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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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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 SUPERIORO 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, 2010The 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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Takahashi, Shinya. "Infusing machine made objects into traditional metal working." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313951.
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Living in this high-technology era, the computer is pervasive item in modern life. The creation of jewelry pieces has also been affected by machines controlled by computers. If machines create millions of identical jewelry pieces, what will make the difference between creative and mundane pieces? This creative project is to pursue the use of machine-made objects and produce creative pieces of jewelry. Also, in order to gain practical skills and enhance my design skills, I designed many pieces of jewelry with 3-D software.Department of Art
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Salaam, Safia. "A multimodal social semiotic approach to jewellery design pedagogy." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12014.
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Includes abstract.Includes bibliographical references.
This thesis presents a multimodal social semiotic theoretical framework to explore jewellery design pedagogy. The role of the designer, meaning making and the semiotic functions of resources used within the practice of jewellery design are analysed.
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Sousa, Joana da Cunha Rêgo de. "Desenvolvimento de um produto que une a moda de praia e a joalharia - CHAINED." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/16631.
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Dissertação de Mestrado em Design, com a especialização em Moda apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.O presente trabalho de investigação teórica-prática pretende, através da pesquisa elaborada e do proveniente Estado da Arte, dar uma nova perspectiva acerca da moda beachwear complementando-a com acessórios de wearable jewellery. Este será dividido, então, em duas partes. A primeira parte dá conta de todo o trabalho de investigação teórica, abordando alguns conceitos-chave, bem como das metodologias adoptadas pela autora - das quais faz parte a análise de quatro estudos de caso ( o biquíni em ouro e diamantes de Fátima Lopes; os Fantasy Bra’s da marca internacional Victoria’s Secret, os fatos usados pelas rainhas de bateria dos respectivos blocos carnavalescos brasileiros, uma vez que também estes são adornados com materiais preciosos) e, por fim o caso de Olga de Noronha e Valentim Quaresma cujas artes e oficíos são importantes para a investigação. Num segundo momento podemos dar conta da vertente prática do trabalho, que diz respeito à elaboração de um produto de moda de praia que une a moda de praia e a joalharia, com inspiração nas formas do diamante. É esperado também que a presente investigação teórico-prático possa servir de mote ao debate sobre a moda e que estimule estudos sobre o cruzamento de outros sectores de actividades tangentes com a mesma, como é o caso da joalharia.
ABSTRACT: The present theoretical-practical research work intends, through the elaborated research and the coming State of the Art, to give a new perspective on the beachwear fashion complementing it with accessories of wearable jewelery. This will then be divided into two parts. The first part gives an account of all the theoretical research work, addressing some key concepts, as well as the methodologies adopted by the author - which includes the analysis of four case studies (the gold bikini and diamonds of Fátima Lopes; Fantasy Bra's from the international brand Victoria's Secret, the facts used by the battery queens of the respective Brazilian carnival blocks, since these too are adorned with precious materials), and finally the case of Olga de Noronha and Valentim Quaresma whose arts and important for research. In a second moment we can give account of the practical side of the work, which concerns the elaboration of a product of beach fashion that joins the beach fashion and the jewelery, with inspiration in the forms of the diamond. It is also expected that the present theoretical-practical research can serve as a motto for the debate on fashion and that stimulates studies on the intersection of other sectors of activities tangent with it, as is the case of jewelery.
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Ferreira, Marcia Oliveira. "Perfil e processo criativo de autores de joias em Porto Alegre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/142730.
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A partir do século passado a joalheria sofreu uma grande transformação nos valores construídos em torno da joia comumente entendida como ornamento confeccionado em material precioso. O objetivo desta pesquisa foi descrever o perfil de autores de joias de Porto Alegre e seus processos criativos, posicionando seus campos de atuação dentro de categorias da joalheria (Alta Joalheria, Joalheria de Autor, Joalheria de Arte). Na revisão de literatura são descritas as dinâmicas da joalheria a partir do século XX e uma abordagem sobre processos criativos referindo-se a requisitos e fenômenos necessários para a ocorrência da criatividade. Foram entrevistados dez autores reconhecidos na área da joia, sobre suas trajetórias profissionais, seus processos de trabalho e sua visão sobre os seus campos de atuação. Observou-se que os processos criativos entre os autores entrevistados se assemelham na prática entre o campo do design e o das artes. Por outro lado, o uso da nomenclatura “design” foi considerado pelos entrevistados com certa ressalva pelo fato de não possuírem graduação nesse campo. Ficou a percepção de que o produto joia ainda não recebe um claro entendimento como sendo um produto de design. Os campos de atuação que os entrevistados foram classificados neste trabalho diferiram dos campos expressados pelos mesmos. Entretanto, é indiscutível a expressão pessoal observada em seus produtos, característica do campo das artes, mesmo naqueles não inseridos nesse campo. Neste aspecto fica também fortemente identificada a aproximação dos campos da arte e do design na criação da joia.From the last century jewelry has undergone a major transformation in the values built around the jewel commonly perceived as ornaments made of precious material. The aim of this study was describe the profile of authors of jewels of Porto Alegre and their creative processes analyzing their expertise fields within categories of jewelry (High Jewelry, Author Jewelry, Art Jewelry). On literature review are described the dynamics of jewelry from the twentieth century and an approach to creative process in relation to the requirements and necessary phenomena to the creativity occurrence. Ten recognized authors in jewels were interviewed, about their careers, their work processes and its self-definition of their expertise field. It was observed that the creative processes among the interviewed authors were similar between the field of design and of arts. On the other hand, the use of the nomenclature "design" was regarded by interviewed with certain safeguard because they have no degree in this field. Remains the perception that product jewel does not receive a clear understanding as being a product of design. The fields of action that the interviewed were classified in this study differed from the fields expressed by them. However, it is certain the personal expression observed in its products, a characteristic of the field of the arts, even in those not entered into this field. This aspect is also strongly identified the approximation of the fields of art and design in the creation of the jewel.
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Bader, Angela. "A personal exploration of the creative process." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/960.
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Ward, Vanessa. "An interrogation of the translation of ideas from architecture to jewellery through the design and production of contemporary jewellery." Thesis, Glasgow School of Art, 2005. http://radar.gsa.ac.uk/4937/.
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This research interrogates the translation of ideas from architecture to jewellery, through the design and production of contemporary jewellery. Necessarily this interdisciplinary focus has two contexts; contemporary jewellery and the architectural world from which ideas are translated. The practitioner comprises the third element, determining the way in which ideas are interpreted and expressed. The aims of this research are to define and locate architectonic jewellery and through practice to contribute to this field. The Rationale and contextual review (chapter2), locates architectonic jewellery as a sub-genre of contemporary or studio jewellery; positioned as a strand of Modernist jewellery emergent from a Constructivist tradition, parallels are drawn to the American Modernist movement. The identification of three strands (abstract, interpretive and figurative), within architectonic jewellery explore this translation of ideas from one discipline to another. The contextual review was instrumental in the identification of the positioning of the practice-based research. The method decided upon for the design of jewellery was through response to a selected architectural exemplar. The Role of architectural theory (chapter3), details the architectural context and understanding gained of the main exemplar, Therme Vals, Graubunden, Switzerland by architect Peter Zumthor. Associated with the Swiss Essentialists and continuing in a Modernist tradition, the origins and philosophical underpinning of this architecture were established. An investigation into Phenomenology provided a fundamental understanding of architecture, a means to observe and articulate the act of experiencing (in responding to an architectural site) and altered the dimensions of material consideration in the design process. Idea development (chapter4), documents the development of ideas in the self-reflexive practice. The design process is explained in chronological order. The establishment of selection criteria for architecture initiated this iterative development. The three phases of response to the architectural exemplar are discussed, each phase resulting in the analysis of design and the alteration of the selection criteria. Phase one responded to Juha Leiviska’s Myyrmaki Church through secondary sources. Phase two, to the Burrell collection and Phase three to Therme Vals. All three investigations responded purely to the visual language of the architecture. Phase three comprises of two site visits to Therme Vals, the second of which was preceeded by research into the architectural theory and Phenomenology as discussed in Chapter 3. The research process culminated in the design of works in response to the second visit to Therme Vals. This practice-based research positions architectonic jewellery and through the design process establishes a new paradigm that uses phenomenology as an interpretive tool.
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LLABERIA, Engracia Maria Loureiro da Costa. "O desenho como ferramenta do projeto de design de joias." Universidade Anhembi Morumbi, 2016. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1695.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This thesis presented to the PhD Program of Design at Anhembi Morumbi University, deals with the importance of drawing as a tool for jewelry design, considering its typology applied to different stages of development process, from creation to production, in the jeweler sector, devoting special attention to the industrial segment. This study analyzes the different activities related to the creation of the jewel, such as the High Jewelry and the Contemporary Jewelry, in relation to the use of drawing in different moments. Searching for basis in the drawings of Architecture as reference to studies of forms, volumes and spatial vision development, in the transposition of mental images of three-dimensional objects to the two-dimensional representation. It presents the works of designers and jewelers/artists through interviews and visits to their ateliers as a way of illustrating, also with their drawings, the relevance of this technique representing their ideas. Those professionals were selected for the relevance of theirs works and the attention dedicated to the form research through drawing, since roughs and sketches. Their production and reports are inserted through the chapters, to clarify the approach of each subject. It aims, therefore, to enhance and encourage the teaching of drawing in the training of design professionals and others who dedicate themselves to the production of jewelry in Brazil.
