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Colour and Textures in Jewellery
Автор: Nina Gilbey и Bekki Cheeseman
Активность, связанная с книгой
Начать чтениеДлина: 790 стр.3 ч
- Издатель:
- Crowood
- Издано:
- May 27, 2019
- ISBN:
- 9781785005787
- Формат:
- Книге
Описание
Decorative textures and colour are integral to the design of every piece of jewellery. This beautiful book covers a range of techniques and materials, which can be used to bring excitement, meaning and interest to your designs. Written by two experienced designer-makers and tutors, it encourages you to experiment, make samples, bend the rules (safely) and see what results are possible, before following the detailed technical advice to apply the techniques to your work. Topics covered include: embossing - techniques include hammering, stamping and roll printing to imprint a pattern, design and details onto the surface of the work. There are exercises that demonstrate a technique and experiment with the process, including a comprehensive guide to adding textures and colour to jewellery. It will be an indispensable reference for practising jewellers, designers, jewellery students of all levels and silversmiths, and includes design development sketches and examples of samples and finished pieces. Beautifully illustrated with over 750 colour photographs, it is written by Nina Gilbey and Bekkie Ora Cheesman, two experienced designer-makers and tutors.
Активность, связанная с книгой
Начать чтениеСведения о книге
Colour and Textures in Jewellery
Автор: Nina Gilbey и Bekki Cheeseman
Длина: 790 стр.3 ч
Описание
Decorative textures and colour are integral to the design of every piece of jewellery. This beautiful book covers a range of techniques and materials, which can be used to bring excitement, meaning and interest to your designs. Written by two experienced designer-makers and tutors, it encourages you to experiment, make samples, bend the rules (safely) and see what results are possible, before following the detailed technical advice to apply the techniques to your work. Topics covered include: embossing - techniques include hammering, stamping and roll printing to imprint a pattern, design and details onto the surface of the work. There are exercises that demonstrate a technique and experiment with the process, including a comprehensive guide to adding textures and colour to jewellery. It will be an indispensable reference for practising jewellers, designers, jewellery students of all levels and silversmiths, and includes design development sketches and examples of samples and finished pieces. Beautifully illustrated with over 750 colour photographs, it is written by Nina Gilbey and Bekkie Ora Cheesman, two experienced designer-makers and tutors.
- Издатель:
- Crowood
- Издано:
- May 27, 2019
- ISBN:
- 9781785005787
- Формат:
- Книге
Об авторе
Nina Gilbey was trained in jewellery and silversmithing at The Cass and later graduated with a masters degree from the School of Jewellery in Birmingham. With a background in fine art, she is interested in the relationship between line and form , and how negative spaces create a solid void. She is passionate about working with metal, using traditional techniques to explore and challenge its inherent qualities. She has been teaching the subject for many years, and founded London Jewellery Workshop in 2011 to offer a student-led environment, promoting inspiration and creativity.
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Отрывок книги
Colour and Textures in Jewellery - Nina Gilbey
Index
Introduction
The opportunity to write about a subject we are both so passionate about was an exciting one; our journey has been longer than expected and a little challenging.
Ring by Nina Gilbey. Etched sterling silver with champlevé enamel. PHOTO: CIQO PHOTOGRAPHY
With many years of teaching the subject of jewellery making between us, it was interesting to find that explaining through writing is a very different experience from explaining through demonstration.
It has been a pleasure to rediscover a number of techniques and play with a variety of materials, experimenting, creating samples and utilizing techniques to develop design ideas further.
However many processes we looked into, we always found that there was more to explore, or more techniques to include. It is of course impossible to include every technique that involves the use of colour or texture in jewellery making, but we hope that we have given you plenty of food for thought.
Adornment and jewellery are as old as man. We have numerous reasons for decorating ourselves: for a sense of beauty, a sense of belonging, or to portray a specific image of ourselves to others. Jewellery may be worn to symbolize our marriage status, our place in society, or an affinity with a religion, group or culture. Its form, the materials from which it is made, and the way it relates to the body, all have their own individual meanings and associations.
Materials have their own connotations; however, a supposed non-precious material can be made precious when used in a certain way to convey a particular concept, or when used in combination with an accepted precious material. Therefore wood can be considered precious if it is used to make a wedding band for example, as its purpose will give it special meaning.
How a piece is worn, how it is attached to the body or clothing, further impacts on how it is perceived. Some jewellery is purposely unwearable, this can be used to make a statement or create a reaction.
The texture and colour of a piece of jewellery will further enhance a design. Both can be used to cause a reaction or provoke an emotion. The possibilities of using these in jewellery making are boundless.
The more familiar you become with materials, processes and possible results, the easier it will become to apply these to develop your technical skills and design abilities further. We have tried to make as many of the processes as accessible as possible, using household materials and basic workshop tools.
