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Jewelry from the Environment Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1984 Jewelry from the environment Douglas Lawrence Kollmeyer Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the Art Practice Commons, and the Metal and Jewelry Arts Commons Let us know how access to this document benefits ou.y Recommended Citation Kollmeyer, Douglas Lawrence, "Jewelry from the environment" (1984). Dissertations and Theses. Paper 3357. https://doi.org/10.15760/etd.5243 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF Dcug1as Lawrence Ko11meyer for the Master of Science in Teaching in Art presented August 13, 1984 · Title: Jewelry from the Environment APPROVED BY MEMBERS OF THE THESIS COMMITTEE ·· Royerts S. Morton, ./ es L. / / {/i / Hale This thesis deals with the development of a body of my own creative work and the teaching of jewelry-working in the secondary schools. Emphasis in both instances was given to the use of the natural environment as a stimulus for design ideas. The philosophy of nature as art forms has been the focus of my creative endeavors for several years. This lead to the design anct comJletion of jew~lry, flatware, and holloware in this study. Knowledg~ gai:1ed in my vJOrk cxreriences formed the basis and background of the pr2s~nt~tion of these ski11s to ~econdary students. 2 In designing the instructional unit, considerations were given to three major areas: First, motivating students to create designs from nature suitable for jewelry ornamentation; second, introduction to basic tools, equipment, materials and their proper use; third, to give the students the opportunity for experience with projects developed to be a challenge but with realistic goals. The unit was broken into three projects, working from a lesser degree of difficulty to a more technical one. Processes were simplified to maximize student achievement. They were also set up in a step-by-step manner so that each.would lay a foundation for the next. Care was taken to avoid limiting how far the student could carry each one. The first project dealt with creating a fabricated jewelry item. The objectives were to introduce the tools, equipment, materials and to motivate the students. The second project, sand casting with pewter, was designed to lead students from fabricating into casting. They first worked in paper and tagboard which was then transformed into wood and metal. The third project required the design and construction of rings in wax using a more sophisticated mold system for transformation to metal. The objective was to give students a process that would afford them a greater degree of flexibility with sculptural design; inherent to the materials used. 3 It is reasonable to assume that a high degree of success was achieved in this study in my own creative work. The intent was to develop forms in direct response to t~e natural environment rather than "stamping out duplicates of foliage." The interesting point here is that a myriad of inspirational resources were used and yet the final result is a series with both similarities and differences. The similiarities possibly resulted from sculptural influences or even from the demand of function in terms of a wearable solution. Differen~es would nave to have been influenced by the desire to invent. As Ocvirk 1 states, "All spacial implications are mentally conditioned by the environment and experience of the viewer. Vision is experienced through the eye, but interpreted with the mind. 11 The results of that portion of the study involving teaching were assessed by observing these factors: (1) students' genuine enthusiasm demonstrated during the studio work periods; (2) expressive­ ness and individuality of the objects created; (3) imaginative- uess of design; (4) ability to solve visual problems as well as functional problems of wearability; (5) growth in manipulative skill; (6) pride and value placed on their own completed work. 1otto G. Ocvirk and others, Art Fundamentals (Dubuque: Wm. C. Brown Company Publishers, 1950) p. 109 JEWELRY FROM THE ENVIRONMENT by DOUGLAS LAWRENCE KOLLMEYER A thesis submitted 1n partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in TEACHING in ART ~rtland State University 1984 . TO THE OFFICE OF GRADUATE.STUDIES ft.ND RESEARCH: The members of the Committee approve the thesis of Douglas Lawrence Kollmeyer presented Alf9ttst 13, 1984 APPROVED: Robert Kas·a1 ,. Head·, .O-epartme·nt of.... .A.rt ACKNOWLEDGMENTS I wish to.express my gratitude to the following indi"viduals whose personal support and help with this thesis wer~ sincerely appreciated; My fi ancee 1 Renee t· who was understanding of the long hours I spent in my studi"o and kept after me to complete this project. My trothe Robert Morton, for his teaching and adyi'sing, .