Methods and Materials of Production
Casting- outsourced
For repeatable results, the best casting method is lost wax casting. This involves a wax version of each piece you want in metal. The wax pieces are attached to a wax “tree” and encased in a very fine plaster called investment. The bottom of the tree trunk sticks out from the plaster. The wax is then melted out of the plaster leaving perfect voids of your pieces. Liquid metal is the injected into the plaster, filling the voids and giving you the metal version of your pieces.
Pros:
• Quick to make the same piece many times
• Reduces labor costs
• You can get textures and volume difficult or not possible with metal sheet and wire.
Cons:
• Hollow pieces are more difficult
• Cleaning up mold lines can be time consuming
• Pieces are soft after casting and require hardening
• Pieces thinner than 24ga. cannot be reliably cast
• Since this is outsourced, you must add in 2-3 weeks for the pieces to be cast and returned to you.
Materials:
Bronze, sterling, anti-tarnish sterling, golds, platinum
Casting- in-house
We can make our own molds and cast metal as well as plastic, resin, and rubber in house. If you have taken the casting class, you can cast in metal, otherwise you are limited to alternative materials. Molds are RTV and the best products both for casting and molds come from either Smooth-On or Polytek. Plastics and rubbers are hand mixed and poured into RTV molds, let cure, then removed and the next one poured. You are limited by the number of molds and the curing time.
Pros:
• Quick results!
• Many plastics are quick curing, allowing for quick reproduction
• Can do in the studio- no additional time
• Lightweight pieces
• Inexpensive
• Same texture and volume as casting
Cons:
• Alt Materials: Can’t solder, so cold connections or built in connections
• Hazardous materials
• Messy
• Very thin and delicate pieces are difficult to do as the only force to fill the mold is gravity
• Air holes can be an issue. There are tricks to minimize this.
• Same challenges as casting above
Materials:
Metals, Plastic, Polyurethane rubber, silicone rubber, latex rubber, epoxy
Laser cutting/ Laser etching
Using Adobe Illustrator you can create 2D line files of your pieces which can then be sent to a laser cutting service, such as Ponoko (www.ponoko.com) which will then produce the pieces in the material specified.
Pros:
• Extremely detailed and symmetric designs
• Quick to put together
• If use space well can be extremely cheap
• Unusual materials
• Can be combined with metal or other materials post-cutting
Cons:
• Computer knowledge required
• You can’t solder the pieces, so cold connections, tab and slot, and other creative connections need to be used.
• This is a very trendy technique so it can be hard to set yourself apart
• Need to build in extra time for cutting and shipping
Materials:
felt, acrylic, thin metal, wood veneer, bamboo, cardboard
Waterjet cutting
Similar to laser cutting, but a wider array of materials are available to work with as the water doesn’t get hot.
Pros and Cons same as Laser cutting
Materials:
same as laser cutting plus leather, rubber, fabric, paper, silicone, etc.
RP (Rapid Prototyping)
RP is a 3D print from a computer file of your piece. There are several 3D modeling programs- Sketchup, Rhino, Solidworks- that you can use. These programs produce files which you can send to a RP service such as Shapeways (www.shapeways.com) and have them printed. There are several types of RP, with differing levels of detail and materials.
Pros:
• Excellent way to get very intricate and difficult 3D forms
• Computer knowledge is an absolute must
• Can be used to make molds for casting as well
Cons:
• Can be expensive
• Programs have varying degree of difficulty to learn
• Clean up still likely needed on pieces
Materials:
plaster, plastics, metal
Wednesday, January 29, 2014
What is Production Jewelry
What is Production Jewelry?
Production Jewelry for the purposes of this class is defined as jewelry made in multiples with the intent it be for sale. There are many levels of production from the stamped out diamond solitaire earrings at Zales up to hand fabricated works of art. The goal of this class is to introduce you to some of the techniques used to create multiples of the same piece in an efficient and professional manner.
Some of the things to consider while thinking about creating production jewelry:
Who is my clientele?
What is my market?
What are my goals- personal and business?
