Design Exam

In this comparative analysis of these two pieces I would first like to analyze the two pieces separately and then go into differences and similarities.

The first pendant I am going to talk about is Pendant A, there are two hollow constructed boxes and through my experience of hollow construction this would be created through two pieces of metal bent in the middle and then soldered together. These boxes are made out a silver metal. The box on the top is larger than the box bellow and fits over the smaller box like a sleeve as one can see in figure b, this creates a closed form (the top box becomes a lid). The smaller box has a white pearl that has been strung and placed inside it. The chain looks like wire that would have been drawn through draw plates to achieve this fine thread like evenness.

Pendant B (fig d) is made out a silver metal and the silver seems to be pierced and then slightly domed into a perfect circle then a smooth ‘bite’ seems to be pierced out of the piece to make room or  a seating  for the black pearl. This pendant looks like a hollow construction therefore the back of it would also be a dome that would be soldered to the front to create a space for the pearl. The pearl has been attached to a jump ring which is attached to a mesh like silver chain.

There are many differences and similarities in these pieces, both being some form of pendant is the most apparent. Both are created out of a silver metal that has been soldered and pierced into a hollow constructed shape, however one is a circle and one is a square. The pendants both have ‘housing’ for their pearls, and I think this is where meaning and symbolism comes into play. Pendant A to me is rather masculine and the ‘hidden’ pearl creates a meaning of keeping something precious in a safe place, maybe even keeping someone’s heart without hurting it? Pendent B to me is rather futuristic and looks more like the pearl is being cradled, it seems to be on show but still protected, this could symbolized the need to show off ones most precious aspects of life but still keep it safe and close to concealment if something should happen that could put it in danger.

One can see that both pendants have pearls but one is black and one is white. Ergonomically they both look like they would sit very differently on the body,  Pendant A looks like it would be very light but sharp (the square corners) and it can sit in two alternative ways on the body, in fig b, one can see that when it is ‘closed’ it sits low down just in front of the rib cage, fig c shows the pendant when it becomes two separate items (when its open) and then the pendent sits on the sternum and over the ribs, I think  it sitting in two separate areas could make one feel a little claustrophobic  and  the pressure on two separate areas might be uncomfortable. Pendant B, in fig d, doesn’t show how it would sit on the body so I presume this sits just over the collar bone, this piece looks rather heavy but the smoothness of the dome might be quite comfortable across the chest.

Comparative analysis on two pieces of jewellery

In this comparative analysis of these two pieces I would first like to analyze the two pieces separately and then go into differences and similarities.

The first piece, the Chamber heart locket by Thomas Mann is a locket/pendant in the shape of a heart, comprised of a few techniques. There is flat plate that looks as though it has been slightly domed and pierced into the shape of a heart, with some form of hammering surface technique on the outside (this is all done in silver). There is a brass hinge that is connecting the face of the locket to the back and a chain connected to the bottom of the locket (brass), this is linked to a shepherd hook that closes the locked with the use of a jump ring coming through a small hole. The bail is one I haven’t seen before, it looks like brass chenier (tubing) of alternative widths soldered together and then drilled to make room for the meshed chain.

The Phoenix Pendant  by Tom Ferreror, is a pendent that is perfectly round and has a slight dome in the centre with a surface technique of either roll pressing or etching to create the floral repetitive patterning . The outside of the domed circle has a rim that extends above the dome; at the top of this piece is a risen triangular portion of plate that has a gold cabochon setting with a brown Zircon. The attachment to the chain is achieved through two soldered jump rings.