Esta tese apresentada para o Doutorado em Design da Universidade Anhembi Morumbi, no Programa de Pós-Graduação em Design, trata da importância do desenho como ferramenta do projeto de design de joias, considerando sua tipologia aplicada a diferentes etapas do desenvolvimento do processo, da criação à produção, no setor joalheiro, dedicando especial atenção ao segmento industrial na contemporaneidade. Além deste, analisa as distintas atividades relacionadas à criação da joia, como a Alta Joalheria e a Joalheria Contemporânea, em relação ao uso do desenho em diferentes momentos. Buscou embasamento nos desenhos da Arquitetura como referência de estudos da forma e volumetria, além do desenvolvimento de visão espacial, na transposição de imagens mentais para a representação bidimensional de objetos tridimensionais. No percurso, apresenta os trabalhos de designers e artistas/joalheiros por meio de entrevistas e visitas realizadas a seus ateliês como forma de exemplificar, também com seus desenhos, a importância desta técnica como meio de representação de suas ideias. Os profissionais aqui apresentados foram selecionados pela relevância de seu trabalho nos diferentes segmentos, bem como por se dedicarem ao ensino do desenho de joias e da joalheria artesanal, em alguns casos, além da importância que dedicam no percurso de seu próprio processo de elaboração da forma através do desenho, desde os estudos iniciais, através de rascunhos, até os esboços ou croquis nos seus processos criativos. Suas produções e relatos estão inseridos nos diferentes capítulos, oportunamente, de modo a esclarecer as questões ali abordadas. Objetiva, dessa forma, a valorização e o incentivo ao ensino do desenho na formação dos profissionais de design e outros que se dediquem à produção de joias no Brasil.
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BENZ, IDA ELISABETH. "PROCESS INNOVATION ON JEWELRY DESIGN THROUGH 3D MODELING AND RAPID PROTOTYPING." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=14760@1.
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As tecnologias de modelagem 3D e a prototipagem rápida começam a
ser muito utilizadas pelas grandes indústrias do setor joalheiro brasileiro.
Porém, a reatividade do setor joalheiro brasileiro prejudica a inovação do
design de produto para o mercado. Buscando entender como a introdução
destas duas tecnologias influencia e transforma o processo de design de joias,
esta dissertação tem como objetivo avaliar as inovações que a modelagem 3D
e a prototipagem rápida trazem para as empresas e os designers de joias que
fazem uso dessas tecnologias. Através de pesquisa bibliográfica e de uma
pesquisa-ação - dividida entre entrevistas com profissionais que fazem uso há
mais de dois anos das duas tecnologias e uma pesquisa empírica da
introdução dessas tecnologias pela equipe de pesquisadores do Projeto
INOTEC em parceria com designer de cinco empresas do setor de joias e afins
carioca - procurou-se um entendimento das principais vantagens e
desvantagens que a difusão destas duas tecnologias podem trazer para o
setor.The technologies of 3D modeling and rapid prototyping are beginning to be widely used by the biggest industries of the Brazilian jewelry sector. However, the reactivity of this sector affects the search for product design innovations. Seeking to understand how the introduction of these technologies and processes influence the process of jewelry design, this dissertation aims to evaluate the innovations that 3D modeling and rapid prototyping bring to the industries and the jewelry designers who uses these technologies. Through literature review and action-research - divided in interviews with professionals who had worked with the technologies for more than two years and an empirical research of the introduction of these technologies by the team of researchers from the project INOTEC in partnership with five designers from jewelry and related companies from Rio de Janeiro – this dissertation sought an understanding of the main advantages and disadvantages that the diffusion of these technologies can bring to the jewelry sector.
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Zymonaitė, Justina. "Meninės juvelyrikos eksponavimo praktikos XX a. pab. – XXI a. pr." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_144221-77920.
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XX amžiaus antroje pusėje juvelyrikai priartėjus prie kitų vaizduojamojo meno rūšių, papuošalui tapus meno kūriniu, išreiškiančiu individualią kūrėjo poziciją, ir pradėjus rengti specializuotas juvelyrikos parodas, iškilo juvelyrikos eksponavimo reikšmė. Problematiškumas slypi srities specifikoje (dažnai maži mąsteliai, brangių medžiagų naudojimas) bei santykyje su kūnu, nes dėvėjimas yra esminis papuošalo suvokimui. Todėl įprastas juvelyrikos eksponavimas stiklinėse vitrinose netenkina juvelyrikos, kuriamos postmodernaus meno principais.
Darbo tikslas – išanalizuoti galimas meninės juvelyrikos eksponavimo strategijas pasitelkiant trumpalaikių meninės juvelyrikos parodų pavyzdžius iš Lietuvos bei užsienio nuo XX a. 8 dešimtmečio iki šių dienų. Tyrimas nėra istorinio pobūdžio: juvelyrikos parodos nėra analizuojamos chronologiniu principu ar kaip vientisas reiškinys, procesas, kuriame galima užfiksuoti tam tikrą raidą. Nagrinėjamos trumpalaikės personalinės ir grupinės juvelyrikos parodos, nes jose gali būti įgyvendinti tokie ekspoziciniai sprendimai, kurie netinkami ilgalaikėms muziejų ekspozicijoms. Tyrimu siekiama išsiaiškinti, kaip juvelyrikos eksponavimas veikia pačių kūrinių supratimą, priėmimą ir turinį, kokios skirtingos juvelyrikos eksponavimo praktikos naudojamos, koks yra žiūrovo ryšys su papuošalu parodos metu bei kaip skirtingi eksponavimo būdai lemia šį ryšį, koks žiūrovo santykis su ekspozicija.
Magistrinio darbo struktūra paremta skirtingų juvelyrikos parodose... [toliau žr. visą tekstą]Contemporary jewellery cannot be dissociated from developments in the fine art. In the second part of the 20th century jewellery started to be considered as an art form which can express the individuality of an artist. During that time the first specialized jewellery exhibitions were held and since then the attention was drawn to the importance of how objects are displayed in the exhibition. What makes exhibiting jewellery difficult is its connection to the body - wearability is the essence of it. In addition, usually jewellery is small scale and made of precious materials. As a result, typical showcases made of glass are no longer satisfying for displaying art jewellery. The aim of this research is to analyze possible strategies of how art jewellery can be presented. The examples of temporary jewellery exhibitions, both personal and group, from Lithuania and abroad from the 1970s to the present are included. The research is not historical and based on chronology, jewellery exhibitions are not seen as a continuous phenomenon with clear evolution. Temporary exhibitions offer a possibility of to putting into practice such display solutions which would not be suitable for permanent museum displays. This paper looks into the questions such as what kind of different display strategies are used to exhibit jewellery, how the display affects the perception of the artworks, what the relation between the viewer and the jewellery work in the exhibition is, how display influences this... [to full text]
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Liyawarakhun, Vorapoj. "The online marketing plan for Indra Jewelry Company, Thailand." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2937.
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The purpose of this project is to apply marketing tactics in the form of website and online services. The goal of this plan is to improve company image and customer service and relationships, Moreover, website and online service can also increase the sales and profits of the company and expand its market.
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SCAGLIUSI, NATASCHA. "FROM CHISEL TO BIT: THE REVOLUTION OF DIGITAL TECHNOLOGIES IN JEWELLERY DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29511@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
As tecnologias digitais de fabricação por adição ou subtração têm em si um potencial ainda inexplorado pela indústria joalheira. Por isso, essa dissertação tem como objetivo avaliar as vantagens técnicas e comerciais que podem incentivar a transformação no seu uso pela indústria de joias, inclusive apontando exemplos de iniciativas internacionais e nacionais, estas últimas centradas no Estado do Rio de Janeiro, assinalando assim as razões de seus sucessos e falhas. Através de uma pesquisa bibliográfica se busca determinar as bases históricas e especificações técnicas dos principais processos de produção tradicionais (técnicas manuais tais como o repuxo, a cinzelagem, a modelagem e fundição por cera perdida, entre outras) e digitais (impressão 3D, escaneamento 3D e modelagem digital), para, nesse contexto, seguir-se à experimentação com as tecnologias mais novas, como forma de se buscar a comprovação da existência do potencial técnico e comercial destas tecnologias para o setor joalheiro fluminense que justifiquem essa inovação.
The digital manufacturing technologies by addition or subtraction of material holds an unexplored potential for the jewellery industry. Therefore, this dissertation aims to assess the technical and commercial advantages that can encourage the transformation of its use by the jewellery industry, pointing out examples of international and national enterprises, the latest centered in the Brazilian State of Rio de Janeiro, thus signalizing the reasons of their successes and failures. Through a literature research this work pursuits the historical foundations and the technical specifications of the traditional manual techniques (such as repoussé, chasing, lost wax casting, among others) and digital manufacturing processes (3D printing, 3D scanning and 3D modelling), for, in this context, experimenting with the newest technologies, as a way to seek evidence of its technical and commercial potential for the jewellery industry in Rio de Janeiro that justifies the innovation.
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Jessop, Michelle. "Contemporary jewellery practice : the role of display in addressing craft values within the creative process." Thesis, University of Brighton, 2013. https://research.brighton.ac.uk/en/studentTheses/2355709b-67cf-4ff1-8cf8-cf00d9ad1dee.
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The aim of this research is to investigate the role of display within contemporary jewellery, defining an approach that informs both jewellery practice and critical discourse. Conventional structures such as the display case, plinths, frames and mounts operate as communicative platforms from which jewellery is presented, often negating the interactive nature of an object that is designed to be touched, worn or owned. My practice takes the form both of writing and making to explore presentational methods that promote the emotive qualities presented, produced or prompted by a craft object as a means of engaging the viewer within the gallery space. One area of my investigation involves looking at strategies used by craft makers to communicate their work to a wider audience beyond the gallery space. Developments in digital media and an increasing emphasis on audience participation or collaboration offer interactive potential. These methods present an alternative form of communication compared to the conventional display case that tends to hinder such a socially-led approach to contemporary jewellery. Another significant departure from the taxonomic mode of displaying craft collections is the exploration of bodily processes. This ethos inspires a growing number of contemporary jewellers who seek actively to engage an audience with their work using various strategies. This creative drive demonstrates a move away from the presentation of the craft object as an autonomous artefact towards an approach based on social interaction. The impetus of this study arises from Nicolas Bourriaud's notions concerning relational aesthetics. Bourriaud is known for his analysis of late 20th century artists who investigate ways of engaging the individual within a community-based collective through their work. I will show how collaborative practices and the investigation of 'new formal fields' are informing the crafts today. This paper describes how relational aesthetics informs my own practice by focusing on four areas of enquiry. These consist of: an examination of the relationship between maker, viewer and the craft image; the social relevance of patina in the representation of an exhibition object by the use of macro photography; the recording and presentation of social and bodily elements that relate to the worn object; and the role of display methods as a narrative tool. These areas of investigation are developed in symbiosis with my practice, concluding in an exhibition that is rooted in the theoretical framework of relational aesthetics from which the concept of immersive aesthetics is defined.