The art jewelry market can be roughly stratified into 4 areas:
High End: usually starting at $2500 +; platinum, high karat golds, precious stones, collectors are important part of business, almost all one-of-a-kind pieces
Upper End: usually starting at $750 +; some platinum, mostly gold, semi and precious stones; can be one-of-a-kind, limited production, or production with fine materials
Mid Range: usually starting at $100 +; silver, some gold; mostly semi precious stones; limited production with finer materials, or production
Low End: usually starting at $10 +; silver, copper or white metal, crystals, beads, some pearls. This usually falls into Costume jewelry designation. Impulse buyers are and important part of business, almost exclusively large scale production
The Vocabulary:
One-of-a-Kind: A piece that is made by hand once. It may be part of a series, but it is not produced in multiples. This is the type of piece you have been creating. The cost of such a piece is usually high due to the time spent making it. This type of piece is also attractive to serious jewelry connoisseurs and collectors, as it is unique.
Limited Production: A piece made in multiple for a set amount of time or pieces (i.e. spring 2007 or 50 pieces). These pieces use the production techniques but may be either too intricate or time-consuming to make all the time.
Production: Pieces made in multiple with time saving techniques. These pieces have a variety of prices depending on the materials used and are available to consumers on an ongoing basis.
Lines: A “line” of jewelry is at the core of all production work. Whether it is a look, specific technique, or a one-of-a-kind piece that starts you off, the line is a series of pieces that are all related to each other. A typical line will include: 2 pair of earrings- 1 hanging, 1 post; 1 ring; 1 bracelet; a necklace. Other items to consider are: cufflinks, brooches.
Findings: Findings refer to items non integral to the designing that are commonly purchased or are readily available for sale. These items commonly include stone settings, ear wires and posts, ear nuts, pin backs, chains, clasps, etc. While there may be purchased, for most of these items, making your own is just a cost effective and brings more personality to your work.
White Metal: This is a blend of non-precious metals that is used in casting inexpensive mass produced jewelry. It is difficult to work with, and aggravates allergies in people with metal sensitivities. It is usually plated to give a better appearance.
Precious Gems: Used in referring to diamonds, sapphires, rubies, and emeralds.
Semi-Precious Gems: Covers just about everything else- garnet, amethyst, aquamarine, tanzanite, iolite, peridot, etc.
Karat: The karat is the pureness of a gold alloy. Pure gold is 24 parts pure gold. 18k gold is 18 parts pure gold and 6 parts alloying metals. The higher the karat the richer the gold color is, and the softer the metal.
Carat: Carat is the unit of measurement for weighing gemstones. Carat weight is determined by the physical weight of the gemstone. Some stones are heavier than others, so the same size of stone will weigh different carat amounts over the different stones. Knowing the carat weight is important as this is how price is calculated.
Production Jewelry for the purposes of this class is defined as jewelry made in multiples with the intent it be for sale. There are many levels of production from the stamped out diamond solitaire earrings at Zales up to hand fabricated works of art. The goal of this class is to introduce you to some of the techniques used to create multiples of the same piece in an efficient and professional manner.
Some of the things to consider while thinking about creating production jewelry:
Who is my clientele?
What is my market?
What are my goals- personal and business?
The art jewelry market can be roughly stratified into 4 areas:
High End: usually starting at $2500 +; platinum, high karat golds, precious stones, collectors are important part of business, almost all one-of-a-kind pieces
Upper End: usually starting at $750 +; some platinum, mostly gold, semi and precious stones; can be one-of-a-kind, limited production, or production with fine materials
Mid Range: usually starting at $100 +; silver, some gold; mostly semi precious stones; limited production with finer materials, or production
Low End: usually starting at $10 +; silver, copper or white metal, crystals, beads, some pearls. This usually falls into Costume jewelry designation. Impulse buyers are and important part of business, almost exclusively large scale production
The Vocabulary:
One-of-a-Kind: A piece that is made by hand once. It may be part of a series, but it is not produced in multiples. This is the type of piece you have been creating. The cost of such a piece is usually high due to the time spent making it. This type of piece is also attractive to serious jewelry connoisseurs and collectors, as it is unique.
Limited Production: A piece made in multiple for a set amount of time or pieces (i.e. spring 2007 or 50 pieces). These pieces use the production techniques but may be either too intricate or time-consuming to make all the time.
