Handmade
From M y
Heart
LING YAN JHU
PORTFOLIO
2014
2016
The portfolio is as a part of the real
me presenting in front of everyone.
Boldness and creativit y charac teriz
and attention to detail best describe
Ling Ya
The desinger o
ze my design works, while patience
e my attitude towards metalsmith.
an Jhu
of metalworks
Table of Contents
01 Graduate Works Revival
43 M etalsmithing and Jewellery Works
75
97
Chinese -style Series
Other Works
G raduation production
is the important
t milestone
in my life
INS PIR ATIO N Since the school is situated in an industrial area, I could see many wasted industrial materials on street cor ners, which lead to a dir t y environment. Besides, some waste materials are good enough to be recycled and they are discarded merely because of flaws. In my opinion, this is wasteful and has a negative impact on the environment. If I can bestow different values upon these metal wastes, what sort of attitude would people hold towards the wastes, and at the same time, how could the environment be helped?
CO N CE P T I chose the remaining steel wires from the spring manufacturing plant as the main medium for my design. I developed different spring structures and combined them into accessories, transforming these metal wastes to exquisite art pieces and providing different values.
INTENTIO N The present spring wastes were given different values and blended in the life of people, becoming ar t a c c e s s o r i e s w h i c h p e o p l e w e a r. As the design attracts people and creates resonance, the design can further change the personal value of people and spark reflec tion upon environment protection.
indulgy.com
p at r i o t s o f m a r s. b l o g s p o t. com
Ruth Asawa
What To Do With Old
h ow- to - re c yc l e. b l o g s p o t. com
High Trestle Trail Bridge
McConnell Studios
www.bulgari.com
The development of Spring Shap and Angles
Simulating the angle of spring with computer
93
96
100
105
117
130
63
100 oval
93 rectangle
I used computer to calculate springs spinning from different angles for I needed accurate figures. I discovered that spring with angles closer to those of equiangular shapes (if the spring had exactly the same angles as t h e i nte r i o r a n g l e s o f re g u l a r p o l yg o n , i t wo u l d n o t s p i n ) co u l d p re s e nt t h e a e sthetics of rep et i t i ve s p i nni n g m o re p e r fe c t l y an d o bv i o u sl y, e. g. a s q ua re i s 9 0 d e gre e s a n d a p e n t a g o n i s 1 0 8 d e gre e s. B e s i d e s, t h e d e n s e r t h e t u r n s t he s pr ing ha d, t h e mo re li kely i t wo u l d l o o k t h re e - d i m e n si o n al.
The confirmation image of the spring There were four necessar y elements when mak ing the spring: overall length, external diameter, number of turns, and wire diameter.
Th e s p r i n g u s i n g t h e s h a p e o f
Accurate Values
a square as the basic unit was
Angle 93
the major par t of the necklace.
Side length 35MM
Since the neck lace was longer,
Spacing 2MM
I did not have to care too much
Wire diameter 1.2MM
fo r t h e c yc l e a n d e l a s t i c i t y.
Overall Length 40cm
I created 40 cm for the total length. After wards, I created d i f fe re nt l e n g t h s a cco rd i n g to the design.
In addition, the elasticity of the spring was as follows: large wire diameter > small wire diamter; small external diameter > large external diameter; small number of turns > large number of turns, long > short; long spacing > short spacing
When I was developing the spring
Accurate Values
for the bracelets, I experimented
Angle 105
with the spacing, total length
Outside diameter
and cycle in order to look for
55MM
the utmost elasticity while still
Spacing 4MM
keeping the cycle of the two
Overall height 74.8MM
sequneces of numbers. In the
Number of coils 11
end, I thought pentagon was the
Wire diameter 1.8MM
per fect outcome.