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Smurthwaite, Kathryn C. "Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3903.
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There is currently need for reform in art programs of all kinds, in regards to use of and focus on contemporary art and current practices. Teaching about art of our time and place enables students to understand and make connections to their world, and facilitates art making that is creative and relevant. This thesis describes theory and rationale for basing curriculum on contemporary art practices and presents a jewelry workshop, for all skill levels, that teaches contemporary art themes and practices. There are two units. The first teaches metal texturing, shaping and simple soldering skills while, focusing on art that deals with spectral and compensatory remembering themes. The second unit teaches bezel setting while focusing on alternative to the establishment art themes. The lessons in the workshop were also created using contemporary art teaching techniques and new principles and elements of design.
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Straliotto, Luiz Marcelo. "Ciclos : estudo de casos de ecodesign de jóias." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/18600.
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Esta dissertação demonstra a possibilidade de aplicação dos princípios ecológicos no design de jóias com o objetivo de contribuir para a sistematização do conhecimento sobre o ecodesign de jóias. Num primeiro momento, a fundamentação teórica foi realizada por meio de pesquisa exploratória e descritiva, apoiada pela revisão e discussão da literatura técnica e científica sobre jóia, design de jóias e ecodesign de produtos. Essa etapa forneceu os subsídios para o desenvolvimento das jóias ecológicas realizadas pelo autor entre 2007 e 2009 e constituintes dos três casos estudados. A revisão da literatura, contraposta à experiência do autor como designer de jóias, possibilitou a construção do instrumento de análise ecológica de produtos joalheiros. Após a descrição dos casos, passou-se a analisá-los sob a ótica do conhecimento teórico sobre o ecodesign de jóias, através da aplicação do instrumento de análise construído, a fim de verificar a pontuação ecológica e os limites e vantagens ambientais constatados no desenvolvimento dos produtos, bem como os níveis de eficácia, eficiência e ecoeficiência das jóias, comprovando a possibilidade real do ecodesign de jóias. Como resultados, a pesquisa obteve: três conjuntos diferentes de jóias ecológicas, realizados com metais advindos de reciclagem e de resíduos sólidos industriais; uma proposta de conceito de jóia na sociedade contemporânea; a análise do ciclo de vida específico do produto joalheiro e a sistematização do design de jóias em relação ao perfil do profissional, às especificidades do projeto, aos meios de produção e aos impactos ambientais envolvidos. A pesquisa indicou caminhos possíveis para o desenvolvimento de jóias ecológicas, especificando os critérios e requisitos que o projeto de produto joalheiro ecologicamente correto deve satisfazer.This dissertation demonstrates the possibility of application of ecological principles on the jewelry design of with the aim to contribute to knowledge systematization about jewelry eco-design. Initially, the theoretical foundation came from exploratory and descriptive research, supported by review and discussion of technical and scientific literature on jewelry, jewelry design and product eco-design. This step provided subsidies for the development of ecological jewels made by the author between 2007 and 2009, constituting the three cases studied. A review of the literature, as opposed to the author experience on jewelry design, drove the construction of the instrument to ecological analysis on jewelry products. After a description of the cases, they were analysed from the perspective of theoretical knowledge on eco-design jewelry, by applying the analysis tool built in order to check the score and the ecological limits and environmental benefits observed in the development products, beyond the level of effectiveness, efficiency and ecoefficiency of jewelry, proving the real possibility of jewelry eco-design. As a result, the research found three different sets of ecological jewels, processed with recycled metal and industrial solid waste; a proposed concept of jewelry in contemporary society; the analysis of specific life cycle of jewelry product and systematic knowledge about jewelry design in relation to the professional profile, the design specificities, the means of production and environmental impacts involved. Research has indicated possible ways to develop ecological jewels, specifying the criteria and requirements that the jewelry product eco-friendly design must meet.
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FEIJO, ANA PAULA VALLADARES. "THE PRACTICE OF DESIGN AND ITS CONTRIBUTION TO THE JEWELRY FIELD IN RIO DE JANEIRO." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=32542@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O campo joalheiro do Rio de Janeiro vivencia uma realidade impulsionada pela profissionalização de vários setores envolvidos principalmente com as etapas de criação, produção, comercialização e divulgação de novos produtos no mercado. Este cenário vem se configurando desde os anos 1990, quando o design do produto joia passa a ser trabalhado com a intenção de proporcionar novas experiências de consumo, reafirmando sobre seus usuários um encantamento pelo objeto que pode ir além do valor financeiro de sua matéria-prima, tão estimado pelas tradicionais gerações de joalheiros, e que ainda é tida como o argumento número 1 na criação de uma joia. Os cursos superiores, tecnólogos e de aprimoramento no setor, em conjunto com as novas tecnologias fabris, também trouxeram oportunidades para o campo e hoje dividem espaço com as técnicas artesanais de produção de joias. Estas, ainda muito utilizadas, resgatam as origens históricas desse objeto, que é trabalhado pelos designers sob uma nova leitura. Esta pesquisa apresenta uma breve reflexão sobre a importância da prática do design e sua atual contribuição para o campo presente no estado do Rio de Janeiro.
The jewelry field in Rio de Janeiro has showed a reality driven by the professionalization of several sectors, committed mainly with the steps of creation, production, commercialization and marketing of new products. This scenery has been outlined since the 1990 s, when the design of the product jewelry started to be worked out with the intention of offer new consumer experiences, confirming on its wearers an enchantment by the object beyond the financial value of its raw material, so appreciated by the traditional generations of jewelers, and which still is considered the argument number one for the creation of jewelry. Undergraduate courses offered by universities, technical courses and any other formation to improve professionals of this sector, together with new technologies for the textile industry, have also brought opportunities for the field, and today they share this space with the artisanal techniques for the production of jewelry. Still quite used, they bring back the historical origins of this object, which has been revisited by the designers. This research presents a brief reflection about the importance of the design and its current contribution to the field in the Rio de Janeiro state.
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Abbaszadeh, Sepideh. "The Sunshine Necklace : A design inquiry study about digital jewellery and wearable technology for empowerment in sexual harassment situations." Thesis, Södertörns högskola, Medieteknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-36260.
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This paper addresses a design exploration focusing on interactive jewellery and wearable computing that could affect sexual harassment in social contexts in everyday life. Drawing on a design inquiry study that lead to the creation of an interactive and digital necklace named Sunshine, which is a personal alarm connected to an emergency center, this paper focuses on how a piece of digital jewellery can contribute to women’s empowerment in relation to sexual harassment. The functionality of Sunshine is based on a device that will be activated when the user presses a button on the necklace and an alert with the location of the user will be sent to an alarm center. The users press the button when in danger or exposed to violence and/or abuse. This study so forth addresses a design exploration of a piece of jewellery that can be seen as a symbol for women’s safety, unity and equality. The combination of digital technology and fashion design demonstrate that people can be brought together and especially be empowering in social contexts where sexual harassment might be a part of women’s everyday life.Självständigt Examensarbete (Forskningsartikel)
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VIDELA, Ana Neuza Botelho. "Joalheria, arte ou design?" Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/18521.
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A proposta do estudo visou comparar duas formas de fazer joalheria, uma mais próxima dos paradigmas da arte e outra com um viés mais comercial para, dessa forma, entender os processos que condicionam a atuação dos produtores das duas categorias. Neste sentido, o objetivo da pesquisa foi identificar em quais circunstâncias a joalheria é considerada arte, por ser uma categoria orientada para a produção de trabalhos mais experimentais, os quais podem ter a intenção de problematizar a ornamentação corporal ou a linguagem da joalheria ou, ao contrário, em que contexto é compreendido como uma atividade fruto do processo de design, adotando, porém, os pressupostos da joalheria para atender ao mercado. Do ponto de vista metodológico, distinguir as características dos produtos gerados a partir da influência dos dois campos de atuação implicou no acompanhamento das práticas de produção, comercialização, eventos de divulgação dos segmentos e lançamentos de coleções, tanto das joias produzidas por designers de joias, quanto das joias produzidas por artistas joalheiros. A construção teórica da pesquisa objetivou abarcar o ponto de vista do sujeito e seu contexto, além da agência do objeto resultante da formação de coletivos produtores de joias. O estudo também abarcou a reflexão sobre corpo artefatual, não só em referência a um corpo fabricado, mas no intuito de entender o corpo como feito por artefatos. Neste sentido, a obra de Bruno Latour serviu como ferramenta para se pensar o corpo como constitutivamente sendo feito a partir da composição dos atores humano e atores não-humanos. Assim, um dos aspectos que se discute são as redes entre sujeitos e seus objetos. Como resultados, observamos que os joalheiros, por se situarem entre os dois campos de práticas, parecem se encontrar em um espaço liminar. De um lado, afirmam que o que os diferenciam das outras formas de produzir joalheria é a exploração ou experimentação do objeto associado ao corpo, o qual é dotado de intencionalidade, ao manifestar o pensamento de quem o fez. De outro lado, têm-se os produtores que se identificam com o campo do design, para quem todos os aspectos do comércio joalheiro devem estar cuidadosamente em consonância com a proposta do produto.
The purpose of the study was to compare two ways to make jewelry, one closer of art paradigms and the other with a more commercial bias to thus understand the processes that affect the way producers of the two categories act. In this sense, the objective of the research was to identify under what circumstances jewelry is considered art for being a category targeted on production of more experimental works, which may be intended to problematize the body ornamentation or the jewelry language or, otherwise, in which context is understood as a result of an activity design process, adopting, however, the jewelry assumptions to meet the market. From a methodological point of view, distinguishing the characteristics of products generated by the influence of the two fields of activity, involved the monitoring of production practices, marketing, dissemination events of the segments and collections launches of both the jewelry produced by jewelry designers, as the jewelry produced by artists jewelers. The theoretical construction of the research aimed to encompass the subject's point of view and its context, in addition to the object's agency resulting of the formation of jewelry producers collectives. The study also encompassed reflection on artifactual body, not only in reference to a manufactured body, but in order to understand the body as made by artifacts. n this sense, the work of Bruno Latour served as a tool for thinking about the body as constitutively made from the composition of human actors and non-human actors. Thus, one of the aspects discussed are the networks between subjects and their objects. As results, we noticed that jewelers, because they are located between the two camps practices, seem to find themselves in a liminal space. On one hand, they claim that what differentiate them from other forms of producing jewelry is the exploration or experimentation of the object associated with the body, which is endowed with intentionality, to express the thought of who did it. On the other hand, there are the producers who identify themselves with the design field, for whom all aspects of the jewelry trade must be carefully in line with the proposal of the product.