Production: Pieces made in multiple with time saving techniques. These pieces have a variety of prices depending on the materials used and are available to consumers on an ongoing basis.
Lines: A “line” of jewelry is at the core of all production work. Whether it is a look, specific technique, or a one-of-a-kind piece that starts you off, the line is a series of pieces that are all related to each other. A typical line will include: 2 pair of earrings- 1 hanging, 1 post; 1 ring; 1 bracelet; a necklace. Other items to consider are: cufflinks, brooches.
Findings: Findings refer to items non integral to the designing that are commonly purchased or are readily available for sale. These items commonly include stone settings, ear wires and posts, ear nuts, pin backs, chains, clasps, etc. While there may be purchased, for most of these items, making your own is just a cost effective and brings more personality to your work.
White Metal: This is a blend of non-precious metals that is used in casting inexpensive mass produced jewelry. It is difficult to work with, and aggravates allergies in people with metal sensitivities. It is usually plated to give a better appearance.
Precious Gems: Used in referring to diamonds, sapphires, rubies, and emeralds.
Semi-Precious Gems: Covers just about everything else- garnet, amethyst, aquamarine, tanzanite, iolite, peridot, etc.
Karat: The karat is the pureness of a gold alloy. Pure gold is 24 parts pure gold. 18k gold is 18 parts pure gold and 6 parts alloying metals. The higher the karat the richer the gold color is, and the softer the metal.
Carat: Carat is the unit of measurement for weighing gemstones. Carat weight is determined by the physical weight of the gemstone. Some stones are heavier than others, so the same size of stone will weigh different carat amounts over the different stones. Knowing the carat weight is important as this is how price is calculated.
Project
Projects:
For this class you will design and make a line of jewelry. Each of the pieces should relate to a central design theme. The theme can be a new idea, or based off of a piece you have made previously, it can be a formal element or a concept. The pieces should be clearly related to the theme and to each other. A basic line of jewelry includes: ring, earrings, bracelet, necklace/pendant, and brooch. Many lines have multiple styles of rings, earrings, bracelets, and pendants as well.
Your line must include: a pendant or brooch, a ring, and 1 pair of earrings.
You line must also include 2 selections from below, bringing the total number of pieces in your line to 5.
Options: bracelet- linked, bracelet- cuff, necklace- linked, cufflinks, pendant (if picked brooch above), brooch (if picked pendant above), another pair of earrings, another ring
For next class:
Do 15 sketches for main pieces- the piece that the line is created off of. Use this piece to identify what the central theme or concept of your line will be. Don’t try to focus too narrowly on any piece or theme. Sketch what comes to mind, and organize them later.
Make rough maquettes of the top 3-5 ideas.
Expand on the top 3 ideas and sketch 5 ideas for each piece in your line. Pieces should not all be smaller and larger versions of the same thing… play around!
• Start noting what materials you might want to use and what embellishments such as stones or patinas you might want to employ.
• Bring in any pieces that you have made in proper classes that you are interested in using as a base for production pieces.
Things to consider when designing:
• Fit and comfort! Light earrings are more comfortable than heavy ones. Earrings should weigh less than 11g as a pair.
• A slightly curved inside on a ring shank is much more comfortable than a straight one. (referred to as Comfy fit or EZ fit)
• People invariably have every size finger under the sun. Magazines and books say that the most common size for a woman is 6-6.5: this is for engagement rings. I have found that a lot of women fall into the 7-8.5 size range as well.
• A lot of customers look for rings to fit on finger other than just the ring finger.
• How easy is your ring design to resize after it is finished? How easy is it going to be for you to make different sizes during the process? Rings that have a shank and top are much easier to resize and adjust during the process than band style rings where the pattern goes all the way around.
• Common chain lengths are 16”, 18”, and 24”. I have found that 17” is a great length on just about everyone. This means I make my own clasps, but I seldom have to vary the length!
• Think about making your pieces versatile and open to variations.
• The two most common ways to have the same piece of jewelry look different are material and color. Metals can include bronze, silver, bimetal, different color and karat gold, platinum. Alternative materials can make a piece look completely different. Color can either be in the form of gemstones, enamel, resins, or patinas.
