Jewellery basics: Jewelry Making and Beading For Dummies Cheat Sheet

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The 10 Essential Pieces of Jewelry That Are Worth the Investment

The idea of a capsule wardrobe is nothing new—the best jeans, sweater, T-shirt, jacket, etc. Narrow enough to keep dressing streamlined and easy, while always keeping you looking top notch. The same goes for jewelry. There are certain classic and timeless jewelry essentials that every jewelry box should have, but still leave room for those special purchases that give your look personality (similar to a fashion “statement piece”).

The perfect diamond studs and chain necklace are just as big of a fashion crutch as blue jeans and a white T-shirt. In fact, they’re far more versatile and can be worn for a work Zoom call just as well as for cocktails when the world reopens again. Below is our guide to the 10 pieces of classic, timeless jewelry that will never lead you astray.

Stud Earrings

There’s a reason the stud is your first earring. Besides the whole piercing process, it simply goes with everything. They add an easy touch of sparkle that can be worn no matter the occasion—gym and pool included. 

Mizuki 14-karat gold, pearl, and diamond earrings

Tiffany Elsa Peretti Diamonds by the Yard earrings

Hoop Earrings

It’s a classic style that delivers subtle attitude. Big or small, hoop earrings make a statement without being over the top.

Jennifer Fisher mini Jamma gold-plated hoop earrings

Bangle Bracelet

Adorn your arms with a single bangle bracelet or stack them up—the latter will create the most delightful jingling sound. They pair well with just about everything, from a cable knit sweater to a breezy sundress.

Harwell Godfrey knife-edge diamond & 18kt gold bracelet

Sophie Buhai classic circle bangle

Pendant Necklace

A pendant is an easy way to wear something meaningful (your initials, your zodiac sign) close to your heart. Best of all, there’s no need to wear just one. 

Foundrae 26″ small mixed Belcher Dream necklace

Sewit Sium large cosmos 18k gold-plated sapphire necklace

Gold Chain Necklace

Thick or thin, gold chain necklaces are an essential. A more chunky style will add an edge to your ensemble (perfect for power dressing) while a wispy chain adds a bit of femininity. You’ll likely need one of each. 

Laura Lombardi Calle gold-plated necklace

Pearl Strand

Pearl necklaces are passed down for a reason—they will absolutely never go out of style. We love a double strand with various sized pearls but you can’t go wrong with the classic single stand either.

Sophie Bille Brahe Peggy deux freshwater pearl and 14kt gold necklace

Mejuri essential pearl necklace

Signet Ring

Stamped with your initials, glittering with diamonds, or shiny and bare, a signet is the perfect ring for your pinkie. No other ring on your hand is necessary—but, of course, welcome.

Retrouvai Love diamond & 14kt gold signet ring

J.Hannah rectangle inlay signet (mother-of-pearl)

Stacking Ring

Wearing more than one ring on a finger can take some strategy. Do they fit snuggly on top of each other?  Do they add too much bulk to your digit? A simple gold band is a great starting point but better yet, opt for an already stacked multi-ring style that will do all the work for you.

Spinelli Kilcollin Sonny set of three 18-karat gold diamond rings

Colorful Stone

Playing with the gold and silver hues in jewelry is fun but so is the blue of a sapphire or the deep red of a garnet. A colored stone accessory is the easiest way to add a bit of dimension to your all-neutral ensemble or bring out the flecks of green in your eyes. 

Mateo 14k blue topaz Point of Focus ring

Agmes small Lena earrings

Steel Watch

A steel watch is the easiest (least costly) way into the world of luxury watches—especially for those more aspirational brands. These two options will work for every situation, from a casual coffee to a job interview.

Rolex Oyster Perpetual 34

Jewellery Basics – IJL

Metal Types

There are a variety of metals choices available for jewellery. Whether you like the allure of platinum or the range of options with the classic gold, you will find a number of stylish pieces, sometimes even combining the two metals. Today, alternative metals like sterling silver, titanium, and stainless steel give you additional options in look, strength, price, etc. Each choice has its own qualities, so base your choice on the ones that you value most.

Platinum

Platinum is generally 95% pure and does not tarnish or lose its rich white luster. Platinum is the heaviest of all the precious metals weighing approximately twice as much as karat gold. Its purity makes it hypoallergenic, perfect for people who are sensitive to the alloys used in gold. Platinum is also known for its strength and pliability, just one gram of platinum can be drawn into a fine wire over one mile long.

Gold

Pure 24 karat gold is rarely used in jewellery because it is too soft for frequent wear. Gold is mixed with alloys like copper, silver, nickel, and zinc to give different colours, strength, and durability. Gold’s purity is measured in karats, which indicate out of 24 parts how many parts are gold. For example, 18kt gold contains 18/24 gold and 6/24 alloy, while 14kt gold contains 14/24 gold and 10/24 alloy. Gold is traditionally seen in yellow and white colours, but can also be available in rose or green on occasion.

Sterling Silver

Sterling silver is usually 92.5% silver and 7.5% copper. Silver is much more plentiful than platinum or gold and is much less expensive. It takes on a much higher polish than any other metal, but it does tarnish. The tarnish can be removed, but silver requires much more care than other metals.

Titanium

Titanium is a light, strong, and corrosion-resistant metal. Titanium offers you seven times the strength of platinum at about 1/3 of the weight. It is the hardest natural metal on earth and therefore offers more scratch resistance than gold or silver. In addition, titanium is also hypoallergenic. When ordering titanium rings, be extra sure about your ring size. The biggest drawback of titanium rings is that they cannot be sized by traditional ring sizing methods.

Stainless Steel

Stainless steel is a low cost alternative to traditional metals. It is naturally hypoallergenic and will not rust or tarnish. Stainless Steel will not break or bend under normal usage and is stronger than any other alloy.

Coloured Gemstones

Buying a coloured gemstone is often a very different experience than buying a diamond. Gemstones are bought based on favourite colours, wardrobe matches, personality, and fashion trends. While gemstones are judged using the 4Cs, just as diamonds do, each is judged separately. For example, a sapphire is compared to another sapphire, but wouldn’t be compared to an emerald or aquamarine. Choose your gemstone jewellery based on your personal preferences.

Shape

We sell a number of different shaped gemstone jewellery. Some of our most popular shapes include round, marquise, oval, pear, princess, and baguette. 

Cut

Gems are cut in a variety of different ways. Transparent stones will often be cut with facets. Unlike diamonds, the facets are planned to maximize the colour. Other stones like jade, opal, and onyx will be cut into a smooth domed shape known as a cabochon. While still other stones like cameos are intricately carved.

Colour

Gemstone colour is different from judging the colour of a diamond. Every gemstone has a range of colour that runs from light to dark and more vivid to less vivid, with a small range of colour considered preferable. All of the families of colour are represented by gems of different types.

  • Red: Mozambique, Garnet, Ruby,
  • Pink: Rhodolite, Garnet, Pink Sapphire  
  • Yellow: Yellow Sapphire, Citrine
  • Green: Bloodstone, Emerald, Jade, Peridot
  • Blue: Aquamarine, Blue Chalcedony, Blue Spinel, Blue Zircon, Lapis, Blue Sapphire
  • Purple: Amethyst, Tanzanite
  • White: Akoya Pearl, Freshwater Pearl, Mabe Pearl, South Sea Pearl, White Spinel, White Topaz, Moissanite, Opal
  • Brown: Smoky Quartz
  • Black/Gray: Tahitian Pearl, Onyx 

Clarity

Gems also have internal characteristics called inclusions. Some gemstones are known for having many inclusions like emerald or for having few inclusions like citrine. Each gemstone will be graded for clarity differently.

Like diamonds, gemstones are measured using carats. A carat is equivalent to .2 grams or .007 of an ounce. Unlike diamonds, each gemstone has a different density which greatly contributes to the weight of the stone.

Jewellery Making Basics – The Clasp

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There’s no doubt that in a lot of handmade jewellery styles, the clasp is the most important part of the necklace.  It is the piece that keeps everything around the neck or wrist, finishing the item and can even be a part of the design. 

When you are shopping for handmade jewellery, you will often hear terms such as lobster or toggle clasps – but what do these mean?  Here’s our handy guide to clasps so you can shop with knowledge.

Spring ring clasps

The spring ring is one of the most basic types of clasp in the business and is a simple ring of metal with a little lever on one side.  Pull back the level and the smaller part of the ring vanishes into the larger part, allowing the other side of the clasp to slide into it.  Often this type of clasp is paired with a special little tab but can also work just as well with a ring.

The biggest problem with this clasp is that it can be fiddly to use.  The rings tend to be small and therefore the lever is even smaller.  The spring inside needs to have plenty of tension to work but the whole thing can result in a slightly tricky process to put on a necklace and sometimes even more with a bracelet!  

