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JEWELRY DESIGN DISCUSSION SEMINAR
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Jewelry Design Discussion Seminars @Be Dazzled Beads
What does it mean to be "fluent in design"? Sat, 3/3/18, 1-2:30pm TOPIC: CONTEMPORARY DESIGN:
How does our contemporary expectations for design differ from traditional ones? from fashion, style and taste? Sat, 4/7/18, 1-2:30pm TOPIC: COMPOSITION:
What are the kinds of principles you need to follow or help guide you in order to get a Good Design? Sat, 5/5/18, 1-2:30pm TOPIC: MANIPULATION:
What strategies work best when manipulating principles of good design? How can the designer create jewelry which reflects the artist's hand? Sat, 6/2/18, 1-2:30pm TOPIC: RESONANCE:
To what extent can the artist enhance how a piece of jewelry evokes an emotional response? Sat, 7/7/18, 1-2:30pm TOPIC: BEADS AND COLOR:
How does the bead assert its need for color? How do the gaps of light between beads, and the various positive and negative spaces that a piece of jewelry displays affect a person's appreciation for the piece? What if we defined "jewelry design" as the manipulation of light and shadow? What kinds of things about color related to jewelry and beads do not get covered in a typical art class? Sat, 8/4/18, 1-2:30pm TOPIC: POINTS, LINES, SHAPES, FORMS, THEMES:
How do you get from one bead, to two beads, then several beads, then a type of shape or pattern or texture, to something that gets recognized by shape, form or theme? How do you best define, create, and use components, forms and structures? Sat, 9/8/18, 1-2:30pm TOPIC: ARCHITECTURAL BASICS:
What kinds of things can you do to structures within your pieces to enhance, movement, drape, flow, and durabaility? What does it mean to manage "support" within a piece? How can you build in architectural features like parabolic arches? How might the physicality of wearing jewelry equate to personal confidence? Sat, 10/6/18, 1-2:30pm TOPIC: APPLICATIONS: CONTEMPORIZING TRADITIONAL JEWELRY:
How does our contemporary expectations for design differ from traditional ones? from fashion, style and taste? What does it mean to "contemporize" traditional jewelry? What makes the "traditional" stand apart from the "contemporary"? Does the jewelry artist do something different when making a piece that would clearly be seen as contemporary, and not traditional? Sat, 11/3/18, 1-2:30pm TOPIC: APPLICATIONS: MIXED MEDIA/MIXED METHODS:
How do you best manage the processes of selecting materials and selecting techniques? How can mixing media or techniques help or hinder the success of your jewelry design? Sat, 12/1/18, 1-2:30pm TOPIC: APPLICATIONS: DESIGNING AN UGLY NECKLACE:
Can you put together a well-designed and functional, yet UGLY, necklace? It’s Not Easy To Do Ugly! Your mind and eye won’t let you go there. As research into color and design has shown, your eye and brain compensate for imbalances in color or in the positioning of pieces and objects – they try to correct and harmonize them. You are pre-wired to subconsciously avoid anything that is disorienting, disturbing or distracting. Because of this, any jewelry designer who attempts to achieve “Ugly,” has to have enough control and discipline to override, perhaps overcome, intuitive, internally integrated principles of good design. So...Can you do it -- Can you design a necklace that is ugly, hideous, unsatsifying and what have you? JEWELRY DESIGN DISCUSSION SEMINARS "Becoming the Fluent and Proficient Jewelry Designer" 2019 SCHEDULE  Everyone knows that anyone can put beads and other pieces together on a string and make a necklace. But can anyone make a necklace that draws attention? That evokes some kind of emotional response? That resonates with someone where they say, “I want to wear that!”? That wears well, drapes well, moves well as the person wearing it moves? That is durable, supportive and keeps its silhouette and shape? That doesn’t feel underdone or over done? That is appropriate for a given context, situation, culture or society? True, anyone can put beads on a string. But that does not make them artists or designers. From artists and designers, we expect jewelry which is something more. More than parts. More than an assemblage of colors, shapes, lines, points and other design elements. More than simple arrangements of lights and darks, rounds and squares, longs and shorts. We expect to see the artist’s hand. We expect the jewelry to be impactful for the wearer. We expect both wearer and viewer, and seller and buyer, to share expectations for what makes the jewelry finished and successful. Saturday, January 5, 2019 What is it about jewelry that people see and value enough to want to buy it and wear it? What are the expressive qualities, roles and powers of jewelry? What are the problems jewelry presents, and what kinds of solutions can jewelry designers come up with? Saturday, February 2, 2019 What are all the things that the subject matter of jewelry making and design include? How do these things assist the designer in engaging in authentic, challenging work, so that their products have value in and out of their studio space? How does the designer create an instructional path for learning? Saturday, March 2, 2019 TOPIC: CAN I SURVIVE AS A JEWELRY ARTIST?  