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Contents

Page Understand your course 3

Unit outcomes 4

Prep: Learn design vocabulary 5

Task 1: Design Concepts 6

Task 2: Jewellery Design 8

Prep: Art Nouveau Jewellery 11

Task 3: Art Nouveau 13

Advanced Study 14 Prep: Introducing René Jules Lalique (designer 1) 16

Task 4: René Jules Lalique 18

Prep: Lalique Dragonfly Woman 19

Task 5: Analyse Lalique’s Dragonfly Woman 21

Prep: Introducing Anne Finlay (designer 2) 22 Task 6: Anne Finlay 23

Prep: Finlay’s Brooch Clip 24

Task 7: Analyse Finlay’s Brooch Clip 25

Prep: Lalique’s Serpents 26

Task 8: Analyse Lalique’s Serpents 28

Prep: Finlay’s Red Swirl Brooch 29

Task 9: Analyse Finlay’s Red Swirl Brooch 30

Task 10: Compare Designers at a glance 30

Task 11: Designer Influence 32 Answers: Task 1, Task 2, Task 3, Task 4, Task 6 From 33

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UNDERSTAND YOUR COURSE

Let’s take a look at your

National 5 Art and Design Course Structure below:

Units: Design Activity

Expressive Activity

Course Assessment: Portfolio

Question Paper

Units Design Activity Pass/Fail

Expressive Activity Pass/Fail

Course Assessment Portfolio Section A Expressive Folio 80marks

Section B Design 80marks

160marks

Question Paper Section 1 Expressive Art Studies

20 marks

Section 2 Design Studies

20 marks

40 marks

Total marks 200

Here is the order you will complete the course:

This booklet deals with the Unit called Design Activity

Course assessment

Question Paper (Written Exam)

Course assessment

Unit: Expressive Activity

Unit: Design Activity

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UNIT OUTCOMES

Outcome 1 Analyse the factors influencing designers and design practice by:

1.1 Describing how designers use design materials, techniques and/or technology in their work.

1.2 Describing the impact of the designers’ creative choices and design decisions

1.3 Analysing the impact of social and cultural influences on designers and their work.

Outcome 2 Produce creative design ideas and development work for a design brief by:

2.1 Identifying the design opportunities, issues and constraints in the brief.

2.2 Producing a variety of relevant investigative and market research in response to the design brief

2.3 Using a variety of materials, techniques and/or technology for creative effect

2.4 Developing and refining experimental design ideas, taking account of the design brief requirements

2.5 Using design based problem solving, planning and evaluation skills in the creative process

In order to pass the Design Activity (Unit), there are TWO OUTCOMES you must meet:

The TASKS in this book will help you to achieve all of Outcome 1 above and therefore meet the standards required for passing the Unit. Your practical work will see you achieve Outcome 2.

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Preparation

for Task 4,5,6,7:

LEARN DESIGN VOCABULARY

Read the following information to help you prepare for talking about the work of designers

ANALYSE To Analyse means to break down material into its component parts; to identify parts and analyse the relationships between parts; to recognise the organizational principles involved. During your Design Activity (Unit), you will critically analyse works by designers in order to evaluate the effectiveness of the design product. Analysing is an intellectual skill and is more demanding than comprehension (reading) and application (applying knowledge). In order to Analyse the work of designers, we must first be able to use design language specific to the area of design we are studying. Different design areas such as Graphic Design, Product Design, Fashion and Textile Design, and Jewellery Design can each have their own set of design terminology. You must learn and understand a set of design concepts that will enable you analyse the work of ANY design. In Art and Design these design concepts are:

DESIGN CONCEPTS

Function

Form and Aesthetics

Target Audience/Client

Ergonomics

Materials

Safety

Economics

Style/Fashion You will learn these design concepts and show understanding of them by attempting Task 1.

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TASK 1: Design Concepts

Use the words in the table to fill in the blanks below.

DESIGN CONCEPTS

functional analysis useless function Function people human product look aesthetically material success shape used inexpensive Client cost health style factor

Fashion visual elements societies *Note you can only use each word above once.

Function

_____________(8) is about what a design is supposed to do. All design has

something to do with function. You must decide what the design _____________(7)

you are studying is meant to be doing, and evaluate how well it performs its

function.

Issues that will arise in an _____________(8) of a design’s function will be:

Form and Aesthetics

Form is about the _________(5) and appearance of a product. Designs are not only

made for a purpose but can also look __________________(13) pleasing.

One of the most famous design principles of the twentieth century has been, ‘form

follows function”. This principle means that the shape or appearance of an object

should match its ______________(8) with no unnecessary decoration.

Think of a range of simple products designed to open bottles: they are usually

designed only to be ________________(10) - there is no decoration, nothing added

to the product that is not necessary for its use. In this case we would say that form

follows function, the____________(4) of the product is a result of the use it is made

for. Usually the product is mass-produced using __________________(11) material.

Where form does not follow function the product will be decorative to some degree.

In this case a product is designed to appeal to a person’s taste. It is selected not only

to do a job but also because the person likes the look of it.

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Target audience refers to the ___________(6) the product is designed to appeal to

and be _________(4) by. _________(6) refers to the person, group or company who

want a particular product to be designed, to perform a particular task.

Ergonomics

Ergonomics is about ensuring that products are designed to ‘fit’ _________(5)

beings. Products, that are too small, large, heavy, narrow etc to make them

effective, are ____________(7).

Materials

Choosing the right _____________(8) or material(s) and process(es) can have a

considerable effect on the ____________(7) of a product in its function, economic

viability or its aesthetic appeal.

Safety

Design solutions that perform a function effectively but create __________(6) and

safety problems are also unsatisfactory.

Economics

The ________(4) of a product would depend on factors such as the method of

manufacture. The material will also affect the cost as well as the look. How much a

product costs will usually be a major ___________(6) in its success.

Style/Fashion

While the function of a product like a chair can remain much the same throughout

time, the way that _____________(9) see or appreciate them can change quite

dramatically. ___________(7) refers to what is currently the popular ________(5) at

any given time. It is linked closely to aesthetics.

