Professional Diploma in Jewellery Design Foundation of

Professional Diploma in Jewellery Design

Foundation of Jewellery Design Module 1 Lesson 5

Summary Notes

2 www.shawacademy.com

PROFESSIONAL DIPLOMA IN JEWELLERY DESIGN

Contents

3 Lesson outcomes

3 Introduction

3 Design elements

12 Design principles

16 Design evaluation

20 References



Introduction Some jewellery pieces draw your attention and others no not. This is a result of an artist’s fluency in design. An artist’s

fluency starts by selecting design elements and come to full execution with the application of design principles. When

artists fully understand and apply the design elements and principles, they will flourish as a designer.

Design has a psychological effect as we are all emotional beings, and our senses react to everything we see. For example, if

we go into a jewellery store, we will look until a jewellery piece speaks to us. And yes, personal taste also plays a role,

however, it takes time to establish whether you love, hate or are indifferent to a design.

The foundations of design help a designer to understand how the composition affects our appreciation for it.

Think of jewellery design as a visual language:

• Design elements are the vocabulary letters

• Design principles are the grammar rules

• And design evaluation is the fluent execution to determine whether a design works and why

Once you understand foundations of design you can creatively express your ideas in your distinct style.

Design elements

What are design elements? Elements and principles are the key components in effective communication with the viewer. Jewellery design is a

creative problem-solving process and includes the study of both design theory and design practice. The design process

includes problem identification, planning, research, innovation, conceptualisation, experimentation, and critical

reflection.

To successfully convey your language or story, you must develop a critical eye to analyse your work.

So, I would like to provide you with these crucial skills on how to analyse, innovate and create your visual language.

Lesson outcomes By the end of this lesson, you should be able to:

• Define the basic elements

• Explore elements in jewellery design

• Define the basic principles

• Explore principles in jewellery design

• Evaluate jewellery design

Practical lesson outcome:

How to analyse and evaluate jewellery designs.



Elements are:

• The basic building block of design

• It forms a significant entity of jewellery design

• Understanding and applying the elements will propel your jewellery to more powerful pieces

• Always remember the goal of the design is to be visually pleasing

Elements Let us do a quick recap of the elements introduced in lesson 1. We had line, shape, space, colour, texture, and size.

How about we refine the role of elements in jewellery design. To deliver and develop a message visually, the elements are

the basis of the design process. Utilizing the basic elements can either make or break the jewellery design.

Jewellery has form, meaning and expression. Learning how to apply these elements is crucial in learning how to be fluent

in jewellery design.

Line

The line creates a visual path that draws the eye around the piece. The line is used in connecting two points, defining

shapes or to make divisions.

Shape

The shape is the outline and form of jewellery. It is also one of the first elements that will be noticed. Think of is a

silhouette. Keep in mind here, that the line element, will create the three-dimensional shape of the piece.

Space

Space includes the background, foreground, and the middle ground. The space element refers to the use of positive and

negative space. When considering the composition, look at different variations of increasing or decreasing space within or

around the piece for the desired look. The use of negative space creates a very clean look whilst not compromising on the

integrity of the structure. Great way to add depth and interest.

Colour

Colour is the most expressive element of design and can be an extremely powerful tool to create mood and emotion. You

should learn how to use a colour wheel to create stunning combinations. The colour wheel helps you define colour

schemes such as analogous, complementary, split complementary, as well as understanding the difference between warm

and cool colours.

Colours are more than a combination of red and blue or yellow and black. They are non-verbal communication. Colours

have symbolism and colour meanings that go beyond just the colour of the bead. As you design jewellery pieces, it is

helpful to keep in mind how the eye and the mind perceive certain colours and the colour meanings we associate with

each colour.

Understanding colour theory will aid you in creating visually pleasing and aesthetic colour palettes for your designs.

Setting the right tone can be done with the help of the colour wheel.

Primary colours: Our primary colours are yellow, red, and blue

Secondary colours: Next we have our secondary colours. These are the colours you get

when 2 primary colours are mixed. We get orange when we mix yellow and red. We get

purple when we mix red and blue. We get green when we mix blue with yellow.

Tertiary colours: Then we have our tertiary colours. These are the colours you get

when we mix a primary and secondary colour.



Texture

The texture is a visual expression of what the piece will feel when it is touched. Surfaces with interesting textures make a

piece more appealing as it invites the viewer to get closer and feel it.

Size

Our last element is size. The visual dimension of the jewellery piece is used to create interest, define importance, and draw

the eye into the piece. The contemporary artist often challenges this element for a bold statement – remember we spoke

about the contemporary artists in lesson 2.

