ALLOYED an introduction to jewelry design
VICTORIA STRONG . FALL 2014 . JEWELRY PROCESS
VIG NE TTE
01.
The objective of this project was to familiarize the students with using metal and basic techniques learned in class by creating a small scale scene out of sheet metal. The piece was to be no more than four inches tall, challenging us to work in a small scale. Techniques used here included texturing, interior cutting, soldering and hand finishing.
What drew my interest to bees initially was the color of the metals we were to use, since they would complement the piece. After researching, their hive, flying patterns and the honeycomb seemed like playful elements I could incorporate in my vignette to make an interesting piece.
My vignette was meant to be whimsical to play off the spirited nature of bees. We needed to incorporate plate to plate, edge to plate and point to plate soldering techniques. I used nu gold metal to highlight specific parts of the vignette. Hammer texture and stamping details, hand finishing and patina finished off the piece.
STA CK ING
02.
The objective of this project was to learn how to work with sterling silver and create simple stacking rings. By taking round 8 gauge wire and changing the shape through different draw plates, we created a set of stacking rings. There was a minimum of 3 rings with 2 different cross sections all the same size.
This project was very straightforward, so I kept it simple. I wanted to try different cross sections for the rings and keep the design clean, no extra design elements. I created half round, oval and rectangular wire, all around the same gauge. My goal was for the rings to be worn together and look like one or be worn with other rings and still look like a set.
SE TTI NG
03.
The objective of this project was to create a ring with a bezel setting and single stone focus. We had freedom with the baseplate and ring shank design and used a stone at least 12mm in diameter. Again we changed the shape of round sterling silver wire to create the band that complemented the stone.
I was inspired by the stone I chose, the Copper Rutilated Quartz. I not chose it because of it’s beauty and for what it means. Rutilated Quartz has a mystical meaning of moving energy. I wanted to play off the meaning and the lines in the stone with a strong design. It reminded me of mod space age design because of the metallic coloring and clean design.
The stone set ring design was meant to be strong to echo the metal and the stone. Since the lines in the stone were so strong, I felt the ring as a whole should reflect that in a clean, modern way. I created two separate rectangular wire bands and connected them with a smaller piece of wire. The bezel plate was kept clean so the stone was the focus.
VAR IAT ION
04.
The objective of this project was to create a unique and wearable ring by exploring band design. Sheet metal or wire could have been used for this ring. We were able to explore design by using ring sleeves, sculptural elements or stone settings. Wearability, design and fabrication had to be kept in mind.
Since this was a sculptural piece, I wanted to play with mixing sheet and wire silver. I looked for natural elements that had a lot of texture and shape, so mountain ranges and ice were very influential. These elements are often overwhelming and encompassing,
The band variation allowed me to try different combinations of sheet metal and wire. I created a jagged edge for the band to reflect my inspiration. I used wire instead of sheet to create a band, and to tie it together I flattened the ends of the wire to make the piece cohesive. I wanted the sheet band to look like the ends could fit together like a puzzle, so I created a gap instead of closing it.
CH AIN 05.
The objective of this project was to investigate casted pendants and fabricating a linked chain. We used the cuttlefish casting method to ease us into working with molten metal and creating molds. The linked chain and simple closure were handmade using whichever material we preferred.
This piece was inspired by organic shapes. Cuttlefish casting makes it easy to make unique shapes, and since my other pieces were very linear I wanted to experiment with this type of design. I looked into Calder-like mobiles, body adornments and natural formations in Iceland for shape ideas.
I wanted the cuttlefish pendant to be the main focus of my neck piece, so I created a large, organic shape. Cuttlefish casting leaves a distinct texture on the surface, so I created a chain that echoed the lines. I flattened nu gold wire instead of creating traditional jump rings for the chain to keep the design uncomplicated yet add contrast with the different metals.