Whether the design you study conforms to the above principle or not, does not

prevent you from applying similar criteria. From your practical work you will be

aware that the grammar of all art and design is based on the ___________(6)

______________(8). Rarely does any design rely totally on any single of these

elements or a use the complete set equally well, but combinations of visual elements

with varying degrees of importance are present in every design solution.

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TASK 2: Jewellery Design

Use the words in the table to fill in the blanks below.

Jewellery Design

animals carve value pendants

jewellery processes talismans fire

adornment wearable engraving shells

wearing antique occasion women

taste contemporary designers workmanship

recycled diamonds jewellery materials

metals rules religious techniques

designing impressed decorative recent

inexpensively making wealth status

poor decorative style size

symbolic production personality body

*Note you can only use each word above once.

Jewellery Design

Jewellery Design is one of many design areas and will be the area of design your

practical work is based on.

The wearing of _______________(9) has been a constant feature in mankind’s

existence from earliest times. Before people were able to shape metal or

________(5) stone they adorned their bodies using simple beads made from seeds,

berries and _________(6).

By 30,000 BC, huntsmen were wearing ____________(8) made from the bones and

teeth of _____________(7), perhaps intended as ______________(9) for successful

hunting as well as for decoration.

Beads remain the most common of all artefacts found in early civilisations. This form

of jewellery satisfied mankind’s wish for self ______________(9) and during the next

20,000 years there were few further developments.

The next breakthrough came when people learned to work with __________(6).

Gold was the principle metal used for jewellery in the ancient world, prized for its

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rarity, its __________(5), beauty and malleability, and revered for its untarnishing

gleam and its ability to withstand __________(4).

Most of the fundamental _________________(9) of jewellery making were known

and used in early times; carving, ________________(9), chasing, chiselling, repousse

(where the pattern is ________________(9) from the back using blunt punches),

hammering, drawing wire, finishing, polishing and casting.

Jewellery has performed a variety of roles; talisman (bones and teeth), magical and

____________(9) (Egyptian scarab), symbolic (wedding ring), commemorative

(birthday), and decorative.

In more __________(6) times jewellery designers have questioned the validity of

past values, traditions, and _______________(10) in the ________________(9) and

making of jewellery. This questioning has not led to the discarding of earlier

principles but in the broadening of them.

There are no longer any hard and fast _________(5) or restrictions about what is or

isn’t jewellery or what it can or can’t be made of. Probably the most generally

agreed guideline is that the jewellery should be ______________(8).

All types of jewellery are worn today, from the ______________(7) to the

contemporary. While the ________________(10) qualities of the piece are likely to

reflect the age in which it was constructed and made, the choice usually rests on the

fact that it goes well with what one is _____________(7), that it suits the

_______________(8) or more simply because it is pleasing.

Today, classical, _________________(12) and experimental jewellery are worn side

by side. One individual may at the same time wear an old family ring, and an avant-

garde neck ornament made out of _______________(8) material! Each item of

jewellery has a valid place in jewellery today.

Jewellery is not the exclusive domain of ____________(5). Throughout the ages men

have worn various forms of jewellery although this has waned from time to time

depending on the __________(5) and fashion of the day.

Jewellery today is made from a wide variety of _________________(9) ranging from

traditional precious materials such as gold, silver, pearl, platinum and

__________________(8), to non-precious materials such as glass beads, pre-

coloured plastic, aluminium, tin, and found objects.

Precious materials were and still are, traditionally seen as an investment and an

unmistakeable sign of _____________(6) and power.

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The use of non-precious materials generally means that jewellery can be produced

commercially and so ___________________________(13). It should be noted

however, that jewellery _________________(9) who use non-precious materials

often do so as a backlash against the _____________(6) associations connected with

the use of precious materials.

The price of non-precious material ____________________(9) does not necessarily

reflect the price of the materials. Good ________________________(11) is as much

a feature of non-precious materials as it is of precious materials. All design can be

undermined by ____________(4) workmanship.

There are various methods of jewellery ____________________(10), ranging from

the mass production of jewellery where the commercial designer is not involved in

the ______________(6) of the piece to the unique one-of-a-kind piece, where the

designer produces it her/himself.

Jewellery has always been a mark of personal _____________(5). Whether it is

worn for decoration or for its ___________________(8) nature, whether it is mass

produced, inexpensive, a one-of-a-kind piece, and expensive, simple everyday wear

or even theatrical, jewellery is a _________________(10) art, a form of body

adornment, and a source of pleasure to the wearer. It is designed for the

_________(4), be it fingers, arms, legs, neck, nose etc; there is no boundary for the

placing, __________(4), shape and wearing of jewellery.

Decorative or symbolic, jewellery, like anything else a person chooses to wear, tells

us about that person’s taste, ______________________(11), or even their beliefs

without having to say a word.

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Preparation for Task 3:

ART NOUVEAU JEWELLERY Analyse the impact of social and cultural influences on designers and

their work (1.3)

Read the following information on Art Nouveau Jewellery

Origins The Art Nouveau period began in the 1880’s and finally ended in 1915. However the

most important period when Art Nouveau was at its peak was between 1890 and 1905. It influenced all of the decorative arts from architecture, furniture, jewellery to ceramics and graphics.

The "Art Nouveau" ("new art") movement was one of the first departures from classical art and design, towards a new modernism. This avant-garde movement occurred during what was known in France as the "La Belle Époque" period, or "beautiful era" of the late 19th and early 20th centuries.

Art Nouveau grew out of the “Arts and Crafts movement” of the late Victorian era. The Arts and Crafts movement was founded in 1861 by English artist William Morris. Some of the floral motifs used in the Art Nouveau style in particular, were

borrowed.

Ideals Art Nouveau designers believed that all the arts should work in harmony to create a

"total work of art," or Gesamtkunstwerk: buildings, furniture, textiles, clothes, and jewellery all conformed to the principles of Art Nouveau.

Art Nouveau artists and designers were much more willing to embrace the use of new materials and mass production than their Arts and Crafts counterparts. While they also drew on the past, they shared an enthusiasm for the future that set them apart from the preceding movement.