• You can also use an element in multiple pieces of jewelry. Top of a ring becomes an earring; a pendant becomes a brooch or the top of a cuff bracelet.
For this class you will design and make a line of jewelry. Each of the pieces should relate to a central design theme. The theme can be a new idea, or based off of a piece you have made previously, it can be a formal element or a concept. The pieces should be clearly related to the theme and to each other. A basic line of jewelry includes: ring, earrings, bracelet, necklace/pendant, and brooch. Many lines have multiple styles of rings, earrings, bracelets, and pendants as well.
Your line must include: a pendant or brooch, a ring, and 1 pair of earrings.
You line must also include 2 selections from below, bringing the total number of pieces in your line to 5.
Options: bracelet- linked, bracelet- cuff, necklace- linked, cufflinks, pendant (if picked brooch above), brooch (if picked pendant above), another pair of earrings, another ring
For next class:
Do 15 sketches for main pieces- the piece that the line is created off of. Use this piece to identify what the central theme or concept of your line will be. Don’t try to focus too narrowly on any piece or theme. Sketch what comes to mind, and organize them later.
Make rough maquettes of the top 3-5 ideas.
Expand on the top 3 ideas and sketch 5 ideas for each piece in your line. Pieces should not all be smaller and larger versions of the same thing… play around!
• Start noting what materials you might want to use and what embellishments such as stones or patinas you might want to employ.
• Bring in any pieces that you have made in proper classes that you are interested in using as a base for production pieces.
Things to consider when designing:
• Fit and comfort! Light earrings are more comfortable than heavy ones. Earrings should weigh less than 11g as a pair.
• A slightly curved inside on a ring shank is much more comfortable than a straight one. (referred to as Comfy fit or EZ fit)
• People invariably have every size finger under the sun. Magazines and books say that the most common size for a woman is 6-6.5: this is for engagement rings. I have found that a lot of women fall into the 7-8.5 size range as well.
• A lot of customers look for rings to fit on finger other than just the ring finger.
• How easy is your ring design to resize after it is finished? How easy is it going to be for you to make different sizes during the process? Rings that have a shank and top are much easier to resize and adjust during the process than band style rings where the pattern goes all the way around.
• Common chain lengths are 16”, 18”, and 24”. I have found that 17” is a great length on just about everyone. This means I make my own clasps, but I seldom have to vary the length!
• Think about making your pieces versatile and open to variations.
• The two most common ways to have the same piece of jewelry look different are material and color. Metals can include bronze, silver, bimetal, different color and karat gold, platinum. Alternative materials can make a piece look completely different. Color can either be in the form of gemstones, enamel, resins, or patinas.
• You can also use an element in multiple pieces of jewelry. Top of a ring becomes an earring; a pendant becomes a brooch or the top of a cuff bracelet.
Lesson: Prototyping
Lesson 1: Prototyping
The first step in production is prototyping. Prototyping can be done in a variety of materials. The end result of this process is a test piece- one that you can mold to begin your production.
Lesson 1: Prototyping
The first step in production is prototyping. Prototyping can be done in a variety of materials. The end result of this process is a test piece- one that you can mold to begin your production.
Benefits to prototyping:
Working out technical and wearability issues before you spend the money to get a lot of pieces made
Refining the way the piece can be put together or assembled to maximize efficienty
Good tool for brainstorming on related pieces
For prototypes:
• Begin with quick sketches.
• Narrow ideas down and make quick rough maquettes. These can be out of whatever material you like best- computer, card stock, clay, tinfoil, wax, etc.
• Narrow down again, and make more detailed maquettes. These should be refined enough to be able to test balance, weight, wearability. Metal, plastic, wax, computer are all good materials.
• Finalize details, make changes, and create the final moldable piece.
Things to consider when making your prototypes:
• Do not make your prototype thinner than 20ga.
• You can solder on any jump rings, or tubing for connections, bails, etc. You can also solder on posts for pearls and settings for gemstones to your prototype before having it molded. This way all of those items are there in the piece already. This is best for anything that you would be soldering on repeatedly anyways. If you aren’t sure if you want to have the same size stone on every piece, don’t solder the setting to the prototype.
• If you think you will be using the same clasp or end caps a lot, get molds of them also.