There are many similarities and differences in these pieces, both being some form of pendant is the most obvious parallel. Both have surface techniques that are shown with repetitive designs and this creates a rhythm/ patterning on the faces on each pendant. Both pieces use two alternative metals, Mann’s piece is using brass and silver whereas Ferreror’s piece is using gold and silver.  The pendants are of a similar size, but look as though ergonomically they will sit differently on the body, Ferrors’s piece looks as though it might sit just under the clavicle and Mann’s piece looks as though it will hang over the sternum, I think that Mann’s piece would be the more comfortable the two.  The chain used in both pieces looks of a similar density, although Mann’s piece looks a little more moveable and more chain-like whilst Ferreror’s has more of a wire feeling (this is why I feel Mann’s would be more in tune with comfort, as wire has a ridged feeling on the body).  Ferreror’s piece looks reminiscent of the Victorian times, it looks as though it is a newer age version of something  one of Henry the 8ths wives could of worn while Mann’s piece reminds me of a heart shaped grenade therefore making it seem a little post apocalyptic.

Oscar Abba: Bijoux Contemporains

At a glance Oscar Abba's pieces could be mistaken for bits of scrambled metal scratched out of a metal recycling bin! On closer inspection one notices meticulous precision in manufacture and craft. 
Write 300 words analysing the above 3 pieces. Some of the following concepts may help you with your discussion; preciousness (in material and form), abstract use of form, relationship of craft (technique) and design, surprise and contrast.

Oscar Abba uses silver in a rather interesting way, he evidently puts the metal in a very malleable sate and thereby bends and stretches to achieve these fascinating shapes. The form being created  out of these pieces reminds me  of our previous investigation into ‘steam punk’  and can almost be  seen as rather ‘new age’ as there is a feeling a ‘post-apocalyptic’ kind of jewellery here.

Abba’s use of silver is unlike any other jewellery designer I have seen, he creates attractive organic shapes, which look as though they are still moving (like metal that is still in its heated liquid/smelted form). The pieces seem almost alive, but the reality of them been created out of silver makes the viewer aware of their inflexibility.

The pieces are abstract in terms of ‘form’ without the title explaining what each piece is, one would be unaware of what they symbolize or what their functionality is, but their conceptual nature and intangibility is what is their most striking quality.

I feel that Oscar Abba has achieved ‘liquid’ and ‘folds’ in these pieces, the notion of fluidity is very evident and successfully shown.

Klimt02 Brief

Johanna Tornqvist

This Swedish fashion/jewellery designer firstly studied fashion design at Studio Bercot in Paris (1988-1990), she then moved swiftly onto sculpture at Ateliers Beaux where she studied The Arts[1]. After which, deserted her fashion direction for awhile and from 1996 to 1997 she went to the Parsons school of Design in New York City where she learned Ceramics[2]. Johanna ended her studying life in 2000 when she graduated in Art Therapy at Folkuniversitetet Uppsala in Sweden. Tornqvist, because of her extensive artistic studies is very at home in the arts and therefore has had many public collections from 1995 – onwards and on seeing her work one notices that her interpretation of design is a rather interesting one and I quote “I want to erase the boundaries between craft, fashion and folklore and give a new perspective of what folklore is today “[3]. Johanna relishes in going into vintage shops looking for anything she can reuse and create into her interesting pieces[4].

 Johanna Törnqvist
Necklace: Les pompons de St.Quen 2008
Textile[5]

When looking at this neckpiece that is titled “Les pompons de St.Quen” one can see Johanna’s reasoning behind the design quite clearly and her notion of “folklore” and custom shines through in the geometric patterning and fringing. This concept came into play through her finding bits and pieces of ribbon, buttons, curtains and sheets at her grandmothers house [6]. When looking at the principles that have been employed one can see that this piece is very balanced and is evenly weighted through the extensive repetition. This repetition is seen through the pale blue fringing and the red geometric patterning in the collar, this is emphasized through line shown in a geometric way. Contrast is also evident in this work, as the fringing is soft whilst the black fabric framing the geometric pattern seems harsher and sharper, the elements emphasizing this are space, colour and texture. Space is seen through the framing of the red pattern, this uncluttered area stresses the importance of the geometric pattern and one could say creating that  particular area into the focal point of the piece. The colour choice influences the notion of contrast rather heavily, the soft harmoniously coloured fringing in relation to the  framed red and black geometric pattern  seems to work well and I personally think that this piece resembles early South American dress purely because of the colour choices.

