Fringe, Edge, Strap, Bail,
Surface Embellishment in Jewelry
-- Art or Not?
thru Sat, 10/19/2013
Will Learn How To...
Understand any piece of jewelry in terms of its anatomical parts
Assert design control over how the various anatomical parts of a piece
of jewelry contribute to its success and satisfaction
Describe jewelry as "Art", not "Craft"
Enhance the resonance of your jewelry
Apply fringing beadweaving techniques and their variations
Apply edging beadweaving techniques and their variations
Apply Strap beadweaving techniques and their variations
Apply beaded bail beadweaving techniques and their variations
Apply surface embellishment beadweaving techniques and their variations
primary project is to create a beadwoven BezelWorks centerpiece pendant,
with fringe, edge, strap, bail and surface embellishment. A basic
set of instructions is provided. Students may follow these verbatim,
or go off in their own directions.
very simple experimental necklace strap is created, off of which to
do trial and error techniques that we learn during the week.
beadweaving case study -- The Monet's Garden Bracelet -- is discussed.
Instructions for the project are provided, and students may create
this bracelet, if they want.
workshop is an intermediate/advanced level. Some previous experience
with making jewelry (whether bead stringing, bead weaving or wire
working) is required. A comfort using needle and thread, and a knowledge
of how to do flat peyote and tubular peyote bead weaving stitches
would be very helpful.
we are to get control over what we make as artists, how do these jewelry
elements -- fringe, edge, strap, bail, surface embellishment -- come
into play in an appropriate and satisfying way?
art theory would say that these kinds of elements in jewelry should
be supplemental to the core piece, such as a pendant or centerpiece.
pendant is "art", and any fringe, strap, bail, edging or extraneous
surface embellishment would merely supplement this. In painting, these
kinds of components would equate with the "frame"; in sculpture,
these kinds of components would equate with the "pedestal base."
classic art theory, neither the frame nor the pedestal should be required
to be present in order to appreciate the painting or sculpture as art.
Nor should these detract. Or compete. Or take center stage. Or overwhelm.
what about these elements in jewelry -- fringe, edge, straps, bails
and surface embellishment? If our goal is to elevate beadwork and jewelry
to the realm of art, rather than craft, we need somehow to accommodate,
confront or revise this central concept in art theory -- that all these
elements must remain supplemental to the centerpiece.
this workshop, we learn how to make the kinds of choices about fringe,
edge, strap, bail, and surface embellishment which elevate our jewelry
to the requirements and expectations underlying good art and design.
We learn theories, multiple beadweaving techniques and applications
for fringes, edges, straps, bails and surface embellishment.
Monday - THE CENTER PIECE
Theory: Jewelry and Beadwork as Art -- Art or Not-Art?
Theory: The Anatomy of the Necklace
Theory: Roles and Designs of The Center Piece
Materials and Techniques - The BezelWorks Center Piece Project Design
Materials and Techniques - The Basic Experimental Necklace Project Design
Refresher class on flat and tubular peyote stitch
Theory: Roles and Designs of Fringe
Materials and Techniques: Fringe
Case Study: The Monet's Garden Bracelet
Theory: Roles and Designs of the Edge
Materials and Techniques: Edges
- STRAPS, BAILS and THE CANVAS
Theory: Roles and Designs of Straps and Bails
Materials and Techniques: Straps and Bails
Theory: Roles and Designs of "Canvas"
Materials and Techniques: "Canvas"
- SURFACE EMBELLISHMENT
Theory: Roles and Designs of Surface Embellishment
Materials and Techniques: Surface Embellishment
- JEWELRY DESIGN CONSIDERATIONS
Finale and Departure
Technique vs. Skill
Advocating for Your Work as "Art"
- Maximum Enrollment - 12