Rather than accepting that there is only one way to do something, we would encourage you to experiment, make samples, bend the rules (safely of course), and see what results you can achieve.
In each chapter we have completed an exercise, choosing one technique and experimenting with the process. Every exercise includes design development sketches and examples of the samples and pieces we have made.
Creativity and design are both processes: the more you practise, and the more you push the boundaries, the more possibilities will arise. As with cooking, following a tried and tested recipe is good practice and will enable you to achieve a particular result. However, if you feel, like us, that the process of discovery and investigation is inspiring and stimulating, then go ahead and play.
A traditional jeweller’s bench with a curved cut-out and a bench peg, including basic hand working equipment. From left to right: vernier gauge; metal ruler; dividers; scribe; centre punch; piercing saw; bench peg; snips/shears; large flat file; assorted needle files; large half round file; steel block; parallel pliers; snipe pliers; half round pliers; round pliers; flat pliers.
THE JEWELLERY WORKSHOP
As with any craft, to achieve the best results it is beneficial to have the correct equipment. Some jewellery can be made almost anywhere; other techniques require specialist tools and a dedicated space. The correct environment and equipment will enable the maker to work more precisely and with greater safety.
A secure workbench is recommended, and for many techniques it’s also advisable to use a bench peg or pin. Most work is supported on the peg, allowing more pressure to be applied and more control. The wooden bench peg can, in addition, be cut, filed and shaped to suit the piece being made.
If a jeweller’s bench is not an option, a bench peg can be clamped to a secure shelf or a solid table. The peg is replaced once it is worn away, so it should always be clamped or screwed in place, rather than glued.
The bench itself should be of a suitable height whenever possible, higher than a normal table, usually 90–95cm high. The bench peg should sit around the height of the middle of the chest, so either a high bench or a low stool can be used. This will prevent the jeweller from hunching over their work.
An adjustable lamp is imperative to see any marks made in the metal – both those created to guide us, and those that need to be removed. The light should be bright and moveable, as each piece is likely to require a different angle.
The jeweller’s bench has a curved section cut from it, and traditionally the cut-out section was then used to make a three-legged stool. The cut-out enables the jeweller to get close to the work on the peg when necessary, as well as allowing any metal scraps and filings to fall into the skin hanging underneath it. Traditionally a pig skin was used; any material is suitable but it does help if it can be swept out at the end of each session. It is common practice to brush the skin and peg regularly to keep the scrap and avoid any metal filings marking the next job.
If possible, work over a smooth floor, as it is inevitable that small pieces of metal or stones will drop, and these can easily be lost. If hot metal falls, it can damage flooring, so it is worth considering using a heat resistant covering around the work area.
EQUIPMENT
There are endless tools available to the jewellery maker. It can take many years to accumulate all the tools that you need or want, but with a few essentials it is possible to produce a wide range of work. Purchase good quality tools, as cheaper versions will not last.
Soldering, texturing and polishing equipment is described in the appropriate sections within this book. Listed here are the tools that are commonly found in a jewellery workshop. Jewellery can be created using minimal equipment, although often you will find that the more tools you have available to you, the easier it will be to achieve the results you want. When we look at jewellery made in the distant past, it is fascinating to see how much could be achieved without everything we have available to us today.
This list of tools is not exhaustive; nor are all the items listed here essential. The tools you need will depend on the job in hand, your budget and imaginative ability to improvise.
Measuring tools
• Steel ruler: to measure lengths.
• Dividers: to mark out curves, circles and parallel lines.
• Ring sizer: to measure fingers for ring sizes.
• Ring stick: to check the size of a ring.
• Vernier gauge/callipers: to measure internal and external measurements.
• Set square: to check right angles and flat edges.
Cutting tools
• Piercing/jeweller’s saw: used with saw blades to cut and pierce metal.
• Saw blades: these come in a variety of sizes to suit the metal thickness, from size 6 for the coarsest to 8/0 for the finest; most commonly used are sizes 2/0 and 3/0 for general work.
• Snips/shears: to cut solder and fine wires.
• Top/end cutters: to cut wires from the top edge rather than the side.
• Guillotine: to cut metal from flat sheet.
• Tube cutter: to secure metal tubing when being cut.
Files
Files are divided into size, shape and cut. Hand files can be used with or without a handle. Always use the correct profile to suit the job in hand. Needle files are smaller and suitable for filing smaller areas. Escapement files are smaller still and used for very fine work. Broacher files are even finer; they are usually four-sided and are used for jobs like finishing holes. Riffler files are curved and suitable for complex shapes that can’t be reached with other files.
General file shapes include flat, round, half-round, triangular/3-square, barrette/ safety back, crossing and square. Other shapes are available in needle and escapement files such as pillar, oval and knife. The cut refers to how coarse the file is: the coarser the file, the more metal it will remove.
