My pieces are inspired by bubble wrap. I was inspired by a Japanese toy which you can squeeze it unlimited times to help people to release there pressures. As the same way, some people like to pop the bubbles from bubble wraps. I used this idea to make my jewelry projects to represent how people act while they suffer from stress and how they release pressure. Based on this idea, you can see the shapes or forms of my works have various possibilities, some of them are simple but others are complicated assemblies. People have various ways to handle stress. Wearing jewelry shows not only their personality but also their emotion. While they sometimes choose their jewelry pieces based on beauty they also choose them based on their emotions. I transformed two-dimensional flat sheets of bubble wrap into three-dimensional forms by stretching and folding them. I also experimented with various materials including plastic, resin, metal, and wood. Most of my works are brooches, rings, and necklaces.

This cultural history of paua shell jewellery redresses the lack of visibility of such objects as a significant part of 20th century New Zealand material culture and provides a basis for a more balanced interpretation beyond its stereotyping as tourist kitsch. It questions why quality paua shell jewellery made before the late 1960s failed to gain recognition with most New Zealanders until fairly recently as anything other than tourist souvenirs. Over 1,500 items of paua shell jewellery, mainly in private collections, formed the basis for this multidisciplinary research project that incorporates historical, anthropological and material culture studies approaches to write a cultural history of such jewellery. The objects were photographed and where available, their provenance recorded. A visual analysis of the items - paying attention to details of design and construction - established various, often overlapping categories that facilitated the dating and identification process. Gradually, a picture of the production of paua shell jewellery over the decades emerged. The wider socio-cultural context was then built using archival sources, various publications, conversations with one-time industry representatives, and discussions with original owners of paua shell jewellery. Interpretation of the material established multiple roles for paua shell jewellery over the decades for various groups of people. Changes over time provided insights into aspects of identity creation by New Zealanders. Until the 1920s, the shell�s main role had been as a European applied arts material and as inlay for Maori woodcarvings. Paua shell as a commercial souvenir material developed during the Depression and was shaped by the interaction between an emerging nationalism and a democratising of travel in New Zealand. Paua shell native bird brooches functioned as affordable alternatives to greenstone souvenirs for the working-class tourists that began exploring their own country. In addition to its role as emblems of nationhood in the interwar years, paua shell jewellery had meaning as souvenirs for American servicemen stationed in New Zealand during the War, and as patriotic tokens for its own population due to its association with disabled servicemen. Paua shell jewellery functioned as acknowledgement of settlement for European immigrants in the post war era, and as travel memento for trans-Tasman tourists from the mid 1950s. New Zealand girls received paua shell items as first jewellery, and women wore it as dress or costume jewellery. Until the increase of tourism in the 1960s, paua shell jewellery had existed on a number of planes. The exploitation of paua shell by the tourist industry, however, upset the balance and its dominance as souvenir forced a retreat of alternative uses. Other than as tourist souvenir, paua shell jewellery became invisible to the local population. Their withdrawal from an association with paua shell as a cultural marker of national identity explains why so many New Zealanders were uncertain about liking or disliking paua shell jewellery until recently.

Bibliography: leaves 289-313. A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology for the gems, suggesting that only three are Late Antique, the fourth being early Byzantine.

Jewelry designers might not be as customer-centered as Kotler recommend. Additionally, they are not constantly seeking to grow and make the most profit out of satisfying consumer needs better than competitors. However, it is imperative even for an individual designer to examine what the customers want and demand as well as think of a plan to satisfy this demand. Consequently, the purpose of this study is to create a guideline for a marketing plan for a beginning jewelry designers using jewelry designer Anniina Dunder as an example. A qualitative method was chosen for this study in form of interviews and observation. Moreover, secondary data was collected in order to gain a wider and clearer picture of the subject. Based on this study an individual actor has every possibility to reach the desired level of profit in the jewelry market in Helsinki by designing and producing jewelry. Reaching this level of profit requires activeness, customer-centered view and productivity from the designer. Consequently, individual designers should start paying more attention to potential customers’ needs and wants even when designing collection jewelry and be constantly aware of changes in these wants in order to satisfy customers even in the future.

No description available.

This project combines metalsmithing and calligraphy into an expressive art form through which the artist can celebrate and share both her understanding of life and the creative, loving God who motivates her art.The rich, calligraphic imagery of the Hebrew, Uncial (early Christian), and Italic alphabets was chosen as the design source.A solid understanding and skillful implementation of a variety of metalworking techniques and calligraphic skills were necessary to turn concept into form, idea into language.Designed and executed for this project were four liturgical objects, two non-functional forms, three functional forms, and nine pieces of jewelry. / Department of Art

