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Open Access Thesis

Keywords

Jewelry;

Abstract

This thesis was undertaken to explore possible applications of various forms of dynamics to contemporary jewelry design. The purpose is (1) to isolate design shapes which illustrate five types of dynamics: (2) to present five pieces of jewelry designed and constructed for this study; (3) to describe in detail the techniques and processes used to complete each project: and (4) to analyze the use of dynamics in the design of each project. Dynamics, as used in this study, is defined as design which suggests energy in motion, a vigorous quality. While closely related, dynamics is not to be thought of as being identical to the quality of movement, visual or actual, that exists in any art work. Movement may be determined simply by establishing dominant areas which tend to direct, attract, or repel the attention of the viewer. Dynamic movement is created, not by the dominance of an area, but rather through shapes which organize space and direct movement. For the clarity of this thesis, differentiation is made between the various basic shapes which can develop dynamic movement. These dynamics derive their names from the directions of movement they create. Thrust Dynamic. A design, resembling a wedge shape, which tends to lead the eye to a definite point. Concave Dynamic. A design which, proced1ng from one side to the opposite side, compresses a given area and subsequently releases it. Convex Dynamic. A design which begins with a compressed area, expands, and becomes compressed again. Spiral Dynamic. A design tending to revolve and develop either toward or away from a central point. 2 Radial Dynamic. A design which radiates outward from or inward to a central point. The primary concern of any artist is to use to fullest advantage the esthetic potential inherent in his materials. If he 1s successful, the resulting art form should evoke in a viewer an intense feeling of empathy, a deep personal rapport with the work. Many persons, whether jewelers or laymen, can recognize inept use or treatment of metal. It is in designing the project that the jeweler must develop and present his personal esthetic criteria. A valid criterion may be intellectual in nature, intuitive, or a combination of both approaches. The conscious application of design dynamics, which is an intellectual rather than an intuitive concept, could create jewelry forms devoid of personality and presenting only cold perfectionism. Each project for this thesis was designed to present one primary dynamic in a relatively pure state. The pieces were not intended to be final solutions to the use of dynamic design but rather to present one possibility in the application of each particular dynamic being considered. Limiting the purpose to one primary dynamic tended to inhibit the spontaneity which should be present during the designing process, but the limitation was imposed for the purpose of the thesis. A combination of dynamics would more naturally occur in spontaneous designing.

Year of Submission

1968

Degree Name

Master of Arts

Department

Department of Art

First Advisor

Clifford H. Herrold

Second Advisor

Harry Guillaume

Third Advisor

J. Breithaupt

Comments

If you are the rightful copyright holder of this thesis and wish to have it removed from the Open Access Collection, please submit a request to scholarworks@uni.edu and include clear identification of the work, preferably with URL.

Date Original

1968

Object Description

1 PDF file (44 leaves)

Language

en

File Format

application/pdf

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