Lobster clasps

Lobster clasps take the idea of the spring ring clasp and add a little more to them.  Rather than a ring, these use a lobster claw-shaped metal area with a small level on the opposite side of the opening.  When the lever is pulled down, the clasp opens and can be slipped onto a ring.  

We use these clasps in a lot of finer necklace and bracelet styles and they are available in several different sizes, from small bracelet ones up to 14mm larger necklace varieties.

Because there is a level, these clasps can still be a little harder to work with if you have joint problems or just aren’t good with fiddly little tasks.  With our jewellery, if you don’t like these clasps, we can easily substitute to a toggle clasp for ease of use.

Barrel clasps

The barrel clasp is often used on necklaces and looks like a small barrel with lines across the middle.  You turn one half to unscrew it and to release the piece to put it on then rescrew it together to close the piece around your neck or wrist.  They can be a little more decorative than other styles and come in a variety of sizes.

Personally, I’ve never been a fan of barrel clasps – big fingers make them hard work!  They can be easier to use than some smaller spring ring or lobster clasp but can still be tricky if you haven’t the best dexterity.   You do need two hands to work with it so can be a little hard work on bracelets.

Toggle clasps

Toggle clasps are the other main type of clasp that we use and there are two main reasons for this – first, they are easy for people to use when wearing the jewellery and second, there are hundreds of styles.  In fact, we sometimes even use the toggle clasp as a feature on the piece, able to be worn at the front of a necklace as well as at the back.  

Toggle clasps come in two parts – a round or shaped area with a hole in the centre and a long bar or T-shaped piece.  The bar slides lengthways through the ring then turns to cross it and keep the necklace closed. 

They are also good with heavier pieces of jewellery as the weight of the piece keeps them bar in place, although you can get smaller, finer toggles for smaller, finer pieces.

S-hook clasps

S-hook clasps are said to be one of the oldest styles of the clasp and can be very attractive.   The clasp forms a simple S-shape and can hook onto a ring on the other side of the piece.  They are popular for wire wrapping and metal work pieces as they can be made by hand to perfectly match with the rest of the piece.

When wearing a piece with one, make sure that the S-shape is deep enough to keep the necklace closed and look for ones with some kind of curl or stopper on the end of the ‘s’ so that they don’t catch on your clothes or scratch your neck.

Fish hook clasps

These are similar to an S-hook clasp but have a straighter look to them rather than the curves of an s-shape.  The hook slides into a box, usually oval in shape and often decorated to make the clasp look less obvious.  Usually, they open by pinching the side of the clasp to unlock the fish hook.  This motion can make them a little tricky to use for some people.  Another variation of this style is known as a box clasp and uses a square box to hide the hook.

Magnetic clasps

Magnetic clasps are more a description than a style as there are lots of different looks to these clasps.   The main concept is that there is a magnet in each half and when they are close enough together, they clamp to one another and stay there.  You can get elaborate and very attractive versions.

The only real problem with them can be if you snag the piece on something and there is enough force on it to break the magnetic lock and allow the piece the fall.  But you would probably feel the pulling sensation first anyway.

Slide lock clasps

This type of clasp works with a magnet in most cases and are specifically made for multi-strand bracelets or necklaces with two or more rings on each side of the clasp.  Each side has a tube with a stopper and they slip into each other using a magnet to lock them in place.  They look great and just need a good tug to pull them apart to remove the piece.

A clasp for every project

There’s no shortage of different types of necklace clasp to choose from, many of which work well for bracelets and anklets as well. Just think about the ease of use for your customer or yourself when you choose – and what looks right with your piece!

JEWELLERY BASICS – DISCOVER

JEWELLERY KNOWLEDGE

1.    DIAMOND EDUCATION

The most important characteristics to understand when making a diamond purchase are the 4Cs of diamonds – cut, colour, clarity and carat. 

A.       Cut

  • Cut is the most important of the 4Cs as it has the greatest influence on a diamond’s sparkle.
  • The grade scale for cuts includes Poor/Fair cut, Good cut, Very Good cut and Ideal cut. 
  • To maximize your budget, choose the highest diamond cut grade your budget allows. We suggest a cut grade of Very Good or better.
  • When diamond cuts are made with the proper proportions, light is returned out of the top of the diamond. If the cuts are too shallow, light leaks out of the bottom; too deep and it escapes out of the side (see photo gallery below).

    Shape: Diamonds come in many shapes, see the photo to the left for examples. Unique characteristics determine quality for each shape. If you have any questions, contact us and we can help you find your perfect shape. 

    A.      Colour

  • When choosing a diamond, colour is the second most important characteristic to consider. 
  • The highest quality white diamonds are colourless, while those of lower quality have noticeable colour. This colour manifests as pale yellow in diamonds.
  • The Gemological Institute of America (GIA) grades diamond colour on a scale of D (colourless) to Z (light yellow or brown). 
  • The more you move down the colour chart, the lower the colour grade is, and the more noticeable the light yellow hue becomes.   

    Colourless Diamonds
     D-F Colour Diamonds (Highest Quality)


    Near Colourless Diamonds
     G-H Diamonds (Best Value)
     I-J Diamonds (Great with Yellow Gold)

Colour is a good thing when referring to the rainbow spectrum of colours (red, purple, orange, etc. ). Coloured diamonds are graded on a separate colour scale and can be even more valuable than white diamonds.

A.    Clarity

  • Diamond clarity is the assessment of small imperfections on the surface and internally. 
  • “Blemishes” refer to surface flaws and “inclusions” refer to internal defects. 
  • Clarity is the least important factor when choosing to buy a diamond because most diamonds have blemishes and small inclusions that are microscopic.

    Flawless Diamonds

    FL & IF Diamonds (Rare Finds)


    Slightly Included Diamonds

    VVS Diamonds (Excellent Quality)

    VS & SI Diamonds (Best Value & Most Popular)

    A. Carat

     Carat is the most misunderstood of the 4Cs. It actually refers to a diamond’s weight, not the diamond’s size.

    • If a large carat weight is important to you, yet you’re working within a strict budget, consider a diamond with a good cut, SI1-SI2 clarity, and an I or J colour grade.
    • It is important to take a diamond’s cut into consideration as well. For example, a high-carat diamond with a poor cut grade may look smaller, often cut deeper, than a diamond with smaller carat weight and a better cut.

    Quality

    The quality of a diamond is a combination of the cut, colour and clarity. 999 Jewellery Design offers diamonds of exceptional quality.

     

    NECKLACES

    A necklace consists of any type of chain or length of precious metal or gems. There are many options including a metal chain, pearl strands or solitaire pendants. Solitaire pendants will show off a beautiful diamond, pearl or gemstone suspended from your choice of chain. A pearl strand is a length of closely strung pearls. Necklaces make fashionable gifts and can easily be customized.

Chain Types

There are many options of chain types to choose from and they go with everything! Consider adding a beautiful solitaire pendant to your favorite chain.  

 

Chain Length

  • 16″ is considered a “Choker length” chain, sitting just above the collarbone
  • 18″ is a “Princess length”, sitting just below the collarbone and is the most common length
  • For a more dramatic length you could go with a 24″ or “Opera length” chain to wear over a blouse or dress.

BRACELETS

Bracelets can be a classic chain, traditional pearl, or a simple bangle.  Some bracelets are available in different lengths. If you are purchasing one as a gift it is recommended to measure a bracelet, he/she already wears.

It is important to consider when the bracelet will be worn if you are giving it as a gift. This will help you decide the chain type you choose. For example, will it be worn every day or just on special occasions? Connect with us if you have any questions and we can help you choose the right style for maximum beauty and durability combined.

EARRINGS

Studs

Studs are easy to wear as they are small. They are great for everything such as an evening out or every day wear.

Hoops

Hoops give a feminine touch. Choose a pair with diamonds for added sparkle.

Drops

With various settings and stones to choose from, Drops add an elegant touch.

METAL EDUCATION

Although there are many metals available, we will be focusing our education on Gold, Silver and Platinum which are the most commonly used. 

GOLD

Gold is the most popular metal for Jewellery, known for its denseness and glistening shine. It is resistant to rust, tarnish and corrosion. Gold is very strong; however, it is the most malleable of the precious metals. 

 

To increase strength and durability, gold is alloyed with a mixture of metals like silver, copper, nickel and zinc. Karatage indicates purity or how much of the metal in a piece of Jewellery is gold. Karatage is denoted by a number followed by a “K” and is expressed in 24ths. Therefore, 24K gold is 100% gold which is too soft for fine jewellery. We can help you decide if 14K or 18K would be the best option to maximize your durability. 

Yellow Gold

Yellow gold jewellery gets its rich shine from natural gold and colour-saturated alloys such as copper and silver. 

 

White Gold

White gold is made by combining metal alloys that are white in nature and plated with an extremely hard element called Rhodium. Black Rhodium can also be used to create a rich, black appearance that is extremely strong and hard. Both white and black rhodium may wear over time but can be simply restored by replating. 

 

Rose Gold

The addition of copper alloy to gold creates the beautiful pink hue of rose gold. 

