Transcript Jewellery - Duncanrig Secondary School

Jewellery Design
How to plan the essay
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Paragraph 1
Introduction -using your own personal knowledge of
jewellery and slides 4, 5, 6, 7, 8, 9.
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Paragraph 2
First piece of jewellery (contemporary = modern). Slides
13 – 17. Remember to introduce the piece of jewellery by
writing who designed it. Describe the piece in detail.
Analyse this using the Analysing Jewellery slides,
numbers 10, 11, 12.
You can write notes on each area first and then write a
paragraph on the piece. Glossary of jewellery terms is on
slides 26, 27.
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Paragraph 3
Second piece of jewellery (historical). Slides 18 -21.
Analyse this in exactly the same way as the first. Use
slides 10, 11, 12. For this piece of jewellery you will need
to mention if the designer worked in a particular style, for
example Art Nouveau. The background information on Art
Nouveau is found on slides 22, 23.
How to plan the essay
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Paragraph 4
Describe the similarities, if there are any, between the
two pieces. Are they both bracelets, or pairs of
earrings….? Are they both made from similar materials?
If there are no similarities then you will need to write more
for the next paragraph.
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Paragraph 5
Describe the differences between the two pieces.
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Paragraph 6
Which piece appeals to you most? Why? Give reasons.
Short conclusion – any other comments about the two
pieces that you have been looking at.
• Your essay should be approximately 1000 words. Maximum
length (i.e. do not write any more than this) is 1500 words.
Jewellery
(for intro.)
‘All materials may be used to
make jewels, provided they can
be manipulated in one way or
another.’
Carlos Pastor, Spanish Jewellery Designer
History of
Jewellery (for intro.)
• Jewellery is one of the oldest decorative arts.
• Jewellery is the term to describe objects which
are used to decorate the human body.
• Jewellery has been worn since ancient times – as ornaments,
emblems of religious belief or even to protect a person against
disease, misfortune or witchcraft.
• There are many different functions of jewellery.
Some are; rings, bracelets, necklaces, crowns,
belts, earrings, brooches, cuff-links, clasps and
jewellery for hair…..can you think of any more?
Jewellery Now
(for intro.)
• People still buy jewellery today. There are a lot
of High Street shops which sell jewellery: Next,
River Island, H&M, Top Shop, Top Man Debenhams…..
(remember jewellery is not just for women)
• Jewellery ranges in price and value – from £1 to £millions.
This varies because of materials used and who has designed
the piece of jewellery. Gold jewellery is more expensive than
metal spray painted gold!
• Fashion designers use jewellery on their catwalk
shows to complete an outfit. These can be very
expensive, large pieces of jewellery designed to
grab attention.
Jewellery
(for intro.)
• Jewellery is meant for show; it is
designed to attract attention and
to impress the viewer.
• From the beaded necklaces of ancient Egyptians to
the flashy, large-scale “bling bling” worn by hiphop stars, sports heroes, and their fans, jewellery
has always offered complex social and cultural
meanings.
Costume Jewellery
• What do we mean by ‘costume’?
• This is jewellery that is made from non-precious
materials.
• Its appeal is in the original design, skilful use of colour,
high standards of craftsmanship and sometimes how
exotic or extravagant it looks.
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Work by Grainne Morton is costume jewellery.
• It can still be expensive but it the price is usually
hundreds at the most and not thousands of pounds.
• Precious jewellery (Tiffany’s) is precious and therefore
very expensive.
Words that you may find
helpful
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Attached
Classic
Colourful
Constructed (made)
Contemporary (modern)
Contrasting (opposites)
Curvaceous (curved)
Detailed
Dull
Expensive
Fragile
Heavy
Manufactured
Moulded
Neutral (plain colours, beiges etc)
Opaque (doesn’t let light through)
Opulent (rich)
Patterned
Reflective
Robust (strong, not easily broken)
Rough
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Rounded
Scale
Shiny
Size
Sleek
Strong
Surface
Textured
Analysing Jewellery
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Like any other area of design, Jewellery has been designed. A designer
has worked through a similar design process that we work through at
school. The pieces that you are looking at are their solutions.
When studying jewellery designs, consider the following:
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Form
What does the piece of jewellery look like? Describe it
in detail. Imagine the person reading your essay has
not seen the item of jewellery.
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Function
What is the function? Is it a necklace, bracelet…?