At what point do you begin to label yourself as a Jewelry Artist? How do you continue to survive as one? Survival requires an understanding of the way things work. Let’s review how things work in making, presenting, selling, reflecting and critiquing. Who do you design for? What are some norms, beliefs, philosophies, values, organizations, relationships, tools, knowledge, personalities that come into play and have to be negotiated with or negotiated around? Saturday, April 6, 2019 | TOPIC: CREATIVITY ISN’T FOUND, IT IS DEVELOPED  What is creativity? How do you know you have it? How do you define and develop your passion? Why turn ideas into wearable objects? How does the artist translate inspirations into aspirations into final products? How do you decide what you want to create? How do you convey your ideas to others? Which weighs more: the piece of jewelry itself, or the reason why it was created? How do we anticipate what might happen when we expose our creative products to others? Saturday, May 4, 2019 | TOPIC: JEWELRY DESIGN MANAGEMENT, a Process  It makes more sense, and leads to better success on all levels, when jewelry artisans redefine jewelry design, not merely as a creative endeavor, but as a managed process, as well. What do we mean by managed process? What’s involved, how is it organized, how is it implemented? What clues do we look for to reassure us that we are managing appropriately and in the right direction? Saturday, June 1, 2019 | TOPIC: EVOKING EMOTIONAL RESPONSES AND RESONANCE  Beyond applying basic techniques and selecting quality materials, how does the jewelry designer evoke an emotional and resonant response to their jewelry? Quite simply: No emotional response, then the jewelry is poorly designed. What skills are involved which enhance the designers capacity to evoke emotions and achieve resonance? Saturday, July 6, 2019 | TOPIC: THE MULTIPLE RESPONSIBLITIES OF BEING A PROFESSIONAL JEWELRY ARTIST  Should I consider myself a “professional”? What does that mean? What are the different responsibilities a professional jewelry artist has? How should they organize their work? How should they expose their work to various audiences? What kinds of things do professional jewelry artists do to show their artist’ hand and have their work recognized as their own? How do exhibiting, pricing, portfolios and promotion come into play? Saturday, August 3, 2019 | TOPIC: YOUR WORK SPACE  How do you organize an efficient and effective work space within which to make your jewelry? What are the materials and tools you need, and how do you place and store them? What kinds of work tables, benches, drawer units, pegboard, and the like lend themselves to make designing easier? How do you create a working space comfortable for you to work from a palette of colors, parts and materials? Saturday, September 7, 2019 | TOPIC: DESIGN THEATER  We are going to individually design a necklace as a rough sketch on paper, and, then, articulate, in a Think-Aloud format, as best as possible, our inspiration, what we were thinking, the design choices about materials and techniques we made, and why. It is important to develop skills which allow us to be very metacognitive of all that we do. Saturday, October 5, 2019 | TOPIC: OVERCOMING DESIGNER’S BLOCK  A lot of time can pass between having a creative inspiration and executing it. The creative process can be very emotional. How does the artist maintain sufficient motivation and perseverance during this timeframe? What is Designer’s Block, and what kinds of things can we do to overcome it? What are some Patience Boosters? How do you know when your piece is finished? How do you edit? Saturday, November 2, 2019 | TOPIC: FASHION, STYLE, TASTE or ART?  What are the differences among Fashion, Style, Taste or Art? How important are these to what we do as jewelry designers? How should we adjust what we do in reference to these? Why is training in fashion or art insufficient for jewelry design? Saturday, December 7, 2019 | TOPIC: THREADING THE BUSINESS NEEDLE  For people who sell their jewelry, their art is both a business as well as a source of creativity and self-expression. How does someone get started selling their pieces? What business fundamentals need to be brought to t
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