Johanna Törnqvist
Piece: Doux péché 2010
Textile, recycled plastic, crochet[7]

This arm piece is rather interesting because it seems almost reminiscent of Victorian glove of sorts that is titled “Doux péché”. One see’s how Johanna stays true to her notion of using textile cut-offs and then creating something unique and insightful. I’m not really sure of what to call this, is it a bracelet? A glove? I think the safest option is calling it a ‘arm piece’. On first look I feel that he focal point of this piece is the bright green and red fabric cover the hand and the principles being used here vary, the first that comes to mind is the extreme contrast once more, this is evident because of the usage of materials/textures and colour, what looks like a fabric covering the forearm is actually recycled plastic in a icy white colour then there is a black wool looking material attached closer to the elbow, this again is contrasting to the bright red crochet almost Mexican inspired hand covering. This piece seems rather unbalanced as the hand area has a radial balance and then the forearm extension is smooth and linear and makes it almost top-heavy. There is a radial repetition through the usage of the crochet .

Johanna Törnqvist
Necklace: Les frousfrous de grand-mère 2008
Textile[8]

This necklace titled “Les frousfrous de grand-mère” I found this alternative to Johanna’s other pieces, this is because one notices the little football 2D figures on the chocker and her colour usage tones and is pleasing and is not saturated like the pieces I have previously discussed. This piece is balanced and evenly weighted and is made out of textile cut-offs. There is a radial balance to this necklace much like the first neckpiece. Repetition is evident through the doubling of the figures and the fabric pieces attached to the bottom over the collarbone. The focal point here is ‘foot baller’ figures, they contrast with the crochet and are brought into dominance because of the red stitching bellow their feet.

Bibliography

Design Stockholm house (2011) Silhouette, [online] Available at: http://www.designhousestockholm.com/collection/atelier/silhouette.html [Accessed: 13 July 2011].

Johanna Törnqvist (2008) Necklace: Les pompons de St.Quen. [image online] Available at: http://www.klimt02.net/jewellers/index.php?item_id=17562 [Accessed: 14 July 2011].

Klimt02 Community (n.d.) Johanna Tornqvist, [online] Available at: http://www.klimt02.net/jewellers/index.php?item_id=17562 [Accessed: 13 July 2011].

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[1] Johanna Tornqvist,(n.d) [online]

[2] Silhouette, (2011)  [online]; Johanna Tornqvist, (n.d.)  [online]

[3] Johanna Tornqvist, (n.d.)  [online] (Quote)

[4] Silhouette, (2011)  [online]

[5] Johanna Tornqvist, (n.d.)  [online] (image 8 of 11)

[6] Johanna Tornqvist,(n.d) [online]

[7] Johanna Tornqvist, (n.d.)  [online] (image 2 of 11)

[8] Johanna Tornqvist, (n.d.)  [online] (image 10 of 11)

Christel van der Laan

Christel was born in 1963 in the Netherlands, in her early years her family moved to South Africa after which she moved between SA and the Netherlands. In later years Christel moved to Australia and now resides in Perth[1].  After studying a Diploma in Fine Craft Jewellery at West Coast College she then completed a BA honours at Murdoch University in Perth. Christel has always liked to arrange and collect things that have importance to her and she has found great inspiration from this and the natural environments she has come into contact with through her movements all over the world[2].  She has an unconventional perception of her pieces, which is exhibited in her artist’s statement where she says “There is humour and sadness in some of these pieces, even guilt, while others are simply a celebration of the beauty of individual elements, transformed when placed next to others”[3].