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Alvares, Fabiano da Costa. "VALORIZAÇÃO DOS ASPECTOS FORMAIS DOS ARTEFATOS CONFECCIONADOS POR GUASQUEIROS DO PAMPA GAÚCHO APLICADOS À JOALHERIA." Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/11056.
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By the findings of this research, the gradual diminish of the guasqueiro role (craftsmen who use rowhide as the main raw material), activity which was developed with the formation of the gaucho people. The present work aims to study and highlight the formal aspects of the rawhide, transfering its cultural and esthetic values for the jewelry, using native gemstone from Rio Grande do Sul, promoting the rescue and valorization of this cultural and material patrimony. At the same time it is established a new proposal, the community is motivated to take back values form past, perpetuing its original activity. It is wanted to improve the professional, practical ans theoretical knowledge, contributing to the development of new research.Pela constatação, através de pesquisa, da gradual diminuição do ofício de guasqueiro (artesãos que usam como principal matéria prima o couro cru), atividade que se desenvolveu junto à formação do povo gaúcho. O presente trabalho pretende estudar e colocar em evidência os aspectos formais dos utensílios de couro cru, transferindo os seus valores culturais e estéticos para a joalheria, utilizando gemas nativas do Rio Grande do Sul, promovendo a retomada e valorização desse patrimônio cultural e material. Ao mesmo tempo em que se estabelece uma nova proposta, incentiva-se a comunidade a retomar os valores do passado, perpetuando sua atividade de origem. Deseja-se, então, aprimorar o saber profissional, prático e teórico, contribuindo para o desenvolvimento de novas pesquisas.
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Lago, Tatiana Eder da Rocha. "Caracterização e impregnação polimérica do porongo (Lagenaria siceraria) visando a aplicação no design de biojoias." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/96467.
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Materiais naturais são aplicados com restrições na joalheria por serem facilmente degradados e alterarem suas características estéticas em função das condições do ambiente. O porongo é um fruto que possui forte ligação simbólica com a cultura gaúcha por ser utilizado como recipiente (cuia) para tomar o chimarrão. Na fabricação de cuias são utilizados cerca de 50% do fruto gerando um grande volume de resíduos no processo, passível de ser aplicado em produtos. Desse modo, a presente pesquisa objetiva estudar e aplicar métodos de tratamento para o porongo, a fim de viabilizar a utilização desse material natural no design de joias, visando manter sua integridade física e química. Nesse sentido, primeiramente, foi realizada a caracterização do porongo por meio de técnicas como microscopia eletrônica de varredura, microscopia estereoscópica, análise termogravimétrica e microtomografia computadorizada (Micro-CT). Além disso, foram estudadas técnicas de tratamento que visam à durabilidade, além de melhorar as propriedades físicas e mecânicas de outros materiais naturais como, por exemplo, a madeira. A partir da hipótese de que técnicas semelhantes poderiam obter sucesso se aplicadas ao porongo, devido às similaridades na composição e estrutura de ambos os materiais, foram selecionados e adaptados métodos de tratamento para o porongo. Os resultados de Micro-CT indicam que o porongo possui 54% de volume poroso, sendo que a grande maioria dos poros são conectados,configurando permeabilidade. Com isso, optou-se por impregnação polimérica como método de tratamento e foram ensaiadas três concentrações de soluções contendo: metilmetacrilato (MMA), metanol (MeOH) e peróxido de benzoíla (PBO), em três condições de impregnação: 30 min de vácuo + 30min de imersão, 30 min de vácuo + 24h de imersão e imersão simples. Os melhores resultados foram obtidos com 30 min de vácuo + 24h de imersão. Estatisticamente, as diferentes proporções de MMA/MeOH não influenciam nos níveis de impregnação. As amostras foram submetidas a ensaios de absorção de água para avaliar a impregnação, indicando que aquelas que continham mais material polimerizado, por consequência, absorveram menos água. Por fim, o porongo foi novamente analisado por microtomografia e teve sua porosidade reduzida de 54% para aproximadamente 39% indicando um método potencialmente eficiente para o tratamento do porongo, visando a aplicação no design de biojoias.Natural materials are restrictivly applied on jewelry because they are easily degraded and change their aesthetic characteristics due to ambient conditions. The gourd is a fruit that has a symbolic link with the “gaúcho” culture because it is widely used as a container (“cuia”) to drink the “chimarrão”. In the manufacture process of “cuias” it is utilized about 50% of the fruit, generating a large volume of wastes, which can be applied in products of higher earned value. Thus, this research aims to study and implement methods for the gourd improvement to enable the use of this natural material in jewelry design, through improvements of its physical and chemical integrity, in order to valorize artifacts and customs of the “gaúcho” culture. Accordingly, first the gourd characterization is performed through techniques such as scanning electron microscopy, stereoscopic microscopy, thermal analysis and computed microtomography. Moreover, in the present research will be studied treatment techniques that seeks to prolong durability and improve the physical-mechanical properties of other natural materials, such as polymer impregnation of wood. Probably, this technique can be successfully applied to gourd due to similarities in the composition and structure of both materials. Based on the theoretical approach developed, improvement methods to the gourd will be selected and adapted. Furthermore, it will be presented some preliminary results of impregnation. The present research also foresees the design biojewels collection using gourd treated. From the hypothesis that similar techniques could be applied to succeed gourd, due to similarities in the composition and structure of both materials, methods of improvement to the gourd were selected and adapted. The Micro-CT results indicate that the gourd has 54% of porous volume, whereas the great majority of the pores are connected by configuring permeability. Thus, it was decided by impregnation polymer as a method of improvement and were tested three concentrations of solutions containing: methyl methacrylate (MMA), methanol (MeOH) and benzoyl peroxide (PBO) in three conditions impregnation: 30 min vacuum + 30min immersion, 30min vacuum + 30 min 24h of immersion and immersion simple. The best results were obtained at 30 minutes + vacuum 24h of immersion. Statistically, different proportions of MMA/MeOH do not influence the levels of impregnation. The samples were tested for water absorption to evaluate the impregnation, indicating that those containing more polymerized material, therefore, absorbed less water. Finally, the gourd was again analyzed by microtomography and its porosity was reduced from 54% to approximately 39% indicating a method for improvement of potentially efficient gourd.
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Hijazi, Nourbanu Feras. "ANXIOUS?: Re-designing Women’s Jewelry to Help Manage Symptoms of Anxiety Disorders." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5467.
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Anxiety is a common and often stigmatized condition. Destigmatizing mental disorders can positively impact people’s interaction and communication with others and can prompt conversations in which people share their experiences with mental health, leading to improved societal understanding and perception.
My design solution tackles behavioral symptoms of anxiety, specifically two conditions that fall under obsessive-compulsive behavior: Dermatillomania and Trichotillomania. By redesigning women’s jewelry to specialized accessories, my intention is for these objects to help destigmatize these conditions and relieve symptoms of maladaptive behaviors and hurtful impulses. By redirecting these irresistible urges to an external artifact, the objects are designed to help the user tactfully and harmlessly manage symptoms while at the same time satisfying the user’s impulse.
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Rice, Paula Neale. "Earth, sea and sky : natural forces as a design source in metalwork." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/770942.
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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
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Pichler, Rosimeri Franck. "Design, tecnologia e valorização local : estudo de técnicas de beneficiamento em serpentinito para uso como material gemológico aplicado ao design de joias." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/118900.
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O Design, sendo uma atividade responsável pela criação de bens materiais, vem incorporando características culturais e saberes locais no desenvolvimento de produtos. O interesse por produtos culturais acarreta em desenvolvimento para as regiões produtoras, refletindo em diversos âmbitos da vida em sociedade, impulsionando e aumentando a competitividade do mercado local. Para isso, as tecnologias são fundamentais na promoção de inovações em produtos, facilitando o processo de produção e permitindo novas aplicações. Desta forma, a união destes dois fatores, tecnologias e valorização de produtos culturais, podem acarretar em ganhos, tanto para a região produtora, como para o país, no oferecimento de produtos com maior valor agregado. O serpentinito, considerado uma gema ornamental rara do Rio Grande do Sul, não possui atualmente uso comercial. O principal mineral constituinte dessa rocha são minerais do grupo das serpentinas, que podem ocorrer como agregados maciços e lamelares (antigorita e lizardita) e como cristais fibrosos (crisotilo). Assim, este trabalho tem como objetivo estudar as técnicas de beneficiamento em serpentinito, a fim de valorizar sua utilização como material gemológico para aplicação em joalheria. Para a caracterização mineralógica do serpentinito, utilizou-se lupa binocular, difratometria de raios X e microscópio petrográfico. As técnicas testadas para seu beneficiamento foram: corte por jato d’água, gravação a laser, polimento e resinagem. Para análise das interações das técnicas empregadas com o material, utilizou-se a lupa estereoscópica, microscópio eletrônico de varredura (MEV) e medidor de brilho (Gloss meter). Obteve-se resultados satisfatórios quanto a aplicação das técnicas no serpentinito, mas estes variam, conforme a textura da rocha. Em rochas com predominância de antigorita e lizardita, recomenda-se o uso da técnica de corte por jato d’água e a gravação a laser de preenchimento para obtenção de texturas superficiais. Em rochas com crisotilo, recomenda- se a realização de cortes com serra diamantada de precisão e o uso da gravação a laser de linhas e preenchimentos, para criação de elementos gráficos de média complexidade. Para o polimento, recomenda-se o uso de lixas de carbeto de silício (carborundum), partindo da faixa de grão 180 até 2000, para rochas com predominância da serpentina antigorita, e da faixa de grão 320 até 2000, para rochas com predominância da serpentina crisotilo. O tempo de cada etapa de lixamento é de 2 minutos e velocidade em torno de 300 rpm. Para proteção do material e obtenção de um brilho mais intenso, recomenda-se a aplicação de resina acrílica como etapa final do processo de beneficiamento.Design as an activity for developing material goods, has been adding cultural characteristics and local knowledge in the development of products. The interest in cultural products brings progress for the producing regions, reflecting in different areas of social life, promoting and increasing the competitiveness of the local market. For this reason technologies are very important, to promote innovations in products, to enable the production process and new applications. So, the union of these two factors, technologies and valorization of cultural products, providing products with a bigger added value, may result in improvement for the producing region and also for its Country. Serpentinite, a rock used as a rare ornamental gemstone occurs in Rio Grande do Sul State (Brazil) and currently does not have commercial use. The main mineral of this rocks are of serpentine group, that may occur as massive and lamelar aggregates (antigorite and lizardite) and as fibrous crystals (chrysotile). This research aims to study processing techniques to apply in this serpentinite, in order to increase its use as gemological material for use in jewelry. The mineralogical characterization of serpentinite were done with a stereoscopic loupe, X-ray diffraction and with petrographic microscopy. The processing techniques tested were cut by water jet, laser engraving, polishing and resin coating. To analyze the interactions of this techniques with the serpentinite, it was used a stereoscopic loupe, a Scanning Electron Microscope (SEM) and a gloss meter. The results obtained with the application of the processing techniques in serpentinite are good, but vary according to the texture of the rock. In rocks with predominance of antigorite and lizardite, is recommend the use of cutting by water jet and the use of filled shapes laser engraving to obtain surface textures. In rocks with chrysotile, it is recommended to use precision cut diamond saw and the use of laser engraving lines and fill shapes to create graphics of medium complexity. To obtain a good polishment, the use of silicon carbide (carborundum) sandpaper is recommended, with the grit of 180 until 2000, for rocks with predominance of antigorite, and the grit of 320 until 2000, for rocks with predominance of chrysotile. The sanding time for each step is 2 minutes with a speed around 300 rpm. To protect the material and to obtain a better luster, is recommend the application of an acrylic resin as a final step of the improvemente process.