SILVER

Pure sterling silver is a soft metal with a white, lustrous hue. Because it is so soft and malleable, it is commonly combined with other metals such as copper to increase durability. Typically, the added metal only makes up 7.5% of the product. This is why you will see sterling silver stamped with a “.925” meaning that it is 92.5% pure silver. 

Silver was once considered more precious than gold. Today silver is used to craft many fine Jewellery pieces. 

 

PLATINUM

Platinum accentuates the sparkle and brilliance of a diamond. Its naturally white sheen will never change colour or fade – it lasts forever. Platinum can incur scratches causing the development of a Patina (a satin sheen on the surface from normal daily wear and tiny scratches). Many people prefer this unique luster, however if you prefer, it can easily be buffed away with a soft cloth to revive the shine. Platinum is hypoallergenic and makes the most secure setting for your diamond or precious gemstone.

Jewellery Making Basics

Himalayafineart.com is the E-com arm of Himalaya Stationery Mart, Mumbai, which is well known for its trade ethics throughout India for more than half a century.

If goods are found not to be as described or damaged you are entitled to a replacement or refund. To return unused, unwanted and undamaged products, you must notify us by clicking on the “Request New RMA” (Return Merchandise Authorization) link which is available on the “Order Status Details” page within 72 hours of receipt of the goods.

Note:

  1. For goods that have been damaged in transit:
  2. –If there is a Noticeable damage or Shortage, make a note of it on the delivery receipt AND have the delivery person sign the receipt and verify that there is damage–If there is a Noticeable damage or Shortage, make a note of it on the delivery receipt AND have the delivery person sign the receipt and verify that there is damage.–Save the damaged package or carton for inspection.–Items that arrive damaged or defective will be replaced.

  3. Concealed damage
  4. –Damage to materials inside a package with no external damage evident should be notified to us at once. We must notify carriers within 5 days, or they may deny liability. Returns are only accepted within 15 days of delivery.

  5. If the product delivered to you has been sent in error by Himalayafineart.com, the product should be returned unused and in saleable condition. No charges would be levied on the customer.
  6. If product was ordered by the customer in error: –
  7. –The product should be returned in an unused and saleable condition–The customer is responsible for shipping charges on the return.–A 15% re-stocking fee will be charged if applicable.

  8. Please request for a Return Merchandise Authorization before returning any products. Products returned without a Return Merchandise Authorization will not be accepted.
  9. All returns must be accompanied by
  10. –Return Merchandise Authorization form–A short note stating your reason for return–An original packing slip and invoice–This information must be shown on the outside of the packaging used for returning the goods.–Products should be in new condition, and in their original boxes.

  11. No refunds or exchanges available on Papers and Paper-Boards, special and custom orders, cut goods (E.g. Canvas sold by meter), books and certain other items marked as non-returnable.
  12. Always ship your returns via an insured carrier. Himalayafineart.com does not accept liability for returns that arrived to us damaged.

How to Start a Jewelry Business in 7 Steps

One of the greatest joys of being an artist is sharing your work with the world. Jewelry designers in particular understand that, as jewelry can become especially sentimental to their customers. Starting a jewelry business is the best way to get your work out there and forge new connections with grateful clients.

It’s likely that you think of yourself as a jewelry designer first, and an entrepreneur second — if you think of yourself as an entrepreneur at all! But learning how to start a jewelry business is not as difficult as you may fear: It’s mostly a matter of time, effort and perseverance (and a few technicalities, too). We’ve broken down the process into seven essential steps to starting a jewelry business.

1. Define your line 

Before you get into the nuts and bolts (or beads and clasps) of creating your jewelry and starting your business, you need to get clear about what, exactly, your jewelry business is. The best way to do this is in writing — or, more specifically, by writing a business plan.

You may balk at the prospect of writing out a business plan, but in truth, this plan doesn’t need to be nearly as complex or jargon-y as you may think. At its core, a business plan is an opportunity for entrepreneurs to organize their thoughts about their business, take stock of their finances and resources, start to build a marketing strategy, define their business goals and create a game plan about how to achieve those goals in the short term.

In your business plan, start by answering at least the following questions:

  • Are you selling fine jewelry or trend pieces?

  • Are your pieces handmade or outsourced to a premium manufacturer?

  • Will you operate from your home, or will you need to rent an office space?

  • Are you going it alone, or do you need to hire staff — either now or in the near future?

  • How will you price your products?

  • How is your jewelry different from your competitors’?

  • Who is your target audience?

  • How much cash do you need to get yourself off the ground?

  • How do you plan on marketing your business?

  • Where will you sell your products?

Keep in mind that your business plan is a living document. Once you launch your business, get hands-on experience as a jewelry business owner and become better informed about the costs attendant to running a business and your audience’s buying behaviors, you can fill in whatever gaps you’ve left in your preliminary plan — or create a new one entirely.

Create a business budget

Right alongside your business plan, you should be sketching out a business budget. First, make a detailed list of your preliminary startup costs, like tools and equipment; marketing material; licenses, permits, or educational courses; office or coworking space; wages for any staff you may be hiring; and your expected daily expenses.

Then, take stock of how much cash you have available and how much additional funding (if any) you’ll need to launch and operate over the next few months. Also, know that there are tons of small-business budget templates available if you need more guidance.

Learn from your competitors

During this pre-launch phase, it’s a good idea to do a bit of market research. Take a look at other, successful jewelry businesses that you admire and would like to emulate in some way: What’s their angle, and why is it successful? Who is their audience, and what’s their marketing tactic? How and where do they sell their goods — do they rely solely on their website or another selling platform (like eBay or Amazon), or do they also sell in brick-and-mortar shops? Market research is also critical in determining how to price your jewelry appropriately for your audience.

2. Legalize your business

Next, you’ll need to cover all legal bases to ensure you’re running your jewelry business aboveboard. First, if you plan on running your business from your home, check with your local clerk’s office about licensing and permit requirements for home businesses.

Once you’ve created your business name, you’ll next decide on a business entity and register your business accordingly with your secretary of state (if there’s an existing business in your state operating under your chosen name, you’ll have to go back to the drawing board). The easiest route to go is as a sole proprietorship, which actually doesn’t require that you register with your state; in this instance, you’ll only need to file your business name as a “doing business as,” or DBA, unless you’re operating your business under your legal name. However, a sole proprietorship won’t offer you protection if your business runs into any legal issues.

The safest route to go is to register your business as an LLC. Registering as an LLC is an easy process, which you can do in a matter of minutes online; you can take a look at the SBA’s step-by-step guide to registering your business for some more guidance. What’s more, LLCs protect your personal assets from business-related legal issues, but filing taxes as an LLC is relatively simple.

At this point, you may also consider taking out business insurance to further protect yourself. Start by looking into product liability insurance, which protects businesses from legal fallout in case their product causes injury to a customer or other third party; and general liability insurance, which protects businesses against a slew of common legal claims. If you hire employees, you’ll need to look into other types of insurance like workers’ compensation, unemployment and state disability insurance.

3. Separate your business and personal finances

Now that you’re a legally operating enterprise, it’s a good idea to start separating your business and personal finances. This is crucial for a number of reasons. For starters, this separation will help keep your personal finances safe from business-related legal issues; and, more practically, it’ll simplify your tax-filing processes.

Open a business bank account (most new businesses just need to start out with a business checking account) and be sure only to deposit business earnings into that account. You can also consider signing up for a business credit card, which you can use for your business’s smaller, daily expenses. Plus, depending on the card you sign up for, you can earn valuable points, rewards or cash back that you can redeem and put right back into your business.

4. Find startup funding

You don’t need to be an entrepreneur to know that starting a business requires money, and you probably also know that it’s tough for brand-new business owners to secure business loans, either from their local banks or from online lenders. With no financial history in hand, lenders have no data off of which to determine a new business’s risk level, which means they can’t come to an informed credit decision.

For that reason, startup funding often comes largely from your own pockets. Many new entrepreneurs bootstrap their way up, using their personal savings, loans from friends and family or personal loans from banks or online lenders whose funds they use toward building their businesses. Another option is to try your hand at crowdfunding, in which generous strangers who believe in your business donate small amounts of funds toward your project.

5. Find suppliers and create your jewelry

Now that you’ve laid the proper legal and financial foundations for your business, you can start creating your jewelry with an eye toward selling.

If you haven’t already, you’ll need to purchase wholesale jewelry-making tools and equipment, including proper safety equipment, as well as the necessary materials to create your jewelry. It can be useful to ask other jewelry designers about trustworthy wholesale suppliers; otherwise, put in a little elbow grease and research, research, research. It can also be useful to get a reseller license so you can forgo paying local sales taxes when you buy in bulk.

6. Sell your jewelry

Once you’ve built up a solid inventory, you’ll need to find somewhere to sell it. Most likely, your primary sales channel will be an online store.

