Written Comparative Analysis

Both pendants are made of a white metal and each pendant includes a secondary spherical element, a single pearl in Pendant A and what appears to be a single black pearl or a dark stone is set into pendant B. The surfaces of the metal on both pendants have a smooth but non- reflective surface (matt finish). Pendant A is a hollow construction cubed shaped box which has a lid that can be lifted and the pearl sits inside the box. The fact that you can lift the lid of pendant A and so wear the pendant in different ways adds playfulness to the design. Pendant B has a rounded shape that resembles a large crescent moon and the stone/pearl sits at the top of the pendant, it may be hollow construction as well. The style of both pendants is simplistic as the lines are clean and symmetrical; there is no immense detail in either pendant. The symmetry and crispness of both pendants accentuate the geometric shapes of the pendants. The straight edged box shape of pendant A feels more masculine than the rounded shape of figure B although the pearl in pendant A is typically a feminine accent to a jewellery piece.

Pendant A is a masculine shape (the box) which encloses and protects the feminine element (the pearl) which can be hidden from the view of others. This may be interpreted as the emotions a man may feel towards a woman that he holds dear. He wants to protect her as well as keep her safe and close to his heart. The pendant looks to be worn by a male although the same symbolism could apply for a mother and child (as a pearl is grown inside the ‘womb’ of an oyster even though as a result of an irritation) or in fact any person who loves and feels protective for another. As I mentioned before, figure B has a feminine feel to it. Its rounded shape and soft voluminous curved belly is reminiscent of a woman who is pregnant. Pendant B’s crescent shape also reminds me of the moon which is associated with the woman. Both pendants are voluminous in shape although pendant B is soft in volume where pendant A is quite hard in volume. 

Pendant B hangs by a simple jump ring on quite a thick chain where pendant A is hung on a thin wire that is threaded through the box and the pearl and holds the piece together as well as allowing for the movement of the box lid. Pendant A can be worn at different heights on the body and looks to be quite light where as pendant B looks as if it might be a fairly heavy pendant and looks as though you would wear it closer to the throat.

Comparative analysis assignment

Piece one is a locket by Thomas Mann and it in entitled ‘Chamber heart Locket’. The body of the locket is heart shaped has been made out of a white metal and the hinge and bale has been made of a yellow metal. It hangs off a simple chain. The piece has been made of two separate pieces of plate that have been pierced out in a heart shape and a heart shape has also been forged/embossed in the centre of the top plate (possibly the back plate as well). When the plates are put together and the locket is closed, there will be a hollow in the middle of the heart.  A chain, hook and loop have been used to lock the locket closed. The chain is soldered into the top plate with the hook attached to it. The hook has a bead made out of a yellow metal. The loop is soldered onto the back plate and protrudes through a pierced out slit in the top plate. The heart plates have a roll pressed pattern covering the whole surface of each heart plate. The locket is worn around the neck on a chain. Although it is quite a large piece of jewellery the plates are thin so the piece does not look heavy. If the heart has been embossed on both sides of the locket, it could be slightly uncomfortable to wear it where a locket with a flat back would sit more comfortably against the body. The plates are textured with the roll pressed pattern of dots and half shape images that look to be vibrating. Embossing the heart/s creates voluminous form. It is an asymmetrical piece. The patterns on the plate and the raised, billowing effects of the hearts give a soft feeling to the locket which contrasts with the manufactured look of the hinge and bale. The surface of the pendant is matt. Traditionally people would put photos of loved ones inside lockets and the overall shape of the locket is a heart which emphasises the idea that a locket is where you keep reminders of someone special.

Piece two is a pendant by Tom Ferreror which is entitled ‘Phoenix Pendant’.  It is a circular pendant in shape with a section pierced out of the top in a triangular shape and it has a red stone set at the top of that triangle. The pendant has been made out of a white metal although it looks as though the stone setting has been made out of a yellow metal and the inside of the cut out triangular section is a yellow metal as well.  It has a circular rim surrounding the pendant. The pendant has a slight volume to it. There is a roll pressed pattern reminiscent of a rose window on the surface of the pendant which adds a texture to the piece. the bale is made of two jump rings that have been soldered on which have quite a modernised feel and the whole piece is hung on a thin piece of wire made from a white metal. The wire is rigid. The piece is worn around the neck and probably sits quite close to the throat (choker style). The surface of the pendant is matt. The colour of the stone with the yellow metal and the ‘hand-made’ look of the pendant give the feel of a phoenix which is a mystical fire bird. It is a symmetrical piece in theory by there is an ‘imperfect feel to it’

