Relevant bibliographies by topics / Jewelery design

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Jewelery design'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Jewelery design"

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Yang, Jia Peng, Chun Liang Zhang, and Hou Yao Zhu. "Finite Element Analysis of the Main Spindle of the Gold Ornaments Chain Forming Device." Key Engineering Materials 531-532 (December 2012): 703–6. http://dx.doi.org/10.4028/www.scientific.net/kem.531-532.703.

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With China's rapid economic development, domestic jewelry consumption has maintained a high growth rate. Jewelery manufacturing equipment is always behind, seriously hampered the development of the industry. For this situation, the author carried out a series of gold automated processing equipment. In this paper, based on the design of a gold-decorated chain molding equipment, using ANSYS software to do finite element analysis on the spindle three-dimensional model of the gold ornaments chain forming equipment. Because the spindle have great impact in the gold processing accuracy for deformation and vibration.
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Pereira, Beulah, Kevin Teah, Billy Sung, and Min Teah. "Building blocks of the luxury jewellery industry: conversations with a CEO." Asia Pacific Journal of Marketing and Logistics 31, no. 4 (September 9, 2019): 817–29. http://dx.doi.org/10.1108/apjml-10-2018-0415.

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Purpose The purpose of this paper is to conduct an in-depth interview with the Chief Executive Officer (CEO) of Larry Jewelry, a luxury jeweller with boutiques in Hong Kong and Singapore. Given the ever-evolving luxury jewellery market in South East Asia, it is paramount to understand the success factors of the luxury jewellery sector. Design/methodology/approach An in-depth interview approach is used to understand the antecedents of the success of the luxury jewellery sector. Specifically, this paper presents a complex business model of Larry Jewelry and an in-depth interview with the CEO of Larry Jewelry for current insights in the sector. Findings This paper highlights the history of Larry Jewelry, its product segments and the key elements of its business blueprint. Specifically, the success of Larry Jewelry is attributed to its business model and strong branding on quality, craftsmanship, rarity, human interaction and trust. Originality/value Despite the substantial growth in the luxury jewellery sector, there is relatively little research on the success factors of this industry, especially in South East Asia. The current research provides practical insights into business blueprint of a successful luxury jeweller in Hong Kong and Singapore.
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S. Gamov, E., S. B. Tonkovid, V. A. Kukushkina, and N. A. Nikulcheva. "A 3D Design Based on Jewelery Production Technology with Special Features." International Journal of Engineering & Technology 7, no. 3.5 (July 7, 2018): 10. http://dx.doi.org/10.14419/ijet.v7i3.5.15190.

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This article shows the process of development and manufacturing of the exclusive "Ring" product with application of modern technologies of its manufacturing. The main stages of the process of designing, modeling and getting the finished product are presents. Recommendations for the selection of software are given. The advantages of application of additive technologies in jewelry production are shown.
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Baidoo, Mohammed Kwaku, Akosua Tachie-Menson, Nana Ama Pokua Arthur, and Eric Appau Asante. "Understanding informal jewellery apprenticeship in Ghana: Nature, processes and challanges." International Journal for Research in Vocational Education and Training 7, no. 1 (April 29, 2020): 45–66. http://dx.doi.org/10.13152/10.13152/ijrvet.7.1.3.

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Context: The processes of acquiring education in jewellery in Ghana has been dominated by the informal apprenticeship system and it forms the backbone of the workforce of the jewellery industry in Ghana. However, the patronage of informal jewellery apprenticeship in Ghana in recent times has been on decline even though it has the potential of training human resources to transform Ghana’s precious mineral resources sector.This is based on the belief that jewellery trade and its training are shrouded in secrecy, in other words, the jewellery trade is considered to be a sacred profession where information on its operating systems are not allowed to be shared easily. It is believed to be associated with cult and magic, hence the reluctant to admit people who are from outside the family of particular jewellery enterprise. This study is sought to bring to fore the understanding nature, processes and challenges of the informal jewellery apprenticeship in Ghana. Approach: The study adopted the descriptive and phenomenology research designs (qualitative research methods). Jewellers who own a jewellery business and who are training other people through apprenticeships as well as people who are trained are observed and interviewed. A sample size was selected through purposive and convenience sampling techniques from four jewellery enterprises in Accra, Ghana. A thematic analysis plan was adopted to generate fndings of the study. Findings: The results show that for a person to train as a jeweller, s/he has to enrol by going through induction, futhremore fees (money and perishable items) are to be paid. The training content is driven by orders received by the master jeweller, thereby making it unstructured and lacking criteria for assessing the performance and progress of apprentice jewellers. Teaching and learning methods are usually on-the-job training that rely on demonstrations and observation.Conclusion: Informal jewellery apprenticeship in Ghana uses a fexible, cost-efective approach for transferring jewellery making skills from masters to apprentice jewellers, and it has substantial potential for improving skills training in the country. Sometimes the reluctant of some jeweller to train others is to keep the trade to family members only.
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Baidoo, Mohammed Kwaku, Akosua Tachie-Menson, Nana Ama Pokua Arthur, and Eric Appau Asante. "Understanding informal jewellery apprenticeship in Ghana: Nature, processes and challanges." International Journal for Research in Vocational Education and Training 7, no. 1 (April 29, 2020): 45–66. http://dx.doi.org/10.13152/ijrvet.7.1.3.