Golden ratio

Have you ever heard of the golden ratio? So, if you are struggling to create a design with multiple parts and want to follow

a foolproof calculation. The number is rounded off to 1,618.

So, let us for example say you need to create a rectangular shape pendant according to the width of your stone.

If your stone is 8mm, you take the 8 and multiply by 1,618, you will get a value of 12,944mm. You can round that off to

13mm. So now you know that the pendant needs to be 13mm long.

Analysis of elements in jewellery Lines

Horizontal lines

Our first example is the use of a horizontal line by jeweller, Mara Prins. By

simply using a horizontal line, it pulls the eye toward the movement it creates.

It also creates a sense of minimalist volume.

Vertical lines

Next, we have the use of a vertical line by jeweller Shimell and Madden. The

long vertical line of the gemstone creates interest by drawing the eyes and

keeping the interest. Just out of curiosity, do you know what type of stone is

used in these rings? These stones are tourmaline – well done if you guessed it

correctly.



Diagonal lines

Then we have a diagonal line. I love how jeweller Angela Hubel used the

diagonal lines to define points moving in space, creating, and keeping the

interest of the viewer.

Curved lines

And lastly, we have a curved line. See how beautifully the jeweller Tabita

Sowden has used the curved line to follow the movement. This curve creates a

feeling of flowing liquid.

Shapes:

Geometric shapes

Shapes can be expressed through geometric shapes, like the example from

Bloomingdales.



Organic/abstract shapes

Shapes can be expressed through organic or abstract shapes. I love this

necklace from Magpie Jewelry; it is like the metal is melting in real-time.

Infinite shapes

Shapes can be expressed through an infinite shape. I love how Yuki Kamiya has

created this beautiful shape and just keeps the eye to follow the movement of

the outline. On another note, this is also a great use of positive and negative

space.

Infinite shapes

Shapes can be expressed through an overlapping shape. I love how Peter Lam

Jewellery created a very interesting shape by overlapping lines. This creates a

different interest as the overlapping is unpredictable. This shape draws your

attention immediately as you follow the movement of the different layers and

depths.



Space

I love how Jennifer Saker, Margaret Lim and Fathom & Form have all created very intriguing pieces by utilising negative

space to create very interesting patterns.

Colour concepts

Analogous

The first one is analogous and refers to the use of three colours that sit next to each other

on the colour wheel. Have a look at this example from Anna Tai – firstly, do you recognise

the technique used to add colour? Before I answer, let us look at the three dominant

colours used. We have blue, light blue and green. Oh, and if you were wondering, the

technique used to add colour is enamel.

Complementary

Next, we have complementary colours, and this refers to the use of colours that sit

opposite one another on the colour wheel. Can you guess the two gemstones? In this

example from Bonhams, we have red and green that sits opposite each other. The red

stones are rubies, and the green stones are emerald.



Split-complementary

Lastly, we have split complementary and is achieved by example taking the colour

purple and using it with the two colours that sit next to the complementary colour

yellow. So, in this colour combination, you will use purple with yellow-green and yellow-

orange. In this example, this combination is achieved with amethyst, peridot and citrine.

Texture

Smooth

Highly polished metal surface. (example from Northern Royal)

Buff

Then we have a buffed finish – this technique is done with emery paper or special brushes.

(example from Northern Royal)



Sandblast

We also have a sandblasted finish. This technique requires a sandblasting

machine. (example from Brilliant Earth)

Hammer

Hammered finished are another way of creating unique textures. (example from

Serendipity Diamonds)

Engraving

I’ve said it before – nothing quite as special as a hand-engraved wedding band.

(example from Blue Nile)



Granulation

And then we have the technique called granulation. (example from Zaffiro)

Don’t worry if you are not familiar with these terms – we will discuss

manufacturing techniques in lesson 7 and upcoming modules.

Size

The visual size of the jewellery piece is used to create interest, define importance, and draw the eye into the piece. Again,

the contemporary artist often challenges this element for a bold statement.

Let us have a look at these 2 images. Do you think there is something wrong? The size, proportion, and scale in jewellery is

very much a matter of an opinion. Some people prefer big and bold pieces of jewellery; that is part of their expression. So,

this is a difficult topic to analyse as it is a matter of personal taste.

For this example, I would like to refer to the term proportion. When I look at the image on the left, the ring has a very large

surface area of metal, with a very small stone. But again, not everyone will agree. Some may like the look like a statement.