Oscar Abba-Bijoux Contemporains

Oscar Abba-Bijoux Contemporains

Oscar Abba’s work as a whole has an incredibly fluid feel to it. In this collection he has done two bracelets and a brooch, each made of silver and each with a title befitting the air and look of each piece. The bracelets and titled ‘Folds 2011’ and ‘Folds II 2011’ where as the brooch is titled ‘Liquids II 2007’. Although his pieces look as though they may be constructed out of tin, aluminum or some scrap metal, he has chosen to construct his pieces out of silver which is a ‘fine metal’ and so adds a certain higher quality to his work.

He shapes and forms of the ‘folded’ metal are organic and flowing. Although his pieces have and edgy look, each piece is quite soft on the eye, this is achieved by his use of soft, rippling curves and lack of sharp edges as well as the negative space in the pieces. The metal thicknesses vary and further emphasize the organic, natural feel of the pieces.

The way that the light reflects and bounces off each piece is softened and isn’t so intense and this he has achieved by adding a brushed metal texture to his metal. Each piece resembles the silkiness of folded ribbons but in contrast have a raw finish to them, for example the solder seams and edges aren’t polished and cleaned up.

The negative shapes and space of the pieces are very much as important as the positive space. The negative space implies a delicateness of the jewellery but the thickness of the metal used adds a definite boldness to the pieces as well. There is again a stark contrast in the collection as even though the pieces are not geometric and look organic; the overall execution of the pieces has a very prominent ‘manufactured’ feel. There is no obvious symmetry to the pieces, nor uniformity but there is a repetition of the same general folded form.

Klimt o2 Assignment

Giovanni Corvaja

‘Giovanni Corvaja is perhaps the sanest madman I have encountered and equally paradoxically can we regard his very extraordinary and special creations.’- Hadas Shoef, journalist, Globe, Israel, October 28, 2007[1]

Giovanni Corvaja was born in 1971 on the 30^th of September in Padua, Italy. He was the son of parents Maria Vittoria Pavan and Carlo Corvaja and grew up in an environment where many people in his family were scientists and so since he was a child, has been hugely mesmerized by metals. [2]

He first began his studies to be a goldsmith at Pietro Selvatico High School of Art in his home town in Italy in the year 1985. He was awarded the Diploma di Maestro d’Arte in 1988 and subsequently the Maturità d’Arte Applicata in the year 1990

Corvaja graduated from the Royal College in London with the Degree of Master of Arts in 1992, after which he moved back to Padua to pursue a career as a goldsmith. Since 2005, Giovanni Corvaja has been living in a town called Todi in Italy where he has been doing freelance goldsmith work from his own private workshop.[3]

Since 1989, Giovanni Corvaja has been exhibiting his jewellery pieces in galleries around the world. He is known for using metals, specifically gold and platinum in such a way that it looks and feels like fur or wispy elements.

 I found this image here

-Giovanni Corvaja-

The Golden Fleece (Fidelity)

Ring

18 K gold. int. d 18 mm/ext. d 24 mm x 16 mm

2008

This is a ring is the third piece designed by Giovanni Corvaja for his Golden Fleece collection which consists of five other pieces. The collection is inspired by a Greek myth in which a magical goat’s Golden Fleece would bring luck and prosperity to kings and their kingdoms. The ring is made out of 18k yellow gold and the ‘fur’ is made from gold wires. There are 104, 272 single wire strands in this ring. The Inside of the ring is perforated so that the strands may be threaded into the ring. Each tiny thread has been repeated thousands of times to create the matted fur effect but still each one looks organic and natural as if it was a naturally occurring tuft of fur. You can see that, like real fur, the hairs are all flowing in one smooth direction so if one was to stroke the ring in one direction it would seem soft and smooth but in the other, it would be almost abrasive or at least not natural. The ring is symmetrical and there is uniformity in the consistency of the strands as well as in the perforations on the inside of the ring. There is an obvious contrast between the textural, matted fur on the outer side of the ring compared to the smooth simplicity of the inside of the ring. The texture of the ring looks abrasive and our mind wants us to think of it at being abrasive but in actual fact is soft and very similar to actual animal fur. The natural golden colour of the strands work well with the texture of the ring as the colour looks like it could be the natural colour of fur and the light reflecting off the strands emphasize that. It looks as though the ring would be quite chunky to wear.

