 |
 |
|
|
||
|
||
|
FEATURE STORY
|
We asked our jewelry-making readers to step into the spotlight and answer our questionsby June Culp ZeitnerHave you ever wondered what inspired certain people to become jewelry makers for an avocation or career instead of more common hobbies like woodwork or painting, or more common careers like engineering, teaching, or the law? Or have you admired a jewelry display and wondered what techniques the artists liked best and what they liked the least? Or have you ever thought about what jewelry of the past has influenced the jewelry you admire today?
A Lapidary Journal survey reveals the answers to these puzzles and more. We compiled a random sample of jewelry makers among our subscribers and sent them surveys ruthlessly interrogating them as to their experience, their preferences, and how they learned their craft. They supplied us with candid and revealing replies, for which we are grateful. Having been a jewelry maker myself for many years, I thought I could guess at most of the answers. How wrong I was! (Well, I was right once in a while.) Of the jewelry makers who answered our survey, 89 percent were metalsmiths, and most of these were also lapidaries. Those who did not check metalsmith or lapidary on the survey form were either beaders, designers, gemologists, manufacturers, or collectors. Many checked five, six, or even seven different choices -- a very versatile crew!
When we asked what jewelry techniques each respondent considered to be his or her particular specialty, many answered silversmithing -- which is somewhat vague -- but also followed up with more specific techniques: casting, fabricating, enameling, etching, inlay, and intarsia. Not as many mentioned forging, stone setting, metal plating, goldsmithing, repousse, or making custom alloys. There were also several wire wrappers, carvers, and beaders. One reader specializes in making reproductions of fine Old World jewelry; another uses precious metal clay; others chose married metals, metal weaving, scrimshaw, overlay, or scrollwork. One experienced metalsmith makes handmade precious metal chains. There were also lapidaries who cab or facet stones for jewelry, and one who custom-tumbles jewelry stones. Apparently, our readers enjoy some techniques that don't fall into their area of specialization. For instance, forging, which didn't register very high among the techniques used most frequently by our readers, had a greater than 50 percent response rate when readers were asked which techniques they liked the most. Texturing, hammering, and piercing also scored above the half-way mark, while about 30 percent liked casting, channel inlay, and wire work. The least-used methods are granulation, etching, engraving, scrollwork, married metals, and mokume gane. Several readers cast their votes for fusing and sculpting, but it was surprising that of all the respondents, there was only one lonely vote for filigree, which used to be a great favorite. Overall, fabricated or constructed jewelry won over cast jewelry by a large, three-to-one margin. Perhaps this is because casting is usually more expensive, requiring more equipment, such as a burn-out oven, and often taking much more time.
Following close on the heels of that pack were Victorian, Egyptian, Classical, and Baroque styles. Edwardian and 19th-century French seemed not to enjoy great popularity, but Oriental, American Indian, and Arts and Crafts styles all received write-ins. As far as design is concerned, realistic and geometric design styles proved slightly more attractive to our readers than naturalized and stylized designs. Abstract designs and symbolic patterns were close behind, but very few readers voted for impressionistic designs, which were all the rage 100 years ago. Traditional and modern jewelry tied for fourth place, but very few respondents would chose to buy or make ultra-modern jewelry.
But once you've decided what design style you like the best, what kind of jewelry do you apply that style to? The top four responses, with very little difference in number of preferences, were rings, pendants, earrings, and necklaces. Chains and bracelets tied for fifth place, and bolas and buckles shared sixth. Cuff links, clips, barrettes, and enhancers each were mentioned, but trailed far back in the field.
WRITTEN IN STONES. What percentage of the jewelry you make uses gemstones? Being totally entranced by gemstones myself, I was happy to see that 16 percent of the readers surveyed use stones in all of their jewelry and another 16 percent use stones in 90 percent of the items they make. Ten percent use stones in 85 percent of their work and eight percent indicated they use stones 80 percent of the time. Twelve percent estimated that they use gems for about 70 to 75 percent of their pieces, and most of the rest are near 50 percent. So over 60 percent of our jewelers use gems, and many of them are lapidaries. The majority, 78 percent, would want their jewelry stones to be individually lapped, carved, faceted, or made into intarsia. Next in preference were handmade beads and doublets or triplets. A few favored laminated gem materials. Write-ins included drusy crystals and natural botryoidal materials. When asked to name their favorite stones for cabochons in jewelry, our readers showed that quartz -- our all-American favorite -- is still way out in front. Some mentioned agate, jasper, chrysoprase, fire agate, chrysocolla-in-quartz, and plume agate. In addition to the quartzes, opal, jade, and lapis registered as well. Gems such as moonstone, labradorite, malachite, garnet, turquoise, sunstone, rhodochrosite, sugilite, onyx, and paua shell also took a few votes. A couple of readers answered "anything drusy" -- a good answer as there are lots of exceptional drusy gem materials now available.