Forming tools
• Mandrels: these are tapered tools usually made of steel, used to form rings, bangles, stone settings and more; generally round, they are also available in other shapes such as oval, square, triangle or cushioned.
• Doming/dapping block and punches: these are used to form domes, using steel or wooden punches.
• Flat plate: used to support work as well as to check flat edges.
• Swage block: a steel block with various sizes of curved grooves, used to curve sheet metal.
• Stakes: steel formers used mostly for silversmithing techniques such as forging, raising and planishing.
• Collet blocks: used to create stone setting collets, available in a variety of shapes and sizes.
Pliers
• Round nose pliers: both jaws are round and taper to a point. Used to create small curves in sheet or wire, or for making jump rings.
• Half round pliers: one flat jaw and one curved. Used to make slightly larger curves and to secure curved pieces without making marks.
• Flat pliers: both jaws are flat. Used to create straight bends, folds and to straighten kinked metal.
• Snipe pliers: both jaws are flat and taper to a point. Used to create smaller bends and folds, as well as to access smaller, hard-to-reach areas.
• Parallel pliers: the jaws of these pliers are always parallel, so they are useful for both holding and shaping metal without leaving any marks. They are available with flat, snipe and curved jaws to suit all manner of work.
Hammers
Hammers are available with different shaped working ends and can be made of various materials. Steel hammers can be used to form, texture and forge. The most commonly used types are a planishing hammer, a jeweller’s/riveting hammer, and a ball pein hammer. It is also possible to purchase texturing hammers with textured faces.
Mallets are made of rawhide, wood or nylon and are used for shaping metal over mandrels or stakes, without leaving marks on the metal or stretching it.
Drilling
To drill metal, high-speed steel twist drill bits are used. Always prepare the metal by striking it with a centre punch, this will ensure that the hole will be drilled in the correct position and stop the drill bit from skidding across the metal surface. Use a drop of oil or wax to lubricate the drill bit; this will also prevent it from blunting quickly. When drilling larger holes, start with a small drill bit and gradually increase the size.
• Pillar drill: a fixed bench drill incorporating a flat work table. Useful for precision drilling sheet metal, the bed can usually be adjusted for height and set angles.
• Hand drill: this can be used to drill, to form jump rings or to twist wire.
• Pendant motor: drill bits and other attachments can be used with the pendant motor, always use a suitably sized chuck for the drill bit.
• Bow drill: a very clever, non-mechanical drill, it uses a push action, creating its own momentum with twisted string.
• Archimedes drill: a small hand-held drill, about the size of a pin vice. This drill has an external spring used to create momentum.
Annealing and soldering
• Torch: a gas torch is used to heat the metal for annealing and soldering.
• Soldering blocks and supports: a flame-resistant surface that protects the work area and assists in the heating process.
• Tweezers: used to position, pick up, support and handle work.
• Flux: this is used to prevent oxidization and to help solder to flow.
• Paintbrush: used to apply flux.
• Pickle: removes oxides and burnt flux from work.
• Solder: used to join metal permanently.
HEALTH AND SAFETY
• When working, it is imperative that precautions are taken to avoid risks and accidents. Most health and safety precautions are down to common sense: if you use yours, with some concentration thrown in, you should have no accidents.
• When using a machine with a spinning or cutting component, always wear goggles, tie long hair back and remove any long chains, scarves or ties. When using chemicals, wear a protective apron, gloves and a respiratory mask, and when using a flame, ensure that you have the correct ventilation and that the area is clear of anything flammable.
• It’s best not to wear expensive or favourite clothing, and always – without fail – wear closed, sturdy shoes. If something heavy or hot falls, feet will need protection.
• If you are working in a shared workshop, there will usually be health and safety regulations to be adhered to, but it’s important to keep this up even when working alone at home. We have all decided at some point that health and safety is a nuisance, but once you have trapped your hair in the pendant motor, singed it with a flame, or drilled into your fingernail, you will appreciate that there is a reason for these regulations.
• Always have a first aid kit, an eye wash and a small fire extinguisher to hand. Always read the manufacturer’s instructions for equipment and chemicals, and use machinery correctly. Remember to always use common sense, concentration and caution.
THE DESIGN PROCESS
Design is often described as something that can’t be taught, that it is an innate talent. Actually the process can be explained. Understanding how a design is developed will give you the tools to explore your own ideas.
Jewellery design can evolve from the desire to create a unique piece, to mark an event, to convey a concept, or to experiment with materials and techniques. Some designers are inspired by the design development process, some from the challenge of construction and technical skill involved, and others by the need to express an idea or point of view.
Whatever your starting point, design development involves a process of inspiration, research and experimentation, recording of information, evaluation and assessment. Each designer follows this process in a way that suits them; however, it is important to analyse the process and record any developments that arise.