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Stürmer, Patrícia Gabert dos Santos. "Materiais naturais : design e tecnologia no desenvolvimento de joias inspiradas na cultura gaúcha." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/28806.
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O presente trabalho articula os campos do design e da tecnologia, a partir do desenvolvimento de joias, especificamente adornos que buscam a utilização de materiais encontrados em abundância no Estado do Rio Grande do Sul de origem animal (couro, ossos e chifres bovinos). Tendo como referencial elementos da cultura sul-rio-grandense encontrados na indumentária gaúcha, a intenção é analisar estes elementos formais, identificando sua origem e influências. Por meio do desenvolvimento de projeto de produto e aplicação de princípios do design de superfície, visa-se transpor, com o auxílio de tecnologias como o Scanner 3D a laser, a usinagem CNC e equipamentos de corte e gravação a laser, os elementos formais para os materiais que constituem a joia. Por meio da pesquisa bibliográfica e da pesquisa de campo, feita com o intuito de levantamento de imagens dos utensílios campeiros, é possível desenvolver, com desenhos e digitalização das peças, um banco de imagens que relaciona os elementos formais constituintes nessa cultura. Estas formas identificadas e descritas possibilitaram o desenvolvimento de módulos e padrões que podem ser aplicados nas superfícies dos materiais. Os resultados obtidos identificam que equipamentos de digitalização a laser, fresadoras CNC e o uso do laser para corte dos materiais selecionados são ferramentas importantes para gerar inovação, criando produtos em que design, tecnologia de ponta e cultura são evidenciados.This work combines design and technology fields with the development of jewelry, specifically ornaments which pursuit using raw materials (leather, bone and horn) found in abundance in the Rio Grande do Sul state. Using elements related with clothing and ornaments from the gaucho culture as referential, the aim is analyze these elements, identifying its origins and influences. Through the development of product design and application of surface design principles, the main objective of this work is implementing the formal elements in materials used in jewelry, using technologies, such as 3D laser scanner, CNC milling and laser cutting and engraving equipments. Literature review and field research was conducted in order to lift the gaucho utensils images. This allowed the development of an image database which correlates the formal elements of this culture, through drawings and scanning of the pieces. These identified and described forms enabled developing modules and patterns to be applied on materials surface. The results show that 3D laser scanning equipment, CNC milling and the use of laser cutting on selected materials, are important tools to innovation, creating products where design, technology and culture are highlighted.
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Jiang, Ting. "Creative approaches and techniques for new glass jewellery design on the theme of 'harmony between man and nature'." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/6495/.
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This research aims to develop cross-cultural approaches to contemporary Western glass Jewellery design by using the Chinese philosophical notion of ‗harmony between man and nature‘ on glass and metal jewellery. By analysing the principle of ‗harmony between man and nature‘, new approaches are developed. This is achieved by using cross-cultural practices, 3D prototyping techniques and glass studio practices to create glass jewellery designs. The methodologies include: philosophical methodology and experimental research. Tacit knowledge drawn from previous experience is deployed to encourage experimentation with materials and the ways they are used in glass and jewellery practices. The research also utilises Chinese ‗holistic approaches‘, such as ‗harmony‘, ‗balance‘, ‗flexibility‘ and ‗change‘ to glass and jewellery making and the resulting aesthetics provide new practical strategies and contemporary glass jewellery designs. By analysing Chinese culture and traditions I have facilitated six case studies which explore philosophical understandings through studio practice including the following six philosophical approaches: ‗Integration of Yin and Yang‘, ‗Unification of Time and Space‘, ‗Same Structure of Man and Nature‘, ‗the Concept of Change‘, ‗Self-cognition and External-cognition‘ and ‗Combination of Subject and Object‘. Case studies are also used to examine personal approaches to studio practice using Chinese paintings and interpreting them into 3D designs and glass jewellery. Other studio techniques include: machine productions, 3D printing, water-jet cutting, hand making, silversmith, kiln casting and lampworking. The resulting contemporary glass jewellery designs; informed by Chinese philosophy and traditions of ‗harmony between man and nature‘ provide a different and innovative approach to the field of glass and jewellery design and offers a new contribution to knowledge.
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Souza, Eduardo Presser de. "Contribuição ao estudo da aplicação da digitalização tridimensional para o design e a lapidação de gemas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/32602.
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O Rio Grande do Sul possui um enorme potencial na exploração de material gemológico. Municípios como Ametista do Sul e Salto do Jacuí extraem mais da metade do volume de ágata e ametista comercializadas mundialmente. Nesse mesmo contexto o município de Soledade se consolida como Polo Comercial desse tipo de material, existindo empresas (no estudo realizado foram encontradas cerca de 180) relacionadas com exportação e beneficiamento de material gemológico. No entanto grande parte dessas empresas exporta esse material com pouco beneficiamento, não valorizando as peças, que são beneficiadas no exterior, muitas vezes voltando ao Brasil para serem comercializadas com um alto valor agregado devido ao Design e a tecnologia empregada. Com investimentos em pesquisa, tecnologia e Design, assim como capacitação de mão de obra, é possível realizar no Brasil beneficiamentos de qualidade, gerando produtos diferenciados que podem ser exportados ou comercializados internamente a um preço competitivo e adequado. Nesse sentido o objetivo desse trabalho é mostrar a aplicação da tecnologia de digitalização tridimensional para o design e lapidação de gemas, obtendo o máximo de aproveitamento e valorizando o material nas nos municípios do Rio grande do sul que extraem e comercializam as gemas. No Centro Tecnológico de Pedras, Gemas e Joias do Rio Grande do Sul foram realizados testes com digitalizador HandyScan, obtendo modelos virtuais de gemas marteladas de ametista e citrino com bastante precisão. Os resultados obtidos mostram o grande potencial dessa ferramenta em fornecer modelos virtuais de gemas, possibilitando o cálculo e o projeto de sua lapidação antes do seu corte, diminuindo perdas e erros no processo de lapidação.Rio Grande do Sul has a huge potential regarding gemological material exploration. Municipalities as Ametista do Sul and Salto Jacuí extract more than half of the volume of agate and amethyst sold worldwide. In this context the town of Soledade is consolidated as a Commercial Polo of the material and there are companies (in the research done were found about 180) related with exporting and processing gemological material. However most of these companies export this material with little improvement, not valuing the parts, which are benefit in foreign countries, often returning to Brazil to be marketed with a high added value due to the applied design and technology. Investments in research, technology and design, as well as training of manpower can be achieved in Brazil benefit from quality, create differentiated products that can be exported or commercialized internally at an appropriate price and competitive. In this sense the objective of this research is to show the application of threedimensional scanning technology to gems design and polishing, getting the maximum utilization and valuing to the material in its extraction region. In the Technology Center of Rocks, Gems and Jewelry of Rio Grande do Sul (CTPedras), tests were performed with Handyscan scanner, obtaining virtual models of hammered amethyst and citrines gems with plenty of accuracy. The results show the great potential of this tool to provide virtual models of gems, enabling the calculation and project of gemcut before its cut, reducing losses and errors in gemcut process.
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Takamitsu, Helen Tatiana [UNESP]. "O uso de bambu e metal clay no design de jóias de arte." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/89735.
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Esta dissertação teve como objetivo desenvolver processos de confecção de Jóias de Arte ecologicamente corretas em bambu e metal clay. Para tanto foram projetados e confeccionados alguns protótipos de jóias com estes materiais, aliando o material renovável bambu e o metal clay, que é proveniente da reciclagem de chapas fotográficas e outros resíduos industriais. Foram confeccionados um anel, uma pulseira e um pingente, com partes de colmos de bambu devidamente secos, da espécie Dendrocalamus giganteus, fornecidos pelo Laboratório de Bambu do Cmpus da UNESP de Bauru, e a Prata metal clay, da marca Mitsubishi materials. As jóias foram produzidas de acordo com o instrumento de análise ecológica de produtos joalheiros. Foram avaliados parâmetros como: custo, tempo de feitio, treinamento, ferramentas e maquinários utilizados, durabilidade da peça e resíduos gerados. No final foram propostas as etapas necessárias para a confecção de jóias em bambu e metal clay, associando o design a processos mais enxutos, eficazes e seguros na produção artesanal destas
This study aimed to develop eco-friendly art jewelry in precious metal clay and bamboo. Therefore, it was designed and made some art jewelry prototypes with these materials, combining renewable bamboo material and metal clay that comes from the recycling of photographic plates and others industrials wastes. Initially, a ring, a bracelet and a pendant were made using wastes of dried culms of Dendrocalamus giganteus bamboo and silver metal clay of Mitsubishi materials. The pieces were produced according produced according to the analysis chart of ecological products jewelry. The evaluated parameters were: cost, producing time, necessary training, used tools and machinery, durability and generated waste. As a result, proposals were made for the necessary procedures to make jewerly with bamboo and metal clay, combining design with streamlined, efficient and safe processes to make those pieces
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Cidade, Mariana Kuhl. "Caracterização e padronização do processo de gravação a laser em ágata aplicado ao design de joias." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/61063.