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Context: The processes of acquiring education in jewellery in Ghana has been dominated by the informal apprenticeship system and it forms the backbone of the workforce of the jewellery industry in Ghana. However, the patronage of informal jewellery apprenticeship in Ghana in recent times has been on decline even though it has the potential of training human resources to transform Ghana’s precious mineral resources sector.This is based on the belief that jewellery trade and its training are shrouded in secrecy, in other words, the jewellery trade is considered to be a sacred profession where information on its operating systems are not allowed to be shared easily. It is believed to be associated with cult and magic, hence the reluctant to admit people who are from outside the family of particular jewellery enterprise. This study is sought to bring to fore the understanding nature, processes and challenges of the informal jewellery apprenticeship in Ghana. Approach: The study adopted the descriptive and phenomenology research designs (qualitative research methods). Jewellers who own a jewellery business and who are training other people through apprenticeships as well as people who are trained are observed and interviewed. A sample size was selected through purposive and convenience sampling techniques from four jewellery enterprises in Accra, Ghana. A thematic analysis plan was adopted to generate fndings of the study. Findings: The results show that for a person to train as a jeweller, s/he has to enrol by going through induction, futhremore fees (money and perishable items) are to be paid. The training content is driven by orders received by the master jeweller, thereby making it unstructured and lacking criteria for assessing the performance and progress of apprentice jewellers. Teaching and learning methods are usually on-the-job training that rely on demonstrations and observation.Conclusion: Informal jewellery apprenticeship in Ghana uses a fexible, cost-efective approach for transferring jewellery making skills from masters to apprentice jewellers, and it has substantial potential for improving skills training in the country. Sometimes the reluctant of some jeweller to train others is to keep the trade to family members only.
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Choi, Lee Ran, and Seung Wook Choi. "Development of Modular Jewelery Design Combined with Traditional Culture - Focused on Hunminjeongeum and traditional knot -." KOREA SCIENCE & ART FORUM 26 (December 31, 2016): 432. http://dx.doi.org/10.17548/ksaf.2016.12.26.432.

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Fialko, O. Ye, and V. V. Neroda. "SCYTHIAN AMAZON BURIAL IN CHERKASY REGION." Archaeology and Early History of Ukraine 31, no. 2 (June 25, 2019): 364–74. http://dx.doi.org/10.37445/adiu.2019.02.29.

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The burial complex of an armed woman was investigated in 1988 on the outskirts of the town Gorodyshche in Cherkasy region. The design of the burial complex combines features characteristic of both nomadic Scythians and the local forest-steppe population. The funeral inventory of the deceased is made up of objects typical of the Scythians: meat food on a wooden plate, two spears, a set of 11 arrows with bronze arrowheads; a bone cheek-piece and jewelery — gold earrings, a pendant and neck hryvnia tips. By all indications (a specially erected kurhan, the powerful wooden construction, the size and interior of the grave, decorations made of precious metal), the buried woman belonged to a small group of commanders or leaders of a certain fighting unit of the Scythians. It is possible that this Amazon could lead one of the Scythian squads that controlled certain sections of land communications through which trade flows took place. She could also lead a militarized unit of mercenaries who served the local aristocracy. In any case, she was buried as a Scythian warrior. This complex replenishes a small series of 27 graves of the Amazons in the forest-steppe Dnieper region and dates from the first half of the 4th century BC.
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NALÇACIGİL, Emre, and Ahmet Fatih ÖZYILMAZ. "A Research on Marketing and Consumer Habits in Konya Jewelry Sector." ISPEC International Journal of Social Sciences & Humanities 4, no. 4 (September 5, 2020): 350–86. http://dx.doi.org/10.46291/ispecijsshvol4iss4pp350-386.