· Jaires Hansen, for his approval of my feeli'ngs toward jewelry as a fine art form, Lynn Martin, for what seemed like 21 000 hours of typing, TABLE OF CONTENTS PAGE ACKNOWLEDGEMENTS • . i'i i LIST OF FIGURES vi CHAPTER I INTRODUCTION • • • • • • • l II STATEMENT OF THE PROBLEM 3 The Problem 3 Importance of the Study . 4 Limitations of the Study • 4 III REVIEW OF THE LITERATURE 6 Introduction • • • . 6 Development and Design of Jewelry, Flatware, Holloware •••• 6 B~ckground to the Teaching Unit 11 IV A DIVERSIFIED SERIES OF JEWELRY AND UTILITARIAN OBJECTS • 16 Introduction . 16 Jewelry to be worn for personal adornment. 16 Flatware • • • • • • • • • • • •. • • 20 Ho11oware . 22 V A RECOMMENDED PROCEDURE IN TEACHING JEWELRY MAKING 54 i ntrndt_u:~t inn • , , = : 54 v PAGE Resources for Motivation 55 Fundamental Processes . 56 Tools and Equipment . .. 58 Materials . 59 SUMMARY AND CONCLUSIONS . 69 Sunmary and Conclusions . ' 69 Reconmendations .. ~ . 72 List of Works Consulted .. , . 73 LIST OF FIGURES PAGE Jewelry, Flatware, Holloware by the Candidate 24 Figure 1 . • . 24 Figure 2 . • . • . • • . • . • . • 24' ,. Figure 3 . • • . • • . ' . 25 Figure· 4 . • . • . • . • . • . • 25 ... ts· figure 5 • • . • • . • . • . ' figure 6 • . • . • . • . • • .. 2"6' figure 7 . • t • • • . • • • . • . ' ' • • ' 26 Figure 8 . • • • . • • . • ' • • • . • t . • 2.6 Figure 9 .. • . • . • ' • • • . " . • • . ' ' • 2t Figure 10 • • • • • • • • ' • • • • ' • • • • t • 2'7. Figure l1 . ' . ' . ' . 27 Figure 12 . 28· Figure 13 . ~ . 28 .. Figure 14 . 29. 1 29· Figure S • • • • • • • • • • • • • • • • • ' . figure 16 . 30- 30. Figure 17 . • • • • • • • Figure 18 . 31 Figure 19 . " . ' . 31 31 Figure 20. .. .. ~ . .. vii PAGE Figure 21 . .. 32 Figure 22 . ' . 32 Figure 23 . ' . 33 Figure 24 • • • • • • • • • • • • • • • • • • • 33 Figure 25 . 34 Figure 26 . ' . 34 Figure 27 . ~ . ' . ' . 34 Figure 28 • • • • • • • • • ' • • .. • • ft • • ' 35 Figure 29 . ... ' ' . ' ., ... ' ' .. 35 Figure 30 . ' . ' . 35 Figure 31 ... , .. , .. , .. ,.,, 36 32 • • ' t • • figure ~ ~ . ' ' . 36 Figure 33 • ' t • • ' ...... , .. ,. 36 Figur~ 34 •••. , .••••••••• '. t' •• 37 figure 35 . ' ' . ' ' 37 Figure 36 · ....... ,,,,,,,,,. 37 Figure 37 .................. ,, 38 Fi'gure 38 ...... ,,, ... ,.,,., 38 Ff gure 39 ..... , .. ,,., .. ,,,,. 38 figure 40 . ' . ' . ,. " ' . ' ' 39 Figure 41 ........ ,,,,,.,,,,., 39 Figure 42 ........ ,,., .. , .. ,. 39 Figure 43 ................ ,,, 40 fi·gure 44 ........... ,,,,,.,,, 40 viii PAGE Fi gu re 4 5 • • • • • • • • • • • • -• ... • • • • • 41 Figure 46 . 41 Figure 47 • • • • • • t • • • • • • • • • • • • 41 Figure 48 • • . • • • • • • • • . • • . • • • 42 Figure 49 ...•••••.•• , .•••• , • 42 Figure 50 .. .. ' 43 figure 51 . ' . 44 Figure 52 • • t • • • • • • ' • • • • • • • • • 44 Figure 53 . ' . 45 Figure 54 ., ...... ,., .. ,. ' . 45 46 Figure 55 . ' • • • • • ' • • • • • 4t • Figure 56 46 .... ··········~·· 47 Figure 57 . ~ . ' . Figure 58 . ' . ' . 47 Figure 59 ............ ,.,, ... 48 Figure 60 ........ , ....... , .. 49 49 Figure 61 . ' . ' . Figure 62 .......... ,,., .. , .. , 50 Figure 63 . ' . ' ' . 50 figure 64 ................ ,. 51 Figure 65 .......... ,,,,,,, ... 52 53 Figure 66 .... , ··············· Figure 67 . , . ,. ' ' , .. , .. ,, 53 IX PAGE Jewelry objects by Students • • 61 Figure 68 . • • • 61 Figure 69 .. 61 Figure 70 62 Figure.71 . 62 Figure 72 62 Figure 73 • • .. 62 Figure 74 . • • • • 63 Figure 75 . • • ... 63 Figure 76 • . .. • 64 Figure.77 • • • . 64 Figure 78 • • • 64 Figure 79 • . • • 65 Figure 80 • • • • • 65 Figure 81 • • • • • 65 Figure 82 .. • • • • • 65 Figure 83 • • • • • • • 66 Figure 84 . • • • 66 Figure 85 • • • • 66 Figure 86 . • • 66 Figure 87 • • • ... 66 Figure 88 • • • • 66 x PAGE Figure 89 67 Figure 90 67 Fi9ure 91 ••• • 67 Figure 92 • 67 Figure 93 68 Figure 94 • 69 Figure 95 • 69 CHAPTER I INTRO DU CTI ON Throughout history man has created objects to adorn and decorate himself. Some had mystic and religious motivations, other symbolic meanings, and still others were purely decor­ ative ornamentation. For some time this candidate has had an interest in the application of both sculptural and environmental form to jewelry making. In exploring this interest, a series of jewelry objects to be worn, as well as flatware and holloware, were started, utilizing designs created with inspirations from the natural environment. The original ideas have been modified in accordance with
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