Then the image on the left. I love the look of this bangle. My only concern here is the proportion of the centre element in

relation to the bangle. The centre element looks heavy in comparison to the dainty bangle. Especially since the centre

element is enamel, and for this reason, the proportion is a bit off for me. What do you think?



Design principles

What is design principles? The principles of design are used to organize individual elements into a workable, aesthetic design concept. They suggest

effective, pleasing, and interesting ways to arrange beads and components in a piece.

Principles are:

• The challenge of implementing the “grammar” rules

• The solution to this challenge is to apply the principles in the design process

• Applying these principles will be the difference between a mundane and extraordinary design

• When creating a design, the golden rule is to create a memorable visual language

Principles Let’s do a quick recap of the elements introduced in lesson 1. We had balance, rhythm, variety, emphasis, and unity.

Balance

A designer’s goal is to achieve a feeling of equality of the various visual design elements. This could include the relative

positioning of the materials used, the colours, textures and patterns, the sizes, and scales. The designer might play with

placement in terms of proximity, alignment, or repetition.

Rhythm

Think of one of your favourite songs. The repetition of the beat creates a rhythm. Same applies to jewellery; by repeating

shapes, colour etc, you create a rhythm, and the repetition creates movement for the eye to follow in a predictable flow.

If you want the viewer’s eyes to linger, you have got to provide a path for them to follow. Repetition, action, and rhythm

are used to create movement. Repetition and pattern are key here.

Variety

Variety is playing with different shapes, colour, textures, and layers resulting in a visual feast.

Variety enables you to hold the viewer’s attention, creating the interest of ‘what is next’ – it is an unpredicted movement.

Emphasis

Emphasis is the principle of creating a specific part of a jewellery piece to stand out. When a jewellery piece has a

dominant element, this is emphasis.

Where do you want the customer’s eyes to linger first? That is what they refer to as the focal point. This dominant point

will act as the entryway to the rest of the design.

It is used to communicate clearly what your narrative is. Once you have figured out what that is, it can be used to help

select the supporting elements or materials that will compose the finished piece. There are different techniques to create

dominance such as using a different colour from the rest of the jewellery.

You can also use a different size, shape, or texture to create that distinguishing focal point. But bear in mind, there can

only be one star of this show. Trying to make everything in the design with equal emphasis will either make the piece

appear too busy or fall flat.



Unity

Our last principle is unity, which in my opinion, is the most important. Unity refers to the composition and placement of

different elements together – creating a unison. Creating a piece that provides harmony, really takes a phenomenal eye for

attention to detail.

What you need to ask yourself, is how do the parts of the whole interact with each other? You could have good quality

gemstones and metals but if you cannot get these components of design to agree with each other, it will not be visually

pleasing as a complete unit. One way of getting the elements to complement each other is to use similar ones in design.

The tricky part is finding the right balance. Creating complete unity can make the piece bland and does not compel the

client to engage with the piece. If overdone, the client’s brain will reject the chaos and dismiss your design.

The conventional measure of completion and success is a feeling or sense of unity. Unity is achieved when all the elements

used in the design are placed in a very coherent, harmonious, and satisfying manner.

Analysis of elements in jewellery If you think about it, all jewellery pieces stem from a basic geometric shape.

Let us start with an exercise of a sketch using some of the basic shapes.

Refer to the drawing of basic shapes. See how light and shadows have been used to give these basic shapes life. If you can

understand how to draw this, you just need to apply that in your jewellery drawing.

If you want to practice your shading, I invite you to choose 1 basic shape and practice, practice, practice!

Balance

Symmetrical

We have symmetrical balance the use of identical compositional units on either side of a

vertical axis.

Symmetrical balance is the formal one of the bunch and refers to evenly distributed

features. When implemented, it gives a feeling of tradition, security, poise, and

permanence due to its predictability.

Like the example from Yumi Designs, the one earring is a perfect mirror of the other

earring.

Asymmetrical

We have symmetrical balance the use of identical compositional units on either side of a vertical axis.

Symmetrical balance is the formal one of the bunch and refers to evenly distributed

features. When implemented, it gives a feeling of tradition, security, poise, and

permanence due to its predictability.

Like the example from Yumi Designs, the one earring is a perfect mirror of the other

earring.



Radial

And lastly, we have radial balance and is an even, radiating out from a central point to all

four quadrants (directions) of the shape’s plane. It will have a central focal point and

distribute the jewellery’s elements from there in a circular fashion.

Like this example from OpenSky, in these earrings, you can see the movement radiating

from the centre point. Almost a bit hypnotising, don’t you agree?

Rhythm

Shapes

I love the use of this unusual shape from Diana Mitchell. Even though the stones are round,

the settings between each stone just beautifully flow into the next, creating rhythm.