For the previous two centuries, the emphasis in fine jewellery had been on gemstones, particularly on the diamond, and the jeweller or goldsmith had been principally concerned with providing settings for their advantage. With Art Nouveau, a different type of jewellery emerged, motivated by the artist-designer rather than the jeweller as setter of precious stones.

Style Art Nouveau is usually identified by the use of 'whiplash', or undulating lines, in

its designs the 'whiplash' line. This is a decorative line that seems to have a life of its own. It writhes and coils with dynamic force, as if trying to break free of the forces holding it in place. It is everywhere in the early Art Nouveau works. Architectural ironwork, decorative borders, textile patterns and the flowing hair of the poster girls all seethe with an excess of feverish energy.

Inspiration Exotic floral motifs with animals, birds, butterflies, dragonflies, peacock feathers and

marsh plants were combined with graceful feminine imagery or fairies, mermaids and nymphs, complete with their long manes of twisting hair.

The widespread interest in Japanese art, and the more specialised enthusiasm for Japanese metalworking skills fostered new themes and approaches to design. Japanese art also inspired some designers and architects who used grid structures

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and patterns found in room partitions. The Scottish architect Charles Rennie Macintosh was one. There are also references to Celtic Art, Arabian pattern and even Greek decoration.

Design motifs of the Art Nouveau movement focused heavily on the themes of nature, fantasy, and the female form, with sensual flowing shapes that simulated the organic growth that would be reminiscent of the primeval Garden of Eden.

Materials Because materials were not as important as design and craftsmanship, a

number of varied gemstones were popular. Amber, o pals, moonstones, citrines, and peridots were used along with other interesting materials like horn, copper, tortoise-shell, ivory, carved glass, shells, pearls, and gemstones cut in cabachon

Enamelling or plique à jour ("open to light") were popular jewellery techniques during the Art Nouveau period, and the "craft" of jewellery design and metal-working was reborn in the elaborate and imaginative creations of the time.

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Task 3: Art Nouveau

Use the information above to answer the following questions on Art Nouveau Jewellery. Use full sentences.

1. When and where did the Art Nouveau period begin?

2. What is the English translation of the French term Art Nouveau?

3. What came before the Art Nouveau movement?

4. Can you name someone who provided inspiration for some Art

Nouveau designs AND which movement he founded?

5. Can you name 5 design areas that conformed to the principles of Art

Nouveau?

6. What was the emphasis in fine jewellery previous to Art Nouveau

AND what was different about Art Nouveau?

7. How can you tell if a design is typically of the Art Nouveau style?

8. Can you give two examples of where/how the style was used?

9. Can you name six sources of inspiration for the Art Nouveau style?

10. Can you name three themes typical of Art Nouveau?

11. What was more important than materials in Art Nouveau designs?

12. Can you give four examples of gemstones used at the time?

13. Can you name another six interesting materials that were used?

14. What two jewellery techniques were popular at the time of Art

Nouveau?

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Advanced Study

Read over the following Jewellery terms to gain a better understanding of materials and techniques used in jewellery design.

Glossary of Jewellery Terms • Acrylic is hard clear plastic

• Amulet - something worn to protect a person against disease, misfortune or

witchcraft.

• Bakelite- first synthetic plastic invented in 1907-09. Used a lot in jewellery of the

1920’s and 1930’s.

• Basse-taille in which an engraved design in the metal is covered with, but still visible

through, a transparent enamel

• Cameo- jewel decorated with a carved design in low relief (slightly raised from the

surface). Usually the design is a profile of a person (the side of their head).

• Carat- this is the term used to describe the quality of the gold in a particular item.

The higher the carat the more expensive the item is, but it is also softer and can be

damaged. Most rings are either 9ct or 18 ct as we use our hands all the time.

• Casting has always been the most obvious way of making shaped articles and is

most often an essential part of the metal ware production process before

subsequent forming. In this process molten metal is poured into a mould and

allowed to cool and solidify. Good quality sand and wax were used to create moulds

before 1820 but since then die casting (forcing molten metal under high pressure

into the cavities of steel moulds) and other continuous casting techniques have been

developed to give a wider range of precision production techniques. A lot of

jewellery is made using this method.

• Champlevé. In this technique, portions of the surface of the metal are cut away,

creating troughs and hollows, separated by raised lines of metal that form the

outline of the design. The hollows are then filled in with coloured enamels.

• Cloisonne. In this technique, thin strips or wires of copper are soldered/ fastened

on to the base metal in order to produce a closed cell (cloison) design. These cells

are then filled with enamel colours and fired. Each colour stays within the enclosed

cell and does not diffuse into the other spaces. Once the piece is completed, the

cloisons are only visible as a fine network within the enamel

• Costume jewellery -this is jewellery that is made from non-precious materials. It is

often made to look like expensive jewellery but is not expensive to buy.

cont…

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• Diamante- non-precious stones that have the look of diamonds. Often found in

costume jewellery.

• Die Cutting is a manufacturing process used to generate multiples of the one shape

form a material such as wood, plastic, metal or fabric. The die shapes are

sometimes called “blanks” .

• Enamel opaque (can’t see through it) substance similar to glass. Used to decorate

the surface of metal.

• Fibula- a type of brooch similar to a safety pin.

• Hallmark- stamp on gold or silver which guarantees the metal’s purity.

• Lapidary- related to the cutting, polishing and engraving of gems and stones.

• Onyx is a mineral.

• Nylon is a thermoplastic, silky material, first used commercially in a nylon-bristled

toothbrush (1938). Nylon fibres are used in many applications, including fabrics,

bridal veils, carpets, musical strings, and rope

• Paste-glass made to look like gemstones.

• Plique-a-jour in which the backing metal is removed from the translucent enamel

after firing, resulting in a stained glass effect. The transparent enamel is suspended

without backing in a metal frame, much like stained glass.

• Precious metals-these are platinum, gold and silver. A new metal available now is

called Palladium which looks like platinum. Copper and bronzes where also used in

the past .i.e. medieval times. White gold looks like platinum but is 18ct gold with a

radium coating. It is much cheaper than platinum. At present gold is very expensive

to buy.

