viewer through sequences of steps. It is a measure of the
degree the piece engages the viewer’s eye.
The artist might achieve a rhythm by varying colors, textures, sizes,
forms.
When a piece has multiple
and coordinated rhythms, we call this Symphonic
Rhythm. For example, in a piece, there might be a clear rhythm
set by the use of colors throughout the piece, as well as the positioning
of
definable forms, such as a series of beaded leaves or other shapes.
There may be multiple strands within the same piece, each with its
own sense of rhythm.
Example:
Black-o-Black-o-Black-o-White-o-Black-o-Black-o-Black-o-White-o
Or,
Black-o-White-o-Black-o-White-o-Black-o-White-o-Black-o-White-o
The Viewer, The Necklace, and Two Cognitive Certainties:
When a viewer interacts with a piece of jewelry worn by someone else,
the brain and eye perform two cognitive actions right off the bat.
First, the brain/eye
try to visually inspect the piece from end to end. The brain/eye
want to make a complete circle around the piece. Anything that
inhibits, impedes or distracts the brain/eye from making this complete
circle, ends up evoking the fear and anxiety response. If this is
the case, the viewer begins
to label the jewelry boring or ugly, in order to avoid it. This pre-wired
"avoidance / fear / anxiety response" protects the individual
from things like snakes and spiders.
Look at the example of the Ugly Necklace below. I can position it one
way, and then another way. I think you can feel in yourself a noticeable
difference in how motivated you feel to make a circle around the whole
piece. All I've done is alter the pattern, hence rhythm, a little.
With this rhythm
and configuration, are you less motivated to make
the complete circle around the whole piece? |
With this
rhythm and configuration, are you more motivated to
make
the complete circle around the whole piece? |
The more the viewer is
motivated to make the complete circle around the piece, the more the piece
will be judged as beautiful, satisfying and
appropriate. Rhythm is one of the primary principles used here, though
the other principles contribute as well.
[The second Cognitive
Certainty is discussed in the next section below.]
EVALUATE AND SCORE
THE SAMPLES FOR RHYTHM.
WHAT KINDS OF THINGS COULD BE ALTERED TO INCREASE, DECREASE OR CHANGE
THE SENSIBILITY OF THE PIECE, GIVEN THIS JEWELRY COMPOSITION PRINCIPLE?
Contemporary
A stepped
rhythm is created by altering areas of sterling silver tubes
with areas of sets of beads. The bead-sets vary
in length and composition. Both strands present a similar,
though not perfectly similar, rhythm.
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Classic
A
sweeping rhythm of 3 steps is created here. A long sweep, then
a short stop at the center, and another long
sweep. All three strands present the same rhythm. At the back of
the necklace, there is a subtley designed transition from the
glass beads to the clasp assembly.
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Ugly
This pieces fails to sustain a satisfying rhythm. The colors of
the beads are the same tones, a weak pattern is established, and
there are no pieces of interest or points of interest to motivate
the viewer to want to see the whole piece from end to end. |
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2. Pointers
Guide viewer to a specific place, or focal point.
Examples:
- Something can be centered
- The color can be varied, say from dark to light, to serve as an “arrow” or “Pointer” to
a section of the necklace
- The positioning of the clasp might serve as a pointer
- A dangling pendant might serve as a pointer
- The size of the beads can be varied, such as smallest to largest,
to serve as an “arrow” or “Pointer”
- Coordinating the placement of Focal Point on jewelry with the pattern
in the clothing upon which the piece will rest
- Something can be strategically off-centered.
Cognitive
Certainty #2: After the brain/eye of the viewer tries to make the complete circle
around the piece, the
second cognitive thing that happens is that the
brain/eye wants to come to rest. The major design principle used to
allow the brain/eye to come to rest, is the use of a focal point or
pointer.
So, the better designed
piece has some way to allow the viewer's eye, first to make a complete
circle around the piece, and second, to come to rest. The focal point
can be an obvious piece, or a subtle configuration of pieces, forms
or themes, or a deliberate manipulation of the viewer's perception
and interaction with the piece.