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More than 50 percent of the world's gold production and more than 90 percent in our country are used in jewelry making. Gold, which has been used for decoration and investment instrument for centuries, continues to be demanded by the people of our country in order to both decorate and saving with a habit stemming from our traditions. Turkey’s jewelry sector, which is in the top 5 in the world gold demand and ranked 2nd in gold jewelry exports, currently has 5500 jewelry shops, 20 large jewelry production complexes, 100 wholesale jewelry stores, 40 thousand jewelry shops and 250 thousand employees work in this sector. Jewelry sector has produced for many years with manual labor. Today, the sector has to keep up with the transition to technology-intensive production in order to operate in the world markets and to meet the increasing export demand. The problems of the sector, which has come to a certain place in the world markets and strives for first place, are dealing with greater attention than before. After 1990, the sector was put into a reform process. Necessary institutions for the development of the sector have been put into operation. On the other hand, the development of this industry; While it manifests itself in issues such as branding, product design, technological innovations, marketing strategies, deficiencies in legal regulations damage especially the small-scale jewelry traders. In this study, luxury consumption and hedonic shopping habits are examined by searching literature. In this respect, the phenomenon of consumption was first examined in detail. In the second part, the jewelry sector was explained in all aspects, and then a research was conducted on the consumer habits and the state of the sector with the support of the Konya Jewelers Association.
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Belko, Tatyana V., Tatyana V. Kozlova, and Svetlana Yu Osipova. "Role of jewelry and accessories in traditional women`s Russian costume of the 16th–17th centuries." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 294–306. http://dx.doi.org/10.37816/2073-9567-2021-59-294-306.

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The paper conducts analysis of decor, accessories and jewelry in the context of traditional Russian costume of the 16th–17th centuries; it consists of an introduction and two parts. In the introduction, the authors note the importance of preserving and structuring information about ancient Russian accessories and costume jewelry for modern creative activity. The paper identifies socio-cultural significance of the ensemble of jewelry and costume in traditional Russian society. It examines the clothing of the South Russian and North Russian women's clothing complex, reflecting the specifics of the regions of Russia-from the Volga region to Siberia. The second part addresses the examples of the use of accessories and jewelry in the structure of traditional folk women's costume, depending on the regions of Russia including the clothes of the Orel, Kursk, Voronezh, Ryazan, Tambov, Tula, and Kaluga provinces belonging to the South Russian complex. The North Russian complexes of women's Russian clothing reflect the specifics of the regions. Headdresses, which are traditionally an integral part of women's folk costume, are represented by kokoshniks, kichki, and crowns. Earrings, rings, and chains are introduced by various schools of master jewelers. The characterization of signs by purpose, materials and method of making jewelry, allowed to clarify the order of classification construction of the scheme of using jewelry in the costume system. The main sections of the paper are illustrated with photos depicting costumes and complementary accessories from various regions of Russia. The authors also display costume ornaments that have long been out of use, but are valuable for research. The paper is of interest to ones studying costume design, accessories, and jewelry. It allowed for concluding about the importance of studying the elements of the costume as artifacts made of natural materials that serve as a precious source of information about the unique Russian decorative and applied art and costume.
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Liu, Wen Ming, and Yu Pu. "Research on Creative Product Design of Jewelry Design." E3S Web of Conferences 236 (2021): 05018. http://dx.doi.org/10.1051/e3sconf/202123605018.

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With the development of the times and the promotion of technology, people’s living standards and aesthetic requirements have also been continuously improved. Intelligent design enables jewelry to break through its position in the traditional sense It is no longer limited to the handmade production of precious metals. Intelligent design can also be applied to jewelry design. The unlimited choice of materials allows designers to have greater design space and imagination. With the development of fashion trends, jewelry as a kind of decoration, in another way shows the personal quality of life and life attitude. Therefore, the more diversified forms of jewelry design are eclectic, and the pursuit of higher levels and more comprehensive forms to create fashionable and personalized products.
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Dissertations / Theses on the topic "Jewelery design"

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Glover, Benjamin A. "The element of line in jewelery design /." Online version of thesis, 1990. http://hdl.handle.net/1850/10974.

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Mercaldi, Marlon Aparecido [UNESP]. "Joia contemporânea: relações entre o adorno e o corpo." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/137837.

