The definitive reference for jewelry makers of all levels of ability--a complete, profusely illustrated guide to design, materials, and techniques, as well as a fascinating exploration of jewelry-making throughout history.

What is a cabochon? What are the various types of gilding? What is vermeil? This accessible book—the first of its kind—offers concise explanations of key jewelry terms. The fascination with personal adornment is universal. It is a preoccupation that is primal, instinctive, and uniquely human. Jewelry encompasses a seemingly endless number of ornaments produced across time and in all cultures. The range of materials and techniques used in its construction is extraordinary, even revolutionary, with new substances and methods of fabrication added with every generation. In any given society, master artisans have devoted their time, energy, and talent to the fine art of jewelry making, creating some of the most spectacular objects known to humankind. This volume, geared toward jewelry makers, scholars, scientists, students, and fashionistas alike, begins with a lively introduction that offers a cultural history of jewelry and its production. The main text provides information on the most common, iconic, and culturally significant forms of jewelry and also covers materials, techniques, and manufacturing processes. Containing more than eighty color illustrations, this guide will be invaluable to all those wishing to increase their understanding and enjoyment of the art of jewelry.

"The book examines a series of practical goldsmithing projects, each of which has been successfully completed by student goldsmiths using its instructions ... The creation of rings, chains, bracelets, earrings, and clasps, the use of specialized tools, as well as hand positions, movements, and technical data are described in lucid text and demonstrated with an abundance of detailed color photos"--Cover.

Since its initial appearance in 1961, Theorie und Praxis des Goldschmieds has become a standard for training goldsmiths and professional workshop practice, and is here translated from the 1994 edition. It discusses materials, basic techniques and tools, and such specific techniques as joining and pl

Describes core jewelry-making techniques and explains problem solving techniques for common mistakes.

Mr. Hiroshi Tsuyuki, the Japanese authority on Jewelry Wax Modeling, uses an innovative approach to teaching the technique of wax modeling. Often a process is easier shown than described in so many words. This book was conceived through the author's teaching experience -- more photos and sketches and less text resulting in less over-the-shoulder supervision. By introducing new techniques in each project, his students were able to progress more rapidly towards independence in design concepts. While preparing a model for casting and the actual casting process are adequately explained in most casting books, very little space is devoted to the design and creation of wax models. Mr. Tsuyuki presents 11 basic projects in this book, each one designed to teach the use of certain tools and types of waxes in a progressive manner as one's skills improve. Each step of every project is accompanied by a photo and text and in some cases supplementary sketches and notes are provided to clarify those particular processes. Paying careful attention to the photos, noting the demonstrator's hand position and the type of tool being used, eliminates any confusion which may result from the text. After each basic model is completed the author offers a number of sketches suggesting design possibilities using the techniques learned in the construction of the basic model. Mr. Tsyuki states that by conscientiously completing each project, the student should be well on the way to becoming a designer/modeler. This book is 112 pages and has 283 photos and illustrations.

- Complete book on creating inexpensive, but beautiful jewelry - Traditional methods are adapted for inexpensive materials - Heavily photographed techniques

The Phenomenon of Studio Goldsmithing When the history of art in the 1980s is written, much of it will be etched in gold. This is the time of the contemporary goldsmith, an artist who chooses to work in precious metals rather than oils or marble. The contemporary jeweler-as-artist has only recently become a re cognized force. With rare exceptions, the whole field is little more than thirty years old. But it is only within the past fifteen years that these jewelers have entered the jewelry mainstream. The phenomenon of contemporary goldsmithing embraces an eclectic group of artists, each with a unique vision, each taking a per sonal path to jewelry producing. They have as little relationship to the typical, mass-produced jewelry as a champagne maker has to a bottler of orange soda. They approach a piece of art, not a piece of metal. The work is personal and a perfect expression of the "back to the land" movement that spawned it. Many of these goldsmiths were looking not merely for a way to make a living but for a way to make a life that was worthy of living. Running a business while trying to remain a creative metalsmith at the same time is the ongoing challenge. The jeweler-artists have solved or resolved these often conflicting needs in slightly different ways and in a beautiful variety of techniques and styles. Their meth ods, their growth, and their work are discussed here.