Pendant as Focal Point |
Graduated Sizes,
and a light to dark color pattern,
to
Establish Focal Point |
A more complex necklace might have more than one pointer within its design.
EVALUATE AND SCORE THE SAMPLES FOR POINTERS.
WHAT KINDS OF THINGS COULD BE ALTERED TO INCREASE, DECREASE OR CHANGE
THE SENSIBILITY OF THE PIECE, GIVEN THIS JEWELRY COMPOSITION PRINCIPLE?
Contemporary
The pointer is subtley created by varying (1) the length of
each bead-set, so that the longer sets are closer to the center
of the piece, and (2) the sizes of the beads in each set, so
that the larger beads are part of the composition of the bead-sets
closest to the center of the piece. |
Classic
Here
a clear focal point is presented.
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Ugly
There is some attempt at creating a focal point, through the placement of the
3 shell pieces, as well as use of darker beads at the base of the piece. What
you can't see in the picture is that the shell pieces are orange on one side
and white on the other, and are color-positioned in a way that diminishes their
impact as pointers. |
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3. Planar Relationships
This is the degree the piece is not disorienting to the viewer, or particularly
confusing in terms of what is up and what is down.
People always need to orient themselves to their surroundings, so that
they know what is up and what is down. They usually do this by recognizing
the horizontal planes of the floor and the ceiling of a room (ground and
sky outside), and the vertical planes of the walls of a room (buildings,
trees and the like outside).
Jewelry must assist,
or at least not get in the way of, this natural orienting process.
It accomplishes this in how its “lines” are
arranged and organized. If a piece is very 3-dimensional, then how
its “planes” are
arranged and organized becomes important, as well.
The goal here is to “see” the
piece of jewelry, especially when worn, as something that is coherent,
organized, and controlled.
Design elements we might use to achieve a satisfactory planar relationship
within our piece:
- symmetry
- or, more difficult to achieve, a satisfying asymmetry
- a planar pattern in how each section of the piece relates to the
other sections
- how sections of the piece interlock
- how we “draw and interrelate” parallel lines, perpendicular
lines and curved lines within the piece
Example:
How can a person truly pull off wearing only one earring? After all,
visually, it pulls the person off to one side, thus violating the
basic orienting planar relationships. What about the composition of the
earring,
allows this to work; what about the composition doesn’t?
Example:
When wearing a necklace, where the clasp is worn on the side, instead of
the back, sometimes this works, and sometimes it does not. Again,
what about the composition of the necklace, allows this to work; what about
the composition
doesn’t?
Off-centered piece is disorienting and disturbing.
EVALUATE AND SCORE THE SAMPLES FOR PLANAR RELATIONSHIPS.
WHAT KINDS OF THINGS COULD BE ALTERED TO INCREASE, DECREASE OR CHANGE
THE SENSIBILITY OF THE PIECE, GIVEN THIS JEWELRY COMPOSITION PRINCIPLE?
Contemporary
This piece has the subtle feel of what is up and what is down,
less so for what is right and what is left. |
Classic
This
piece clearly delineates up/down and right/left.
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Ugly
This piece
clearly tells the viewer what is up and what is down, and a
little less clearly what is left and what is right. |
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4. Interest
“Interest” means the degree to which the artist makes the
ordinary…noteworthy.
Design elements might include:
- selection of materials and mix of materials
- selection of color combinations
- varying the sizes of things
- pushing the envelop on interrelating planar relationships among the
sections of the jewelry
- playing with the rhythm
- clever use of a focal point
EVALUATE AND SCORE
THE SAMPLES FOR INTEREST.
WHAT KINDS OF THINGS COULD BE ALTERED TO INCREASE, DECREASE OR CHANGE
THE SENSIBILITY OF THE PIECE, GIVEN THIS JEWELRY COMPOSITION PRINCIPLE?
Contemporary
Noteworthy aspects of this piece: configuration and color blending
of beads; varying pattern and layout of beads on the 2 strands |
Classic
Noteworthy
aspects of this piece: "Surface-simple" but really very elaborate
configuration of beads and parts in center, including some interesting
techniques that allow movement; rich appearance of ordinary
glass rondelles
|
Ugly
This necklace is rather ordinary and boring. The beads are similar in material
and color tone.
|
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5. Statistical Distribution
How satisfying the
numbers and sizes of objects are within the piece.