Inspiration
Inspiration can come from anywhere, anything that causes a reaction, be it a beautiful object, a mechanism, a technique, a movement, a place or an emotion. Collect images, objects and even words that relate to your concept. A designer should ask questions about why they are inspired or how they might convey an idea, always looking beyond the obvious, thinking laterally rather than literally.
Visit museums and galleries, take photographs, sketch ideas, cut out images from magazines, look up the subject, try and collect as much information as possible to build a rich variety of resources.
Designing with a sketchbook, used to collect and record ideas and processes.
A mood board is a collection of ideas, thoughts, materials and patterns used for inspiration.
A mood board is a great way to collate all visual information in one place, allowing the designer to view everything together, although a scrap book or a box of found objects can achieve the same result.
Design development
Being able to draw is a definite advantage, but a lack of drawing skills should not put people off beginning the design process, as there are other techniques that may be used. There are two stages involved in design development: soft thinking and hard thinking.
Soft thinking involves a degree of playfulness, allowing an exploration of ideas intuitively and imaginatively. Tracing paper can be used to select shapes and play with how the image can be overlaid, overlapped and repeated, flipped, rotated and resized, creating new shapes and forms.
Look at how the spaces between shapes can be redefined as shapes themselves; consider colour, balance and light. Cut up or photocopy images and play around with them, change elements by degrees until you are happy with the results.
Explore ideas further by adding colour, shading, texture and additional materials. Focus on the elements that are most relevant to the idea, concept, materials or technique you are interested in.
These soft thinking ideas then need to be developed into a working design by using hard thinking. This involves literal rather than lateral thinking. Consider the type of piece, the materials it will be made of, how it will be constructed, and how it will attach to clothing or to the body. Hard thinking is concerned with the technical aspects of the design: how and if it will work.
A designer should always be open to changing their design. It is possible that when creating samples or during construction, difficulties or technical issues will occur, and a better alternative solution may be found.
Before making a piece, a drawing should be made to scale. A technical drawing of the piece allows us to consider it from all angles; this helps in working out the stages of construction as well. If necessary graph paper may be used to work out scale drawings.
Soft thinking inspired by the mood board. Initial drawings exploring shapes – Example 1.
Soft thinking inspired by the mood board. Initial drawings exploring shapes – Example 2.
Soft thinking inspired by the mood board. Initial drawings exploring shapes – Example 3.
Soft thinking inspired by the mood board. Initial drawings exploring shapes – Example 4.
Soft thinking inspired by the mood board. Initial drawings exploring shapes – Example 5.
Further development of soft thinking, using repetition of shapes, adding shadows and incorporating colour – Example 1.
Further development of soft thinking, using repetition of shapes, adding shadows and incorporating colour – Example 2.
Further development of soft thinking, using repetition of shapes, adding shadows and incorporating colour – Example 3.
Hard thinking considering the technical aspects of the design and how it will work as a piece – Example 1.
Hard thinking considering the technical aspects of the design and how it will work as a piece – Example 2.
Hard thinking considering the technical aspects of the design and how it will work as a piece – Example 3.
A technical drawing of a design drawn to scale, used to inform the making process.
The design elements
Irrespective of inspiration or concept, there are a few design principles that should always be considered during design development. These include shape, form, texture, line, colour and balance.
Different shapes have different characteristics – for example a circle is continuous, a square is solid, and a triangle has direction. Each shape can also change its character by its position, as well as its relationship to other shapes. A narrow triangle pointing outwards can be quite aggressive, whereas a wide triangle sitting on a flat base is strong and centred.
Form relates more to the 3D aspect of a shape, and it can drastically change the nature of a design. For example, a cone is both triangular and circular, making the triangle seem less dynamic than a pyramid shaped one. When developing a design it is necessary to think about how the 3D form will impact on the feel of the piece.
Texture can have an enormous impact on a design: it can change, enhance or magnify the perception of a piece entirely. This is both a visual and a sensory effect, as jewellery is something that is held and worn on the body. Texture can make a form seem rough, silky or smooth, just from the way it stimulates our senses. It can also help intensify a design, for example using the imprint of a feather on a feather-shaped pendant, or using a coarse, sharp texture on a piece expressing the concept of violence.
In a similar way, colour can also stimulate our senses, affecting how we perceive a design. It has a language of its own and these days there are numerous ways of utilizing colour in our designs. We are all familiar with the Western world’s concept that red means danger and blue is considered calming; however, it is worth considering that in other cultures colours may often have different connotations.
Balance is about laying out the design in an aesthetically pleasing arrangement, with an equal distribution of visual weight. Symmetry is created by a design that is equal on both sides of a vertical line; this gives a piece stability but can also be a little less exciting. Asymmetry creates balance with contrast, using elements that have unequal visual weight. It is often more interesting and dynamic than symmetry, but may also cause discomfort to the
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