You could consider building your store through a service like Shopify, which makes it easy for entrepreneurs to create and manage their e-commerce stores. These services are often loaded with useful features, like custom sales reports and analytics, customer relationship management tools and built-in marketing tools.

Either before or as you sell your goods on a dedicated online store, you can sell your products on e-commerce platforms like Amazon, Etsy or eBay (or a combination of the three). These platforms are especially valuable for new entrepreneurs, as millions of customers are scouring these sites every day for products like yours — so leverage them for their built-in traffic. These sites can also be useful testing grounds to see which of your products sell over others, and at which price points.

Regardless of which platforms you’re using to sell your jewelry online, it’s worth investing in a professional photographer (or a good camera, if you can use it yourself) to photograph your jewelry in good light, at several angles and both on and off a model. Product photography can often make or break a sales decision, so quality photos are integral to creating a trustworthy brand.

You should be selling your jewelry the analog way, too. Start by selling to your friends and family, and let your brand grow via word of mouth. You can also become a vendor at flea markets and crafts fairs, or approach local retailers and ask if you can host a pop-up shop or sell your jewelry on consignment in their stores. Make sure you create business cards, which include links to your online store and social media channels, that you can keep at the till.

7. Establish your brand and start marketing

As you establish your sales channels, you should also start to establish your brand identity and implement a small-business marketing strategy. Creating a logo is a great starting spot, and it’s critical for establishing your business’s aesthetic. If you can’t find a graphic designer in your network to create one for you, there are plenty of logo-making services online.

As you grow you can start to implement paid marketing strategies, like Google Ads. But when you’re first starting out, it’s a better idea to take advantage of all the free marketing strategies at your disposal, and social media marketing is an absolute must. Which platforms will be more successful for your business depends largely upon which platforms your audience engages with the most. But to start, set yourself up with a business Facebook page, Instagram and Pinterest board, and make sure to include links to your online store (or your brick-and-mortar location’s address) in your bio.

In order for prospective customers to find your website via search engines, your site and blog (if you have one) need to be optimized for SEO. Shopify stores come with SEO best practices, but if you’re using another e-commerce or blogging platform, then it’s worth brushing up on some essential SEO tactics, which you can keep in mind every time you create content online.

Remember that building an engaged audience on social media — and, on a larger scale, establishing a brand identity — both take time. But the key is to remain active and engaged. Try to post at least once per day on your social media channels, respond promptly (and kindly) to any comments you receive on your posts and vary the types of content you’re posting.

The bottom line 

The work certainly doesn’t stop once you’ve launched your jewelry business; in fact, it’s just the beginning. But don’t get so mired in the business side of things that you lose sight of why you started your jewelry business in the first place: the love of your craft, which the most successful artists never stop honing. So even if you’re a trained jeweler, consider continuing your education with online or in-store classes. If you don’t want to sacrifice a part of your business budget for educational purposes, you can find solid jewelry-making tutorials on YouTube for free.

Keep in mind, too, that starting a business is a time-consuming task, even if it’s just a side hustle. If you’re serious about your venture, make it a priority to carve out enough time in your schedule to dedicate toward launching and managing your business, even if that’s just an hour at the end of the day to work on a piece of jewelry, create a few social media posts or check up on your sales reports or marketing performance.

This article originally appeared on JustBusiness, a subsidiary of NerdWallet.

5 Basic Elements and Principles of Jewellery Design

Jewellery is that one little piece that can make the wearer feel unique- they say.

Jewellery has been inspiring humankind for centuries. Their deep colour, radiance, pure and precious metal, etc., have always amazed and fascinated human beings since time immemorial. Alluring and sophisticated, jewellery has always been celebrated. Every piece is created by a combination of different things that can make or break the final piece.

As a jewellery retailer, you truly have to understand how to offer jewellery pieces that speak a story and have an aspect of emotion attached to them. Your jewellery pieces must send a visual message to the beholders. But, how to achieve all the elements in every single piece? The solution to these challenges can be found in the principles applied to jewellery creation. Each piece utilises multiple elements that can make the piece brilliant or dull. Here is an illustration of 5 basic principles of jewellery design that will essentially get your pieces noticed.

Balance

A perfectly balanced piece is the one that is proportioned appropriately for elements like weight, space, size, etc. There are three types of balance that jewellers can achieve, i.e., symmetric, asymmetric, and radial. The key in each of these distributions is the focal point that makes the jewellery piece stand out.

Contrast

An essential element of designing is the contrast in the jewellery. Use colours that are opposite to each other in lines, colour wheel, material, etc. The perfectly contrasting pieces can relieve the monotony, accentuating different rudiments of the design. When you play along with complementary colours, the viewers get sucked into the piece.

Emphasis

Jewellers must keep a certain part of jewellery as emphasis. For instance, you can differentiate the emphasis point by using a bold stone, a different material, or a different texture. Different size of stones can also bring exclusive focus to it.

Proportion

Proportion is something that results in a visual fête. You may be using quality stones and metals, but even a single element can affect this appeal if it is out of proportion. Jewellery designing is like creating a painting, which requires stepping back and tweaking things until an equilibrium is not achieved. If the proportion is off, the design will fail to receive eyes.

Harmony of Elements

Jewellery designing is art with lots of aspects hidden in the making process, and one of the crucial aspects is the harmony of elements. The material, stones, metal, settings, etc., must be in harmony with each other. They must be aesthetically pleasing as a composite one unit. Find the right mix so that the piece doesn’t look bland.

These principles can help you understand why you have some pieces lying around in the inventory for long and why some pieces are a hit among customers. You may have bought metals and precious gemstones from different suppliers, but until you set these design principles in, you cannot make the piece grasp enough attention. Master these principles, and soon your jewellery will convey the desired message and create an emotional response.

90,000 How did the art of jewelery develop

Europe of the Early Middle Ages – a time when the continent was divided into tribes and nationalities, each of which independently developed technologies and mastered new materials. For example, the Visigoths actively worked with bronze, glass and cloisonné enamels; Vikings – with gold; Celts – with copper and bronze; Franks combined gold, silver and multi-colored stones in jewelry.Christian symbols were often found in jewelry from different countries.

Barbarian Kingdoms

Western Europe

First Christian Empire

Western Europe

Charlemagne, becoming emperor of most of Western Europe in 800, created the first Christian empire.He and his heirs, although they competed with the popes for spheres of influence, placed religion very high in their state. In this regard, Karl tried to revive ancient traditions and combine them with Christian values. Jewelry art also followed these trends: jewelers tried to revive ancient techniques, there was an increase in the quality of materials and craftsmanship, as well as an active exchange of experience and jewelry with the heiress of the Roman Empire, Byzantium.

Romanica and Gothic

Western Europe

During the Middle Ages, Europe was divided into different dynasties and empires, but united by religion – Christianity.His influence went beyond the church, Christianity took an important place in the secular and political life of Europe. Jewelry also began to glorify God. Because of this, a number of new objects of jewelry art have appeared, which are associated precisely with cult activities.

Jewelry art of Byzantium

Byzantium, the heiress of the Roman Empire, for a long time retained an exceptional position in the east of Europe.Byzantine jewelers were able to work with a wide variety of metals and stones thanks to their direct access to their mining sites. Among the materials with which the Byzantines worked are gold, silver, pearls, sapphires, quartz, amethyst. Jewelry making was actively developing thanks to the Christian church; religious symbolism was also often found in secular jewelry.

The Renaissance era rediscovered Antiquity for Europeans, almost completely forgotten in the Middle Ages.Jewelry in antique style came into vogue. Renaissance technologies are closely related to the era of the great geographical discoveries: new materials and technologies were brought from distant countries. Pearls have become associated with distant countries, sea and travel. The enamel became better and more elegant. The technology of stone carving was developing.

After the strict and laconic Renaissance, the era of Mannerism, or proto-baroque, became the peak of pomp and luxury in the art of jewelry.This was evident both in the choice of materials and in the design of the jewelry. The craftsmen combined a variety of materials and textures: metal weaving, enamel, stones and pearls.

France, Italy, Spain

Baroque – the style of the era of the absolute monarchy of the 17th century.The attraction to luxury gained momentum during this period and became associated with the power of power. From the palace to the heel of his boots, everything should reflect the mighty power of the monarch. Therefore, pomp, splendor and luxury are the main characteristics of jewelry items of this time. With the help of massive details and large stones, the craftsmen emphasized the status of the jewelry owners.

France and other European countries

The pompous baroque was replaced by a lighter and softer rococo – a style of grace and flirtation.The effect that the object produces became important, and the quality of the materials and the size of the stones faded into the background. Jewelers began to deviate from the usual forms of jewelry and tried to imitate precious stones. If a flower is beautiful, then it doesn’t matter what it is made of.

France, England, USA

The Age of Enlightenment is a time when France, and then the whole of Europe, asked philosophical questions about the place of man in society and nature.These reflections led to the fact that reason began to dominate over feelings, exact sciences – over arts. Jewelers tried to incorporate the latest inventions of engineers into their products; the use of mechanisms in jewelry became a distinctive feature of the era. Functionality and complexity of execution are the basis of the creativity of the masters of the Enlightenment.