Revivial The first work
The originally fragmentary pieces could be connected and become accessories such as b ra ce l e t s, s h o r t n e c k l a ce s o r l o n g n e c k l a ce s using its magnetism. The multifunctional wearing allows the worth of the accessories to be sufficiently employed. This ar t piece is like a snuggling dancing partner. The soft waviness is in accordance with the wearer ’s movement. This work is granted an exclusive right
The concept development of the necklace style
The concept development of the pendant style
The concept development of the pendant design was extended from the spring added with diverse changes. I discovered that the movement of the pipe organ’s wind system resembles the characteristics and appearance of springs. Thus, I chose to present it in the form of a pipe organ. I simplified the wind system to reduce the weight. The beautiful layers of the pipe organ would appear as the two pendants attach
The complete confirmation image of the necklace
The necklace can be taken apart and become t wo objects
Any two springs c an b e co n n e c te d and become two bracelets
The buckle design of the pendant
Th e c o n ce p t d e ve l o p m e n t o f h ow to co n n e c t t h e pendant with the spring?
T he Structure of pendant swich
35.32MM
1MM 1.02
2.19MM 2.19
1.17
33.56
1.02MM
33.56MM
1.17MM
3MM
35.32
3MM
3.06
3MM
0.75MM
21.28
1.5MM
0.75MM
21.28MM
3MM
33.56MM
The track of pendant spring
Th
e d ire cti on of sp
rin
g
spring
M a gn e t s attract mutually
The hole inlaid the magnet
Modelling Test
Pendant track test
The red line is the first circle of spring, sliding into the track of pendant The yellow line connected the first and second circles of spring
The process of production
Techniques: 3D printing 、 mosaic 、 electroplating
Materials: High carbon steel wire 、 brass 、 Zircon 、 strong magnet
There are two ways to connect the pendant.
The necklace can be taken apart and become two bracelets
Revivial The second work
The second artwork combined a pure titanium panel so that the spr ing of the bracelet could remain elastic. The patterns o n t h e t i t a n i u m p a n e l d e r i ve d f ro m t h e shape of a spring, allowing the artwork to d e m o n s t r a t e t h e re p e t i t i ve g e o m e t i rc a l beauty of the spring from all angles.
The concept development of the bracelet style
While I was obser ving the spring, I noticed that the top view of the spring created a giddy feeling like a kaleidoscope. This was also again an extension from the spring; therefore, I chose this charateristic as the main subjec t and presented it with a hollowed- out inter ior. I n this way, the weight would squeaze the spring less and provide enough perspective.
The complete confirmation image of the bracelet
The specification diagram of the objects of the bracelet 1MM
1MM
64. 64MM
6 4. 64 M M
95 .5 9MM
95 . 5 9M M
Thinkness 1MM
Thinkness 1MM
1MM 1MM
90. 59MM
64 . 6 4M M
Th e u p p e r l aye r o f t h e 69 . 6 4M M pure titanium panel (purple) 95. 59MM
Thinkness 2MM
Thinkness 2MM
Exploded drawing of the struc ture
The upper layer of the pure titanium panel (purple)
The pure titanium panel of middle tenon (green)
The Lower layer of the pure titanium panel (purple)
spring
Modelling Test
The red line is the first circle of spring, setting into the titanium panel. The yellow line connec ted the first and second circles of
The process of production
The material was made with a titanium-made panel. Because the tianium panel is lighter than any other metals, so the spring could avoid from being squeezed and loosing its s u p p o s e d e l a s t i c i t y. A s t o p o l i s h i n g , I n o t i c e d t h a t i t w a s d i f f i c u l t t o p o l i s h t h e s p e c u l a r s u r f a c e w i t h p u re t i t a n i u m . I t was not easy to make the dyeing even, because the panel was plat y. This was the first time that I dealt with titanium; therefore, I spent much time on dealing with the sur face. With respect to cutting the patterns, I chose to use wire cutting. In regard to polishing, I first star ted with sandpaper and used g r e e n e a r t h f r o m N o. 1 2 0 0 ; h o w e v e r, t h e s u r f a c e w a s s t i l l matte. Later, I tried to use sandpaper and used blue earth from No.5000; the outcome was much brighter than before.