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Submitted by MARLON APARECIDO MERCALDI null (marlonmercaldi@hotmail.com) on 2016-04-07T13:42:38Z No. of bitstreams: 1 joiacontemporanea.pdf: 3302258 bytes, checksum: 2c1ee8172b9f9a2895d7593b6bfac013 (MD5)
Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-04-07T20:20:13Z (GMT) No. of bitstreams: 1 mercaldi_ma_me_bauru.pdf: 3302258 bytes, checksum: 2c1ee8172b9f9a2895d7593b6bfac013 (MD5)
Made available in DSpace on 2016-04-07T20:20:13Z (GMT). No. of bitstreams: 1 mercaldi_ma_me_bauru.pdf: 3302258 bytes, checksum: 2c1ee8172b9f9a2895d7593b6bfac013 (MD5) Previous issue date: 2016-02-26
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A proposta desta pesquisa é o estudo da joia contemporânea a partir do recorte estabelecido entre a primeira exposição de joias contemporâneas, em 1961, em Londres, os fatos e eventos importantes até os anos de 2010 que constroem o conceito e a abrangência da joalheria contemporânea. Essa investigação foi constituída por meio de estudos que observaram a joalheria no âmbito internacional, principalmente por meio dos ¬desdobramentos que tiveram curso na Europa e que influenciaram, de certa maneira, sua disseminação e estruturação como um campo consolidado, tanto de pesquisa como de práticas projetuais. Nesse sentido buscamos conceituar e definir a nomenclatura joia contemporânea, mesmo diante de contradições encontradas, porém vimos que ela se configura como uma prática abrangente e que estabelece diálogos e relações com campos como arte, artesanato, design e moda. A abrangência e a pluralidade no enfoque da joalheria contemporânea nos levaram à sua contextualização histórica e às questões do adorno e a relação destes com o corpo no contemporâneo. Por meio dessa delimitação, somada às funções do objeto a partir da teoria do design e da análise do objeto estudadas na cultura material, estabelecemos abordagens de análise de joias estrangeiras e nacionais, explicitando as inter-relações existentes entre elas, bem como os conceitos, critérios e características que apontam a joia contemporânea como elemento construtor de linguagem, passível de ser identificado e analisado.
The intention of this research is the study of contemporary jewelry from it’s first exhibition in 1961 in London, key facts and events to the years 2010 that contributed to build the concept and scope of contemporary jewelry. This research was stated by studies that observed the jewelry at an international level, mainly through the developments that took place in Europe and that influenced in some way, its dissemination and structuring as much as a consolidated research field as a projective practices. In this sense we seek to conceptualize and define the contemporary jewelry nomenclature, even having encountered contradictions, but we saw that it is configured as a comprehensive practice that establish dialogues and relations with fields such as art, craft, design and fashion. The scope and plurality in the contemporary jewelry approach led us to their historical context and the adornment issues and their relationship with the body in the contemporary time. Through this delimitation added to the object functions from the theory of design and object analysis studied in material culture, we established foreign and national jewelry analysis approaches, explaining the interrelationships between them, as well as the concepts, criteria and characteristics that point at contemporary jewelry as construct language element, which can be identified and analyzed.
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Wilm, Marina. "Design de joias e seleção de materiais : simulação do efeito aventurina utilizando polímero e partículas minerais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/127648.