The natural forces of earth, sea and sky provide a wealth of inspiration for the creation of jewelry and metalwork. This project involved the investigation of such natural forces as erosion, growth cycles, tides and wind currents, followed by the design and construction of a body of work based on what was observed.During the observation phase, the artist collected source material In the form of photographs, rough sketches, tracings and actual physical evidence o f the natural forces a t work. The designs were based on a synthesis of the impressions gathered, rather than on one particular source. Not only were the visual and tactile aspects of the forces considered important, but the artist's emotional responses to those forces played a role in the designs as well.A total of thirteen pieces of jewelry and three boxes were created. Chasing, repousse, inlay and reticulation were the metalworking techniques primarily used to render the natural imagery.An intensive study of chasing and repousse was undertaken, as these techniques were especially suited to illustrating the wide variety of form and texture present in nature, from graceful, sweeping cloud formations to heavily modeled rock surfaces. The inlay process proved to be an adaptable way of mounting irregularly shaped natural materials, particularly shells, in the jewelry and boxes. The swirling quality of reticulation effectively represented such textures as the ruffled fungal growths found in forests, or the rushing, foaming tides at the edge of a shoreline.By combining close observation of the effects of natural forces with appropriate metalworking techniques, an aesthetically striking and highly original collection of jewelry and metalwork was conceived and executed. / Department of Art

This thesis aims to examine the modes of production and the sources of metal supply for Migration period bow brooches, concentrating on a single form, the Anglian cruciform brooch. The thesis is in two volumes; text and bibliography (volume 1), catalogues, tables, illustrations (volume 2). The text is in six chapters. Attitudes to artefact studies are briefly discussed in Chapter 1 and the techniques employed in this study are outlined. Chapter 2 places the cruciform brooch forms into a simple hierarchical typology by formal similarity. A relative chronology is gained by contextual evidence, with absolute dates given by associations with other artefact types. Similarities between early English and continental forms are shown to be adequate to suggest importation, during the first half of the fifth century. Frisian and north German brooches have a special place in this system. Parallel stylistic development persisted during the second half of the fifth century but sixth-century English brooches are well distinguished from their continental contemporaries. Simple brooch types are thought to have had a long period of production and use. By examining methods of casting and assembling cruciform brooches, Chapter 3 establishes the types and ranges of technical variation observable. Some of these technical attributes provide links between England, Frisia, northern Germany and Denmark. English brooch manufacture is diverse throughout the period under study. Norwegian metalworkers developped a very different style and the technical evidence suggests a movement towards standardisation and mass production. In Chapter 4 we discover the types of alloy used and discuss the likely sources. Initially the alloys used were leaded brasses or bronzes. By the sixth century, copper alloys were commonly very impure. It is suggested that recycling provided a major part of the raw materials for cast copper alloys. Imports of copper alloys from France or the Celtic regions of Britain are relegated to a position of minor importance. The chemical compositions of Norwegian, Frisian, north German and Dutch cruciform brooches demonstrates access to high-tin, high-purity bronzes prevailed throughout the period. Brasses and mixed alloys were also available, probably originating from scrap. With the exception of Frisia, which appears to be more similar to Kent, alloy supplies were similar throughout the Scandinavian and continental cruciform brooch production. Chapter 5 provides a synthesis for these findings. Plans are given for a project extension into other regions (Chapter 6).

This cultural history of paua shell jewellery redresses the lack of visibility of such objects as a significant part of 20th century New Zealand material culture and provides a basis for a more balanced interpretation beyond its stereotyping as tourist kitsch. It questions why quality paua shell jewellery made before the late 1960s failed to gain recognition with most New Zealanders until fairly recently as anything other than tourist souvenirs. Over 1,500 items of paua shell jewellery, mainly in private collections, formed the basis for this multidisciplinary research project that incorporates historical, anthropological and material culture studies approaches to write a cultural history of such jewellery. The objects were photographed and where available, their provenance recorded. A visual analysis of the items - paying attention to details of design and construction - established various, often overlapping categories that facilitated the dating and identification process. Gradually, a picture of the production of paua shell jewellery over the decades emerged. The wider socio-cultural context was then built using archival sources, various publications, conversations with one-time industry representatives, and discussions with original owners of paua shell jewellery. Interpretation of the material established multiple roles for paua shell jewellery over the decades for various groups of people. Changes over time provided insights into aspects of identity creation by New Zealanders. Until the 1920s, the shell�s main role had been as a European applied arts material and as inlay for Maori woodcarvings. Paua shell as a commercial souvenir material developed during the Depression and was shaped by the interaction between an emerging nationalism and a democratising of travel in New Zealand. Paua shell native bird brooches functioned as affordable alternatives to greenstone souvenirs for the working-class tourists that began exploring their own country. In addition to its role as emblems of nationhood in the interwar years, paua shell jewellery had meaning as souvenirs for American servicemen stationed in New Zealand during the War, and as patriotic tokens for its own population due to its association with disabled servicemen. Paua shell jewellery functioned as acknowledgement of settlement for European immigrants in the post war era, and as travel memento for trans-Tasman tourists from the mid 1950s. New Zealand girls received paua shell items as first jewellery, and women wore it as dress or costume jewellery. Until the increase of tourism in the 1960s, paua shell jewellery had existed on a number of planes. The exploitation of paua shell by the tourist industry, however, upset the balance and its dominance as souvenir forced a retreat of alternative uses. Other than as tourist souvenir, paua shell jewellery became invisible to the local population. Their withdrawal from an association with paua shell as a cultural marker of national identity explains why so many New Zealanders were uncertain about liking or disliking paua shell jewellery until recently.

Thesis (M.F.A.)--Montana State University--Bozeman, 2005. / Typescript. Chairperson, Graduate Committee: Richard Helzer.