• PVC is an abbreviation of Polyvinyl chloride, is the third-most widely-produced

plastic, after polyethylene and polypropylene.

• Repousse-back of metal punched to create a relief (raised) design on the front.

• Setting- the space where a stone (diamond, gemstones…) would be positioned or

held.

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Describe the impact of the designer’s creative choices and design decisions (1.2)

Analyse the impact of social and cultural influences on designers and their work (1.3)

Read the following information about René Lalique

Introducing Designer 1:

René Jules Lalique (1860 – 1945)

Key words - Organic Naturalistic Art Nouveau Pliqué à Jour

Glass, Horn and Enamel Undulating French

René Jules Lalique was born in Ay, a small village in the French province of

Champagne on April 6, 1860, and died May 5, 1945.

As a child he travelled to Ay for summer holidays. These trips to Ay

influenced Lalique's later obsession with nature and organic forms.

Lalique had an extraordinary imagination, artistic creativity and exceptional

craftsmanship skills. In his lifetime, he created multifaceted work

representative of the draughtsman, goldsmith, jeweller and glass artist:

displaying great originality and always with great technical ability. He

designed many different things; perfume bottles, vases, jewellery,

chandeliers, clocks and automobile hood ornaments.

At 12 whilst at school at the Lycée Turgot in Paris, he won his first award for

drawing. At fourteen Lalique was made apprentice to the goldsmith Louis

Aucoc in Paris whilst enrolled at the École des Arts Decoratifs in Paris. He

also spent two years at the Sydenham Art college in England.

When he returned from England in 1880, he worked as a freelance artist,

designing pieces of jewellery for French jewellers, Cartier, Boucheron and

others. At the same time, he completed his education at the École Bernard

Palissy where he studied sculpture.

In 1885 he opened his own business and designed and made his own

jewellery and other glass pieces. The firm he founded is still active today.

http://en.wikipedia.org/wiki/Ay,_Marne

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By 1890, Lalique was recognized as one of France's most important Art

Nouveau jewellery designers. Between 1890 and 1895 the artist had

already set up in is well equipped workshop in rue Thérèse, near the Opera

in Paris. He was dedicated to multiple experiments with new materials,

textures and colours. He also employed embroidery techniques on metal

and applied enamels to a variety of metallic surfaces. This experimentation

led him to the creation of something really new after his initial stage in the

profession when he followed the rules of traditional jewellery.

Traditional French jewellery focused on expensive metals and showcasing

precious stones. René Lalique was revolutionary as he felt his work should be

valued for its design and craftsmanship, rather than for the value of the

materials used. He rebelled against the rise of traditional jewellery, which

had more or less relied on diamond and precious metals, and which was

often unimaginative in its design.

In 1900 he exhibited at the Exposition Universelle Industriel of Paris, where

he was heralded as the finest and most innovative jewellery designer of his

time.

Lalique was inspired by nature; insects, birds, flowers, trees and the female

form. His designs were organic, undulating, natural and typically Art

Nouveau.

René Lalique put great emphasis on the subtle effects of materials such as

glass, horn and enamel.

Lalique's work came at a time of intense artistic activity in France, which can

only be compared with the Renaissance period in Italy. There was a very

special kind of creative energy at work, which left Paris almost breathless,

carried along on a wave of artistic feats and technical innovations.

Credited with introducing horn into the jewellery repertoire, he dazzled the

public with a collection of ornamental combs made of moulded and sculpted

horn.

Lalique was technically talented. He was an expert at a technique known as

‘pliqué à jour’ - the use of transparent enamel held in fine metal cells; it is a

bit like honey in a honeycomb.

Lalique’s combination of both precious and non-precious materials in

jewellery making became acceptable for jewellery design. It was considered

revolutionary at the time but Lalique had reinvented jewellery.

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Task 4: René Jules Lalique

Use the information above to answer the following questions on René Jules Lalique. Use full sentences please.

1. Where was the designer born (include dates)

2. Education and training - where/how was the designer educated/trained?

3. What did they design? - Lalique has created a range of designs. Name at least four examples.

4. Influences/Style - What influenced Lalique from an early age?

5. Materials and Techniques

a) What design materials did Lalique use? b) What design techniques/technology did Lalique use?

6. Inspiration. What was Lalique inspired by?

7. What makes Lalique an important/unique designer?

8. What were the social and cultural influences on this designer at the time?

Please refer to the designer by their second name: you do not know them personally!

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Describe how designers use design materials, techniques and/or technology in their work (1.1)

Read the following information on Dragonfly Woman (1897-98)

René Jules Lalique Dragonfly Woman corsage ornament (1897-98)

Despite being almost a foot long, this remarkable corsage ornament is considered by many to be Lalique’s masterwork and was purchased by the wealthy collector Calouste

Gulbenkian, whose wife was the only person ever to have worn it. It would have moved with her as the long spine articulated and the delicate gold wings are hinged at several points to flutter. This means that they won’t be obtrusive to the wearer (won’t protrude/stick out). This piece has a remarkable degree of naturalism because of this, and because of the piece’s finely observed detail. The piece features a dragonfly with female torso emerging from the jaws of a chimera (part serpent/part lion) with gryphon claws. This femme fatale or dangerous female was a typical theme of the Art Nouveau style. Photo SDoak2014

Materials: Precious (gold and diamonds), semi-precious (chrysoprase and moonstones) and non-precious (enamel) materials. Size: H. 23 x W. 26.5cm (9 x 103/8 inches) Produced in: c.1897-1898. Purchased by Calouste Gulbenkian Foundation, Lisbon, Portugal in 1903.

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Techniques - For jewellers, an insect’s diaphanous wings were a perfect use for the plique-à- jour (‘light of day’/ ‘open to light’) enameling technique. The transparent enamel was suspended without backing in a fine metal frame, much like stained glass, or like honey in a honeycomb. Lalique was known for his expert, technical skill in carrying out this difficult technique and uses it to create the dragonfly’s wings in this design. Materials - Traditional French Jewellery focused on expensive metals and showcased precious stones. Lalique however felt his work should make a statement and be valued for its design and craftsmanship, rather than for the value of the materials used. This is why Lalique was revolutionary: he put great emphasis on the subtle effects of materials such as glass, horn and enamel.