This may form a “pattern”,
or not.
Too few of any one
size, shape or color? Too much? Strange use of size or number?
Examples:
4mm+4mm+4mm+4mm+4mm+12mm+12mm+12mm+4mm+4mm+4mm+4mm+4mm
12mm
PURPLE+12mm PURPLE+4mm
PURPLE+6mm
YELLOW+12mm PURPLE+8mm
YELLOW
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Examples of varying
the sizes. Is one strand more satisfying than the others?
Examples of varying
the colors and sizes. Is one strand more satisfying than the other?
EVALUATE AND SCORE
THE SAMPLES FOR STATISTICAL DISTRIBUTION.
WHAT KINDS OF THINGS COULD BE ALTERED TO INCREASE, DECREASE OR CHANGE
THE SENSIBILITY OF THE PIECE, GIVEN THIS JEWELRY COMPOSITION PRINCIPLE?
Contemporary
A lot of playing with the distribution of sizes and colors
within this piece, as well as the relationship of the long
tubes vs. the clusters of small beads. Distribution results
in the feeling of a "waterfall". |
Classic
Very controlled distribution of primarily one size and shape
of bead, allowing a strong classical feel to the piece. The
carnelian color might not have been the best choice, when
put with the amethyst, topaz and olivine colors.
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Ugly
This necklace
does not have a satisfying distribution of sizes or shapes or
colors. The necklace is mono-tonal. It feels like it needs something
more to it. |
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6. Balance
How satisfying the placement of objects (and their attributes) within
a piece is.
The attributes would
include such things as the materials used, the colors, textures and
patterns, the sizes, shapes and scales.
The statistical distribution
of size and number might seem OK, but their placement might be awkward. For example, you might have used purple and yellow beads in the correct
proportions (hence, good statistical distribution),
but their placement within the piece might not be optimal (hence,
bad balance).
Bad Balance |
Better Balance |
EVALUATE AND SCORE
THE SAMPLES FOR BALANCE.
WHAT KINDS OF THINGS COULD BE ALTERED TO INCREASE, DECREASE OR CHANGE
THE SENSIBILITY OF THE PIECE, GIVEN THIS JEWELRY COMPOSITION PRINCIPLE?
Contemporary
While there are differences in rhythm and distribution in both
strands, the necklace still feels balanced. |
Classic
Tight symmetrical balance.
|
Ugly
Elements
feel balanced.
|
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7. Dimensionality
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.
Othertimes, dimensionality is achieved through color/texture optical
effects, such as the use of glossy and matte beads in the same piece.
Example:
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 work
better?
|
Glossy surfaces move toward the viewer, and matte ones recede. |
EVALUATE AND SCORE
THE SAMPLES FOR DIMENSIONALITY.
WHAT KINDS OF THINGS COULD BE ALTERED TO INCREASE, DECREASE OR CHANGE
THE SENSIBILITY OF THE PIECE, GIVEN THIS JEWELRY COMPOSITION PRINCIPLE?
Contemporary
This piece is relatively flat. |
Classic
The
matte beads recede, and the shiny sterling comes forward. The
focal point beads overlap each other, and extend forward from
the rope.
|
Ugly
Very flat
piece.
|
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8. Temporal Extension
This principle concerns the degree to which the parts of the piece are
integrated into the whole, especially in terms of how the materials relate
to their historical use.
The idea of “historical use” refers
to one of two situations.
a. As the piece is worn over time. For example, how relevant or successful
is the piece if worn only once, versus if worn twice a week? Has
the piece been designed and constructed to endure and last as long as
it is expected to last?
For example, you would
not use metalized plastic beads in an Heirloom Bracelet, because
the platings on the beads would wear or chip off long before the
expected "life" of the heirloom bracelet.
Or,
b. As the piece is judged and understood within
a historical or cultural context.