For faceted jewelry stones, the favorites are, in order: tourmaline, corundum, amethyst, garnet, aquamarine, emerald, topaz, tanzanite, diamond, citrine and other quartzes, peridot, opal, spinel, and zircon. One person named alexandrite, another moldavite, and a third person liked faceted synthetics best.
Among the favorite facet designs, the round brilliant is still the leader, and second place is held by another classic, the emerald or step cut. Other favorites are marquise, oval, pear, cushion, heart, and fantasy cuts. Mentioned by only a few are such cuts as princess, lozenge, kite, antique, and baguette. Barion and trilliant each registered with a vote. A question about our readers' interest in beads revealed that the preference is split evenly between glass and gem beads. Millefiore and lampworked glass beads were chosen more than other glass beads, while hand-made or hand-carved gem beads took precedence over various shapes, sizes, or colors of gem beads. After glass and stone, clay beads emerged in a tie with enamel beads, slightly ahead of metal beads. Antique beads, trade beads, and ethnic beads each had a few dedicated followers, and a few stray voices supported Mexican beads, jade beads, and Oriental pearls.
Some people were self-motivated: "I picked up a Lake Superior agate when I was out fishing;" "I was a musician and home maker. When I became disabled I transferred my skills to jewelry making;" "I got a book about rocks for Christmas;" "My husband was always making jewelry and I wanted to spend more time with him;" "I had a lot of family birthdays and anniversaries coming up and I wanted to give things I made myself for each occasion;” "I like to wear stunning original jewelry and decided I could save money by learning to do it myself. I learned, but I didn't save any money!" One of the most neglected questions on the survey was one in which we gave our readers a list of jewelry designers and asked them to indicate the ones they most admired. Perhaps the non-response to this question is due to many modern jewelry artists being so busy at the work they enjoy that they are not well-steeped in the past -- certainly it couldn't have been due to the obscurity of the jewelers on the list: L.C. Tiffany, P.C. Faberge, S. Dali, R. Lalique, G. Braque, A. Liberty, Paloma Picasso, G. Jensen, J. Schlumberger, G. Foquet, L.F. Cartier, and W. Morris. Despite the less-than-total response rate, we were given a clear indication of which jewelers of the past still command the most admiration today: Tiffany, Faberge, and Lalique. Others who have their fans are Jensen, Cartier, and Dali.
Readers were more enthusiastic about recognizing the artistic achievements of contemporary jewelry designers; jewelers who have won the admiration of survey respondents are: John Paul Miller, William Harper, Carrie Adell, Alan Revere, Dorothy Benrimo, Norah Pierson, Jeff Wise, Stephanie Briggs, Jeff Ruett, Carolyn Morris Bach, Matsuke Kambe Soellner, Luna Felix, Doug Feakes, Lanny Perry, Karen Davidson, Ray Tracey, Charles Laloma, Paula Crevoshay, Sylvia Nicks, Tim McCreight, J. McGrath, Bernd Munsteiner, Michael Boyd, Charles Lewton-Brain, Rita Greer, Margaret Di Patta, Tewo Suuranen, and Jeff Ruttlusa. What piece of jewelry has made a lasting impression on you? The one piece of jewelry that was mentioned the most was, perhaps not surprisingly, one of the world's most famous, and seen by the most people -- the Hope Diamond. Next were Faberge's magnificent Imperial Easter eggs. But most of the answers were as diverse as individual memories. One reader will never forget an antique enamel dog pin. Others were captivated by the jewelry from the ancient Spanish shipwreck Atocha -- one chose a Trinity ring, another an elaborate chain, while a third recalled emerald jewelry but couldn't remember the name of the ship except "It starts with an 'A.'" Museum exhibits of jewelry were memorable to many. An early jewelry exhibit at the Minneapolis Institute of Art, a Chinese exhibit at the Chicago Art Institute, an exhibit in Phoenix on contemporary Native American jewelry were among those mentioned. One lady was inspired by the Tiffany iris pin made with Yogo sapphires. Two people marveled at separate pieces by Charles Laloma. Also cited were Zuni and Maya exhibits, Russian boxes, Roman signet rings, and the Crown Jewels of England. After looking into the past, we asked our readers to gaze into the future. What kind of jewelry did they see as becoming more important in the future? Most predicted that pins will grow in importance, while almost as many feel that one-of-a-kind pieces or limited editions of unique jewelry will gain in favor over mass-produced