Photo SDoak2014 Specifically, he is credited with introducing horn into the jewellery repertoire and he dazzled the public with a collection of ornamental combs made of moulded and sculpted horn. One of Lalique’s most noteworthy clients was the very famous dramatic stage actress Sarah Bernhardt who was a great admirer of his work. Inspiration - By 1890, Lalique was recognized as one of France’s most important Art Nouveau jewellery designers. He was born in Ay, a small village in France on April 6th, 1860, and died May 5, 1945. As a child he traveled to Ay for Summer Holidays. These trips influenced Lalique’s obsession with nature and organic forms. Lalique was inspired by nature; insects, birds, reptiles, flowers, trees and the female form. His designs were organic, undulating (moving with a smooth wave-like motion), natural and typically Art Nouveau. This style was prominent not only in his jewellery but also in his designs of perfume bottles, vases, chandeliers, clocks and automobile hood ornaments. Art Nouveau Style - Art Nouveau is usually identified by the use of ‘whiplash’, or undulating lines, in its design the ‘whiplash line’. This is a decorative line that seems to have a life of its own. It writhes and coils with dynamic force, as if trying to break free of the forces holding it in place. It is everywhere in the early art Nouveau works. Architectural ironwork, decorative borders, textile patterns and the flowing hair of the poster girls all seethe with an excess of feverish energy. Art Nouveau designers had a set of ideals: they believed that all the arts should work in harmony to create a “total work of art” or Gesamtkunstwerk: buildings, furniture, textiles, clothes and jewellery all conformed to the Art Nouveau style. The inspiration for Art Nouveau was typically exotic floral motifs (recurrent theme/idea) with animals, birds, butterflies, dragonflies, peacock feathers and marsh plants combined with graceful feminine imagery or fairies, mermaids and nymphs. There was also an interest in Japanese Art and Japanese metalworking skills, which allowed for new themes and approaches to design. Design motifs would focus on the themes of nature, fantasy and female form, with sensual flowing shapes that simulated the organic growth of the Garden of Eden. Because materials were not as important as design and craftsmanship, a number of varied gemstones were popular such as amber, opals, moonstones, citrines along with other interesting materials such as horn, tortoise-shell, ivory, carved glass, shells, pearls and gemstones cut in cabochon (polished round/oval surface).

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Task 5: Analyse René Lalique’s Dragonfly Woman corsage ornament

Use the Design Concepts to describe how designers use design materials, techniques and/or technology in their work (1.1)

1. Draw out Lalique’s design and add colour. 2. Annotate this design by using the design concepts as headings.

Below is an example of how this could be laid out.

Designer’s Name | Title | Date

Function/Purpose Form and Aesthetics including: line, colour, pattern, texture, shape, form, size.

Economics


Ergonomics

Style/Fashion

Materials

Safety

My thoughts: When I first saw this

piece I thought….

This piece reminds me of /looks like….

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Describe the impact of the designer’s creative choices and design decisions (1.2)

Analyse the impact of social and cultural influences on designers and their work (1.3)

Read the following information about Anne Finlay

Introducing Designer 2:

Anne Finlay (1953-) o Finlay was born in Wick, Caithness, Scotland in 1953 and studied at Gray’s School of

Art, Aberdeen from 1971–75, gaining a Post Graduate award in 1976.

o From being a highly acclaimed student Anne Finlay has developed into a highly

successful designer with her works selling throughout Britain and Europe earning

her many awards.

o Her designs are principally earrings, brooches, neckpieces, cufflinks and clocks and

her influences include artists and designers.

o She admires the work of Matisse, Miro, Klee, Philippe Starke and Issey Miyake.

o Anne is inspired by a contrasting range of stimulus from contemporary European

furniture to Art Deco products.

o Anne’s primary materials are acrylic and laminates (plastics), sheet metals with wire,

rod, tubes and cable.

o The materials are chosen for their colour, surface finish, texture or functional role.

o Decorative geometric patterns are screen printed onto PVC sheet which is then die

cut.

o Thicker materials are cut by machine, laser or by hand and assembly involves a

range of basic jewellery techniques. Hand painting and gold leaf are used to

decorate many of the pieces.

o She wishes to make affordable, accessible jewellery and, at the same time, offer the

wearer the opportunity to make an individual statement.

o Her pieces are designed around geometric themes, with construction, colour and

pattern playing an important part.

o Overall, they have a simplicity and structural order combined with a sense of

lightness, liveliness and movement

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Task 6: Anne Finlay

Use the information above to answer the following questions on Anne Finlay. Use full sentences please.

1. Where was the designer born (include dates)

2. Education and training - where/how was the designer educated/trained?

3. What did they design? - Name at least four examples.

4. Influences/Style - What influenced this designer?


a) What design materials does Finlay use? b) What design techniques/technology does Finlay use?

6. Inspiration. What is Finlay inspired by?

7. What makes Finlay an important/unique designer?

8. What were the social and cultural influences on this designer at the time?

Please refer to the designer by their second name: you do not know them personally!

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Read the following information on Brooch Clip

Anne Finlay | Brooch Clip (1988)

This brooch clip, made from decorative laminates was made by Finlay in 1988. It is simple

and modern in shape and material. The black brooch clip is shaped like a paper clip has a

raised white circle at one end and a raised speckled circle at the other. The surface is smooth

and glossy achieved from the plastics Finlay likes to use. It is curved and smooth edged

making it look modern.

It is bold black which is very formal and could be worn with many different outfits. The

shape is geometric, a very structured and precise simple spiral that has been elongated. The

wound line is thick giving the piece a chunky flat feel.

The flatness and the bold black make the brooch look like a piece of graphics.

The two circles at either end are the only textured, detailed part of the brooch, marking the

start and end of the spiral. They make the thick black line appear 3D like tubing that you can

see inside.