Does it look as if it would be suitable to be this
particular piece of jewellery. Give reasons for your
answer.
more
Analysing Jewellery
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Target market
Who would buy this? Is it for a man or
woman? What age group of customer would
buy this do you think?
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Materials used
What materials have been used in this piece of
jewellery? If you do not have this information,
then make a sensible guess.
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Has the design
been successful?
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Do you think that the designer has succeeded
in creating a good design? An important point
to consider, would the target market buy it?
Analysing Jewellery
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Your opinion
This is the most important part of your
essay. You might really like or dislike the
examples of jewellery that you have been
looking at. You are not expected to like
everything that you see. As long as you can
justify your opinions about a design then your
views will be valued. You have to give
reasons; for example “I do not like this design
as I do not think the colour of the stones works
well with the colour of the leather chosen. I
think that a darker colour would have provided
more of a contrast.” Remember to give
reasons.
Jewellery Designers working now
Grainne Morton
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http://www.grainnemorton.co.uk
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Grainne is originally from Northern
Ireland. She now has a workshop
in Edinburgh where she creates
contemporary (modern) jewellery.
From fashioning jewellery from
flowers to trawling antique fairs for
one-off items to complete her
compartmental jewellery, Grainne
is happy making a living doing
exactly what she wants.
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Grainne says: “I’ve always been
quite creative. My parents always
encouraged me to work with my
hands taking up needlework and
craft hobbies when I was younger.
My aunt, Alison Kinnaird is a
famous glass engraver, so I
suppose I have been influenced
by her too."
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When Grainne left school,
Edinburgh College of Art
beckoned and although she
studied many subjects, jewellery
appealed because she liked to
work on a smaller scale.
Jewellery Designers working now
Grainne Morton
• Grainne makes jewellery made
up of smaller parts pieced
together. She uses bits and
pieces including old buttons as
well as materials like silver,
gold and oxidised copper.
• A lot of her high fashion work necklaces and bracelets - are
made from laminated flowers.
The artist has work in galleries
abroad and has found favour in
the States. She already
supplies Barney’s in the US
and Japan as well as taking
orders from Liberty’s in the UK.
• Grainne says: "My work is
appreciated by American
buyers because I make bigger
pieces. I make a lot of
compartmental jewellery for
which I use old materials - the
Americans like that because
they know about history. The
old paraphernalia isn’t worth a
lot of money but I piece it
together into very attractive
jewellery.“
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See some more examples of her work on
the next slide
Jewellery Designers working now:
Grainne Morton
Charm necklace £240
Jewellery Designers working now:
Grainne Morton
Large sampler brooch
£595
Laminate petal flower necklace
£270
Jewellery Designers working now:
Grainne Morton
Colour button necklace
£230
Charm bracelet £220
Louis Comfort Tiffany (1848-1933)
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After his father's death (father was Charles
Lewis Tiffany, co founder of Tiffany &Co.) in
1902, Tiffany became vice president and
Design Director of Tiffany & Co..
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His familiarity with jewellery manufacturing
at the firm, as well as the collaboration with
his father on several pieces for the Paris
Exposition Universelle in 1900, undoubtedly
inspired him to produce jewellery at his own
workshops.
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He began experimenting, in much secrecy,
with the design and fabrication of jewellery
intending to introduce his work at the 1904
Louisiana Purchase Exposition in St. Louis.
Tiffany & Co. is still a famous
jewellers. There are stores
worldwide. See how the company
has evolved by looking at slides
24 and 25.
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Tiffany broke new ground with his work in
jewellery. In the necklaces, brooches, and
other forms he made, Tiffany, like his
counterparts in Europe, transformed
jewellery from mere jewelled ornament to
art.
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He used semiprecious stones—opals,
moonstones, garnets, amethysts, and
coral—in contrast to the precious gems set
in pieces by Tiffany and Company. The
semiprecious stones embodied the
properties that he valued in other media.
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The milky quality of moonstones, for
example, resembled his creamy opalescent
glass, and the fiery glow of opals, the
glowing iridescent surfaces of his Favrile
vases. Tiffany set the stones in novel and
inventive ways, often in combination with
colour, combining one or two hues with
subtle variations.
Louis Comfort Tiffany (1848-1933)
• Beginning in 1907
jewellery designed
by Tiffany and
fabricated under
his direction was
made at the
workshops of
Tiffany and
Company, where
production was
supervised by Julia
Munson, who had
transferred from
the enamels
department at
Tiffany Furnaces.