Neoclassicism

After the Great French Revolution, there was a break with the traditions of previous eras and jewelers turned to the aesthetics of pre-monarchic times.Jewelry with references to antique sculpture and architecture came into vogue. Symmetry, clear straight lines, minimalism became characteristic of the style. Restraint manifested itself in the use of materials – preference was given to high-quality stone and precious metals.

With the coming to power of Napoleon Bonaparte, they began to turn to antiquity as a way to glorify the empire.The strict Greek antiquity of classicism was replaced by the imperial antiquity of Ancient Rome. Materials have become more expensive, jewelry design has become more complex. Jewelers sought to make their products luxurious and pompous. The imperial style was formed due to large inserts, perfect stones and high-quality cut. Materials (stones and metal) have become more important than the artistic component.

In the 19th century, a revival and rethinking of the styles of the past centuries began in Europe.This phenomenon is often denoted by the term “historicism”. Jewelers imitated antique jewelry, and from this interpretation of the fashion of the past, various “neo” styles were born: neo-baroque, neo-rococo, neoclassicism and neo-romanticism.

The Art Nouveau style took as a basis nature, in which there are practically no perfectly straight lines.Complexity and pretentiousness in combination with smooth lines and motives of flora and fauna are the main characteristics of the style. Precious and semi-precious stones could coexist with non-precious materials. The idea and its artistic embodiment, the complexity of execution and the combination of different textures began to prevail over the quality of stones and metals.

The avant-garde at the beginning of the 20th century became the first wave of radical contemporary art.This wave covered Europe, new art infected young artists. Painting, sculpture and graphics rushed towards non-objectiveness, they began to abandon the plot in favor of an experiment with pure forms, colors and compositions. This was very beneficial for the jewelry business: art spoke in its more decorative language. Jewelers began to frequently refer to the works of artists and the aesthetics of the avant-garde in general, to create jewelry based on the avant-garde works.

The era of Symbolism, which began in Europe at the end of the 19th century, was in many ways a reaction to the rationalization of the world, thanks to the discoveries of science and technology.Man needed mysticism and the language of symbols. In the art of jewelry, this was expressed in the use of innuendo, hints, mysterious and enigmatic images. The hidden, hidden side of this or that phenomenon is important – the main themes are death, ancient myths and the supernatural.

end of XIII century- ser. XVI century

20s – 90s XVI century

late 18th – early 19th century

late 19th – early 20th century

The uniqueness of the jewelry art of the Urals | Jewelry House Maxim Demidov

Well-known Western jewelry companies sell us not only their jewelry, but also their philosophy.When buying expensive items, we want to belong to the privileged majority, among which it is fashionable to wear diamond rings from France or necklaces from Italy. But the main task of jewelry from time immemorial was the opportunity to emphasize the individuality of the owner, his differences from the rest.
Buying foreign brands of jewelry, issued in a circulation of several thousand copies, does not help us create a unique image of ourselves.
An alternative can be a choice made in favor of those companies on behalf of which they do not produce jewelry, but create them – each separately and in a single copy.

One of these creators exists very close – in Russia. In a country famous for the abundance of minerals, unique and purest precious stones ..

Maxim Demidov – heir to the jewelry traditions of the Urals


Did you know that the first diamonds, emeralds and alexandrites in Russia were found in the Urals? The history of jewelry creativity and precious finds of this region has been developing for over 300 years. It is distinguished by its originality, originality and independence from world trends.Because the Urals, which are located between Europe and Asia, have acquired their own individuality.
The history and independence of the Ural jewelry art had a huge impact on Maxim Demidov, the founder of the company of the same name.
Since childhood, Maxim Demidov observed the beauty of the precious stones of the Urals. In the house of his father, he admired the rarest collection of minerals, the unusualness of which aroused in the young man an interest in their study. Later, Maxim entered the Faculty of Mineralogy, Petrography and Geochemistry of the Ural State Mining University and began to study the wealth of the Ural lands during numerous expeditions.A journey to the historical places of the Urals, where the foundations for the development of jewelry art in our region were once laid, helped Maxim Demidov to show the world the wealth of Ural gems.

Today, the Maxim Demidov brand represents an unrivaled style of jewelry, inspired by the rich history of the region. And we propose to make a small excursion into it in order to realize all the wealth and advantages of the jewelry school of the Urals and the Ural precious stones.

Gemstone strip of the Urals


Ural is a real home of natural gems.The land of mountains, forests and pristine expanses has attracted prospectors and treasure hunters for three centuries, who go to try their luck on the land rich in treasures. Geodetic changes of the Paleozoic era led to the formation of many unique stones here, many varieties of which are not found anywhere else on the planet.

Huge deposits of natural gems are concealed by a narrow belt stretching from North to South along the Eastern slope of the Middle and South Urals. In 1924, the mineralogist Konstantin Konstantinovich Matveev called these lands the “Gem strip of the Urals”.

By the way, the term “gems” was introduced into use in the Urals, in the 20th century, thanks to the scientific work of the crystallographer and geochemist A.E. Fersman. According to his classification, gems are any transparent minerals, and he attributed opaque rocks to the category of “colored stones”.

The Tumashev family of iron ore prospectors began the development of the “Gem strip of the Urals”. In 1668, while searching for fossils in the area of ​​the Murzinka village, Dmitry Tumashev accidentally discovered deposits of rock crystal and topaz.This is how the more than three hundred-year history of the extraction of precious stones in the Urals began.


Alexander Ivanovich Tumashev – one of the founders of domestic metallurgy. From 1635 he worked as a master smelter at the Pyskorsky plant, which was located near modern Perm. In 1657, the plant was closed, and the Tumashevs received permission to search for ore in other regions of the Urals. Subsequently, the son of Alexander Ivanovich actively continued his father’s work.
Dmitry Alexandrovich Tumashev not only mined ore, but was the first to discover precious stones in the Urals.In 1669, with his brothers, he launched huge prospecting work in the Verkhoturye district and in the same period founded an iron factory. In addition to the extraction and processing of metals, the Tumashev brothers began to bring emeralds, diamonds, topaz and other stones to the treasury.

In the 18th century, the “stone fever” covered the entire South Urals. It begins in 1702 with the discovery of a large malachite deposit on the outskirts of modern Polevskoy, and develops after the topaz crystals were found in the Ilmen mountains.More and more new finds appear in the region, which surprise with their size and uniqueness. See what the Ural land concealed in itself:

  • 1899 – not far from the Aduy river, mountaineers discovered yellow beryls, the total weight of which was 600 kg;
  • 1834 – an emerald weighing over 2 kg was found, today this stone is known as the “Cookovin Emerald”;
  • 1840 – alexandrite weighing 5.7 kg was found, it consisted of 22 huge crystals;
  • 1843 – 2 kg aquamarine, 24 x 21.5 cm in size, was mined in the Ilmen mountains;
  • 1985 – in the vicinity of the village “Murzinka” found a topaz weighing almost 4 kg, this find was given the name “Victory”.
Development of stone cutting and jewelry making


In the 18th century, the search for and processing of precious stones in the Urals was carried out both in factories and artisans.
Self-taught, or “mountaineers”, were the first to learn how to process gems, until the initiative passed into the hands of the state. By the 19th century, industrial mining of gold, platinum and all kinds of stones developed in the Urals. The country and abroad were strewn with: Ural diamonds, emeralds, rubies, amethysts, tourmalines, topaz, sapphires, beryls, agates, jasper and other gifts of the Ural land.

In 1726, a new round in the processing of precious stones began in Russia – the Swedish stone cutter Christian Ref. The contract with the foreign specialist was concluded by V.N. Tatishchev. However, it cannot be said that Ref was the first jeweler of the Urals. Then we already had our own professional – Andrey Kozmich Kuznetsov.

Andrey Kozmich Kuznetsov – the first jeweler in Yekaterinburg. He was a Tobolsk Cossack son who came to the Urals by order of Tatishchev.A.K. Kuznetsov worked together with H. Ref, creating jewelry from stones cut by him.

The stone-working craft began to develop in the Urals with the cutting of gems, including such as amethyst, rock crystal, and rauchtopaz. They were processed by private craftsmen and a lapidary factory in Yekaterinburg. All this led to a gradual flourishing of the cutting industry, and by the middle of the 19th century, the “Yekaterinburg edge” was valued no less than the works of masters from Europe.

The Ural stone cutters became famous all over the world.Their products became exhibits at foreign exhibitions and in the most famous museums in Russia – in the Hermitage, the State Russian Museum, and the Diamond Fund.

Jewelcrafting of the Urals in the XX century


In Soviet Russia, the export of Ural stones abroad began in huge quantities, where they were in enormous demand. In the 1920s, Sverdlovsk emeralds were sent to England, France, Germany, and in 1924 the USSR began to lead in the jewelry industry.