During the 1980s the Scottish Development Agency purchased a number of hand-crafted

items for its Scottish Crafts Collection. The aim of the collection was to inform the public of

craft production in Scotland through touring exhibitions and education programmes. When

the Scottish Craft Council was wound up, the collection was transferred to the National

Museums of Scotland.

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Task 7: Analyse Anne Finlay’s Brooch Clip (1988)


1. Draw out Finlay’s design and add colour.

2. Annotate this design by using the design

concepts as headings.

Please refer to Task 5 to see how this could be laid out

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Read the following information on Serpents corsage ornament.

René Jules Lalique | Serpents corsage ornament (c.1898-99)

This piece was made before Lalique’s turn to mass production of glass and remains one of his most amazing design ideas. The Serpents creation is classified as a pectoral instead of a brooch due to its amazing size of 21cm long. The serpent is a recurring theme in the work of the artist-designer and features on brooches, pendants, vases, and decorative boxes etc. Serpents corsage ornament is a jewel of spectacular dimensions. It is made up of nine serpents entwined to form a knot from which the articulated bodies of the other eight fall in

Materials: Precious (gold), and non-precious (enamel) materials. Size: H. 21 x W 14.3 cm Produced in: c.1898-1899. Purchased by Calouste Gulbenkian Foundation, Lisbon, Portugal in 1908.

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a cascade, the ninth rising from the centre. The reptiles, in the attack position, have their jaws open from which strings of pearls could hang. This was apparently the case with the piece exhibited at the 1900 Exposition Universelle, (the whereabouts of which are unknown). The present piece is thus probably the only one in existence and Calouste Gulbenkian acquired it directly from the artist in 1908.

Techniques Lalique was known for his expert, technical skill in carrying out the difficult plique-à-jour (‘light of day’/ ‘open to light’) enameling technique. He uses it to create the serpent’s scales in this design. Materials Traditional French Jewellery focused on expensive metals and showcased precious stones. Lalique however felt his work should make a statement and be valued for its design and craftsmanship, rather than for the value of the materials used. This is why Lalique was revolutionary: he put great emphasis on the subtle effects of materials such as glass, horn and enamel. Serpents corsage ornament is made in chased and enameled gold, and is particularly striking for its opalescent and plique-à-jour enamels.

Inspiration, Style and Influence Serpents have played a role in jewellery from ancient times until today and throughout the cultures of Europe, the Americas, Asia and Africa. The 19th Century was a high point for jewellery serpents. European nobility wore them in brooches, bangles, bracelets, necklaces and rings. Reptiles were a source of inspiration to which Lalique returned thoughout his life, not only for Jewellery but also for his glass, bronzes etc. At the time, French jeweller Georges Fouquet was also producing wonderful snake pieces. The legendary actress and diva Sarah Bernhardt was also a fan of snake jewellery, and was a client of both Fouquet and Lalique. Lalique was inspired by nature; insects, birds, reptiles, flowers, trees and the female form. His designs were organic, undulating (moving with a smooth wave-like motion), natural and typically Art Nouveau. This style was prominent not only in his jewellery but also in his designs of perfume bottles, vases, chandeliers, clocks and automobile hood ornaments. By 1890, Lalique was recognized as one of France’s most important Art Nouveau jewellery designers. He was born in Ay, a small village in France on April 6th, 1860, and died May 5, 1945. As a child he traveled to Ay for Summer Holidays. These trips influenced Lalique’s obsession with nature and organic forms.

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Task 8: Analyse René Lalique’s Serpents corsage ornament (1898-1899) Use the Design Concepts to describe how designers use design materials, techniques and/or technology in their work (1.1)

1. Draw out Lalique’s design and add colour.

2. Annotate this design by using the design concepts as headings.


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Read the following information on Red Swirl Brooch

Anne Finlay | Red Swirl Brooch (2011)

Red Swirl Brooch, 2011, Corrugated Cardboard, W: 8cm H: 6.5cm D: 1cm £90

Finlay is able to transform the most rustic form of paper into something sophisticated. She

creates fine sculptural brooches from corrugated cardboard. Cardboard jewellery often

looks homespun, but Finlay’s pieces have flair due to their geometric patterns, rich colours,

and modern lines.

Anne returned to the studio after a long break and was ready to try something completely new after previously working with plastics. She enjoys the many possibilities paper provides, its flexibility, and the slowness of the process as she glues and shapes the many layers of each piece. ‘Throughout my career I have used non-precious materials, geometric shapes, colour and pattern. In the past I have used a variety of materials such as plastics, aluminium, wood, textiles, nylon and rubber.’

cont…

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‘Recently I had a long break from work. When I returned to my studio I wanted a completely fresh start and a new direction. Paper answered this need for a change and it provided the inspiration I was seeking. Paper is a beautiful, natural material with limitless possibilities for creativity. Its limited technical constraints have opened up a new personal sense of freedom in terms of both design and making.’ ‘Plus I enjoy the simple, slow handmade processes that are involved in working with it.’ ‘In this collection I layer strips of corrugated cardboard with PVA to form bold, 3-dimensional blocks of colour and pattern. The flexible strips lend themselves to the exploration of curves that underwrites this group of jewellery.’

Task 9: Analyse Anne Finlay’s Red Swirl Brooch (2011).


1. Draw out Finlay’s design and add colour.

2. Annotate this design by using the design concepts as headings.


Task 10: Compare designers at a glance


1. Copy the layout of the comparison table on the following page.

2. Use your knowledge of René Lalique and Anne Finlay to complete each section of the table.

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1st designer Comparison Table 2nd designer

Name

Function/ Purpose

Form and Aesthetics

Line

Shape/Form

Pattern

Colour

Texture

Target Market

Size/Ergonomics

Materials

Safety

Economics

Fashion/Style

Art Movement

Inspiration/

Influences

Working Methods/

Techniques

Why they are

important designers

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Task 11: Designer Influence Which designer influences your own work? Use the Design Concepts to describe how designers use design materials, techniques and/or technology in their work (1.1)

Name a design/designer who inspires you and relates to your area of design. Answer the questions below using full sentences. 1. What is the name/title of the design 2. When was it made? 3. Who is the designer? 4. Why does this design appeal to you? 5. How do you think it will influence your own work? *Note: This could be any of the designers studied in class or one you have researched yourself and relates to your work.