For example, is a piece appropriate for a wedding
also appropriate
for office wear? Is a great Univ of Tennessee Orange Necklace as
successful when worn to a Vanderbilt football game?
“Historical Use” may
narrowly refer to one specific wearer in particular, or more broadly
to a group, social or societal expectations.
Other examples:
- white pearls are associated with bridal jewelry
- making a matching set of earrings and necklace for jewelry that typically
should be worn as a matching set
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Images submitted by
Robert De Luccia, with his elk bone necklace submission to The Ugly
Necklace Contest, 2003 |
EVALUATE AND SCORE
THE SAMPLES FOR TEMPORAL EXTENSION.
WHAT KINDS OF THINGS COULD BE ALTERED TO INCREASE, DECREASE OR CHANGE
THE SENSIBILITY OF THE PIECE, GIVEN THIS JEWELRY COMPOSITION PRINCIPLE?
Contemporary
This piece has both formal and informal elements, making it
acceptable for a wide range of situations.
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Classic
The
formality and classicism of the piece probably limits the occasions
it would be appropriate for. In some cases, it might also be
considered a power piece -- that is, something that would enhance
the wearer's authority.
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Ugly
The materials and construction suggest that this necklace would
not be considered an investment piece, or something that you would
want to have around for a long time. |
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9. Physical Extension/Finishing
When there is (or should be) movement in a piece, there should be clear
evidence that the designer anticipated where the parts came from, and
where they are going to. Jewelry is worn by people who move, so the design
should be a natural extension to such movements, and the stress they put
on the piece.
Example of bad physical
extension/finishing: The dangle earring which has the dangle stuck
in a 90 degree angle.
Example of bad physical
extension/finishing: The crimped bracelet which breaks at the crimp,
thus has been incorrectly crimped and has broken from movement and
wearing.
The piece should move
with the body.
It should not put
undue stress on any piece, component or section that would result in
the jewelry breaking, bending or denting "before
its time."
The piece should
drape well and feel good when worn -- no stratchy edges such as from
exposed cable wire, or crushed crimp beads;
no forced and too-stiff "circle" where a joint or hinge
might be needed
Components of the
piece should not get "stuck" out of place, or move inappropriately.
EVALUATE AND SCORE THE SAMPLES FOR PHYSICAL EXTENSION/FINISHING.
WHAT KINDS OF THINGS COULD BE ALTERED TO INCREASE, DECREASE OR CHANGE
THE SENSIBILITY OF THE PIECE, GIVEN THIS JEWELRY COMPOSITION PRINCIPLE?
Contemporary
The adjustable choker clasp allows the wearer to adjust the necklace
a little, hence how the two strands lay relative to each other.
Everyone's body is different. |
Classic
The
center piece is designed to move in an intriguing way; however,
either carnelian bead can end up stuck in a wrong position.
This is a design
flaw.
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Ugly
The pieces are strung tightly together. The 3 shell pieces are
stiff, pointy and scratchy. |
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10. Parsimony
There should be no nonessential elements.
The designer should achieve the maximal effect with the least effort
or excess.
Many jewelry designers,
when they like a particular bead, or a particular design, often over-do
their pieces. The thinking here is that, if
they have a beautiful part, adding many of these parts will make
the whole even more beautiful. Often, it results in the finished
product that is boring or uninteresting. The finished product loses
a type of tension, power and energy.
Good Parsimony shows
that the designer has a good sense of the relationship of the parts
to the whole.
EVALUATE AND SCORE THE SAMPLES FOR PARSIMONY.
WHAT KINDS OF THINGS COULD BE ALTERED TO INCREASE, DECREASE OR CHANGE
THE SENSIBILITY OF THE PIECE, GIVEN THIS JEWELRY COMPOSITION PRINCIPLE?
Contemporary
There does
not appear to be too many or too few pieces here. A 3rd strand
would not further contribute to the overall success
of the piece.
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Classic
There
does not appear to be too many or too few pieces here. Creating
more pattern or adding more colors would not further contribute
to the overall success of the piece. Changing the size of the
focal point would not further contribute to the overall success
of the piece.