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Esta pesquisa trata do desenvolvimento de um material compósito que apresente ou evidencie o efeito aventurina e apresenta sugestões de sua aplicação em joalheria. O efeito aventurina, ou aventurescencia, é uma propriedade óptica que pode ocorrer em alguns minerais transparentes a translúcidos, como o quartzo e o feldspato, caracterizado pela presença de inclusões de minerais lamelares brilhantes, que produzem reflexos metálicos intensos e cintilantes. A escolha desse tema foi motivada pela necessidade de criar uma cultura de inovação e diferenciação no design de joias. Após uma caracterização inicial dos minerais que apresentam efeito aventurina, realizou-se a seleção de materiais de baixo custo e de fácil elaboração e que pudessem reproduzir as características ópticas desse efeito. Essa etapa resultou no desenvolvimento de um compósito formulado a partir de uma matriz polimérica de resina poliéster com inclusões de partículas de biotita e muscovita. Por meio da análise das amostras iniciais pode-se concluir que a muscovita reproduziu melhor o efeito aventurina, uma vez que manteve a sua reflexão na interação com o filme de poliéster. Já a biotita não manteve a reflexão com a interação do meio, o que não descarta a possibilidade de utilizá-la para outros fins que não os de reprodução dessa propriedade. Após a padronização do tamanho e da composição das amostras de resina poliéster com muscovita, foram realizados testes de refletância, absorção de água e de envelhecimento acelerado, para avaliar se o material gerado pode ser utilizado em joalheria. De acordo com os resultados obtidos, pode-se concluir que o efeito aventurina pôde ser reproduzido com os materiais selecionados e há viabilidade de aplicação desse compósito em joalheria.
This research is about the development of a composite material in order to simulate the aventurine effect, with suggestions for its use in jewelry. The aventurine effect, or aventurescence, is an optical property that can occur in transparent to translucent minerals, like quartz and feldspar, which has inclusions of platy bright minerals that produce strong and shimmering metallic reflections. The selection of this research theme has as reason the need to create a culture of innovation and differentiation in the jewelry design. After a characterization of the minerals with aventurine effect, were selected low-cost and easy-made materials that may reproduce the optical characteristics of aventurescence. After these steps, it was decided to develop a composite made from a polymeric matrix of polyester resin with inclusions of particles of muscovite and biotite. The analysis of the first composite proof samples show that muscovite may reproduce better the aventurine effect, since it retained its reflection in interactions with the polyester film. Biotite did not show a good reflection effect, which does not rule out the possibility of using these composite for other purposes than reproduction of his property. After a standardization of the size and composition of the samples of polyester resin with muscovite, some tests like reflectance, water absorption and accelerating ageing were carried out, in order to evaluate if this material can be used in jewelery. According to these results, it can be concluded that the aventurine effect can be reproduced with the selected materials and that is possible to use this composite in jewelery.
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Skoda, Sonia Maria de Oliveira Gonçalves. "Evolução da arte da joalheria e a tendência da joia contemporânea brasileira." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-27012016-134500/.

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A presente dissertação se baseou no percurso da história da arte, para compreender as manifestações da história da joalheria, pois a joia com seu valor material é um patrimônio impregnado de simbologias e de significados estéticos. Este trabalho utilizou a pesquisa histórica, baseada na pesquisa bibliográfica ou de fontes secundárias. Estabeleceu-se um painel cronológico do caminho percorrido pela humanidade para desenvolver a arte da joalheria, desde o seu surgimento, procurando fazer relação entre suas descobertas, necessidades de novos materiais, o aprimoramento de técnicas ou ainda a capacidade de desenvolver habilidades para executá-las. A sua relação com as artes plásticas, que nas últimas décadas levaram a arte e a joia a romper paradigmas. Atualmente, a joia é mais despojada, enfrenta novos desafios como a preocupação com o meio ambiente e a utilização de sementes, madeiras, entre outros materiais naturais, criando objetos com design diferenciado e contemporâneo.
This dissertation is based on the course of art history, to understand the manifestations of the history of jewelry, as the jewel in its material value is a heritage steeped in symbolism and aesthetic meanings. This study used historical research, based on literature or secondary sources. Established a panel chronological path for humanity to develop the art of jewelry, from its inception, seeking to make the relationship between their findings, need for new materials, improvement of techniques or even the ability to develop skills to execute them. His relationship with the arts, which in recent decades have led to art and jewelry to break paradigms. Currently, the jewel is more casual, faces new challenges such as concern for the environment and use of seeds, wood, and other natural materials, creating objects with different design and contemporary.
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Marais, Inge. "Juwelierskuns en transformasie." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/871.

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Maclennan, Maria. "Forensic jewellery : a design-led approach to exploring jewellery in forensic human identification." Thesis, University of Dundee, 2018. https://discovery.dundee.ac.uk/en/studentTheses/58ace496-6d42-4ea1-966e-a89080e69d6f.