I found this image here

-Giovanni Corvaja-

Pendant on a chain,

detail. 950 platinum, 18K gold and colourful glass enamel.

Wire d 0,03 mm

2010

This is a pendant on a chain. The chain and the frame of the pendant are made out of 18k gold and the tiny wire hairs encased inside the frame are made from 950 platinum and are laden with coloured glass enamel. The diameter of the platinum hairs is 0.03 mm thick. The ‘cage’ of the pendant is uniform and looks smooth and solid in texture and is contrasted with the chaos and unpredictability of the platinum hairs on the inside of the pendant which look quite abrasive and wiry. The wild, bright colours of the glass enamel and grey platinum contrast with the even, calmness of the colour of the gold pendant and chain. The gold is comforting and familiar where as the platinum and enamel makes one feel quite uneasy. The outside of the pendant looks to be symmetrical and aerodynamic. The pendant as a whole resembles some sort of seed or pod and so looks to be quite organic in shape. The form is very voluminous and bold and the wire hairs emphasize that fullness of form. Even though the strands and colours provoke a sense of chaos, the frame of the pendant contains those elements and gives the pendant a sense of balance and harmony. The curved lines of the frame help the smooth out the pendant and anchor the whole design. The coloured enamel adds excitement to the piece and although the colours seem random, the consistency in the randomness of the shape and colour of the enamel provides a sense of unity. The platinum resembles plant fibres.

I found this image here

-Giovanni Corvaja-

Bracelet.

18K gold. d 84 mm x 42 mm

 1998.

This bangle is made from 18k gold. The chaos of the golden wire is contrasted wonderfully by Corvaja’s use of a sturdy frame which has a clean simple line. The wire making up the body of the bangle has not been layered randomly and in fact consists of layer after layer of gold wire repeated in geometric shapes which contrast with the circular shape of the bangle as a whole. The geometric shapes are repeated so many times and in such fine gold that the eye blurs and does not recognize the shapes unless one tries to focus on them. Although gold is usually a heavy medium to work with, this bangle seems almost weightless and delicate because of the fine body of golden threads. Proportionately, the bangle is quite large and would be quite stout on the wrist of the wearer. The fact that the bangle is of one colour helps to unify the piece and soften the overall feel of the bangle. The bangle has an uneven texture on the inside and outside but it does not seem like the texture would be abrasive to the skin. The bangle’s form is very voluminous and the addition of the airy spaces between the gold wire threads makes the piece look to be quite delicate.

Bibliography

·         http://www.klimt02.net/blogs/blog.php?Id=7&Id_post=19&Directe=Si [online] [accessed 14 July last updated: 17.03.2010

·         http://www.abovogallery.com/corvaja.htm [online] [accessed 14 July 2011]

·         http://www.giovanni-corvaja.com/  [online] [accessed 14 July 2011]

·         http://www.apparat.be/bracelets/giovanni-corvaja [online] [accessed 14 July 2011]

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[1] http://www.giovanni-corvaja.com/

[2] http://www.giovanni-corvaja.com/

[3] http://www.abovogallery.com/corvaja.htm

Klimt o2 Assignment

Karin Roy Andersson

Karin Roy Andersson was born in 1983 in a place called Umeå in Sweden. She began her studies at the Natural Science program and was sure that she wanted to work as a doctor but changed her mind in 2003 when she moved to Göteborg and started studying jewellery manufacture at HDK, after which she moved to Barcelona where she worked for Klimt02’s online community and gallery.[1] She now runs a workshop/gallery/boutique, called ‘Four’, with three other jewelers. She says that some of her inspirations include natural elements as well as science and is also inspired by unusual facts about animals, people and places. Her jewellery pieces are incredibly quirky and usually depict some sort of story. She says about herself-‘I like repetitions, doing the same thing over and over again. It could be sawing hundred of pieces making a chain or taking step after step running a long distance race. I am very fond of small things, and I like putting many small things together.’[2]

Karin Roy Andersson
Necklace: A Constant Grinding 2011
Gum base, softeners, sweeteners, flavourings, potato flour, pearl silk, silver
Length ca 45 cm