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Task Answers Task 1 | Page 6

DESIGN CONCEPTS

Function

Function is about what a design is supposed to do. All design has something to do with function. You must decide what the

design product you are studying is meant to be doing, and evaluate how well it performs its function.

Issues that will arise in an analysis of a design’s function will be:

Form and Aesthetics

Form is about the shape and appearance of a product. Designs are not only made for a purpose but can also look aesthetically

pleasing.

One of the most famous design principles of the twentieth century has been, ‘form follows function”. This principle means

that the shape or appearance of an object should match its function with no unnecessary decoration.

Think of a range of simple products designed to open bottles: they are usually designed only to be functional - there is no

decoration, nothing added to the product that is not necessary for its use. In this case we would say that form follows function,

the look of the product is a result of the use it is made for. Usually the product is mass-produced using inexpensive metal.

Where form does not follow function the product will be decorative to some degree. In this case a product is designed to

appeal to a person’s taste. It is selected not only to do a job but also because the person likes the look of it.


Target audience refers to the people the product is designed to appeal to and be used by. Client refers to the person, group or

company who want a particular product to be designed, to perform a particular task.

Ergonomics

Ensuring that products are designed to ‘fit’ human beings. Products, that are too small, large, heavy, narrow etc to make them

effective, are useless.

Materials

Choosing the right material or material(s) and process(es) can have a considerable effect on the success of a product in its

function, economic viability or its aesthetic appeal.

Safety

Design solutions that perform a function effectively but create health and safety problems are also unsatisfactory.

Economics

The cost of a product would depend on factors such as the method of manufacture. The material will also affect the cost as

well as the look. How much a product costs will usually be a major factor in its success.

Style/Fashion

While the function of a product like a chair can remain much the same throughout time, the way that societies see or

appreciate them can change quite dramatically. Fashion refers to what is currently the popular style at any given time. It is

linked closely to aesthetics.

Whether the design you study conforms to the above principle or not, does not prevent you from applying similar criteria.

From your practical work you will be aware that the grammar of all art and design is based on the visual elements. Rarely does

any design rely totally on any single of these elements or a use the complete set equally well, but combinations of visual

elements with varying degrees of importance are present in every design solution

Task 2 | Page 8 Jewellery Design

Jewellery Design is one of many design areas and will be the area of design your practical work is based on.

The wearing of jewellery has been a constant feature in mankind’s existence from earliest times. Before people were able to

shape metal or carve stone they adorned their bodies using simple beads made from seeds, berries and shells.

By 30,000 BC, huntsmen were wearing pendants made from the bones and teeth of animals, perhaps intended as talismans for

successful hunting as well as for decoration.

Beads remain the most common of all artefacts found in early civilisations. This form of jewellery satisfied mankind’s wish for

self adornment and during the next 20,000 years there were few further developments.

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The next breakthrough came when people learned to work with metals. Gold was the principle metal used for jewellery in the

ancient world, prized for its rarity, its value, beauty and malleability, and revered for its untarnishing gleam and its ability to

withstand fire.

Most of the fundamental processes of jewellery making were known and used in early times; carving, engraving, chasing,

chiselling, repousse (where the pattern is impressed from the back using blunt punches), hammering, drawing wire, finishing,

polishing and casting.

Jewellery has performed a variety of roles; talisman (bones and teeth), magical and religious (Egyptian scarab), symbolic

(wedding ring), commemorative (birthday), and decorative.

In more recent times jewellery designers have questioned the validity of past values, traditions, and techniques in the designing

and making of jewellery. This questioning has not led to the discarding of earlier principles but in the broadening of them.

There are no longer any hard and fast rules or restrictions about what is or isn’t jewellery or what it can or can’t be made of.

Probably the most generally agreed guideline is that the jewellery should be wearable.

All types of jewellery are worn today, from the antique to the contemporary. While the decorative qualities of the piece are

likely to reflect the age in which it was constructed and made, the choice usually rests on the fact that it goes well with what

one is wearing that it suits the occasion or more simply because it is pleasing.

Today, classical, contemporary and experimental jewellery are worn side by side. One individual may at the same time wear an

old family ring, and an avant-garde neck ornament made out of recycled material! Each item of jewellery has a valid place in

jewellery today.

Jewellery is not the exclusive domain of women. Throughout the ages men have worn various forms of jewellery although this

has waned from time to time depending on the taste and fashion of the day.

Jewellery today is made from a wide variety of materials ranging from traditional precious materials such as gold, silver, pearl,

platinum and diamonds to non-precious materials such as glass beads, pre-coloured plastic, aluminium, tin, and found objects.

Precious materials were and still are, traditionally seen as an investment and an unmistakeable sign of wealth and power.

The use of non-precious materials generally means that jewellery can be produced commercially and so inexpensively. It should

be noted however, that jewellery designers who use non-precious materials often do so as a backlash against the status

associations connected with the use of precious materials.

The price of non-precious material jewellery does not necessarily reflect the price of the materials. Good workmanship is as

much a feature of non-precious materials as it is of precious materials. All design can be undermined by poor workmanship.

There are various methods of jewellery production ranging from the mass production of jewellery where the commercial

designer is not involved in the making of the piece to the unique one-of-a-kind piece, where the designer produces it

her/himself.

Jewellery has always been a mark of personal style. Whether it is worn for decoration or for its symbolic nature, whether it is

mass produced, inexpensive, a one-of-a-kind piece, and expensive, simple everyday wear or even theatrical, jewellery is a -

decorative art, a form of body adornment, and a source of pleasure to the wearer. It is designed for the body, be it fingers,

arms, legs, neck, nose etc; there is no boundary for the placing, size, shape and wearing of jewellery.

Decorative or symbolic, jewellery, like anything else a person chooses to wear, tells us about that person’s taste, personality or

even their beliefs without having to say a word.