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Este trabalho tem por objetivo principal a caracterização do processo de gravação a laser na ágata, padronizando a utilização do equipamento para auxiliar no desenvolvimento de produtos na área da joalheria, adornos e ornamentos. A ágata, uma variedade da calcedônia, é muito valorizada pelos mercados externos. A carência de beneficiamento e inovação tecnológica geralmente dada a este material na atualidade é um dos pontos fortes deste estudo. Nas últimas décadas, a procura por inovações tecnológicas que possam auxiliar o processo produtivo industrial se tornou importante ferramenta para manter empresas competitivas e atuantes frente a seus mercados. A padronização da técnica de gravação a laser pode agregar valor à criação de novos produtos em ágata, criando um diferencial para as peças de joalheria, sendo facilmente aplicada em escala industrial. As análises dos melhores parâmetros de gravação foram feitas com o auxílio de imagens de microscopia eletrônica de varredura (MEV), pois a grande magnificação das imagens obtidas por esta técnica auxilia em uma precisão micrométrica da extensão e da área de interação entre o material e o laser; microscópio estereoscópico; e de percepção visual e tátil. Os resultados obtidos com a utilização dos equipamentos localizados no LdSM / UFRGS e CTPedras / Soledade com suas respectivas lentes, potências e velocidades foram de grande valia para o desenvolvimento de análises quantitativas e qualitativas da interação do feixe laser com a ágata. O estudo da interação entre laser e materiais é ainda um vasto campo a ser explorado. Esta dissertação de mestrado disponibiliza resultados inovadores em relação à gravação por laser do tipo CO2 em materiais gemológicos, disponibilizando a padronização dos parâmetros ideais para o equipamento e para o desenvolvimento de criações joalheiras.The main goal of this study was to characterize laser engraving process in agate, standardizing the use of equipment in order to assist product development in the field of jewelry, ornaments and artifacts. Agate, a variety of chalcedony, is highly valued by foreign markets. One of the focuses of this study is the lack of improvement and innovation given to this material nowadays. In recent decades, the search for technological innovations that can help the process of industrial production has become an important tool to keep companies competitive and active front of their markets. The standardization of laser engraving technique can add value to the creation of new products in agate, creating a differential for the jewelry pieces and being easily applied on an industrial scale. The analysis of these highly qualified engraving parameters was aided by scanning electron microscopy images, once high magnification of images presents a better definition of the interaction zone between the material and the laser bean in a micrometer precision; stereoscopic microscope; and visual and tactile perception. The results obtained from the use of equipment located in LdSM / UFRGS and CTPedras / Soledade with their respective lenses, power and speed are of great value for the development of quantitative and qualitative analysis of the interaction of the laser beam with agate. The study of the interaction between laser and materials is still a vast field to be explored. This masters dissertation provides innovative results compared to laser engraving type CO2 in gemological materials, providing standardization of the ideal parameters for the equipment and for developing jewelry creations.
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Takamitsu, Helen Tatiana. "O uso de bambu e metal clay no design de jóias de arte /." Bauru : [s.n.], 2011. http://hdl.handle.net/11449/89735.
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Orientador: Marco Antonio dos Reis PereiraBanca: Marizilda dos Santos Menezes
Banca: Antonio Ludovico Beraldo
Resumo: Esta dissertação teve como objetivo desenvolver processos de confecção de Jóias de Arte ecologicamente corretas em bambu e metal clay. Para tanto foram projetados e confeccionados alguns protótipos de jóias com estes materiais, aliando o material renovável bambu e o metal clay, que é proveniente da reciclagem de chapas fotográficas e outros resíduos industriais. Foram confeccionados um anel, uma pulseira e um pingente, com partes de colmos de bambu devidamente secos, da espécie Dendrocalamus giganteus, fornecidos pelo Laboratório de Bambu do Cmpus da UNESP de Bauru, e a Prata metal clay, da marca Mitsubishi materials. As jóias foram produzidas de acordo com o instrumento de análise ecológica de produtos joalheiros. Foram avaliados parâmetros como: custo, tempo de feitio, treinamento, ferramentas e maquinários utilizados, durabilidade da peça e resíduos gerados. No final foram propostas as etapas necessárias para a confecção de jóias em bambu e metal clay, associando o design a processos mais enxutos, eficazes e seguros na produção artesanal destas
Abstract: This study aimed to develop eco-friendly art jewelry in precious metal clay and bamboo. Therefore, it was designed and made some art jewelry prototypes with these materials, combining renewable bamboo material and metal clay that comes from the recycling of photographic plates and others industrials wastes. Initially, a ring, a bracelet and a pendant were made using wastes of dried culms of Dendrocalamus giganteus bamboo and silver metal clay of Mitsubishi materials. The pieces were produced according produced according to the analysis chart of ecological products jewelry. The evaluated parameters were: cost, producing time, necessary training, used tools and machinery, durability and generated waste. As a result, proposals were made for the necessary procedures to make jewerly with bamboo and metal clay, combining design with streamlined, efficient and safe processes to make those pieces
Mestre
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Campos, Ana Paula de. "Arte-joalheria = uma cartografia pessoal." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284376.
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Orientador: Anna Paula Silva GouveiaAcompanhado de 2 CD-ROM: Material de Apoio (Mídia Digital) ; Anexos (Mídia Digital)
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Ao tomar a joia como assunto, inscrevendo-a no território da arte, essa tese apresenta o campo da arte-joalheria como possibilidade de produzir e pensar esse objeto de modo poético, desobrigando-o de seu vínculo com materiais preciosos e de sua função decorativa. Nesse sentido aborda o fazer artístico em joalheria a partir de alguns pressupostos extraídos da teoria das multiplicidades de Deleuze e Guattari, desenvolvendo-os nesse território. Para isso empresta desses filósofos referências conceituais e procedimentos de pesquisa que permitem realizar um percurso que articula os conteúdos teóricos e práticos apresentados, construindo transversalidades. Sob a ótica da arte-joalheria, a pesquisa aborda questões relativas ao desejo, corpo e materialidade, entendidas como elementos intrínsecos a joia e, tomando o modelo rizomático do pensamento proposto por Deleuze e Guattari, discute-as a partir das dimensões presentes: pensar, fazer, sentir e propor, considerando-as como em constante estado de fluxo. Como recurso para essa investigação utiliza-se uma cartografia também ancorada no pensamento desses autores, que consideram a realidade contemporânea uma paisagem dinâmica, na qual se articulam contextos individuais e sociais. O caráter do procedimento de pesquisa proposto distingue-se daquele no qual os mapas são registros de uma paisagem fixa. Trata-se de uma cartografia configurada como performance, a qual pressupõe seguir as transformações à partir da experiência do real, acompanhar os acontecimentos sendo parte deles. Portanto workshops realizados com artistas e produção de peças dentro desse território são tomados como fundamentais recursos de investigação e articulados a conteúdos extraídos de entrevistas e palestras, além do material bibliográfico. A partir das experiências vivenciadas foram identificadas conexões que possibilitaram a construção e organização dos capítulos. Neles agenciam-se conceitos oriundos do pensamento de Deleuze e Guattari e o território da arte-joalheria, tanto em sua dimensão teórica quanto pratica. Desse modo as ideias apresentadas são articulações derivadas de uma leitura da experiência como possibilidade de refletir conceitos
Abstract: By taking the jewel as a theme and considering it within the realm of art, this thesis presents the field of art jewelry as a possibility of producing and contemplating an object in a poetic manner, devoid of its link to precious materials and to any decorative function. In this sense, the artistic jewelry production is approached from some assumptions selected from Deleuze and Guattari's theory of multiplicities and is developed accordingly. Conceptual frameworks and research procedures, borrowed from these philosophers, link theory and practical content through cartography, in order to build transverses. Through the art-jewelry perspective, the research addresses issues relating to desire, body and materiality, defined as intrinsic elements of the jewel. The research takes the Rhizome concept proposed by Deleuze and Guattari, and discusses these issues according to the apparent dimensions: think, do, perceive and propose, considering them in a constant state of flux. As a research procedure the study uses a cartography also anchored in these authors thinking, who consider the contemporary reality as a dynamic landscape in which individual and social contexts occur. The cartography procedure adopted here differs from that whose maps are records of a fixed landscape. Instead, this one is a "performance cartography", which requires following the transformations by empirical experience, assumed that one would accompany events, taking part in them. Therefore, workshops with artists and jewelry production within this environment are considered as fundamental resources for investigation, and were related to the information which was taken from interviews, lectures and library materials. From these experiences, connections were identified which enabled the construction and organization of presented contents. This content was a result of the connections between the art jewelry territory and concepts arising from the thought of Deleuze which exist in both practical and theoretical dimensions. Thus, the ideas presented are derived from a reading of experience as a chance to reflect concepts
Doutorado
Artes Visuais
Doutor em Artes
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Vones, Katharina Bianca. "Towards the uncanny object : creating interactive craft with smart materials." Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/2d9a7303-4fd7-4110-ae83-6438904108a5.