At the World Exhibition in Brussels in 1958, samples of jewelry with Ural gems were successfully presented, which brought a bronze medal to the Russian Gems Factory.

In the period from 1950 to 1970, Sverdlovsk became the center of the author’s jewelry art, which to this day is distinguished by its uniqueness.

Today

Today, thanks to our region, Russia is also not inferior to Europe in creating excellent jewelry.We do not need to extract individuality in foreign lands, it was obtained from us long ago. It’s time to pay attention to your own merits and emphasize them with the help of the jewelry traditions of our country.
Works of art from individual companies will help with this. Jewelry from the Jewelry House Maxim Demidov reveals the natural beauty and play of the best gems. Fabulous and magical motifs in design, the unique style of each product marks them with the sign of the highest quality.

Unlike many other companies, Maxim Demidov creates the philosophy of its brand based on truly valuable things: a rich history of jewelry creativity and traditions of processing the best stones.The value of such products is eternal, just as the value of each gem is eternal.

(PDF) MAIN FACTORS OF FORMATION OF THE JEWELRY PHENOMENON OF FRONT ASIA

“Molody Vchenii” • No. 9 (36) • Veresen, 2016 p.

146

MYSTERY CONSCIOUSNESS

went to suffer in the early 2000s, in Phil –

Delphi and London. The most curious and

significant things, probably, should still be looked for in the

British Museum, however, artifacts from the Iraqi

and American collections should also not be ignored.

Analysis of research and publications. The degree of

study of jewelry art of the Anterior

Asia can truly be called promising

– there are simply no independent studies on this topic, and not only

in Russian art history. Information

about the products of Sumerian craftsmen, Assyrian

jewelry art, jewelry of Babylon

can be found in works devoted to decoration

applied art in general, in chapter

about art metal or jewelry art of the Ancient

the world, as it was, for example,

measures, in the classic work of A.de Moran [4].

Descriptions of the jeweler of Mesopotamia are practically

always fragmentary, most often only

the most famous works are mentioned, there is no [6]

systematization, analysis of characteristic tendencies –

tions. In the works of a more popular and generalized character

, analysis of the jewelry wealth

of Mesopotamia is often absent, yielding to the ancient

non-Egyptian or ancient “golden information

rain”.

Highlighting previously unsolved aspects of the problem

problems. An invaluable source of information was the

work of L. Woolley “Ur Chaldeans”, which contains a detailed description of what was found during the excavation of the Ur burials [2].

However, there is practically no place to find a combination of historical data and material

of the scientific analysis, information about the special features of the techniques, materials used and

historical references.

Alas, a competent analysis, which combines the corrections of art criticism and data on

manufacturing technology of the product, is almost impossible –

is possible – more often the art is dominated by art

canvas with illiteracy of data on technology

manufacturing stones.

It happens the other way around, although much less often – a quality

text from the field of jewelry practice

is camouflaged by an illiterate description from the

area of ​​art history in the absence of even

banal stylistic analysis and historical

context.

Objectives of the article. Due to the above-mentioned shortcomings in art history literature, the goals

of this essay can be attributed to an attempt to unite different types of analyzes of jewelry art

Mesopotamia, with an emphasis on art history,

but not bypassing

as far as possible technical

logical sides of the manufacturing process of that

or other thing. Only

practitioners usually do it competently, but, alas, most often practitioners do not know the word and tools of art –

of Vedic analysis, therefore the task

is rather difficult, and in some aspects,

may seem utopian. …Nevertheless,

for a comprehensive study of the history of jewelry

of art, its solution is necessary.

Statement of the main material.

gold days for jewelry art can be considered

I half. ІІІ millennium BC, and the birthplace of Juve-

lyre glory is rightly called Ur. At the end of

1920s. Ch.-L. Woolley became a man who gave the world the treasures of Ur

, as Schliemann did with the gold of Troy in his

time.The main

material for the study of jewelry art,

of the Western Asia, the earliest periods

of its development, is just material from the

Woolley digs. It is the Sumerian decorative

applied art that can lift the curtain

over the jewelry world of Western Asia at that time. Several royal tombs, discovered

by L. Woolley during his five-year excavations

in Ur, contain items of different groups,

from which one can make an idea of ​​

as a place of jewelry art in the Sumerian

culture, so and about the tendencies of the formation of its

traditions, about the preferred materials and the

changeable techniques, the technological level.

Along with the purely local traditions of the Sumerian

artisans clearly gravitated towards the interaction of

with ancient Egyptian art – this can be seen from

many works in which

Egyptian pictorial motifs, elements of coloration are observed,

elements are observed

technical solution.

Out of the entire corpus of found objects, utensils (dishes, furniture), musical instruments

, small plastic, weapons and personal decorations

are isolated, as was the case in the Theban

tomb of young Tutankhamun.But the priorities of the

Sumerians can be observed somewhat different. Rod-

nits of Sumerian masters with ancient Egyptian

love of wealth and luxury, conditioned by

by the specifics of the funeral ritual. However, the ratio of

the wearing of the materials used by the Sumerian

craftsmen was different. I do not stop at a large number of bronze items,

which accompanied the deceased in their afterlife

, nevertheless, we will mention their presence

and abundance, which in relation to the ancient egypt

tans still does these burials are somewhat

more modest, although the artistic value of

items made of this metal is undeniable and different.A lot of idols,

items of weapons, sets of horse harness,

made of both bronze and copper, adorned

shawls from both Ur burials and, for example,

Iranian (Luristan bronze) [4, p. 224-226],

and testified to a high level of poor metal processing

on the territory of

of Western Asia as a whole.

However, true jewelery masterpieces were still found

in the tombs of Ur of King Kish

Meslim (XXVIII century.BC), Queen Shubad

(Puabi) and ruler Mescalamdug, dated

XXVI century. BC, as well as during the excavations of the Ur

temple of the goddess Nimgal, where a gold

treasure was found. In addition to the numerous vessels made of gold

, not ornate, more often geometrized,

ornamented, many objects were discovered here that struck with the subtlety of

work and the sophistication of execution.

The Ura craftsmen, in contrast to the Egyptian ones,

did not make the dominant feature of their work only

, a very yellow metal.Although they often used gold, together with bronze and

copper, they often used silver, not becoming a favorite in Egypt, did not miss

Stages of development of modern jewelry art in Kazakhstan | Zhukenova

1. Rudenko S.I. Gorno-Altai finds and Scythians. Moscow ; Leningrad, 1952.286 p.

2.Masson M.E. On the construction of the mausoleum of Khoja Akhmed Yassavi in ​​the city of Turkestan // Izv. Central Asian Geographical Society. T. 19. Tashkent, 1929. S. 53-61.

3. Gryaznov M.P. Prehistoric past of Altai: (Work of the Altai expedition of the State Russian Museum in 1924-25) // Nature. 1926. No. 9/10. S. 97-98.

4. Bernshtam A.N.Archaeological work in Semirechye // Brief reports of the Institute of the History of Material Culture. Issue 4. 1940. S. 43-48.

5. Bernshtam A.N. Historical and archaeological sketches of the Central Tien Shan and Pamir-Alai. Moscow ; Leningrad, 1952.347 p.

6. Dudin S.M. Architectural monuments of Chinese Turkestan: (From travel notes) // Architectural and artistic weekly.1916. No. 6. P. 68-72; No. 10. P. 122-130.

7. Margulan A.Kh. Kazakh folk applied art: [in 3 volumes]. Alma-Ata: Oner. 1986.Vol. 1.251 p.

8. Masanov E.A. Essay on the history of ethnographic study of the Kazakh people in the USSR. Almaty: Altyn kitap, 2006.551 p.

9.Akishev K.A., Margulan A.Kh., Kadyrbaev M.K., Orazbaev A.M. Ancient culture of central Kazakhstan / ed. acad. OH. Margulan. [Alma-Ata]: Science, [1966]. 435 s.

10. Akishev K.A. Archaeological sites of Kazakhstan. Alma-Ata: Nauka, 1978.214 p.

11. Akishev K.A., Kushaev G.A. The ancient culture of the Saks and Usuns of the Ili river valley.Alma-Ata, 1963.297 p.

12. Akishev K.A. Ancient gold of Kazakhstan: album. Alma-Ata: Oner, 1983.262 p.

13. Zasetskaya I.P. Gold jewelry from the Hunnic era. Leningrad: Aurora. 1975.79 s.

14. Zasetskaya I.P. Polychrome articles of the Hunnic period from burials of the Lower Volga region // Archeol.collection of State. The Hermitage. Issue 10. Leningrad, 1968. S. 35-53.