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Ugly
This necklace needs more or different to succeed. |
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BRIEF
MENTION OF OTHER SETS OF DESIGN PRINCIPLES
WE COVER IN OTHER CBJA CLASSES ON JEWELRY DESIGN
:
A.
PHYSICAL FUNCTION: Jewelry must withstand the forces that usage places on
the piece. Design strategies must anticipate whether the piece would
be worn daily or occasionally; was expected to last a year, more
than a year, a lifetime; was to be worn in situations where there
was little movement/activity by the wearer or a lot of movement/activity.
The designer
does not want the piece to pose any kind of problem of manipulation.
The Design and Construction should be conditioned by anatomy and
situation.
PHYSICAL
FUNCTION is understood in terms of MOVEMENT,
Flow, Drapery, Flexibility, Rigidity, Volume, Weight, and Torque. It
is understood in terms of proportions and sizes and coherency among
the parts.
It is understood
in terms
of the relationship of the piece to the purpose it is worn, or what
it is worn with. It is understood in terms of how the piece is secured
from loss.
You don't
want to end up with a top-heavy brooch, or a bracelet that is too
stiff around the wrist. You don't want a bracelet or necklace to
shift position on the body.
Wide
necklaces must be tapered conically toward the neck to lie flat.
B.
PSYCHO-SOCIAL FUNCTION: Jewelry
has many uses, including meeting the individual's needs for self-esteem,
self-actualization,
sex and sexuality, a sense of oneness and uniqueness, a sense of being
a part of a larger group or community, a sense of survival and protection,
a re-affirmation of values and perspectives, a connection to a higher
power or spirituality, fantasy, personal use-goals.
C.
FORMS: It is important for the jewelry designer to think in terms of "parts", "forms", and the "piece as a whole".
Forms are inter-related objects. For example, they might be sections
of beads
that seem to be thematically inter-related.
Design-control
over forms enables the designer to create a "whole" that is more
than the sum of its "parts".
Very well-designed
necklace by Lisa Klakulak,
made up of 15/0 seed beads
organized into
several organic and organically-arranged forms.
The clasp on the lower right side also repeats the basic form.
D. TECHNIQUES and MATERIALS: The choice
of materials, particularly clasps and stringing materials, set the
tone and chances of success for
the piece.
These
choices involve such things as:
- Type of material(s)
- Thickness and other physical parameters of the parts, such as whether
they have been stamped, fabricated or cast; interaction with sunlight,
ultraviolet light, heat and cold; how the pieces have been finished
off
- Cost of materials
- Durability of materials
- Compatibility of different types of materials
- Structural integrity and integration of materials, particularly
in multi-media art jewelry or related pieces
For example, it is difficult to mix different materials,
such as glass and gemstones, in the same piece. When your brain/eye
interacts with most gemstones, it not only focuses on the surface of
the bead, but is drawn into the bead at well, so there is a lot of
cognitive interaction between person and bead, as she or he tries
to make sense of the bead and its qualities. With most glass, the brain/eye
focuses on the surface, and that's it. Most glass beads do not draw
the eye deeper within them. What results, is that more successful pairing
of glass and gemstones would use glass that mimics the effect of gemstones.
This might include glass that is frosted or translucent, of might have
built up layers of transparent glass, each layer a different color.
Another
example: 14KT gold beads tend to dent, unless heavy-walled or extra-heavy
walled. Most jewelry using 14KT gold beads would be considered
"investment-quality". If the beads dent easily, this would be a
design-contradiction.
E. JEWELRY SUPPORT SYSTEMS: In the marriage of thought to process, the
jewelry designer needs to focus on how the piece is constructed,
and to understand how to construct the piece in anticipation of how
it
is to be worn.
The
piece of jewelry should be understood as a series of parts and forms
connected by Support Systems. Support systems function like joints,
pulleys, rivets, hinges. They allow the piece to take the shape of
the wearer's body, and to move comfortably with that person as that
person moves.