Task 3 | Page 13

Art Nouveau Jewellery 1. When and where did the Art Nouveau period begin?

The Art Nouvaue period began in the 1880’s and ended in 1915. It was at its peak between 1890 and 1905.

2. What is the English translation of the French term Art Nouveau?

Art Nouveau means “new art”

3. What came before the Art Nouveau movement?

Art and design was very classical before Art Nouveau.

4. Can you name someone who provided inspiration for some Art Nouveau designs AND which movement he

founded?

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William Morris provided inspiration for the Art Nouveau style with his floral motifs. He founded the Arts

and Crafts movement

5. Can you name 5 design areas that conformed to the principles of Art Nouveau?

Five design areas that conformed to the principals of the Art Nouveau movement were architecture,

textiles, fashion, jewellery and furniture design.

6. What was the emphasis in fine jewellery previous to Art Nouveau AND what was different about Art

Nouveau?

The emphasis in fine jewellery previous to Art Nouveau was on gemstones. Art Nouveau was different

because design was motivated by the artist-designer rather than the jeweler as setter of precious stones.

7. How can you tell if a design is typically of the Art Nouveau style?

Art Nouveau can be identified by the ‘whiplash line’ that seems to have a life of its own.

8. Can you give two examples of where/how the style was used?

The whiplash line is used in Art Nouveau ironwork. Architecture, decorative borders, textile patterns, and

flowing hair of poster girls.

9. Can you name six sources of inspiration for the Art Nouveau style?

The Art Nouveau style was inspired by animals, birds, butterflies, dragonflies, peacock feathers, march

plants and feminine imagery, fairies. Mermaids, nymphs. Also Japanese Art.

10. Can you name three themes typical of Art Nouveau?

Themes of Art Nouveau are typically nature, fantasy, and the female form.

11. What was more important than materials in Art Nouveau designs?

Design and craftsmanship was more important than materials in Art Nouveau.

12. Can you give four examples of gemstones used at the time?

Amber, opals, moonstones ,citrines, peridots were popular at the time.

13. Can you name another six interesting materials that were used?

Other interesting materials like horn, copper, tortoise shell, ivory, carved glass, shells, pearls and gemstones

cut in cabochon were also used.

14. What jewellery techniques were popular at the time of Art Nouveau?

Enamelling or plique à jour (“open to light”) were popular jewellery techniques during the Art Nouveau

period.

Task 4 | Page 18 René Jules Lalique

1. Where was the designer born (include dates) Rene Lalique was born in Ay, France, (April 6th 1860 – May 5th 1945)

2. Education and training - where/how was the designer educated/trained? Lalique received his early education at the Lycée Turgot in Paris. He was made an apprentice to the goldsmith Louis Aucoc in Paris, and also enrolled at the École des Arts Decoratifs in Paris. He spent two years at the Sydenham Art Collage in England before returning to Paris in 1880, where he completed his education at the École Bernard Palissy, where he studied sculpture.

3. What did they design? - Lalique has created a range of designs. Name at least four examples. Lalique designed perfume bottles, vases, jewellery, chandeliers, clocks, automobile hood ornaments.

4. Influences/Style - What influenced Lalique from an early age? Lalique traveled to Ay for summer holidays as a child. This influenced his obsession with nature and organic forms. He was influenced by Art Nouveau style.


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a) What design materials did Lalique use? He used precious and non-precious materials and put emphasis on the subtle effects of glass, horn and enamel. b) What design techniques/technology did Lalique use? He experimented with new materials, textures and colours. He also used embroidery techniques on metal and applied enamels to various metallic surfaces. He was an expert at the plique à jour technique - the use of transparent enamel held in fine metal cells.

6. Inspiration. What was Lalique inspired by? He was inspired by nature, insects, birds, flowers, trees, and the female form. His designs were organic, undulating, natural and typically Art Nouveau.

7. What makes Lalique an important/unique designer? He is credited with introducing horn into the jewellery repertoire. His use of both precious and non- precious materials in jewellery making became acceptable for jewellery design, which was revolutionary at the time. He reinvented jewellery.

8. What were the social and cultural influences on this designer at the time? Art Nouveau was a huge influence on Lalique at the time. This grew out of the Arts and Crafts movement founded by William Morris in 1861. Art Nouveau designers embraced the use of new materials and were motivated by the artist designer, rather than the jeweller as a setter of precious stones. Task 6 | Page 23

Anne Finlay

1. Where was the designer born (include dates) Finlay was born in Wick, Caithness, Scotland in 1953 and is still alive today.

2. Education and training - where/how was the designer educated/trained? Finlay studied at Gray’s School of Art from 1971-75 and gained a Post Graduate award.

3. What have they designed? - Finlay has created a range of designs. Name at least four examples. Finlay has designed earrings, brooches, neckpieces, cufflinks and clocks.

4. Influences/Style - What has influenced Finlay? Finlay’s influences have been both artists and designers. She admires the work of Matisse, Miro, Klee, Philippe Stark and Issey Miyake. She is inspired by both contemporary European furniture, and Art Deco products.

5. Materials and Techniques a) What design materials does Finlay use? Her primary materials are acrylic and laminates (plastics), sheet metals with wire, rod, tubes, cable, paper and cardboard. b) What design techniques/technology does Finlay use? She uses screen printing and die cutting techniques. Thicker materials are cut by machine, laser or by hand. Assembly involves a range of basic jewellery techniques. Decorating pieces involves hand painting and gold leaf.

6. Inspiration. What is Finlay inspired by? She is inspired by geometric themes with construction, colour and pattern playing an important part.

7. What makes Finlay an important/unique designer? Using mostly low cost, hand-crafted materials, she is able to make affordable, accessible jewellery whilst offering the wearer the opportunity to make an individual statement.

8. What are the social and cultural influences on this designer? Finlay is a contemporary jewellery designer, meaning she has made jewellery within the last 25 years. During this time, technology has made significant advances yet she enjoys the simple, slow handmade processes that are involved in creating her designs. Hence in today’s consumer driven culture, her designs could be seen as a reaction against digital technology and mass production in general.

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