15. Dzhanibekov U.D. Culture of Kazakh handicrafts. Alma-Ata: Oner, 1982.144 p.

16. Baypakov K.M. The Great Silk Road on the territory of Kazakhstan. Almaty: Hadamar, 2007.496 p.

17. Sycheva N.S. Jewelry of the peoples of Central Asia and Kazakhstan: album. Moscow: Sov. artist, 1984.179 p.

18. Gorbunov A.P., Samashev Z.S., Seversky E.V. Treasures of frozen burial mounds of the Kazakh Altai: (based on materials from the Berel burial ground) [= The Treasures of Frozen Burial Mounds of the Kazakh Altai]. Almaty: Il-Tekh-Kitap, 2005.114 p.

19.Tasmagambetov I.N. Products of masters-zergers of Central Asia. Almaty: Didar, 1997.234 p.

20. Seidimbek A. The world of Kazakhs: ethnocultural rethinking. Astana: Foliant, 2012.560 p.

21. Rudenko S.I. The culture of the population of Gorny Altai in the Scythian time. Moscow ; Leningrad, 1953.404 p.

22.Tokhtabaeva Sh. Zh. Kazakh folk women’s jewelry of the 18th-20th centuries. Alma-Ata, 1984.138 p.

23. Tokhtabaeva Sh. Zh. Masterpieces of the Great Steppe. Almaty: Daik-Press, 2008.240 p.

24. Zanegina O.Yu. Aesthetics of Kazakh jewelry (evolutionary processes): author. dis. … Cand. art history: 17.00.05. Moscow, 1991.29 p.

25. Akhmetzhanov K. Ethnography of traditional weapons of Kazakhs. Almaty: Almatykitap, 2007.216 p.

90,000 heyday and decline of the Russian Empire – PUNKTUM


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Bolin K.Parura Lotus flower. 1874

Agraf, clasp, chatelaine, feronniere, bando, tiara, diadem, sklavage … These names fascinate and intrigue. But sometimes we have only a vague idea of ​​what it is. The author’s course of art critic and costume historian Natalya Vinogradova, dedicated to the Russian jewelry art of the 18th-19th centuries, will help you understand the history and intricacies of this art form. You will learn not only about different forms and types of jewelry and their style: they will appear before you against the background of amazing interweaving of eras and destinies, views and sympathies, politics and culture.

Lecturer:

Vinogradova Natalia

  • Art critic, costume historian
  • Researcher at the State Historical Museum, curator of the 17th – 20th century jewelry and bijouterie fund
  • Post-graduate student of the State Institute of Art Studies

Cost:

The cost of attending 1 lecture is 400 rubles.
Students and schoolchildren – 50% discount (upon presentation of a school card or student ID)
Standard subscriptions of Punktum are valid for the course of lectures

The course consists of 7 lectures:

  1. Polyphony of the styles of Peter the Great
  2. “German” baroque by Anna Ioannovna and rococo “merry Elizabeth”
  3. “The Diamond Age”.The era of Catherine II
  4. “Days of the Alexandrovs a great start”
  5. A series of historical styles
  6. The brilliant decline of the Empire. Sign of decadence
  7. The world of men’s jewelry. From pettimeter to dandy esthete

Lecture 1. Polyphony of the styles of Peter the Great – September 24 at 19-30

A ring with a miniature portrait of Peter I under a pink diamond. The beginning of the 18th century

The lecture will be devoted to a very difficult and controversial period in the history of Russian jewelry in Russia – the beginning of the 18th century.It was at this time that the foundations of the future splendor of Russian jewelry were laid. This was the era of the great transformations of Peter I, the purpose of which was to modernize the country. A part of these reforms were also decrees concerning clothing and appearance. In a very short time, in fact, for several years, the traditional costume, which has developed over the centuries, with all its jewelry frame, is being abandoned. It is being replaced by a new European costume, and with it new jewelry. As a result, both the style and the way of using jewelry, and the organization of the jewelry business itself will completely change …

At the lecture, the audience will learn how the introduction and adaptation to the new fashion took place, what jewelry appeared, what was their originality and fundamental difference from the pre-Petrine ones, where and how they were worn.

The story will be accompanied by a lot of illustrative material.

Lecture 2. “German” baroque by Anna Ioanovna and rococo “merry Elizabeth” – October 1 at 19-30

Egret fountain. 1750s

This lecture will be a continuation of the previous one, devoted to jewelry of Peter’s time. The conversation will focus on how the assimilation of new trends is gradually taking place, how they are introduced and mixed with traditional views, and how Russian jewelry art forms a new European line of national culture.The lecture will be divided into two parts. The first is jewelry from the time of Anna Ioannovna, the second is from the time of Elizabeth Petrovna. Two eras – two completely different approaches to jewelry. The decorations of the Anninsky era are heavyweight, oriented towards German designs, they perfectly correlate with the appearance, taste and character of the empress herself. While the jewelry of the lively and cheerful Elizabeth Petrovna, who was once prepared as the bride of Louis XV, is refined, made in the French style, capriciously curved outlines.Comparing them will allow listeners to better understand the uniqueness of the jewelry art of these two periods.

Lecture 3. The Diamond Age. The era of Catherine II – October 8 at 19-30

Cipher with the monogram of Catherine II. 1770-1780

The lecture will focus on jewelry during the reign of Catherine II. This era can rightfully be called the “diamond age” – earrings, buckles for shoes and belts, cufflinks, buttons, snuff boxes – everything is covered with a scattering of diamonds. But simultaneously with this tendency, another, completely new, is growing, associated with the appearance of the stylistics of sentimentalism in Russian culture of the 18th century.Decorations appear that indicate not status or wealth, but are designed for a contemplative attitude towards them. They were designed to illustrate feelings of sadness, sorrow, love. As a result, there are products created from simple semi-precious stones and from such unusual materials as cast iron, steel and even human hair! Let’s talk about the fascination at this time with antiquity, and the associated fashion for jewelry with carved stones.

Particular attention will be paid to the issue of wearing jewelry and etiquette.

As always, the lecture will be accompanied by a large amount of illustrative material.

Lecture 4. “The days of the Alexander the great start” – November 6 at 19-30

Large diamond diadem of Elizaveta Alekseevna. OK. 1810

We will talk about jewelry from the first quarter of the 19th century – the time of the monumental and majestic Empire style. At this time, jewelry acquires geometric conciseness and severity. In addition to diamonds that do not go out of fashion, interest in colored stones – rubies, emeralds, sapphires – is growing.

The fascination with antiquity, which arose at the end of the 18th century, reached unprecedented proportions. Figures and elaborate wigs disappear, high waisted dresses and simple à la grecque hairstyles are in vogue. Intaglio and cameos (sometimes of really antique origin) are becoming even more widespread than in the previous era, because they were not just a fashion accessory, but an element that allowed their owner to feel closer to the adored era. These carved stones are inserted into a variety of jewelry: tiaras, buckles, necklaces, earrings, bracelets, belts, rings … Decorations from Roman mosaics with plots on antique themes and types of ancient Roman structures also become widespread.

Lecture 5. A series of historical styles – November 13 at 19-30

A bracelet. Second quarter of the 19th century

In 1895, a correspondent for the St. Petersburg “Khudozhestvenno-Craft Magazine” noted that the 19th century “failed to create its own style, and willy-nilly it had to imitate old patterns and styles, which are fashionable and prevailing for a while.” It is to these historical styles that dominated throughout almost the entire 19th century that this lecture will be devoted.The listeners, together with the lecturer, will see, as in a kaleidoscope, various styles of the era of historicism – from neo-Gothic to neo-Russian.

First, we will talk about the jewelry art of 1820-1850 moves, the so-called “romantic historicism” – the period of origin and the first stage of development of historical styles. Listeners will immerse themselves in the era of Emperor Nicholas I, learning about the tastes and historical ideals of this period using the example of jewelry art. The second part of the lecture will highlight the next, most extravagant stage of historicism in the 1860s-1880s.During this period, the masters, with almost documentary accuracy, strive to recreate the jewelry of past eras, looking for the secrets of the lost techniques, and having solved them, bring them to perfection and virtuosity … The jewelry itself is increasingly beginning to acquire unprecedented complexity and pretentiousness, so corresponding, however, to costumes and hairstyles …

Lecture 6. A brilliant decline of the Empire. Under the sign of decadence – November 27 at 19-30

Kehli F. Tiara. The beginning of the XX century.

The lecture will be devoted to the last period in the history of the jewelry art of the Russian Empire.The luxury and splendor of the royal court reached unprecedented proportions during that period, but the feeling of the approaching tragedy of the revolution was already in the air. The predominant decadence of the modern era dictated a very special, somewhat painful, but at the same time refined aesthetics. The atmosphere of the era was permeated with coldness and mysticism, aromas of the East and exotic. All this was directly reflected in the art of jewelry … Traditional natural motives are gradually losing their naturalism and creatively rethought, acquiring bizarre and fantastic forms.For the manufacture of jewelry, along with diamonds and other precious stones, materials such as glass paste, enamel, moonstone are used, the choice of which emphasized the artistic value of the product, and not their value.

In addition, the audience will learn the history of such legendary firms as the firms of Bolin and Faberge.