• If the piece is hollow, it will cast solid.
• In order for it to remain hollow, cut the piece in half. The mold will contain each half. You can either put them together after injecting the mold or solder the halves together after they are cast.
• Mold-making will decrease the thickness of the metal, as well as the overall size of the piece slightly. The exact shrinkage depends on your piece.
• If you want the final castings to be 20 ga., make your prototype from 18ga., and so on.
• If your prototype will have jump rings or other connective elements (tubing for hinges, bails) make them a bit thicker than you otherwise would.
• If you will be soldering links or clasps connecting t a cast jump ring, make sure to twist your jump rings slightly so that when they are molded and cast, they are in an open position.
• If you are casting bezels or prongs, make the setting slightly larger or thicker than you would. A thicker bezel or prong gives you more versatility in fitting the stone since you can remove material from either the inside or outside to have it fit the stone. For a 4mm bezel, I’d recommend making it 4.1mm and out of 22ga instead of 24-26ga.
• Finish the piece as best you can. If you want a polished finish, polish the prototype. While the cast pieces will not come back polished, this tremendously cuts down on the amount of cleaning up.
• Make any textures stronger than you want them as some texture will be lost in the injecting process.
• If making a ring, pick a middle size: 7-8, so you can size up or down.
• Is there anything about your pieces that will be easier to fabricate after you do the castings? If so do, then do them. Casting is not an all-purpose short cut.
• Things that are better to do after casting: ear wires, ear posts, pin backs, most findings, anything that is either precision, or will need a lot of tension. The metal pieces returned from casting are dead soft. It is usually more time consuming to clean them up then harden as opposed to soldering them on later.
• If you want 2 different metals in a piece, you must cast the metals separately and then solder or rivet together later.
The first step in production is prototyping. Prototyping can be done in a variety of materials. The end result of this process is a test piece- one that you can mold to begin your production.
Lesson 1: Prototyping
The first step in production is prototyping. Prototyping can be done in a variety of materials. The end result of this process is a test piece- one that you can mold to begin your production.
Benefits to prototyping:
Working out technical and wearability issues before you spend the money to get a lot of pieces made
Refining the way the piece can be put together or assembled to maximize efficienty
Good tool for brainstorming on related pieces
For prototypes:
• Begin with quick sketches.
• Narrow ideas down and make quick rough maquettes. These can be out of whatever material you like best- computer, card stock, clay, tinfoil, wax, etc.
• Narrow down again, and make more detailed maquettes. These should be refined enough to be able to test balance, weight, wearability. Metal, plastic, wax, computer are all good materials.
• Finalize details, make changes, and create the final moldable piece.
Things to consider when making your prototypes:
• Do not make your prototype thinner than 20ga.
• You can solder on any jump rings, or tubing for connections, bails, etc. You can also solder on posts for pearls and settings for gemstones to your prototype before having it molded. This way all of those items are there in the piece already. This is best for anything that you would be soldering on repeatedly anyways. If you aren’t sure if you want to have the same size stone on every piece, don’t solder the setting to the prototype.
• If you think you will be using the same clasp or end caps a lot, get molds of them also.
• If the piece is hollow, it will cast solid.
• In order for it to remain hollow, cut the piece in half. The mold will contain each half. You can either put them together after injecting the mold or solder the halves together after they are cast.
• Mold-making will decrease the thickness of the metal, as well as the overall size of the piece slightly. The exact shrinkage depends on your piece.
• If you want the final castings to be 20 ga., make your prototype from 18ga., and so on.
• If your prototype will have jump rings or other connective elements (tubing for hinges, bails) make them a bit thicker than you otherwise would.
• If you will be soldering links or clasps connecting t a cast jump ring, make sure to twist your jump rings slightly so that when they are molded and cast, they are in an open position.
• If you are casting bezels or prongs, make the setting slightly larger or thicker than you would. A thicker bezel or prong gives you more versatility in fitting the stone since you can remove material from either the inside or outside to have it fit the stone. For a 4mm bezel, I’d recommend making it 4.1mm and out of 22ga instead of 24-26ga.
• Finish the piece as best you can. If you want a polished finish, polish the prototype. While the cast pieces will not come back polished, this tremendously cuts down on the amount of cleaning up.