jewelry. Also in the running are Southwest jewelry, synthetic stone jewelry, pendants, and handmade glass beads. There were single forecasts for drusy items, computer designs, Yogo sapphire jewels, refractory metals, and jewelry for men. Although I know there are lots of great schools where jewelry making and/or lapidary is taught, and many clubs with their own workshops and classes, I had been under the impression that the majority of jewelry makers working today had a minimum of formal training. How wrong I was! An impressive 64 percent of our surveyed readers have taken classes, some college level, and a few have degrees or were art majors. Only 20 percent answered that they are self-taught. Some learned from a friend or relative. Beaders replied they worked on techniques by getting together with others interested in beading. When asked what kind of jewelry they would like to learn more about, a majority said they'd like to learn about specific techniques, such as granulation, reticulation, roller printing, metal spinning, or working with refractory metals, such as titanium. Eighteen percent want to learn more about intarsia; 15 percent are eager to try fantasy cuts; ten percent are interested in the new clays, precious metal clay in particular; and seven percent would like to study lampworking and dichroic glass. There were also scattered wishes for instructions on electroforming, casting natural objects, studying contemporary Native American work, and working with assembled materials.
The last question before the quiz -- (yes, isn't there always a quiz?) is about books -- what jewelry books have been read by participants? These were so numerous and so good that I saved them for a bibliography (see
"Readers' Corner" box). A small number admitted to not having read a jewelry book, but of these several wrote that the Lapidary Journal has been their mentor. (Although I would urge them to expand their library, I can't argue with their taste!) |
|
|
|
|
" When doing jewelry repair, make sure to clean the piece in an ultrasonic and steam clean it before putting the torch to it. You'll save a lot of cleanup time later. " -- Ed D. "If you do a lot of ring sizing and repair, a rolling mill will save you time and money. Melt your metal on a charcoal block and use the rolling mill to make the pieces you need." -- Ed D. "I fire seed beads into enamel and then use identical or similar beads in the rest of the piece." -- Victoria M. "I have used red ochre for more than 20 years as my 'anti-solder.' I noticed it recently in LJ Shop Helps." -- Jim S. "To remove light tarnish from sterling or silver plate, line a shallow plastic or glass pan with aluminum foil. Add hot water to cover and several teaspoons of TSP (tri-sodium phosphate). Submerge the tarnished pieces so they touch the foil. The tarnish will transfer to the foil. Cheap and easy." -- Jay W. "Always use the right solder. Remember that solder should melt at a temperature 150-250°F below the melting point of the metals to be joined. If your joints in copper or bronze are tight and close fitting silver, solder can be used. When working with gold, match the solder to the karat content of the gold. Be sure that the pieces to be soldered reach the appropriate temperature simultaneously. Use a jeweler's flux with a temperature range of 1100° to 1500°F. Solder in dim light." -- Edith A. |
"Practice. Then practice some more. If you are uncertain of your procedure, get some advice from a teacher, friend, or book." -- Meriam G. "I enjoy working with gold. I use paste solder in syringes, which makes it simple to apply the exact amount neatly wherever it is needed." -- Sandra S. "Sometimes I sell my jewelry, but I don't consider myself a professional. I do like to keep a record of all my original work, however, so I use a photographic system designed by Polaroid especially for taking close-ups of jewelry pieces. The kit comes with pads, platform base, stand, and photo mounts, and is easy to use. When I mount the pictures in my book, I write the kind of metal, karat number if applicable, stone or stones and cuts, when I made the piece, and to whom it was sold." -- Marylu G. "When I design bead necklaces using groupings of feature beads and metal beads I use an interesting metal bead on both ends of each such group, and before and after the group I make a knot. That way, if the metal does cut through the thread, all that is endangered is the small grouping itself, since the other beads are held by the knots." -- Arlene M. "I have only been doing this for 50 years, so I cannot advise anyone now. I am still learning, but by the time of the next survey I may be able to help!" -- Joe W. |