Christel van der Laan
Ring: Priceless Gem 2003
Gold, polypropylene swing tags
7 x 3.5 x 3.5 cm[4]

This is a ring that I find really interesting, firstly the name “Priceless Gem” this presents the notion of a sort of ‘gem stone’ that’s uniqueness makes it priceless, and the interesting thing here is that Christel has used swing tag plastic as the ‘gem’, she seems to be making a comment here on consumerism or possibly just commenting on how sometimes the most seemly unimportant objects to one can be another’s priceless treasure, this is where Christel stays true to her initial concept. This piece on first glance might seem unbalanced because of size of the “gem” but after consideration the plastic swing tags that create this “gem” are most definitely lighter then the gold ring below. The gem resembles a ball of lines creating facets and through the massive size (distortion of the gem) makes us feel its dominance over the rest of the ring, it makes the worth of the plastic seem more then literal worth of the gold below and therefore there is a symbolic meaning created by distortion. Contrast is shown through the usage of material/texture, the hardness of the gold is dissimilar to the light translucent quality of the plastic.

Christel van der Laan
Brooch: Rock 2008
Gold, silver, paint, windscreen glass
7.3 x 7 x 2.5 cm[5]

This Brooch labeled “Rock” sticks true to Christel’s idea of humour in her pieces, the fact that the diamond looking stone is windscreen glass is again a comment on the importance we place on things. This piece is made out of gold, silver, paint and windscreen glass. This brooch is perfectly balanced with radial lines making the ‘glass’ the dominant focal point. There is repetition shown in the painted silver and the gold circles and there is contrast created through the sharp geometric shapes created in the black silver against the organic shaped gold. There is also a contrast that is created through the translucent effect of the windscreen and the opaque quality of the metals. A sense of harmony is created through the symmetry of this piece and really does emphasize the “Rock”.

Christel van der Laan
Brooch: Holy Smoke 2010
Painted silver, ceramic honeycomb block, old clay pipe[6]

This brooch that christel has labeled “Holy Smoke” again follows her notion of using the alternative things to create pieces that evoke a sense of humor and even sadness in some cases. This piece is made out of ceramic honey comb block, old clay pipe and painted silver, her thoughts behind the honey comb block are rather interesting  as she said in her statement “A material I am currently exploring is ceramic honeycomb block, known more for its heat distribution qualities during soldering than as a focal point in a piece of jewellery. I am mesmerised by its beauty and the possibilities it presents aesthetically and conceptually”[7]. I presume the naming of this piece is because of the qualities of the honeycomb block and the old clay pipe (which could be used in heat distribution also). This piece is unbalanced and this is accentuated through the organic shape of the piece. This brooch tones in neutrals and this creates a harmonious feeling and the organic shaping once more enforces this. There is a natural repetition that is created in the internal of the honeycomb giving it a smooth quality through the repeating of holes making the honeycomb the focal point.

Bibliography

Christel van der Laan (2011) Christel van der Laan. [image online] Available at: http://www.klimt02.net/jewellers/index.php?item_id=16612 [Accessed: 14 July 2011].

Christel van der Laan Jewellery (2011) Statement, [online] Available at: http://www.christelvanderlaan.com/statement.html [Accessed: 14 July 2011].

Website

Klimt02 Community (2011) Christel van der Laan, [online] Available at: http://www.klimt02.net/jewellers/index.php?item_id=16612 [Accessed: 14 July 2011].

Website

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[1] Klimt02 Community (2011) Christel van der Laan, [online]

[2] Christel van der Laan Jewellery (2011) Statement, [online]

[3] Christel van der Laan Jewellery (2011) Statement, [online](Quote)

[4] Christel van der Laan (2011) Christel van der Laan. [image online] (22 of 22)

[5] Christel van der Laan (2011) Christel van der Laan. [image online] (16 of 22)

[6] Christel van der Laan (2011) Christel van der Laan. [image online] (4 of 22)

[7] Christel van der Laan Jewellery (2011) Statement, [online]

Design Research

Banksy

There are many designers/artists whom I admire intensely, one of my favourites is Bansky and in this short research paper I will be discussing one of his works, which I find quite potent.