• Make any textures stronger than you want them as some texture will be lost in the injecting process.
• If making a ring, pick a middle size: 7-8, so you can size up or down.
• Is there anything about your pieces that will be easier to fabricate after you do the castings? If so do, then do them. Casting is not an all-purpose short cut.
• Things that are better to do after casting: ear wires, ear posts, pin backs, most findings, anything that is either precision, or will need a lot of tension. The metal pieces returned from casting are dead soft. It is usually more time consuming to clean them up then harden as opposed to soldering them on later.
• If you want 2 different metals in a piece, you must cast the metals separately and then solder or rivet together later.
Syllabus
Production Jewelry
Design
MICA- Jewelry Department
Spring 2014
Jenn Parnell, Instructor
Course Description
In
order to be successful in today's market, artists must also be entrepreneurs
and small-business people. This class explores the practical world of making a
living as a contemporary jeweler while gaining financial success. The focus of
this class is on the design, production, marketing and pricing of your work.
Included are techniques for: one-of-a-kind to mass production, fabrication,
consistent quality finishes, use of findings and presentation from inception to
completion. Geared to anyone interested in making a living as an artist, this
class will satisfy the needs of the novice as well as the professional. Some
jewelry making experience is helpful but not required.
Requirements
Attendance is a must. A lot of information will be covered in
class. You will be held responsible for
all materials covered.
Demonstrations will usually
be held in the beginning of class, therefore, please be on time.
Completed projects and all
technical exercises must be completed on time and turned in at the end of the
semester.
You will be responsible for
discussing your work and participating in all class discussions and critiques.
Unexcused absences will
negatively impact your grade. 3 unexcused absences is an automatic failure of
the course.
Week 1- January 28
- Introductions
- Studio Tour- introduction to the equipment, basic
safety for the machinery, shop protocol
- Discussion: Production Jewelry- what does that mean?
- Introduction of Projects
- Discussion: How to reproduce your pieces? Methods
and materials
- Lesson 1: Prototyping
- Homework: 2-3 paragraphs on where you want to go
with your jewelry and how production fits into that. Talk about your
future career goals, financial goals, and artistic goals.
- Homework: Sketches and rough maquettes for
project- steps 1 and 2 of prototyping
Week 2- February 4
- Drawings for projects due
- Discuss designs
- Business 1: Time Management
- Business 2: Efficiency- More Money, Less Work
- Homework: Refine design prototypes- step 3 of
prototyping
- Homework: Lay out line- pieces, intended price
points, thoughts on production methods and supplies needed.
Week 3- February 11
- Work time
- Lesson 2: Mold Making
- Homework: Work on final prototypes
Week 4- February 18
- Work time
- Homework: Make a mold
Week 5- February 25
- Business 3: Pricing
- Lesson 3: Earring Findings
- Lesson 4: Working with Castings- Soldering,
Cleaning, Finishing
Week 6- March 4
- Lesson 5: Commercial Stone Settings
- Lesson 6: Altering a Wax/ Injecting a Mold
- Business 4: Logo, Image, and Brand
- Homework: Create 5-10 logo ideas.
Week 7- March 11
- Discussion: What role can production play for
you?
- For outsourced casting, waxes should ship this
week.
- Lesson 7: Other Findings
- Homework: Final logo
No Class March 18
Week 8- March 25
- Work time
- Business 5: Marketing Basics
- Homework: Write a draft of your resume, artist
statement, and bio
- Homework: 5 ideas for business cards
Week 9- April 1
- Business 6: Photography
- Discussion: Variations and Expanding a Line
- Lesson 8: Working with Commercial Chains
- Last day to ship any outsourcing
Week 10- April 8
- Work time
- Lesson 9: Resizing and Reworking
- Homework: Final resume, statement, and bio.
- Homework: Final business card design
Week 11- April 15
- Work time
- Business 7: Resources
Week 12- April 22
- Work time
- Business 8: Avenues for your work
- Homework: Research avenues of interest to you and
apply to 2 opportunities.
Week 13- April 29
- Work time
Week 14- May 6
- Everything due!
- Individual Critiques
- Fill out reviews, discuss class
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