• When Munson retired in
1914, her post was filled by
Meta K. Overbeck. Tiffany,
who valued the dexterity
and skill that women
demonstrated in delicate
handwork, staffed the
jewelelry department
predominately with female
designers and artisans.
Louis Comfort Tiffany (1848-1933)
This hair ornament is one of the most
extraordinary pieces of Tiffany's
jewellery to survive, incorporating a
remarkably realistic rendering of two
dragonflies resting on two dandelion
puffs, or seed balls. Thematically
characteristic of his work, it shows the
plants not at the height of bloom, but in
a natural fading state, just before the
seed pods are blown away. Remarkably, one
of the puffs is portrayed as already
partially stripped of its pods. The
dragonflies, a familiar Tiffany motif,
feature shimmering black opals along the
back and in an almost unbelievable
creation in metal filigree, gossamer like
wings. The hair ornament was originally
owned by one of Tiffany's most ardent
patrons, Louisine W. Havemeyer.
Hair ornament , ca. 1904
Louis Comfort Tiffany (1848–1933)
American
Platinum, enamel, black and pink opals,
garnets, H. 3 1/4 in. (8.3 cm)
The Metropolitan Museum of Art, New York
Gift of Linden Havemeyer Wise, in memory of
Louisine W. Havemeyer, 2002 (2002.620)
Louis Comfort Tiffany (1848-1933)
This necklace composed of grape
clusters and leaves is one of the
rare examples of Tiffany's
earliest jewellery. Tiny circular
black opals represent the fruit,
and enamelling in shades of green
on gold forms the delicate
shimmering leaves. It was among
the twenty-seven pieces that
Tiffany made for exhibition at
the Louisiana Purchase Exposition
in St. Louis in 1904. The
necklace was a gift to the Museum
from Sarah E. Hanley, Tiffany's
nurse and later companion, to
whom he must have presented it.
Necklace, ca. 1904
Louis Comfort Tiffany (1848–1933)
American
Opals, gold, and enamel, L. 18 in. (45.7 cm)
The Metropolitan Museum of Art, New York
Gift of Sarah E. Hanley, 1946 (46.168.1)
Background to Art Nouveau
(style of Tiffany jewellery)
Art Nouveau was a late 19
th
Century international design
movement (trend). The
timeline for Art Nouveau was
mid 1880’s to approx 1910.
Art Nouveau involved design,
architecture and the decorative
arts.
• Art Nouveau used the natural
world as inspiration for
designs. Flowers, leaves and
birds are common features of
work.
Background to Art Nouveau
(style of Tiffany jewellery)
Words used to describe
Art Nouveau work:
• Designers whose work was in
this style are as follows:
• Decorative
• Elegant
• Ornamental
• Louis Comfort Tiffany 18481933 (jewellery, lamps and
glassware)
• Charles Rennie Mackintosh
1868-1928 (architecture,
furniture, textile design, interior
design, painting)
• Antoni Gaudi 1852-1926
(architecture)
• Emile Galle 1846-1904 (glass
and furniture)
• Rene Lalique 1827-1886
(jewellery and glassware)
• Elongated shapes
(tall as if
stretched)
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Flowing lines
Stylish
Natural motifs (images)
Detailed
This is Tiffany jewellery as sold
today.
Find out more by visiting
www.tiffany.com/uk
More jewellery as sold today
Glossary of jewellery terms
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Amulet
something worn to protect a person
against disease, misfortune or witchcraft.
Bakelite
first synthetic plastic invented in 1907-09.
Used a lot in jewellery of the 1920’s and
1930’s.
Cameo
jewel decorated with a carved design in
low relief (slightly raised from the surface).
Usually the design is a profile of a person
(the side of their head).
Costume jewellery
This is jewellery that is made from non-precious
materials. It is often made to look like expensive
jewellery but is not expensive to buy.
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Diamante
non-precious stones that have the look of diamonds.
Often found in costume jewellery.
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Enamel
opaque (can’t see through it) substance similar to
glass. Used to decorate the surface of metal.
Glossary of jewellery terms
Fibula
a type of brooch similar to a safety pin.
Hallmark stamp on gold or silver which guarantees the metal’s purity.
Lapidary related to the cutting, polishing and engraving of gems and stones.
Paste
glass made to look like gemstones.
Repousse back of metal punched to create a relief (raised) design on the front.
Setting
the space where a stone (diamond, gemstones…) would be positioned or
held.