Materials: High carbon steel wire 、 Titanium 、 Zircon
Techniques: Wire Electrical Discharge Machining 、 anode treatment 、
mosaic 、 electroplating
Keep practicing
Keep practici
ing
my mentalsmithing creation
Drift with the heart I NSPIR ATION The complex modern life is filled with pressure and hypocrisc y. Thus, I seek different ways of comfor t to relex myself. Whenever I am in the water, I can always find the purest happiness and feel touched, which make me full of hope and energy. Water is the source of all things on earth. The sea nurtured human civilization. I would like to use the s e a a s my d e s i gn to p i c a n d d e ve l o p different forms in order to bring a tinge of energy and peace for modern people who are busy with life. CO N CE P T I used the three divergent manifestations of the sea including waves, coastlines, and water streaks. I presented different pendants using color ful cloisonnĂŠ.
Katsushika Hokusai
Katsushika Hokusai
Vincent Willem van Gogh
Tiffany&Co Blue look 2015
Tiffany&Co Blue look 2015
K. William LeQuier
K. William LeQuier
Maseo Ueno
Ikuta Niyoko
My Modern Metropolis
meet marsha blaker and paul desomma
The concept development of the wave shap
I think that the curve can fully show the type of the waves so I take the curve as the main per formance of the whole series.
The concept development of the coastline shape
The concept development of the hydrology shape
It is where the enamal peeling off.
The problems of production When firing an enamal, there will be small cracks invisible to the naked eye sometimes. When I rubbed the enamal flat at the end, the cracks would make the enamal fissure. I encountered the problem ever y time as I fired the enamal twice. Later, I found that not all colors could be per fectly blend together. Sometimes, if the expansion rates of the t wo colors are too different, the enamal will fissure, and my artwork will encounter this problem.
Solutions I did not rub the enamal too flat so that the enamal did not crack.
M ate r i al s: e n am al, 9 2 5 si l ve r, 9 9 9 sil ver Te c h n i q u e s: c l o i so n n e, c ast S i ze : 3 5 m m Ă— 3 5 m m Ă— 2 m m
1.000277
The name of this artwork derived from the refraction index of light in the air. Light is the origin of colors and also the requirement for the survival of living creatures.
I love sunlight because it makes me feel endless liveliness and also allows me to appreciate all things on ear th. Thus, I interpreted how all things grow because of light by pilling up layers. Then I integrated how light refrac ts inside, symbolizing how sunlight nurtures earth.
The problems of production In the beginning, I chose to complete the body using wax sculpturing. Yet, I realized that it was difficult to completely limit the wax on the back within 1 mm, which would result in an overweight artwork. The notches on the ar twork could also not be cut really straight, leading to an imper fect artwork.
Solutions I used 3D printing to complete the body. This not only made the thickness of the body consistent, b u t a l s o h e l p e d m e c a r ve m o re delicate straight notches.
M ate r ials: brass, co ld ena ma l Te c hn iqu es: 3D p r i nt i ng 、 ca s t 、 ele c t ro p l at i n g Size :40mm×40m m× 4mm
To the heart I n 2 0 1 4 , Ta i w a n e s e s t u d e n t were discontent with the nontransparent process in ratifying a service pact and started the sunflower student movement. I also showed my support and contributed to the future of myself a n d Ta i w a n . W h i l e I w a s s t a n d i n g beside the protestors, I could feel the enthusiasm and togetherness of the students. The society also showed unprecedented solidarity. I made this brooch in hopes of light up the non-transparent service p a c t . I a l s o h o p e t h a t Ta i w a n c a n be like a sunflower, facing towards the sun and warming up the aloof relationships between modern people. Material: copper 、 Enamel
Techniques: dr y-sieve method 、 rivet 、 electroplating Size:65mm×85mm×3mm
I n h er i ta n ce
Ca r r y i n g t h e h o p e s o f p e o p l e a n d t h e i r expectations for their offspring, the s k y l a n t e r n s s l o w l y f l y u p t o t h e s k y. “I nheritance” is a disk in the shape of sk y lanter n with a symbol of DNA inside. Pe o p l e h o p e f o r h e a l t h a n d s u c c e s s o f t h e i r o f fs p r i n g, a n d p a s s o n t h e d i s k to t he nex t gen erat i o n .
