M.Com. (Marketing Management) / Market potential is a decision making aid for the strategic marketing orientated manager. Jewellers can use information on market potential for planning, decision making and the overall managing of their own business. It would then be possible to develop the South African jewellery industry, to be able to deliver unique and quality products to present and potential buyers (local and foreign). The unknown need for information on the market potential of the South African jewellery industry realised into this study. The aim of this study is to develop a market potential measuring model with which the market potential of the South African jewellery industry can be determined. The model developed is based on the chain ratio method. Various measuring variables were identified and included in the model. The uniqueness of the model is based on two variables namely the willingness of buyers to purchase the product and their buying behaviour based on changes in their income (income elasticity). The above mentioned factors have a definite influence on the buying behaviour of jewellery buyers and therefore also the market potential. The research is done by identifying homogene groups of buyers and determining their buying behaviour with postal questionnaires. Personal interviews were conducted with which the South African jeweller's opinion was included in the study. The research results showed that with the market potential of the South African jewellery industry it can bring about a large amount of buying opportunities. If jewellers analised the markets in which they operate with care, they will be able to accomplish an optimal level of need satisfaction. Buyers needs will be addressed and the potential of the jewellery industry maximalised.

In this body of work I explore the changing qualities of nature and I strive to represent these subtle qualities in my earthy patinas and brightly enameled pieces. My work examines how the elements affect our natural world and how changing seasons and the passing of time causes humankind to change shape, and grow. I also strive to honor our natural world and my jewelry pays homage to nature and it’s transformative elements.

The Primary objectives of this creative project were the exploration of well-known fairy tales (such as Snow White), and the process of creating interactive jewelry based on my own personal interpretation of these stories. I designed and constructed seven jewelry pieces using traditional metal working techniques along with innovative contemporary surface treatments such as etching, sandblasting and colored pencil decoration. Each piece contained a "surprise" interactive element - some pieces contain moving parts, while others contain small pieces of fabric tape on which sentences are written. These tapes are mechanized to wind up into the ring or pendant.This body of work required a variety of metalsmithing techniques including complex constructions, copper forming, casting, lathe turning, and stone setting. / Department of Art

On the base of cultural norms, it seems that it is commonly accepted that one animal is considered 'friend', while the other 'food'. Even though people's opinion may differ in regards to the world's largest animal rights organization PETA (People for the Ethical Treatment of Animal) (Kulkarni, 2009), the organization asks a relevant question: “ If your cat tasted like chicken would you eat her?” As I work within the contemporary art jewellery field, it is through the body, jewellery, and the conscious act of wearing it, that I would like to encourage consumers to reflect on their personal meat consumption and to connect the packaged meat to the animal it comes from: what is it that we are eating? Where does it come from? Through this essay and my work/practice, I aim to critically reflect on the different existing values between animals in our society and to inspire more conscious and well informed decisions concerning meat. This essay is a research project prior to my practical exam work at the Jewellery + Corpus Master program at Konstfack and will serve as a basis for my artistic exam work. Against this background, I look at relevant literature and case studies representative of the field of contemporary art jewellery, in order to research/address the following question in this essay: -          Is it possible to discuss complex questions within society though the media of contemporary art jewellery?  Within the field, opinions differ between art historians as well as makers; it seems that the framework of contemporary art jewellery provides the medium, on one side, with great potential to speak of issues within society, although, on the other side, the same frame work commonly hinders the medium’s ability to reach out to the general public, in order to generate a wider discussion.

Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript. Includes bibliographical references (leaf 49).

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Thesis (M.Tech.: Fashion Design)-Durban Institute of Technology, 2006, 168 leaves : ill. + 1 CD-ROM (4 3/4 in.). / My journey of awareness which is an exploration of my identity through design has resulted in a body of artefacts presenting as sculptures and various pieces of jewellery and a written dissertation. The sculptures include bronze castings as well as stoneware ceramic pieces. I produced silver jewellery and vitreous enamelled pieces which include some gold and glass bead detail. Although my sculptures could be considered as fairly small, working on this scale was a new experience to me as a jewellery designer who is used to working on an even smaller scale. I found it challenging to express the necessary emotion and meaning in my work while creating on such a relatively small scale. The body of artefacts is a concrete manifestation of my exploration of identity and was produced as an intuitive expression of memories and emotion. My memories are of personal experiences within a specific cultural and historical context, and the exploration forms part of a critical transformative inquiry. The motivation for this transformative inquiry forms part of a holistic de-fragmentation of my personal and cultural identity in an attempt to construct meaning and authenticity through design. The artefacts were produced in holistic cycles presenting in two distinct phases which are discussed chronologically. I recorded the process and my thoughts and feelings in a reflective journal which included a visual journal in my studio and served as a reference for my discussion of the cycles. I experienced the process of making as a ritualistic enactment of healing and the construction of meaning. In the written and illustrated submission for the award of this degree, I have endeavoured to offer an explanation of my professional and emotional development that formed part of the transformative process. I have chosen not to separate my explanation of my development as a designer and my personal development as it occurred concurrently. Digital imagery of my body of artefacts forms a record of my work offered for exhibition purposes and is included with the written dissertation.

Jewelry is anything that interacts with the body.

Thesis (M.Tech.: Fashion Design)-Durban Institute of Technology, 2006, 168 leaves : ill. + 1 CD-ROM (4 3/4 in.). / My journey of awareness which is an exploration of my identity through design has resulted in a body of artefacts presenting as sculptures and various pieces of jewellery and a written dissertation. The sculptures include bronze castings as well as stoneware ceramic pieces. I produced silver jewellery and vitreous enamelled pieces which include some gold and glass bead detail. Although my sculptures could be considered as fairly small, working on this scale was a new experience to me as a jewellery designer who is used to working on an even smaller scale. I found it challenging to express the necessary emotion and meaning in my work while creating on such a relatively small scale. The body of artefacts is a concrete manifestation of my exploration of identity and was produced as an intuitive expression of memories and emotion. My memories are of personal experiences within a specific cultural and historical context, and the exploration forms part of a critical transformative inquiry. The motivation for this transformative inquiry forms part of a holistic de-fragmentation of my personal and cultural identity in an attempt to construct meaning and authenticity through design. The artefacts were produced in holistic cycles presenting in two distinct phases which are discussed chronologically. I recorded the process and my thoughts and feelings in a reflective journal which included a visual journal in my studio and served as a reference for my discussion of the cycles. I experienced the process of making as a ritualistic enactment of healing and the construction of meaning. In the written and illustrated submission for the award of this degree, I have endeavoured to offer an explanation of my professional and emotional development that formed part of the transformative process. I have chosen not to separate my explanation of my development as a designer and my personal development as it occurred concurrently. Digital imagery of my body of artefacts forms a record of my work offered for exhibition purposes and is included with the written dissertation.

This thesis deals with the development of a body of my own creative work and the teaching of jewelry-working in the secondary schools. Emphasis in both instances was given to the use of the natural environment as a stimulus for design ideas. The philosophy of nature as art forms has been the focus of my creative endeavors for several years. This lead to the design and completion of jewelry, flatware, and holloware in this study. Knowledge gained in my work experiences formed the basis and background of the presentation of these skills to secondary students.