1]

To begin with I would like to break down the piece “I hate Mondays”. When looking at the overall look and feel, one notices that most areas are in neutrals and varied tonal ranges depicting four, young and poverty-stricken children in a very depressing light. On closer inspection when looking at the usage of space in this piece, one can see how the center of the piece (the young child wearing the “ I hate Mondays!” t-shirt) is the focal point, and the area surrounding the top half of him and extending into the distance gives the viewer an intense spatial awareness and makes us aware of the negative space between the children (the ones on the foreground and those in the background). The focal point or “dominant figure” in this piece is evident to us because he stares right at the viewer, the colour on his shirt reinforce his dominance. The ‘line’ in this work, is soft and slightly blurred, done through paint brushes (it seems). Contrast is shown through the depiction of the evidently malnourished underprivileged child wearing an “I hate Mondays” shirt. One also notices repetition that creates texture on the ground surrounding the characters to create the effect of what looks like coarse sand or possibly bush on the earth?

Depth in this piece is achieved through tone, as shadows are emphasized and the colour only evident in the neutrals in the sky and the warm colours (almost saturated) shown in the typography on the child’s shirt.

When looking at the design principles that are relevant in this work, firstly I noticed that the child in the foreground distorts the ones in the background; this is done to emphasize the depth in the artwork. The composition of this work seems to depict a sense of isolation, the child is placed in the center with the other child staring at him and two young boys in the background, intensifies the depth of the piece as well as evoking a painful realization in the viewer.

Evidently this image has an immense amount of symbolism and I will go into this further after giving a brief biography of Banksy.

Banksy is a mysterious political activist/artist based in England[2]. He is known to the public only as “Banksy” and has almost successfully kept his real name out of the media, but it has been rumored that his name is Robin or Robert Banks[3]. Banksy is famous for his characteristic stenciling method in his unique street graphics, in these pieces he creates a platform for political discussion[4]. It has been said that his pieces recuperate the visual quality of the areas he creates in, and some Banksy fans believe that his art offers an expression for people existing in these areas[5].

When reading about Banksy, I read, and came to believe, that his main influences and inspirations are current events and the political climate in certain countries, aswell as a slightly mocking comment on human beings and ones fixation with the inconsequential aspects of life[6]. In this particular piece he comments on one’s normal day-to-day irritations and then compares it with poverty stricken countries with real issues that’s problems could mean life or death not just the annoyance of the “work” week beginning again[7]. Banksy is notorious for his art that has a level of obscure humour with an underlying social comment that is emphasized by political aspects and I feel this is event in this particular work[8]. He is known for his stencil graffiti but it seems that this particular piece is paint on canvas[9].  A friend of his, that is also Bristol born persuaded Banksy to enter the graffiti world but his street art technique couldn’t last forever as his art can be seen as vandalism by some and therefore does a lot of his works in the form of painting currently[10]. When looking at the techniques and materials that Banksy uses it is evident that stencils that are sometimes hand sketched or computer generated are used immensely, he has explained in his book Wall and Piece that his reasoning for using this specific technique is because he found he could never finish a piece in one sitting and therefore formulated a strategy to speed up the pace of his art - hence the stencils are made out of card or acetate[11].

In conclusion, I found this research paper rather interesting to construct and think of Banksy as a really inspirational designer/artist/activist/ and unknown.

Bibliography

Absolute Astronomy. Banksy. [online]. Avaliable at: http://www.absoluteastronomy.com/topics/Banksy. [Accessed: 31 May 2011]

Banksy website,2009. I Hate Mondays.[Image]. Avaliable at: http://www.banksy.co.uk/indoors/mondays.html [Accessed 31 May 2011]

Brian  Sewell Art directory. Banksy[text].Available at: http://www.briansewell.com/artist/b-artist/banksy/banksy-biography.html. [Accessed: 31 May 2011]

Knowledge Mosaic. 2010. I Hate Mondays. Banksy.[online] (Updated: 15 October 2010). Available as: http://www.knowledgemosaic.com/net/public/stairway.aspx?ID=86. [Accessed: 31 May 2011]

Melrose and FairFax.2005.Banksy Hates Mondays.[online](Updated: 25 April 2011). Available at: http://melroseandfairfax.blogspot.com/2011/04/banksy-hates-mondays.html. [Accessed: 31 May 2011]