M ate r i al : re d b rass Te c h n i q u e : a c r y l i c m o l d i n g , a b r a s i ve b l a s t i n g, e l e c t ro p l a t i n g, co l o r p e n c i l co l o r i n g S i ze : 8 5 m m ×9 5 m m
The Call of Wild Life
Th e a n i m a l s r u n a n d grow l h e a r t i l y i n nature, making the best use of their lives. The people trapped in cities, busying themselves with the real life night and day. They always hope to have a n o u t l e t i n l i fe, a n d t h e y w a n t t o b e able to live for themselves and shine.
Material: 925 sterling silver and brass Technique: wax sculpturing, casting, brass darkening, silver darkening, polishing
Flowi ng Water an d Flo at in g Clo uds
The streamline shape of the bracelet is like flowing water surrounding the wrist, making the wrist more eye -catching. The bracelet reflects the surrounding scener y like clouds in the sk y. The flowing water and clouds interlaced together make up an a r res ting bra celet .
M ate r i al : b rass Te c h n i qu e : e l e c t ro p l at i n g, saw i ng S i ze : 6 0 m m w i d e
Culture Inheritance
is m
my
central idea
Broken Bridge ‧ Meeting The ar t work was inspired by one of t h e c h a p t e r s i n t h e C h i n e s e s t o r y, Legend of the White Snake, which ser ved as the design background of the artwork. Inspired by the Peking opera “Legend of the White Snake: Broken Br idge,” the ar twork used the broken bridge to surround Xu Xian and Bai Suzhen, w h o c a m e a c ro s s e a c h o t h e r i n t h e rain that silently protected their love. The tassels under the boat resemble the ripples on the water, symbolizing the ripples in their hearts as they f i r s t m e t a n d t h e i r l ove b e g a n . Th e artwork can be a pendant or brooch. Seeking dreams on a broken bridge; love of a bamboo umbrella. The white snake used to meet up with Xu Xian, and the two were entangled in the love, hate, and d e p a r t u r e. T h e r a i n a n d s m o k e a t t h e we s t l a k e co n t i n u e d. Th e l ove and yearning have lasted for a thousand year
The Broken Bridge of West Lake
The scenery of West Lake in China
The meeting of Xu Xian and Bai Suzhen
Concept plan/drawing
Hand - painted jewellery drawing/picture
Materials: AKA coral 、 18 K gold 、white diamond.black diamond 、 Tsavorite
Size:100mm×110mm
cloud-like hair and flower y face
Using the final dynasty in China, the Qing D ynasty, as the topic, the artwork was inspired by the hair accessory used by the dignitary women in the court of the Qing D y n a s t y, “ D a L a C h i ”, a b b r e v i a t e d as Chi head, the hair accessories of Manchu women. The concubines’ Da La Chi accessories in the court were even more splendid and nobler.
I captured the appearance of the D a L a C h i a cce s s o r y, e m b e d d e d t o u r m a l i n e i n t o t h e a c c e s s o r y, and designed blue bird and M ei flowers around. Mei flowers are different from other kinds o f f l o we r s ; t h e y b l o s s o m i n t h e w i n t e r s n ow, s y m b o l i z i n g t h e elegant character and posture of Chinese women in this artwork.
Da La Chi accessory
The Figure is the famous concubines' headdress (called DA LA-CHI), which is taken from the Qing Dynasty drama "Empresses in the Palace"
Materials: Tourmaline 、 White k Gold 、 Yellow k Gold 、 White Diamond size:50mm×70mm
Chinese Latern Festival
A folded red
The Chinese lanterns contain other m e a n i n g s o t h e r t h a n l i g h t i n g. A n c i e n t t e a c h e r s i l l u s t r a t e d fo l k l o re s t o r i e s o n lanterns, teaching their offspring to know their own culture. Thus, this also has the meaning of passing on the culture.
This ar twork is an earring for one e a r, u s i n g t h e s h a p e o f a C h i n e s e lantern as the main subject of the design. Also, one fold of the lantern was embedded with red coral stone, c re a t i n g fe s t i v i t y a n d t h e m e a n i n g of passing on the culture. When wearing, the lantern is below the earlobe as if it were floating in the air, creating an intriguing feeling .