Common
Jewelry Support Systems:
1. Hanging, Positioning or Tying, using cords, knots, chain or wire,
and hooks, loops, swivels, jump rings, split rings, soldered rings,
head
pins,
eye
pins, bails, separator bars and boxes, and the like. These are pieces
that can come together and connect, link or position things, without
having to manipulate
the structural
integrity of any piece used.
2.
Pressure Systems, such as ear clips, pin backs, slip knots, clamps,
crimps, snaps. These are pieces that can be tighted or loosened.
They allow jewelry to be adjustable in pressure to accomodate individual
or
situational differences.
3.
Clasp Systems. These consist of 2 or more complimentary parts that
fit together to make a unit clasp. Clasp systems must have methods
of releasing the hold of the clasp to allow for opening and closing.
4.
Piercing and Stud Systems. These use long prongs, pin stems or stick
pins and clutches. Friction and surface area connections determine
success.
5.
Sewing Systems. These include the many types of systematic bead stitches
which hold the parts together. Different sewing systems can result
in different visual and functional outcomes, given the same set of
parts.
6.
Adapter Systems. These include 2 or more complimentary parts that
fit together in order to adapt something so that it may be used within
a piece of jewelry. These include things like screw eyes, mounts,
bezel and other settings, end caps and bead caps.
SOME SUMMARY NOTES FROM DISCUSSION ABOUT
BASICS OF BEAD STRINGING
AND ATTACHING CLASPS
Stringing beads on a cord is not difficult, but it does require a thorough
understanding of the pros and cons of the various parts and stringing
materials that you will use.
The bead stringer has several goals to achieve:
a. An appealing piece
b. Durability
c. Anticipation of how a piece is to be worn
d. How the piece feels when worn
e. Anticipation of the effects of movement on the piece, how it is
seen (no matter the position), and how it holds up to forces any movement
imposes on the piece
f. Anticipation of the context in which the piece is to be worn
The two most important
steps in creating a wearable art-piece that will be around and wearable
for future generations are:
1. Choice of Clasp
2. Choice of Stringing Material
The "Clasp Assembly" usually
consists of several parts -- it includes all the things that have
to come together in order to attach the clasp to the beadwork. Besides
the Clasp itself, there are probably jump rings and connectors, crimp
beads, clamps or other jewelry findings, and the stringing material.
The "Clasp
Assembly" is
also known as a support system, and it is the most important
support system in any piece of jewelry. In any one piece, there
are usually
2 or more
support systems. The support systems through a necklace or bracelet
are similar to the joints in your body or the hinges on a doorframe.
They aid movement. They prevent any one piece from being adversely
affected by the forces "movement" brings to the piece. They make
the piece look and feel better, when worn.
The best clasp is one that has no moving parts. These include toggles,
buttons, slides, S-clasps, hook and eye clasps and friction clasps.
The clasp should be proportional to the beads used in the piece. The
full Clasp Assembly should be proportional to the piece as a whole.
If half your bracelet is taken up by the Clasp Assembly, then there
is a problem here.
In better pieces, the clasp seems as if it is an organic and integral
part of the rest of the piece. It does not feel as if it were an add-on
or after-thought.
There are many different types of stringing materials. The best outcomes
are usually achieved using needle and thread. Your stringing will be
the strongest, it will last the longest, it will feel supple and soft,
and it will drape and wear the best.
However, it adds a lot of time to the creation of a piece. If you are
selling your pieces, very often you won't be able to recoup your labor,
when using needle and thread.
One alternative is
to use a flexible cable wire. This goes very quickly and is easy
to do. The better cable wires are very strong. There is
a stiffness to them that makes the pieces not feel as good or drape
as well when worn, in comparison to thread. You also have to use
a crimp bead to hold
the cable wires in place, and this is a weak design component in the
Clasp Assembly.
Another alternative
is to use a hybrid cable thread, such as FireLine or PowerPro. You
use needles with these, but only have to go through
the piece one or two times, instead of 3, as you would with nylon thread.
The pieces are stiffer than the threads, but drape better than the
cable wires.
As a designer, then, as long as you know what the ideal stringing materials
and clasps are, you can more easily step back from those ideals, and
use alternative materials and clasps, and still achieve a great outcome.
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