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The increasing prevalence of digital fabrication technologies and the emergence of a novel materiality in contemporary craft practice have created the need to redefine the critical context of digital jewellery and wearable futures. Previous research in this area, such as that presented by Sarah Kettley (2007a) and Jayne Wallace (2007), has provided the foundations for further enquiry but has not been advanced significantly since its inception. The artistic research presented in this thesis focuses on how smart materials and microelectronic components could be used to create synergetic digital jewellery objects and wearable futures that reflect changes in the body of their wearer and their environment through dynamic responses. Laying the foundations for a theory of Interactive Craft through evaluating different aspects of creative practice that relate to responsive objects with a close relationship to the human body is at the centre of this enquiry. Through identifying four distinct categories of wearable object, the Taxonomy of the Wearable Object is formulated and clearly delineates the current existing conceptual, technological and material perspectives that govern the relationships between different types of wearable objects. A particular focus is placed on exploring the concept of Digital Enchantment and how it could be utilised to progress towards developing the Uncanny Object that appears to possess biological characteristics and apparent agency, yet is a fully artificial construct. The potential for the practical application of a design methodology guided by playful engagement with novel materials, microelectronics and digital fabrication technologies is analysed, taking into account Ingold’s concept of the textility of making (Ingold, 2011). Through exploring the notion of the Polymorphic Practitioner in the context of Alchemical Practice, a model for experiential knowledge generation through engaging in cross-disciplinary collaboration is developed. This is supported by a qualitative survey of European materials libraries, including accounts of site visits that evaluate the usefulness of materials libraries for creative practitioners invested in novel materiality as well as visually documenting a selection of the visited libraries’ most intriguing material holdings. Utilising a scientific testing protocol, a practical body of work that centres on conducting extensive experiments with smart materials is developed, with a particular focus on testing the compatibility and colour outcomes of chromic pigments in silicone. The resulting chromic silicone samples are collated, together with sourced smart materials, in a customised materials library. Investigational prototypes and the Microjewels collection of digital jewellery and wearable futures that responds to external and bodily stimuli whilst engaging the wearer through playful interaction are presented as another outcome of this body of research.
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Schwab, Felipe André. "Mecânica das joias : estudo estrutural aplicado à concepção e ao desenvolvimento." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/152711.
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A criação e confecção de joias, objetos de adorno, remete aos primórdios da humanidade. Ao longo da história as técnicas construtivas foram aprimoradas, porém os métodos produtivos do ramo joalheiro ainda hoje possuem forte caráter empírico de desenvolvimento. Nesse contexto, a presente pesquisa explora a possibilidade de simulação e avaliação do comportamento mecânico da joia, aplicada em etapas que precedem à produção. Busca-se como a análise estrutural por elementos finitos pode auxiliar o designer na avaliação de joias em processos de pré-fabricação. Para isso tem-se a criação dos corpos de prova gerados pela modelagem virtual, através do software Rhinoceros 3D. Os corpos de prova são exportados para o software Abaqus CAE, no qual são configuradas as propriedades do material, condições de carregamento e de suporte, simulando aspectos do uso diário da joia. Como material para simulação, são analisados aqueles mais utilizados no segmento, o ouro, a prata e o latão. Os resultados da simulação gerados no Abaqus CAE permitem avaliar as tensões geradas sobre o modelo, bem como os deslocamentos e deformações. Assim são identificados pontos frágeis na estrutura ou mesmo onde pode ter uma otimização da quantidade de material utilizado para cada joia, reavaliando a necessidade de aumentar ou reduzir o uso do material, buscando o equilíbrio estrutural do qual a joia necessitará. Os resultados obtidos comprovam que o método converge para uma importante ferramenta que proporciona dados sobre cada projeto a ser desenvolvido. Esses dados geram uma visão analítica onde as empresas podem definir qual a prioridade para cada projeto através de índices precisos, o que reduz a taxa de erro por projeto, auxilia no consumo adequado de matéria-prima, gerando economia de tempo e dinheiro.The creation and production of jewelry, adornment objects, refers to the beginnings of humanity. Throughout the history, the construction techniques were improved, however the production methods of the jewelry industry today still have a strong empirical development and production. With this premise, the present research explores the possibility of simulation and evaluation of mechanical behavior for jewelry, in stages that are prior to production. With the application of external loads, the behavior of the jewelry through situations that may occur during the daily use can be analyzed. To create the study object it is used the software Rhinoceros 3D for make the virtual models. In the simulations the most used materials in the jewelry segment are analyzed, as gold, silver and brass. The Finite Element software Abaqus CAE is used for the structural analysis. The results show that the method is an important tool to provide data about the development of each project. These data give an analytical perception in which companies can define projects priorities through precise indexes, reducing error rates, helping in a suitable consumption of raw materials, saving time and money.
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Isbell, Anna Luella. "Broaching the subject: the geometry of Anglo-Saxon composite brooches." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1641.
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The various surviving disc and composite brooches provide proof of the skill and craftsmanship of Anglo-Saxon metalsmiths. Surprisingly, no one has conducted a full geometrical analysis of these brooches to discover the design process preceding the casting and decoration. This thesis endeavors to rectify this through a geometrical investigation of the sophisticated geometrical planning principles used by Anglo-Saxon craftsmen in the creation of these elaborate brooches. Through the use of simple geometrical constructions, smiths were able to create works of great beauty and sophistication. Closer inspection reveals that Anglo-Saxon smiths produced all the composite disc brooches in this study using similar processes of planning. In order to plan out the compositions of each brooch, master smiths would only need a compass, a straightedge, and some material on which to write. Each brooch reveals the same kind of coherent geometry, sharing traits and patterns; with proportions tend to be governed by a series of modular association.
Although the master smiths or designers of the composite brooches used simple tools to create the composition, the figures in this thesis were created using the Vectorworks CAD program. This significantly expedited the analytical process and allowed for exact measurements. Despite using the computer program to replicate the planning process, all the figures can be recreated with just a compass and straightedge. While a complete geometric study of all the composite disc brooches needs to be done, this study examines five of the best preserved and well-crafted of that type, ranging from some of the simplest to the most elaborate, as an introduction to the subject.
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Bujold, Anne. "Edgelands." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5502.
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Animal imagery has been part of the human effort to understand our place in the world since the beginning of recorded history. Through examining the role and use of animal imagery in the creation of cultural signals, I have developed a framework for my practice. Edgelands employs representations of feral animals as symbols for the “misfit” to emphasize the value of those who do not fit in. My experience as a woman in the field of metal work informs my material choice and process, subverting ironwork motifs and the purpose of gates and boundaries. Edgelands overlaps a series of material contradictions to begin the process of questioning the validity of commonly held delineations. The intersection of environmentalism, craft, and feminism is the space in which I interject the feral animal in an effort to reconcile aspects of my own experience as a misfit and learn about the world through making.
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Ott, Tabitha E. "PLASTICOUTURE." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1343058175.
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Layeb, Mohamed Salah. "Matériaux locaux et innovation dans les métiers d'art-isanat en Tunisie." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H317.
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La présente thèse, relative aux matériaux locaux et innovation dans les métiers d’"art-isanat" en Tunisie, vise, dans un premier temps, l'étude des ambiguïtés définitionnelles liées au métiers d’art avec toutes leurs déclinaisons dans le contexte socio-économique et culturel tunisien. Ces métiers seront comparés avec ceux de la France, pays partenaire de la Tunisie,pour en tirer les points de similitudes et de différences pour faire ressortir les principaux moteurs d'expansion. Dans un second temps, notre recherche se tourne vers l’établissement d’un bilan des connaissances des matériaux locaux répartis par régions tunisiennes. La poterie/céramique artisanale et la bijouterie ont constitué les deux créneaux majeurs de notre ensemble d’études. Des argiles locales et des pigments de la Tunisie utilisés ou pas par les artisans (es) dans les métiers liés à la poterie artisanale ont fait l’objet d'une caractérisation scientifique (minéralogique, chimique et géotechnique), réalisée dans des laboratoires spécialisés. Cela a permis d’améliorer les compositions des pâtes d'argiles et de découvrir des couleurs naturelles authentiques pouvant constituer un vecteur d'innovation. D’autres matériaux locaux, comme le quartz fumé bi-pyramidé pour la bijouterie, peuvent constituer un créneau valide et important pour la promotion des métiers d’artisanat en Tunisie. Cette recherche est basée essentiellement sur des analyses scientifiques et des réflexions épistémologiques et s’intègre principalement dans le cadre de la recherche en DesignThe present thesis, relating to local materials and innovation in the craft trades of “art-isanat”in Tunisia, aims, initially, at studying the definitional ambiguities related to craft trades with all their variations in the Tunisian socio-economic and cultural context. These trades will becompared with those of France, Tunisia's partner country, to draw points of similarities and differences to highlight the main drivers of expansion. In a second stage, our research isaimed at drawing up an assessment of the knowledge of local materials distributed byTunisian regions. Artisanal pottery/ceramics and jewellery were the two major niches of ourset of studies. Local clays and pigments from Tunisia used or not by craftsmen in tradesrelated to artisanal pottery have been scientific characterization (mineralogical, chemical and geotechnical), carried out in specialized laboratories. This has allowed us to improve the composition of the clay pastes and discover authentic natural colors that could be a vector ofinnovation. Other local materials, such as bi-pyramid smoked quartz for jewelers, can constitute a valid and important niche for the promotion of crafts in Tunisia. This research isessentially based on scientific analyses and epistemological reflections and is mainly part of the design research
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Oliveira, Mariana Pohlmann de. "Contribuição ao estudo de materiais, processos e modelos utilizados na fabricação de joias em larga escala." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/67834.