Lecture 7. The world of men’s jewelry. From pettimeter to dandy esthete.

Tie-pin. Early 20th century

Previous lectures focused on jewelry worn by women, while the last lecture in this series will focus on jewelry designed for men.For a long time, the topic of male elegance remained in the shadow of interest in women’s fashion, and it was not customary to talk about men’s jewelry. However, in men’s fashion, perhaps even more than in women’s fashion, we meet with the ability to shine, attention to jewelry and accessories. We will talk about the fashionistas of the 18th and 19th centuries, their views and manners, their preferences in the choice of accessories and jewelry. First, our conversation will focus on the 18th century, a time when men’s fashion was distinguished by special luxury and brightness, and the number of jewelry on a dandy’s dress could sometimes exceed the number of lady’s jewelry.Next, we will focus on men’s jewelry of the 19th century, the era of fashion for the restrained and austere style of British dandies. The lecture will end with a story about the turn of the XIX-XX centuries, the last and, perhaps, the brightest period in the history of men’s fashion and jewelry – the period when the image of a sophisticated and refined esthete becomes the ideal of a fashionista.

Lecturer:

Vinogradova Natalia

Vinogradova Natalia

  • Art critic, costume historian
  • Researcher at the State Historical Museum, curator of the 17th – 20th century jewelry and bijouterie fund
  • Post-graduate student of the State Institute of Art Studies

Cost:

The cost of attending 1 lecture is 400 rubles.
Students and schoolchildren – 50% discount (upon presentation of a school card or student ID)
Standard subscriptions of Punktum are valid for the course of lectures

Pay for one lesson – 400r:

[rk_button sku = “2603151155 ″ description =” Two centuries of jewelry art: the rise and fall of the Russian Empire “price =” 400 ″]

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by phone: +7 910 478 65 54

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History of the department

History of the department

Department of Artistic Design and Theory of Creativity (KhPTT) was opened in 2004.The department conducts training in the field of “Artistic design of jewelry” under the guidance of Professor, Doctor of Culturology, Honored Laureate of the “Person of Russia” project Valentina Nikolaevna Kardapoltseva. Specialists in this area are in high demand in the modern market economy, many graduates of the department work at jewelry enterprises and stone-cutting factories.

The department employs highly professional specialists who teach both artistic disciplines (drawing, painting, sculpture, etc.)and special (basics of artistic design; costume design; architectonics; artistic design of jewelry). Special disciplines are taught by professional teachers with experience in jewelry enterprises or specializing in the field of jewelry design. The leading specialist in the training of jewelers both in theoretical and practical directions is the teacher Digas R.V., who has extensive experience in the enterprises “Jewelers of the Urals”, “Lino”, “Phoenix M”.An important role in the training of jewelers belongs to the teacher Petrova E.V., who has work experience at Ringo. Professor L.Yu. Salmin, an expert in the field of jewelry culture, editor-in-chief of the Russian jewelry magazine PLATINUM, leads disciplines related to jewelry design.

Disciplines of the artistic and compositional direction are conducted by: Candidate of Pedagogical Sciences Kachalova A.A .; members of the Union of Artists of Russia, and the UNESCO International Art Organization Merezhnikov A.N., Muratova L.V .; Kharasov A.A., has the title of Honored Artist of Bashkortostan, awarded by the Governor of the Sverdlovsk Region Kuyvashev E.V. for supporting the culture and art of the Bashkir people. Since the foundation of the department, Art. teacher Korotin V.I., – a graduate of one of the leading art and industrial schools in Russia (St. Petersburg Art and Industry Academy named after Mukhina / A.L. Stieglitz).

Future graduates, in addition to theoretical, artistic and special disciplines, master modern technologies of jewelry design, including computer programs.

A jewelry workshop was created at the department, where, under the guidance of the teacher-practitioner Digas R.V. bright jewelry images of metal and stone are born.

An important role in expanding the material and technical base of the department is played by Art. teacher Demina N.A. – graduate of USMU. Thanks to her, the jewelry workshop is provided with the necessary materials and students master practical processes not only on the basis of the USMU workshops, but also undergo practical training at the jewelry enterprises of the city (“Jewelers of the Urals”, “Ringo”, “KARAT”, etc.)

The State Commission for the Protection of Graduation Qualification Works (WQP) includes leading practitioners of the largest jewelry enterprises. Among them is the Director of “Miner-SHOW” ID Dubyago; chief editor of the magazine “Platina” L.Yu. Salmin; Sakhnenko S. A, chief artist of the “Jewelers of the Urals” plant; Deputy General Director of the Phoenix-M Jewelry Design Studio; V.P. Grebenshchikov, member of the Union of Artists; Commercial Director of the Ringo Jewelry Company Yalunina N. B.; worked for a long time, the director of production of the plant “Jewelers of the Urals” Golembo L.V. The directors of the diplomas were several times S.A. Sakhnenko. and Grebenshchikov V.P., which ensured the success of the final qualifying works.

Teachers and students of the department take part in seminars and scientific-practical conferences in the leading museums of the country, the Hermitage, the Russian Museum.

Students had an internship in Moscow, at the Moscow State Technical University. N.E.Bauman, in Krasnoyarsk; participated in the educational program of the Foundation for the Support of Education and Creativity of St. Petersburg Artists-Jewelers “Form” in St. Petersburg under the leadership of G. Kovaleva, a member of the Union of Artists of Russia;N., as well as abroad, including in China; gained experience in design and jewelry schools in the Czech Republic at the International Plein Air Festival “Prague Spring”, at the International Festival of Culture and Art “Catalan Spring” in Spain, collaborated with specialists from India.

An indicator of the level of teaching at the department of KhPTT is the achievements of graduates in independent professional activities. For example, Yekaterina Gorodilova, a graduate of the KhPTT department, a successful designer at the Briolet jewelry studio, works in the international market thanks to cooperation with jewelry companies in Bangkok.Diana Varyukhina and Vladislav Abramov, the owners of their jewelry enterprise “Jewelery Park” and active organizers of jewelry festivals, are no less successful in their professional activities. Natalya Rukhlenko, a graduate of the KhPTT department, whose works were noted by representatives of the Hermitage, is engaged in the development of jewelry as a leading art designer of the Karat jewelry enterprise. Alexander Melov, Nikita Shelegin, Anna Lukyanenko work in the largest jewelry holding Ringo.Anna’s brother, Andrei Lukyanenko, also a graduate of the Department of HTPT, works as a graphic designer at SKB-contour. Pavel Rykhlov successfully works as a designer at USMU.

Graduates P. Rykhlov, N. Rukhlenko, Igor Rychkov passed on their creative experience to the students of the department of KhPTT.

Many students of the department are laureates of Russian and international competitions: International festival-competition of creative teams “Admiralty Star”; the annual open All-Russian festival of artistic creativity of students “Arkhyperspektiva”; Russian Art Week in Moscow; Pacific Assembly of the Arts; International Fashion Festival “Velvet Seasons” in Sochi, organized by the famous Russian couturier V.Zaitsev, where the KhPTT department became a laureate of the International Design Competition, in the Debut nomination.

The area of ​​professional activity of graduates includes methods and techniques for creating new style solutions for jewelry and clothing collections. Students repeatedly shared their ideas and projects with each other within the framework of extracurricular activities at the Teacher and Student exhibition, which was held in the House of Scientists in Yekaterinburg and was accompanied by displays of student clothing and jewelry collections.

Graduates of the Department of Artistic Design and Theory of Creativity are able to develop an individual style of a collection, a plan of a show scenario, exhibitions of products based on a certain concept, create jewelry using innovative methods of artistic design using computer technology.

Students enrolled in this specialty master art and general education disciplines that allow them to obtain the highest unique qualifications of an artist-stylist.

Specialties of the department:

  • artistic design of jewelry;
  • artistic design of stone products;
  • advertising and visual communication design.

Upon graduation, a state diploma of higher education is issued.

Preparatory courses are organized for applicants.

Main directions of scientific and artistic activities of the department

  • Theory of creativity;
  • History of costume, jewelry and stone-cutting art;
  • Architectonics;
  • Composition, design;
  • Design theory and methodology;
  • Artistic stone processing.

Employment of graduates of the department of HPTT

Design studios, jewelry enterprises, stone-cutting factories, small and medium-sized businesses, vocational education system, art production plants, design enterprises, image studios, jewelry salons.

Young professionals can successfully compete in the labor market and are able to adapt to work in the light industry.

Policy of the department KhPTT

  1. Improving the quality of educational activities based on the implementation of the continuity of knowledge in the system of links in art education.
  2. Implementation of a quality management system, as well as improvement in increasing the effectiveness of the implementation of the QMS.
  3. Implementation of information and computer technologies and innovative teaching methods.
  4. Ensuring high qualifications of the teaching staff, by stimulating motivation to improve pedagogical and artistic skills, participation in events for artistic and creative exchange.

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