This is a necklace that’s has been made out of a number of unusual media. The bead-like structures have been made from a mixture of gum base, softeners, sweeteners, flavourings, potato flour which she has ground up. Essentially these baubles are chewing gum. They represent the act of constantly chewing something which is a comfort to Karen Roy Andersson. The baubles have been strung together and tied with pearl string and the clasp of the necklace has been made out of silver. The necklace is made up of very organic structures which resemble to me, seeds or bulbs of a plant. Although all of the baubles look the same, there is a variation in size which adds interest to the piece. Each segment has a bulbous form and if you were to run your hand along the necklace, it would feel bumpy to the touch although each segment looks to be very smooth in texture. Although the colours within the piece are neutral and all quite similar, there is a subtle variation of greys, greens and taupe from segment to segment which enhances the forms of the piece and makes it more exciting to look at. The consistency of colour and shape balance out the piece and unifies it. There is a size graduation from small to big segments that makes the eye naturally follow the line of the necklace. Because of the media used and the fact that each segment is hand-made, no two baubles are the same. There is a contrast between the arbitrary, organic material of the segments and the commonality of the silver clasp.

Karin Roy Andersson
Necklace: The Water Bear 2009
Juniper wood, silver, nylon, diamond.

This is a neckpiece that has been made from juniper wood, nylon thread, silver and a diamond. It is named after and inspired by the Water Bear which is a teeny, tiny segmented insect which is said to be able to survive in just about any climate. It is almost indestructible. It can hibernate until the conditions surrounding it are favourable. The locket/pod of the necklace resembles the pip of a fruit or seed. The string of the necklace which is made of nylon looks like wild grass or perhaps a nest in the making and the tiny diamond is placed inside the pod where it hibernates. A key locks the little diamond inside where it is safe. Diamonds are very difficult to destroy just like the water bear. There is a beautiful contrast between the organic, woody structure and the cut diamond encapsulated in it’s centre. The wood’s finish is smooth in texture and has been carved at but still looks raw and natural as if the elements have carved away at it. The two halves of the locket fit together asymmetrically and the carving on the outside are not symmetrical but still because of the colour and overall rounded form of the structure, the piece still looks unified. The colours of the piece are all natural looking, earthy colours. The key also contrasts with the wooden pod. In this image, the lines that the thread makes are wild and chaotic but are calmed by the comforting shape of the curved locket.

Karin Roy Andersson

Necklace: The Clownfish 2009
Silver, enamel

This is a necklace which is inspired by the clownfish. It is made out of silver and enamel. The Segments of the necklace allow for a fair amount of movement and so the necklace is quite flexible even though overall it would be hard to the touch. There are a couple of fish at the end of the necklace. The segments of silver are the scales of the fish and just by looking at them; you can imagine their scaly texture. Just like scales, the silver plates have been made to overlap and so they flow smoothly in one direction. The necklace is quite a large statement piece and because of the use of silver, is probably quite heavy. It also looks heavy to the eye as it is quite bulky. Texturally, the piece is quite interesting. It would be smooth (especially where enamel has been used) but you would feel all of the individual segments as well as where the silver has been worked. The different colour enamels used work well with the natural colours of the silver and adds a variation in texture and colour. Light bounces and reflects off the scales the way that light would reflect off a real fishes scaled. The glint adds interest to the piece and keeps it from becoming uniform or dull. It adds realness to the piece. As the necklace is inspired by an animal from the natural world, the lines and forms of the piece are very organic and curve and move in a very organic way. The fish at the end of the necklace are distorted in shape and reflect the light as if it were in the swaying ocean.

Bibliography

·         http://www.karin-roy.se/jewellery.html

·         http://www.karin-roy.se/bjorndjuretspel1.html

·         http://www.karin-roy.se/clownspel1.html

·         http://www.karin-roy.se/constantgrinding1.html

·         http://www.klimt02.net/jewellers/index.php?item_id=17086

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[1] http://www.karin-roy.se/about.html

[2] http://www.klimt02.net/jewellers/index.php?item_id=17086

Design Research Assignment

Rene Lalique

 Rene Lalique’s as a designer is absolutely inspirational to me. He was a multi-faceted designer who chose to explore a number of different categories of design and in each one, was incredibly successful. In this research assignment I will be focusing on one of many of Laliques jewellery pieces that have captivated my heart.