Colour

The use of colour is also a great example of creating a rhythm by repeating the order of

colours like this example from Monica Vinader.

Line

And lastly, we have the repeat of the diagonal lines created with the baguette diamonds

like this example from OpenSky. The unusual angle of the diamonds also creates interest.



Variety

Lines

The jeweller Ross Simons created variety with horizontal and diagonal lines. And they are also

placed on different levels.

Shapes

Monica Vinader created variety with different organic shapes – all stones are different shapes.

Size

Here, jeweller Le Vian used of gradual increase in the size of stones.

Emphasis

Do you know which one of these 3 images has not applied emphasis? The bangle on the left and the ring in the middle

have both applied emphasis.

However - These earrings have not applied emphasis. The golden rule with emphasis is that there can only be one hero.

And in this design, you have the combination of unique curve lines together with a big, colour stone. Therefore, these

earring does not have a specific focal point.



Unity

Let’s analyse these earrings from Diaboli Kill by looking at

the composition. Who can guess what the pink stone is? But

first, let’s analyse.

We have the diagonal line that the metal bar creates as well

as the diagonal angle of the pink stone. These 2 lines

together pull the eyes in and immediately grabs the attention

of the viewer. The layout of the line element has been

beautifully executed in these earrings – the line has a very

powerful force.

Then we have the interesting shapes – I love the combination

of the geometric shape of the bar juxtaposed with the

unusual shape of the pink stone setting.

I love that the designer made use of negative space as well. Instead of closing the space between the pink stone, diamond

and metal, the designer has left that space as minimalist, yet bold look. Always remember – you do not need to fill white

spaces! They provide great dramatic effect without even trying.

The use of colour creates a warm tone. I love the combination of the yellow gold with the pink stone and then adding the

white diamond to very subtly soften the warm colours.

Regarding the size, I love that not one of the 3 parts dominates over another part. All three parts in my opinion have all

been used in proportion to one another. So in terms of size, there is no competition for attention. However since there is a

colour stone, we do have an emphasis in this piece. The pink stone creates a focal point especially since it has an

interesting shape. Speaking of, have you figured out the colour yet? This is a pink tourmaline!

And lastly, we have symmetrical balance in the earrings. Each earring is a perfect mirror of the other earring.

Design evaluation

Introduction As part of the design process of jewellery technology, it is important to evaluate not only your process but also your

product. This is imperative in determining the success of the product. Evaluating a design is a necessary part of the design

process. This process will help you measure your skills and understanding of jewellery technology, things that could be

changed, how well you work individually and how you would approach something like this again in the future.

Purpose, wearability, and details Purpose

The first criteria of evaluation are purpose.

Part of the design process is to continuously analyse and evaluate your designs according to the design brief.

Design is all about solving problems with visual solutions – that is why you need to make sure it presents all of the relevant

information to communicate the message or compel the reader to take action. Content is still king, but you have got to

strike the right balance between educating your audience about your brand and not overwhelming them with too much

information in one design.



Important notes on purpose:

• You must define the purpose of the brief

• You must have a clear understanding what the design needs to achieve

• Design solutions need to display your unique points of view

• All jewellery must be wearable and visually pleasing

The most important question to ask yourself: Has the design abided by the design brief? If your design has achieved its

basic goal, then it is effective.

Wearability

The second criteria of evaluation are wearability. This is simple – jewellery must be wearable. If a piece cannot be worn, it

is not functional.

Important notes on wearability:

• Jewellery should be a natural extension to the movement of the body

• Unacceptable words to describe jewellery: too fragile, too bulky, too heavy, too short, too long, scratchy, or

protruding parts that can catch on clothing

• Jewellery must be comfortable when worn

• Along with wearability, jewellery must be durable

Details

The next evaluation criteria are the details. It is true what they say, the devil is in the details. Attention to detail is key to

good design. Here you need to analyse material, form, and finish.

To determine the overall success of a jewellery piece, it is very important to evaluate the materials, form, and finish.

Materials

• Your choice of material is one of the most important factors to consider as it will set the tone and the standard of

quality

• The first thing that will attract the customer in the design; if the design appeals to them, they will inspect it up

closer and analyse the choice of materials

Form

• Important to consider how the jewellery’s form manifests through its shape

• The jewellery piece form should have a clear sense of its relationship to its surroundings

• Form and shapes do not have to be radical or unconventional

• Rather focus on high quality and whether it is appropriate and relevant to the overall design

• There should be harmony between the form and the jewellery piece itself

Finish

• Important factors to evaluate is the craftmanship

• Here you need to focus on the different techniques and tools utilised

• Also, analyse the functioning capabilities as a finished item

• Overall, the finish should have a professional and authentic look



Understanding, originality, and aesthetics Understanding

When a jewellery piece guides the eye through the content, your story or message must be instantly clear.