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Jewellery as a tool in the identification of the deceased is increasingly referenced within the scientific process of Forensic Human Identification (FHI). Jewellery’s prevalence in society, connection to both place and geographic region, potential to corroborate primary methods of identification (such as DNA, fingerprinting, or odontology), and robust physical form, means it progressively contributes to practices surrounding identification in a number of forensic fields. Physical marks or characteristics such as hallmarks or serial numbers, personal inscriptions or engravings, representational symbols (such as medals, badges of office, religious iconography or military insignia), and genealogical or gemmological markings, may also prove useful in informing investigators much about a piece - and potentially - the individual to whom it may have belonged. Despite this, jewellery is an approach to establishing human identity that has yet to be explicitly investigated from the perspective of either forensic science or jewellery design. The aim of this research has been to explore the potential of jewellery and highlight its significance within this context, through employing the processes and approaches of design. Informed by my own background in both jewellery and service design; I sought to co-design the interdisciplinary proposition of Forensic Jewellery as an extension of my own personal design practice, in addition to a broader hybrid methodology through which the dualistic perspective(s) of both forensic science and jewellery design may come to be mutually explored. By centring my methodology upon my practice, the research serves to document and reflect upon my auto-ethnographic experiences in inadvertently ‘prototyping’ my emergent new role as a Forensic Jeweller – a jewellery designer engaged within, or whose work pertains to, the field of forensic science. Through a range of forensic-based fieldwork, I sought to immerse myself within various communities of forensic practice by way of considering how a design practitioner may come to add value to this otherwise polarised field - a highly subjective and interpretive framework that has remained wholly unconsidered within forensic science. In simultaneously considering the impact of the perspective of forensics upon the broader field of jewellery design, I came to capture some of the otherwise restricted narratives of Forensic Jewellery emerging from the developing research context through a series of theoretically-informed design ‘reconstructions’: objects, concepts, and scenarios (representational, propositional, and metaphorical); educational material, and series of public engagement activities. The research thus culminates in a unique portfolio of practice – written, conceptual, and visual – with relevance to both forensic science and jewellery design history, theory, and practice. Original contributions to knowledge are demonstrated through the direct study of jewellery within real-world forensic settings through combined theory and practice, while the theoretical and conceptual debates surrounding identity, death, and the human body present within the field of jewellery design are simultaneously extended through the inclusion of forensics as a perspective. The research additionally demonstrates how the visual and tangible sensibilities of design can help to attend to otherwise challenging, emotional, or difficult subjects, capture and communicate tacit knowledge or anecdotal evidence, and ultimately contribute to the development of new and emergent research contexts.
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Voirol, Mary Agnes. "Interactive mechanized fairytale jewelry." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1178353.

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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
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CAMPOS, MARIA APARECIDA DE MORAES SIQUEIRA. "TRENDS FORECASTING: STRATEGIC ORIENTATION IN JEWELLERY DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10365@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
O mundo dos produtos, como as jóias, perfumes, alimentos ou automóveis, não escapa da necessidade de uma contínua renovação e antecipação. A pesquisa de tendências, enquanto observadora da sociedade e seu contexto econômico-político-cultural, torna-se essencial para o design no desenvolvimento de produtos. Esta dissertação propõe a construção de uma fundamentação teórica para a conceituação das tendências de moda e design, a atuação do pesquisador, a prática das pesquisas de tendências e sua relevância na orientação estratégica do design. Apresenta, também, a importância do design dentro do gerenciamento estratégico das empresas e algumas iniciativas que contribuíram para a consolidação do design de jóias brasileiro e suas mudanças de paradigmas, como o impacto da industrialização, a valorização do conteúdo simbólico na concepção e consumo das jóias, a aproximação das jóias com a moda e o fortalecimento da joalheria de arte. Por último, apresenta a contribuição do Caderno de Tendências de Jóias para a atualização e sucesso do design de jóias brasileiro no Mundo.
The world of products, as jewels, perfums, foods or automobiles, doesn´t escape of a continuous renovation and anticipation necessity. Trends forecast while observing of the society and its economic-political- cultural context becomes essential for design in the products development. This dissertation considers the construction of a theoretical fundamentation for the fashion and design trends conceptualization, the forecaster´s performance, the trends forecasts practice and its relevance in design strategical orientation. It also presents the importance of design inside the strategical management of the companies and some initiatives that had contributed to the consolidation of the brazilian jewellery design and its paradigms changes, as the impact of industrialization, the symbolic content valuation in the jewels conception and consumption, the approach of jewels and fashion and the strengthening of art´s jewellery. Finally, presents the brazilian Jewellery Trendsbook contribution for the update and success of brazilian jewellery design in the World.
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Segal, Marcelle. "Street art commentary as inspiration for jewellery design." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1442.

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Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010
The purpose of this research is to investigate whether street artists make statements about current socia-political affairs as a form of popular protest and whether those statements can be reflected in another design discipline. such as jewellery design. while reflecting upon the work of Faith47. a South African social commentator. Cultural studies has been referenced as a theoretical framework in relation to cultural sup-groups and. a historic context is provided in order to better understand the significance of social commentary in graffiti, a form of street art produced by social sub-qroup, and made during a period known as Apartheid and currently. in Post-Apartheid South Africa. A range of jewellery then emerged from the research. dealing with the aspects of social-political commentary. as an interpretation of a form of protest art and applied to wearable jewellery. The products incorporate word and images that are provocative and invite the viewer to question and reflect upon what in my view was a contentions and significant period in the history of South Africa.
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Dunder, Mikaela. "Marketing Plan for Design Jewelry : Case Anniina Dunder." Thesis, Uppsala University, Department of Business Studies, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-8877.