[1]

Here we have a beautiful ring by Rene Lalique. This ring has been made from gold and enamel and the stone is a gorgeous peridot.[2] It is a very symmetrical design which is quite common of Lalique’s work and even though it is symmetrical, the ring still has an incredibly organic or even raw feel about it and is inspired by the natural and forms of the art nouveau movement which typically display asymmetrical designs. I find that the symmetry of this piece also enhances a sense of harmony between all of the various elements in the design. The use of colour in the ring work very well together and i love how the enamel on the birds is a swirl of blues and greens and not one flat colour as this adds a sense a dimension and gives an almost life like feel. The colour of the stone compliments the colours of the birds very well and also help to create a sense of unity in the piece as all the elements flow very nicely. No element of the piece is conflicting. There is a wonderful textured or surface treatment on the gold of the ring which adds to the organic feel of the ring. Spatially, the ring looks well balanced and although it is not necessarily a dainty ring, the simple elegance of the ring gives it a delicate look. The gold that outlines and go within the birds help to highlight their deep rich colour. The fact that the birds are facing each other and holding a single unit makes them look like they are one element and to me they seem to symbolise love. They give of a sense of serenity. The beauty of this ring is fascinating.

A brief biography of Rene Lalique

Rene Jules Lalique was born in Ay, France in the year 1860. He started studying at an art college in France when he was twelve years old and started work as a goldsmith’s apprentice at the age of fourteen and after two years of apprenticeship he moved to England where he attended Sydenham Art College for a further two years.[3] Rene Lalique, in his early days, was commissioned to make jewellery for various jewellery houses such as Cartier and Boucheron.[4] Lalique was most famous for his career in jewellery but was also had incredibly successful careers making perfume bottles and vases out of glass which are absolutely breathtaking and he also made hood ornaments. By the time of his death in 1945, Lalique had a multitude of in depth, successful careers and had hugely influenced the way that people would look at modern jewellery in the future.[5]

I find myself sharing the same inspirations as the great Lalique himself as he was hugely influenced by the natural, organic world as well as the Japanese scenery and world[6] and he was also hugely influenced by mythological creatures and scenes of the imagination. [7] Rene Lalique commonly depicted images of half women, half animals in his jewellery pieces.[8]His work in my opinion embodies the ethos of the Art Nouveau movement as his pieces are very feminine, flowing, gentle pieces that beautifully depict the free-flowing beauty of nature.

Rene Lalique usually worked with gold and silver but would sometimes make bronze jewellery too.[9] He would choose stones based on the beauty they added to the piece and not on the price of the stones and he would use semi-precious stones, pearls, glass and ivory and he was particularly fond of using enamel in his jewellery.[10] He made vases and perfume bottles as well as clocks out of glass. And he would also make beautiful hair combs out of ivory.[11]

Rene Lalique’s creations are whimsical and full of imagination and fantasy as well as a deep romance and one cannot help but to be fascinated by the intricacies of his works of art.

Bibliography

http://en.wikipedia.org/wiki/Ren%C3%A9_Lalique [online][accessed June 2^nd]

http://www.cristallalique.fr/v2/english.html [online][accessed June 1st]

http://rlalique.com/rene-lalique-biography.html[online] [accessed June 2nd]

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[1] http://www.rareantiquerings.com/Rings/Large/5011_LaliqueBirdRing_L.htm

[2] http://www.rareantiquerings.com/Rings/5011_LaliqueBirdRing.htm

[3]Wikipedia.Rene Lalique [updated 28 May 2011] Available at:

 http://en.wikipedia.org/wiki/Ren%C3%A9_Lalique [accessed June 2^nd]

[4] http://en.wikipedia.org/wiki/Ren%C3%A9_Lalique

[5]Maison Lalique Website, Available at:

 http://www.cristallalique.fr/v2/english.html [accessed June 1st]

[6] RLalique Antiques Website, Available at:

http://rlalique.com/rene-lalique-biography.html [accessed June 2nd]

[7]Maison Lalique Website, Available at:

 http://www.cristallalique.fr/v2/english.html [accessed June 1st]

[8] [8] http://www.cristallalique.fr/v2/english.html

[9] http://rlalique.com/rene-lalique-biography.html

[10] http://rlalique.com/rene-lalique-biography.html

[11] http://rlalique.com/rene-lalique-biography.html

Design Principles

Principles

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