Wikipedia.2007.Banksy.[online](Updated: 29 May 2011). Available at: http://en.wikipedia.org/wiki/Banksy. [Accessed: 31 May 2011]

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[1]Banksy website,2009. I Hate Mondays.[Image]. Avaliable at: http://www.banksy.co.uk/indoors/mondays.html [Accessed 31 May 2011]

[2] Wikipedia.2007.Banksy.[online](Updated: 29 May 2011). Available at: http://en.wikipedia.org/wiki/Banksy. [Accessed: 31 May 2011]

[3] Brian  Sewell Art directory. Banksy[text].Available at: http://www.briansewell.com/artist/b-artist/banksy/banksy-biography.html. [Accessed: 31 May 2011]

[4] Brian  Sewell Art directory. Banksy[online].Available at: http://www.briansewell.com/artist/b-artist/banksy/banksy-biography.html. [Accessed: 31 May 2011]

[5] Brian  Sewell Art directory. Banksy[online].Available at: http://www.briansewell.com/artist/b-artist/banksy/banksy-biography.html. [Accessed: 31 May 2011]

[6] Melrose and FairFax.2005.Banksy Hates Mondays.[online](Updated: 25 April 2011). Available at: http://melroseandfairfax.blogspot.com/2011/04/banksy-hates-mondays.html. [Accessed: 31 May 2011]

[7] Melrose and FairFax.2005.Banksy Hates Mondays.[online](Updated: 25 April 2011). Available at: http://melroseandfairfax.blogspot.com/2011/04/banksy-hates-mondays.html. [Accessed: 31 May 2011]

[8] Knowledge Mosaic. 2010. I Hate Mondays. Banksy.[online] (Updated: 15 October 2010). Available as: http://www.knowledgemosaic.com/net/public/stairway.aspx?ID=86. [Accessed: 31 May 2011]

[9] Melrose and FairFax.2005.Banksy Hates Mondays.[online](Updated: 25 April 2011). Available at: http://melroseandfairfax.blogspot.com/2011/04/banksy-hates-mondays.html. [Accessed: 31 May 2011]

[10] Martin Hofschroer. 2010. Ezine and Mark. Crafty use of art supplies makes Banksy world famous.[Online] (Updated: 21 November 2010). Available at: http://entertainment.ezinemark.com/crafty-use-of-art-supplies-makes-banksy-world-famous-16e84c57122.html. [Accessed: 31 May 2011]

[11] Absolute Astronomy. Banksy. [online]. Avaliable at: http://www.absoluteastronomy.com/topics/Banksy. [Accessed: 31 May 2011]

Design principlesView more presentations from Ashbenn.

Colour and ToneView more presentations from Ashbenn.

Shape,Form,SpaceView more presentations from Ashbenn.

Exploring linesView more presentations from Ashbenn.

Infecting the city.

Early Friday morning, 24 jewellery students wondered down to the Adderly Street Train Station to view "Infecting The City" – Africa’s only public arts festival.

I suspect the point of this festival is mainly on performance artists that do their demonstrations during time allocations - sadly we were not there during those times. We wondered through the space observing 'wastage' that had been used to create "art". I must say some of the depictions were rather interesting but some I battled to understand what the artists were trying to say. 
I would like to go back and view the festival at a time when there is more hustle and bustle in order to feel the real "vibe" that I’m sure "infecting the city" has to offer.
If I were apart of the show; As a student studying jewellery design I think I would like to do a depiction of wastage being turned into something of  value, a sort of "transmutation?". The notion of 'alchemy'  has always been something that's inspired me. In the case of "infecting the city" I would try and depict some of the waste in a way that changed it's prior meaning into something of 'worth'. I dont know how I would do this, some serious thought and time would have to go into this. Maybe by creating ornate jewellery out of old cans? Hmmm the possibilities are endless.

How the 'feeling-out-volume' technique and descriptive line drawings made us feel?

