Jewelry Design Ideas Are to Be Found Everywhere

Nature alone, from the smallest seed to a star, offers an endless variety of form and texture, and reflections, light and shadow, geometrical figures, free forms, and man-made objects of all kinds and dimensions add endless possibilities. All is in the eye of the beholder, for even one small flower has an amazing potential for suggesting design motifs. Indispensable is an awareness of even most insignificant details, and that indefinable quality called good taste that enables the artist to select from such an abundance that which will best express his ideas.
The work of the best artists of past and present must be studied analytically and continuously in order to develop the ability to create original articles of good design. A focal point of interest, contrast, and a unifying balance of proportions will always be evident in the best work, for these are the necessary elements of all art forms.
The material to be used, the tools available, technical skill of the craftsman, and the ultimate purpose of the finished article provide a framework of limitation within which appropriate contemporary jewelry design ideas develop. It is wise for the neophyte to limit himself to the more uncomplicated variations of conventional designs until he gains some proficiency in handling the necessary techniques for goldsmithing and silversmithing. However, in spite of such restrictions, there is room for originality in the bending, twisting, pounding, stretching, and finishing of the metal. Such requirements as intricate curves may be found difficult at first, but subtle variations and combinations of simple lines can be made to conceal limitations that will gradually disappear as knowledge and skill increase with practice.

A handy sketch pad will enable one to capture fleeting impressions for designs that can be modified and combined in countless unexpected ways, even to the modification of a sketch until it only faintly resembles the original. After a design idea has been sketched, a tracing paper placed over it will permit additional sketches and variations of the original idea. Several consecutive tracings may be made in this manner, altering and modifying each successive sketch until it evolves into something new and original. Thickening lines in some areas, thinning or tapering others, adding new ones, turning the paper to a different position, making cutouts, and inserting or overlaying other sections of paper are useful means of revealing new aspects of a basic design.
Symmetrical designs can be developed from any linear sketch, whether geometric, abstract, or nonobjective, simply by standing a mirror on edge and observing what develops as the mirror is moved fanwise across the design. Whenever a pleasing design appears, a line should be drawn across the paper along the edge of the mirror to mark the center. The complete design can then be traced on a piece of tracing paper. Abstract designs, such as unusual and humorous interpretations of animals, birds, insects, etc., can be developed into interesting contemporary pieces. However, such objects should never be complicated or overworked in detail.
“Doodling” is an excellent way to break into working in more abstract forms. Here the line and shape will be suggested, but the craftsman is left free to choose and to combine until he discovers a design that pleases him. Shading various areas with different values of gray combined with black and white brings out a nonobjective design that can be clearly defined by outlining. Inkblots made either on a flat sheet or in the fold of a paper will also suggest ideas for unusual nonobjective designs.
All design ideas should be filed for future reference. At the time they have been noted there may be no application in mind for them, but later they can prove to be an invaluable resource.
Sketched designs are often difficult for the beginner to envision as a three-dimensional form, but by experimenting with soft materials, such as clay, dental carving wax (used for casting), and a plastic typewriter cleaner, he can mold various designs that will enable him to envision and evaluate an idea before attempting to make it in precious metal. In this way exact patterns can be made for contoured shapes after all modifications and improvements are worked out, and an additional advantage is that gemstones can be embedded in the soft material permitting study of how best to position them in the design.
Soft metal and discarded toothpaste and shaving cream tubes slit, spread open, and cleaned can also be used for experimentation. However, as they can be easily shaped, there is sometimes a tendency to form and bend them into forms far too intricate to fashion in less malleable and ductile metal.

Random pieces of paper cut with small scissors and then intertwined and overlaid will suggest many different design ideas. Jigsaw puzzle pieces stacked in random layers will also suggest interesting designs for appliqué.
A dark-colored length of string dropped carelessly on a sheet of light-colored paper will form itself into an interesting nonobjective pattern that can be traced. Soft lead, annealed copper, or brass wire, bent or twisted into pleasing shapes, will also give no end of ideas for original designs. An advantage in using wire is that bending and twisting to alter the design can be done without losing the original idea. Also the wire may be hammered to give added dimension and character to the design. Square and triangular wire bent and curved will give even more variety.
A magnifying lens or microscope used to study and sketch cross sections of flowers, seed pods, or any organic material will reveal fascinating and unsuspected suitable patterns for designs. Those who feel deficient in the ability to sketch can make good use of close-up photos of objects in nature. The photos can be blown up to reveal details from which an area that suggests ideas for design motifs can be selected.
One of the easiest ways to accomplish a focal point of interest is by means of accent material, the most common, of course, being gemstones. Areas of texture, form, and color should be treated so as to direct attention to the gem material. Faceted stones, because of their brilliance, need very little surrounding area to emphasize their beauty. They require prongs or belcher settings because light is necessary to set them off. The effect of beautiful gems can be lost by being improperly mounted. Cabochons appear to best advantage in handwrought pieces. Gemstone material should be of good quality, and its appropriateness to the metal that surrounds it must be carefully considered. Naturally, agate should not be used with platinum, or diamonds mounted with copper or brass.

By using informal or free-form shapes and the most unusual shapes of natural crystals, single crystals, and clusters of natural gem or mineral materials, the stone can be made the nucleus of the design, but each should be placed in a setting compatible with its inherent nature. Drusy coating on mineral, or common rock matrices, slices of patterned material, irregularly shaped pieces of opal that permit the play of color fire should never be used in a standard or formal design.
Often it is impossible to find a particular color in a gemstone that is desired for a particular design. Instead of making a long search for it in a natural material, sections of clay or bisque fired and glazed to the specific color can be substituted.
The porous side of the abalone shell with its crusty, pockmarked surface sanded smooth or sandblasted gives a pearlescent tone that brings a new dimension to a common material. It does not remotely resemble the outer shell surface that has been used for many years by Mexican artisans for inlay jewelry.
Small ceramic figures purchased for nominal sums from museums, archaeological buffs, and gem and mineral dealers are particularly attractive when used as the focal point or points for a contemporary metal jewelry design. Often these are centuries old which, of course, adds to the value of the article. In the same category are small Venetian glass beads of contemporary manufacture which, when strung on a rod or attached to a stud or a pin with a ball end, bring a diffusion of color to the surrounding metal.
Designs can be either simple or complicated, but there must always be a sense of order and coherence. Fine proportion, the relationship of depth and space, exciting and interesting textures, and the feeling of movement—rhythmic, static, radial, and curved—all contribute to good design.
Recommended Reading
- Contemporary Jewelry Designers
- Tips To Buying Jewelry The Smart Way
- Successful Fashion Tips For Your Important Needs
- Top Fashion Tips To Have You Looking Your Best
- What Jewelry Goes With This Outfit?
- Unique Handmade Designer Jewelry