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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.

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Books on the topic "Jewelery design"

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Borràs, Montse, and Carlos Pastor Climent. Eclat: Masters of new jewellery design = maestros de la joyería contemporánea = maîtres de la bijouterie contemporaine = mestres da joalheria contemporânea. Barcelona, Spain: Promopress, 2014.

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Alchemy: A passion for jewels. New York: Collins Design, 2008.

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Bhandari, Vandana. Costume, textiles and jewellery [i.e. jewelry] of India: Traditions in Rajasthan. London: Mercury Books, 2005.

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S, James Duncan, ed. Antique jewellery: Its manufacture, materials, and design. 2nd ed. Princes Risborough: Shire, 1998.

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Sander, Maria. Zarah Voigt. Lyngby]: Sophienholm, 2012.

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Galli, Maurice P. The art of jewelry design: Principles of design, rings and earrings. Atglen, PA: Schiffer Pub., 1994.

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Nicholls, Dale Reeves. Egyptian revival jewelry & design. Atglen, PA: Schiffer Pub., 2006.

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Contemporary American jewelry design. New York: Van Nostrand Reinhold, 1991.

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Blauer, Ettagale. Contemporary American Jewelry Design. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4757-4854-3.

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How to design bead & wire jewellery: Everything the beginner jeweller needs to know. Tunbridge Wells: Search Press, 2011.

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Book chapters on the topic "Jewelery design"

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da Silva, João Carlos R. Plácido, Jhonatan Withaker R. Francisco, Fabio A. Moizes, Valeria Ramos Friso, Luis Carlos Paschoarelli, and Jose Carlos Placido Silva. "The Design Method Applied to Jewelery Development: From the Concept to the Final Product." In Springer Series in Design and Innovation, 385–401. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55700-3_27.

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Strasser, Monika. "Bijoux Schmuck Jewelry." In Bourses fédérales de design Eidgenössische Förderpreise für Design Swiss Federal Design Grants 2007, 13–15. Basel: Birkhäuser Basel, 2008. http://dx.doi.org/10.1007/978-3-7643-8450-0_1.

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Blauer, Ettagale. "Introduction." In Contemporary American Jewelry Design, 1–8. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4757-4854-3_1.

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Blauer, Ettagale. "Surfaces." In Contemporary American Jewelry Design, 157–68. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4757-4854-3_10.

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Blauer, Ettagale. "Patterns." In Contemporary American Jewelry Design, 169–84. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4757-4854-3_11.

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Blauer, Ettagale. "Epilogue." In Contemporary American Jewelry Design, 185. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4757-4854-3_12.

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Blauer, Ettagale. "Craft Shows." In Contemporary American Jewelry Design, 9–32. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4757-4854-3_2.

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Blauer, Ettagale. "Craft Galleries." In Contemporary American Jewelry Design, 33–44. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4757-4854-3_3.

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Blauer, Ettagale. "Teachers." In Contemporary American Jewelry Design, 45–64. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4757-4854-3_4.

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Blauer, Ettagale. "Craft and Commercial." In Contemporary American Jewelry Design, 65–74. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4757-4854-3_5.

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Conference papers on the topic "Jewelery design"

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Suret, S., Alain Bernard, and Jean Claud Bocquet. "Using rapid prototyping for new products development: application to jewelery design." In Photonics East '96, edited by Pierre Boulanger. SPIE, 1997. http://dx.doi.org/10.1117/12.263353.

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Efkolidis, Nikolaos, Prodromos Minaoglou, Kyriaki Aidinli, and Panagiotis Kyratsis. "Computational design used for jewelry." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p60.

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Nowadays more and more computer-aided technologies and computational techniques are applied to product design. Jewelry belongs to those products. Jewelry is considered as part of human civilization and adopted to human’s needs. In recent years, computational design is applied in order to overcome the limitations of traditional CAD systems, when reaching an increased level of complexity and geometrical controls. Computational design supports the evolution of creative design and develops models as a form of the computational exploration. Furthermore, additive manufacturing (AM) pieces of equipment are widely used to create models and prototype parts in various applications. AM plays an important role, when developing jewelry models, as it is utilized with an aim to produce high-quality models in rather reduced numbers and complex shapes. In the current paper, a computer-based design tool was applied in order to develop algorithms for the generation of new artistic forms for the design of a set of jewelry. Then, Stereolithography (SLA) technique is chosen for the prototype models construction.
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Tanderup, Sisse. "From memory to jewellery - perspectives on memory in Italian and Danish jewellery design." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0029.