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Tendo em vista ganhos expressivos na inovação e na competitividade, o setor joalheiro nacional busca constantemente incorporar novos recursos a fim de eliminar erros e agilizar a fabricação de modelos. Dentre as diversas tecnologias passíveis de serem empregadas na produção de joias, a usinagem CNC, é amplamente utilizada por empresas de todos os portes. A usinagem, associada à microfusão, aprimora o processo de produção de joias em larga escala, pois reduz o índice de retrabalho, de perda de material e garante maior qualidade e produtividade mantendo a expressividade formal da peça original. O presente trabalho propõe um estudo acerca das tecnologias de modelagem do setor joalheiro, dando foco aos processos de fresamento. Com o auxílio da digitalização tridimensional, foi feita uma análise comparativa das etapas envolvidas no processo de fabricação de joias. Foi possível verificar, pelos resultados obtidos, que a influência da velocidade de avanço no acabamento das peças: velocidades mais baixas resultaram em superfícies com menor rugosidade aparente e permitiram a obtenção de seções mais estreitas. Além disso, os ensaios possibilitaram a definição das velocidades adequadas para a relação produtividade versus acabamento. Foram ainda determinadas relações entre as propriedades mecânicas do material e os parâmetros testados, comprovando-se que, dentre as ceras estudadas, aquela de maior dureza (63 na escala Shore D) resulta em melhores condições de acabamento. Este trabalho indica a viabilidade de otimização do processo de fabricação de joias, pois avalia as condições de usinagem em relação ao tempo, bem como a possibilidade de redução das operações de acabamento realizadas após obtenção dos modelos por usinagem. Análises realizadas por digitalização tridimensional indicam que o principal ponto de perda dimensional é a etapa de confecção dos moldes de borracha de silicone e injeção de cera, seguido pela usinagem dos modelos. Entretanto, se esse significativo desvio resultante da produção dos moldes e da injeção for corrigido, a qualidade superficial dos modelos obtidos por usinagem CNC passa a ser fundamental. Esses processos devem, portanto, ser reavaliados, a fim de reduzir os erros gerados nas etapas intermediárias da produção de joias em larga escala.Given significant gains in innovation and competitiveness, the national jewelry sector constantly seeks to incorporate new features, in order to eliminate errors and streamline the manufacturing of models. Among the various technologies that can be used to produce jewelry, CNC machining, is widely used by businesses of all sizes. Machining process associated with casting, improves the large-scale production of jewelry, because it reduces the rework rate, material loss and ensures higher quality and productivity while maintaining the formal expressiveness of the original part. This research proposes a study about modeling technologies of the jewelry industry, giving focus to milling processes. Aided by three-dimensional scanning, it was performed a comparative analysis of the involved steps in the manufacturing process of jewelry. Based on obtained results, it was possible to verify the influence of feed speed in the finishing of parts: lower feed speeds resulted in surfaces with roughness less apparent and allowed to obtain narrower sections. Moreover, the tests enabled the definition of appropriated feed speeds to the ratio productivity versus finishing. Relationship between mechanical properties and tested parameters was determined, proving that among the studied waxes, the hardest one (63 in Shore D scale) results in better finish. This study indicates the optimization feasibility of jewelry manufacturing process, once it evaluates the machining conditions in relation to time, as well as the possibility of reducing the finishing operations carried out after obtaining models by machining. Analyses performed by three-dimensional scanning indicate that the greater dimensional loss is in the steps of silicon rubber mold production and wax injection, followed by the machining process of models. However, if this significant deviation from production of molds and injection is corrected, the surface quality of models obtained by CNC machining becomes crucial. Therefore, these processes must be reevaluated in order to reduce errors generated in intermediate stages on large-scale production of jewelry.
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Swartz, Natasja Alexandria. "Rational Design of Materials for the Protection of Outdoor Metalworks." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2488.
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Protective coatings are commonly used to protect culturally significant works, such as outdoor sculptures and architectural elements. Given the valuable nature of such metalworks, there is a surprising lack of environmentally sustainable coatings available for their conservation. High performance clear coatings are not developed or thoroughly tested for compatibility and longevity on outdoor sculptures. This can make the implementation of both methods and materials, no matter how promising in a lab, a significant hurdle for the conservation science community. This dissertation work initially aims to replace high-VOC formulations such as acrylic lacquers and waxes currently used as protective coatings for bronze with a waterborne coating by investigating the film formation differences between coating types. Such differences likely have implications for initial film barrier properties as well as long-term performance.
For coating any large-scale metal object, cost-effectiveness limits applicable coatings to commercially available resins with some minor adjustments. Additional requirements for protective coatings for artwork require they must also be transparent, reversible, easily applied and environmentally sustainable. The chemical and physical properties of polymeric coatings with nanoclays modifiers were investigated as they may offer superior weatherability and act as better barriers to water absorption than commonly used lacquers and waxes. This work ultimately finds that nanocomposites with poly(vinylidene fluoride) latex and chemically stabilized nanoclays significantly improved performance and may be a viable option in the protection of material cultural heritage. Protection of high value objects where aesthetics is also important, such as airplanes, buildings, and sculptures are among the possible applications for this research.
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Strobel, Elisa. "Percepção de desconforto no uso de brincos : relação das característica sociodemográficas, morfoantropométricas, dos hábitos relacionados ao uso e da preferência quanto ao tipo de produto." Universidade do Estado de Santa Catarina, 2014. http://tede.udesc.br/handle/handle/2024.
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Surveying sociodemographic, morpho-anthropometric characteristics in women, related to their habits and product preferences wearing earrings, aiming to verify the relationship of these domains with the perception of discomfort. Discomfort was assessed using descriptors. The earlobe thickness and earring dimensions used by the participant on the day of data collection were measured with a digital micrometer, universal caliper and a digital scale. The ear and earlobe shape and the earring hole were classified according to the literature. 208 adult women, were surveyed separated by age groups. Parametric data are presented as mean and standard deviation and non-parametric as frequency distributions. The correlations between the variables were then verified. 80.3% women answered that they wear earrings on a daily-basis and all individuals reported some degree of discomfort, from slight (13.6%), to moderate (26.9%) or severe (59.1%). The average earlobe thickness was 5.80 ± 0.83 mm (left). 58% of the lobules were classified as dettached, and 42% as attached (left). The most widely used type of earring was the stud type, followed by the dangling type and at last the hoop. 77.7% wore earrings that weighed between 0.1 g to 2.5 g on the day of data collection. We conclude that for this sample, the discomfort in the use of earrings is mainly related to product characteristics. The mass and then the material were more associated with discomfort in the use of earrings. Ergonomic recommendations and opportunities for improvement are then presented.
O objetivo deste estudo foi avaliar a relação das características sociodemográficas, morfoantropométricas, dos hábitos relacionados ao uso e da preferência quanto ao tipo de produto com a percepção de desconforto no uso de brincos em mulheres. O desconforto foi avaliado por meio de descritores. A espessura dos lóbulos, e dimensões do brinco utilizado pela participante na data da coleta foram medidos com mícrômetro digital, paquímetro universal e balança digital. A forma geral da orelha externa, do lóbulo e o furo foram aferidos de acordo com a literatura. Foram pesquisadas 208 mulheres maiores de idade, separadas por faixa etária. Os dados paramétricos foram descritos por média e desvio padrão, os não-paramétricos por distribuições de frequências. Foram ainda testadas as correlações entre as variáveis. 80,3% da amostra usa brincos todos os dias e todos os indivíduos se enquadraram em algum nível de desconforto leve (13,6%), moderado (26,9%) ou grave (59,1%). A média da espessura do lóbulo foi 5,80±0,83mm (esquerdo). 58% dos lóbulos foi aferida como solto, e 42% como preso (esquerdo). O tipo de brinco mais usado foi o inteiro, seguido do pêndulo e argola. 77,7% usava brincos que pesavam entre 0,1g a 2,5g na data da coleta. Conclui-se que para esta amostra, as questões quanto ao desconforto no uso de brincos são principalmente relacionados às características do produto. A massa do brinco seguida do material foram os aspectos mais associadas ao desconforto no uso de brincos. Por fim são apresentadas recomendações ergonômicas e oportunidades de melhoria.
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Lin, Shu-ya, and 林淑雅. "Paragraphs-Mechanices in Jewelry Design." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/80320436280528189578.
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碩士臺南藝術學院
應用藝術研究所
91
A life journey as a delicate jewelry was combined with different paragraphs. Every small contains intersection and split.This article was the description of my works.All creations were hidden with my life''s inspiration and moving.In this report the background of each idea,sketch development,structure of general-eral ornaments switch and the design of new connection medium were included. Applying creative jointer on classic jewelry,owners have more freedom to dominate their ornament. Each piece of jewelry has more shapes and wearing selection.
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Chen, Tzu-Jung, and 陳姿蓉. "The Development of Jewelry Design Ideas." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/44319365133609812151.
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碩士台南應用科技大學
生活服務產業系生活應用科學碩士班
104
In one of its research reports, entitled “Global gemstone and jewelry market outlook and opportunities,” Research and Markets, a world market research institute, predicts an optimistic prospect of the global jewelry industries for the year of 2017, expected to reach 257 billion in US dollars. Owing to the awakening of consumer insight, the rising Asian jewelry market underscores the originality of consumer goods, which has giving rise to many customized products that have been designed and made to match consumers’ preferences when they purchase jewels and precious stones, and has rolled out optimal product portfolios for consumers. Therefore, it has become an important design demand to elevate the professional competence of jewelry designers, enable them to refer to the needs for jewelry attributes, and establish an effective evaluation model so as to inspire designers’ creativity. The objective of this study is to investigate, from the perspective of consumers, jewelry attributes that they really care about so as to offer drawings that can help consumers to choose jewelry and precious stones. The present research uses diamond rings, a category of jewelry accessories, as the objects of study. Fifty exemplar jewelry consumers and five jewerlry designers with jewelry design experience of at least eight years and three inlay designers with jewelry work experience of at least twenty years were invited. Then, use of conjoint analysis was used to conduct research on attributes and standards of diamond rings. The four attributes that mainly form diamond rings refer to the main stone shape, the main stone inlay method, the main stone and with stone, and the main stone and corner stone. The four attributes comprise a total of 500 design options, from which 25 jewelry design attribute portfolios are selected by using the orthogonal method. The drawings of these 25 portfolios would be given preference questionnaire ratings to finally produce the study findings. The research findings show the relative importance of the main stone shape is 31.8%, the main stone inlay method is 27.7%, the main stone and with stone is 26.2%, and the main stone and corner stone 15.1%. This research, by using conjoint analysis, investigates their shape preferences when consumers purchase jewelry products and aims to establish the optimal product portfolios preferred by consumers. The study findings can elevate the professionalism of jewelry design and assist designers in identifying combinations of elements of optimal patterns preferred by consumers. Then by using computer graphics, we can match the most preferred product portfolios with attribute standards, and the outcome would be able to help consumers select their preferred attributes of rings and also narrow gap between design and the preferences of consumers. The study findings can provide designers with valuable information that will help them to swiftly and accurately grip consumers’ needs and thus convert this knowledge into design ideas and shape elements. By using auxiliary software of optimal design of rings in designing customized rings in the future, designers will be able to come up with more creative ring shape concepts that answer to consumers’ needs.