Important notes on understanding:

• Well-executed application of the design elements and principles will ensure that the design can be read quickly

• Golden rule: to keep the viewer’s attention because the design is interesting not because it is complicated

Originality

You do not have to be a trend-setter. However, focus on creating new expressions that embrace unique techniques and

materials. Keep in mind, that nothing is truly original. Jewellery design has been around for ages. It is like the wheel – it’s

been invented already. The goal is not to re-invent the wheel.

Important notes on originality:

• Take a fresh approach to improve existing practices

• Adopting smart and clever design solutions

• Strive for creativity and make your designs stand out from the competition

Inspiration versus copying:

Can you guys remember when we spoke about research, inspiration and inspo boards from lesson 3? Guys, I cannot stress

this out more and I will use the same example we spoke about in lesson 3.

If you have a design brief for flower jewellery, do NOT go research flower jewellery. That is not design!

Important notes on inspiration:

• Inspiration does not mean to copy.

• Just focus on the topic theme and various concepts that come from your brainstorming.

• Branch out these concepts with a mind map.

• Golden rule: To avoid overly generic designs do not research jewellery. Once you have come up with fresh

concepts, then check what is already out there and refine your concepts.

Aesthetics

Evaluating the aesthetic appeal of jewellery is very important as it will determine if a design is successful and whether it

needs improvements.

Determining and evaluating the aesthetic appeal of a product is very important as it lets designers know if it is successful

and whether they could change something for another project they undertake.

Important notes on aesthetics:

• Aesthetics are the most subjective evaluation

• What appeals to one person will be hideous for the next.

• As a designer you want to create beautiful jewellery to make a credible impression on the audience

• Here you will focus on the combination of the theme and the application of elements and principles.

• The golden question: Is it memorable?



Important notes on design language:

• You must create a strong design vision of concepts and themes

• The key is to be consistent in your design language

• Good design must be timeless: Do not focus too much on trends and rather focus on a design that will be long

lasting

• Golden rule: YOUR DESIGNS = YOUR TRADEMARK

Just remember that design is subject to personal taste and is no magical formula to guarantee a great look & feel. The

magic lies in your journey of discovery.

Improvements Design is never finished. Therefore, it is important to continuously analyse your designs to determine what can be

improved.

Important notes on improvements:

• As a jewellery designer you will only get better by developing a critical eye of your work

• As you improve your skills and techniques, your evaluation skills will also improve

• Provides the perfect opportunity to improve your designs in the future

• Ensure that you achieve the highest quality of work

As a jewellery designer, evaluation comes with the job. It is a part that you may not like, but it is necessary to keep

improving your visual skills.

The key to becoming better is by practising, and with practise, you will discover and develop your style.



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eternity-ring/rose-gold-vermeil-skinny-gemstone-eternity-ring-

mix?fo_c=1550&fo_k=813d7f289f462dd2a1e1fab7352ff59f&fo_s=pinterest

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diamond-highway-ring-in-18kt-gold-over-sterling-silver-790627.html

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https://noonoofingers.com/product/dazzling-earring/1171/

https://northernroyal.com/products/classic-polished-yellow-gold-tungsten-wedding-band?utm_source=pinterest&utm_medium=social



https://www.etsy.com/listing/53444513/fold-formed-flower-bud-ring-verdigris

https://www.etsy.com/listing/53444513/fold-formed-flower-bud-ring-verdigris

https://www.artfulhome.com/product/Enameled-Necklace/Blue-and-Green-Abstract-Pendant/83844

https://www.artfulhome.com/product/Enameled-Necklace/Blue-and-Green-Abstract-Pendant/83844

http://www.peterlam.com.hk/fashion-orbit/orbit-ring-in-18k-white-gold-with-diamond-112484

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References • The Designers Studio. 2020. ELEMENTS OF JEWELLERY DESIGN: The Basic Units You

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• Ylang23.com. 2020. Selim Mouzannar - White Enamel & Tsavorite Bangle - Ylang 23.

[online] Available at: https://www.ylang23.com/selim-mouzannar-white-enamel-

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https://design-milk.com/fathom-form-jewelry/

https://www.ylang23.com/selim-mouzannar-white-enamel-tsavorite-bangle/p/SEL-34061001

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Documents

Professional Diploma in Jewellery Design Foundation of