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Li shaobin. "Design elements in jewelry design." In 2010 IEEE 11th International Conference on Computer-Aided Industrial Design & Conceptual Design 1. IEEE, 2010. http://dx.doi.org/10.1109/caidcd.2010.5681359.

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Орлов, Игорь Иванович, and Сергей Анатольевич Щенников. "A BRIEF HISTORIOGRAPHY OF THE PROBLEM OF JEWELRY DESIGN OF THE 20TH CENTURY." In Образование. Культура. Общество: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Апрель 2021). Crossref, 2021. http://dx.doi.org/10.37539/ecs296.2021.21.58.003.

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Ювелирные украшения является одним из самых востребованных направлений с давних времен. В статье делается краткий обзор историографии проблемы ювелирного дизайна второй половины 20 столетия. Поиск и разработка технологии, которая позволят создавать ювелирные изделия с элементами точных копий растительного материала в металле является актуальной в современном дизайне ювелирных изделий. Jewelry is one of the most sought after destinations since ancient times. The article provides a brief overview of the historiography of the jewelry design problem of the second half of the 20th century. The search and development of technology that will allow you to create jewelry with elements of exact copies of plant material in metal is relevant in modern jewelry design.
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Košak, Karin, Deja Muck, Marjeta Čuk, and Tanja Nuša Kočevar. "3D printed jewellery design process based on sculpture inspiration." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p57.

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In the article we present the educational process in which design students were guided through their design process, creating 3D printed jewellery inspired by the Forma Viva sculptures of the outdoor gallery Kostanjevica na Krki. The assignment was part of the international project Cumulus Re/Forma Viva, whose main goal was to implement digitization using 3D technology in the field of education for the preservation of cultural heritage. The task given to the 1st year masters students of Fashion and Textile Design at the Department of Textiles, Graphic arts and Design at the University of Ljubljana was to select a wooden sculpture and transform the visual and conceptual idea into a 3D printed jewellery collection. The curriculum of the course includes teaching the theoretical basics of 3D printing, 3D print design – fashion accessories and new production, business and marketing models as "disruptive" changes that result from this. In the practical part, students will learn the advanced design process of fashion accessory objects, including 3D technologies such as 3D modelling and 3D printing. Students are guided through a process in which selected visual and conceptual content is translated into fine jewellery that can be created using various 3D printing technologies. In this way, students tested themselves in two new areas that allowed them to expand their design knowledge and experience in 3D modelling and jewellery design with the goal of better "arming" themselves with the latest technologies for today's competitive world.
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Ferreira, Telma, Henrique A. Almeida, Paulo J. Bártolo, and Ian Campbell. "Additive Manufacturing in Jewellery Design." In ASME 2012 11th Biennial Conference on Engineering Systems Design and Analysis. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/esda2012-82789.

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Additive manufacturing has become a well-known and widely used process among engineers and designers within the past decade to respond to high levels of market demand and product complexity. The jewellery industry still works essentially on traditional fabrication methods to much time consuming and in some cases lacking efficiency compared to the quality of the end product. The inclusion of new technologies can be a solution to overcome these issues. Additive fabrication enables the fabrication of new products and geometries reducing manufacturing time, energy and labor costs. This paper discusses the advantages and disadvantages of traditional manufacturing processes, such as Investment Casting, and proposes a new production method based on the use of advanced modeling and additive manufacturing. Three additive manufacturing technologies were used, such as selective laser sintering, stereolithography and 3D printing. A computational application for jewellery design is also presented to help manufactures and customers to fabricate novel jewellery pieces. This tool is based on a customization concept, which has been of increasing interest during recent years.
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VENESS, Zoe, and Bic TIEU. "Poetic dimensions: Jewellery conversations about design process." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-03_011.

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Berdichevskiy, Evsey. "PRINCIPLES OF INNOVATIVE DESIGN JEWELLERY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.107.

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XinWang and Kailing Zhang. "Forms and material of modern jewelry." In 2010 IEEE 11th International Conference on Computer-Aided Industrial Design & Conceptual Design 1. IEEE, 2010. http://dx.doi.org/10.1109/caidcd.2010.5681933.

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