M a t e r i a l s : W h i t e k G o l d 、 Ye l l o w k G o l d 、 A K A c o r a l 、 W h i t e
Diamond
Size:30mm×60mm
Butter fly Whispers Butterflies are gracefully light, beautiful, and color ful; they also undergo metamorphosis for rebir th. This ar twork chose the five color ful butterflies in the painting and used them to compose a pair of asymmetrical earrings. When you wear them, it is as if butterflies stayed near your ears, softly whisper ing the prosperous scener y of the east wind moisturizing all things. The artwork hopes that women can metamorphose into beautiful and color ful butter flies, fluttering in the beautiful spring with confidence
The artwork was inspired b y M a Ts e n ’s C h a n t o f Wear y Butter flies in the Yuan Dynasty Hand-drawn Artworks
Drinking Quality Glass The ancient bronze wine cup was used in formal social events. The Zhou Dynasty advocated etiquette, placing importance on the ethics and etiquette of drink ing and regulating the morals of the dr inkers and their m a n n e r a f t e r d r i n k i n g. T h e C h i n e s e d r i n k i n g c u l t u re h a s b e e n l o n g a n d r i c h ; h o w e v e r, t h e c u l t u r e m e a n i n g has gradually turned to pursuing physical excitment, rendering drinking one of the modern social problems. “Drinking Quality Glass”combines the modern and bronze wine cups. In the middle is the ancient mythological b e a s t , Ta o t i e, w h i c h b r i n g s h a r ve s t . When drinking, apart from the physical enjoyment, you should thank nature’s offer and remind yourself of maintaining your drinking ethics Materials: pottery and porcelain 、 brass 、 glass
The past art training used to nurture me
has helped m
me accomplish
the design today
Piano S ound, D er ived Affec tion Th e v i o l i n I h a d u s e d fo r 6 ye a r s we n t t h ro u g h n u m b e r l e ss am azi n g m om ents w i t h m e. Wh e n t h e m o m e nt o f p a r t i n g arrived, I could only let it go and c a re f u l l y d re w t h e e n d l e s s w i s t f u l n e s s b ase d o n t h e i m p re ssi o n i n my m ind. Ch arco al Pai nt i n g 545mmĂ—363mm
The s tor y of b lo s s o mi ng f lowe r s Ballpoint Pen Pa i nt i ng 原子筆畫 393mm×272mm
393mm*272mm
393m
Sketching
393mmĂ—272mm
Hometown Sketching
mmĂ—272mm
m
Wh o are yo u ? M i c h a e l J a c k s o n i s n o t o n l y a s i n g e r b u t a l s o a n a r t i s t . Th i s wo r k c o m m e m o r a t e s t h e g r e a t a r t i s t i n a n a l t e r n a t i v e w a y. B o t h s i d e s of the table represent heaven and hell. When Jackson entered t h e p a ra di se, h e wa s sti l l s inging and d anc ing t he M oonwalk . The an g e l o n th e l ef t i s f u l l o f d oub t b ec ause t he Jac kson in t he angel book is completely different from the Jackson on the stage. I think the real value of a person is to be able to achieve their dreams an d i d ea s, ju st l i ke M i ch a e l Jac kson. Ac y l i c pa i nti n g
Tw in Fo nt Th e re’s a say i n g i n th e E a s t t hat goes like t his: your p enm anship r e f l e c t s w h o y o u a r e . T h i s m e a n s t h a t a p e r s o n’s p e r s o n a l i t y will be reflected on the words they write. Sometimes I feel t h at t h e re a re t wo o f m e ; I h ave t wo co m p l e te l y o p p o s i te ways o f t h i n k i n g w h e n d e a l i n g w i t h t h e s a m e t h i n g . A l s o, m y i n n e r self is all the time struggling. This makes me feel as if I were a n a l i e n . Th e a r t wo r k re f l e c t s my p e r s o n a l i t y. Th e w h o l e e n t i t y of me is also two of me. If you put a mirror across the font d i ag on a l l y, th e ref l ec ti o n seems like a t win, st range b ut unique.
I a m Lo o k i n g fo r ward to t h
he nex t c re at i ve l i b e rati o n