When I first tried this technique I found myself over thinking it and became frustrated by the outcome.
However, once I became accustomed to the “swirling” or ‘volume creating’, my line drawings started to create a dimension I could have never have created without the interior. I think the trick was to just let go and to literally feel the forms we were drawing.
A great new trick! 

Thank you!

Conscious of Gestalt

As a designer why is it important to be conscious of the Gestalt principles in design?

The gestalt principles would bring any designer a serious insight into forms, one not only ‘sees’ we start ‘looking’.  The acknowledgment of a ‘unified whole’ makes us end up seeing the space surrounding an object as an element just as relevant as the objects themselves. By also understanding and finding the principles we end up breaking down a picture instead of just looking at the ‘whole’ and so, we end up enhancing our critical eye and I would like to think, become better designers because of it. 


After doing our Gestalt presentations, I came across a few blogs where the principles are shown in advertisements. So decided to place them here for interests sake.


The gestalt principles are found in all areas of design, this IPOD add for instance uses both similarity and figure and ground.

Also this Absolut vodka advert. The principle used here is closure. Found this here

 Thought this was an awesome piece of design. Found this here

{Watch this space for more Gestalt}

The Gestalt Theory

On first hearing about the Gestalt theory I thought it would be rather difficult to find the Gestalt principles in jewellery. Well, I was pleasantly surprised…

Figure and Ground

Charcoal and Natural Birch Figure Ground Earrings - Molly McGrath.

This is one of the first images I came across. Now, to my understanding the principle “Figure and Ground“ is when ones eye separates the figure (in this case the black?) from the ground (background). Our eyes create one whole image.

I thought this was a rather interesting look at “Figure and ground”.  When we first see this piece our eye is seeing it as one object, and then we notice its an object and a background which can then be separated from one another.

Same idea here…

Berry Branch- Quote: "Happiness is when what you Think, what you Say, and what you Do are in Harmony" – Gandhi
The giving tree gallery. 

 Circle Fawn Necklace : Created By:  Figs and Ginger Each piece all Sterling Silver, at least 50% recycled, is given a blackened patina, and is made by hand so pieces will vary slightly. 16" chain

I think this is a rather literal look at  Figure and Ground. The animal and the circle become one pendant.

M.C Esher was known for his toying with Figure and Ground. He created a movement and an almost dialogue between objects and background.

Continuity 

 This is my favourite of the principles, I think it's because I find it amazing how a piece of design can be formed to compel one's eye in a certain direction.

This Boucheron item featuring a snake is the snake double ring,
http://www.replica-vertu.com/blog/39/

This piece I find absolutely beautiful. The contours leading the eye in both directions create such an organic feel. There is a movement in the continuation whereby the curvature of the line makes the double ring a whole.

 

Continuity Ring : Georg Jensen

Zeroing Animation

In this screen grab one can see and almost feel your eyes being sucked into the centre. 

Closure 

 This principle happens when a space or an object is not completed or enclosed. The eye fills in whatever isn’t there...

 

"Tania Hennessy, aka Aroha Silhouettes  debut collection of jewelry – called Phantasmal, it’s made up of twelve design illusions that become 3-D silhouettes when worn".  (http://blog.ponoko.com/2008/10/22/aroha-silhouettes-recycled-12-vinyl-jewellery/

 Here the brain automatically registers that this pendent is representing a stack of books.

 Dillon Scheenaard (animal closure)

 Here, I was trying to find a piece of design using closure that was hand rendered, no particular reason why, just curiosity.  

Love to Have (UK)

This is to me is a perfect example of closure, but then again, couldn’t it be 'figure and ground' aswell? 

I think this ring is a great example of how your eye does “make up stories” and finishes the image, filling in all the missing information.

Spell Design.

 Silhouette of Kate Moss ? I think that if the image of her wasnt next to this piece we wouldnt be so sure...

 Symmetry

Symmetry Photography Contest: spygirl1978

 maclu2iaf

It’s amazing how symmetry is seen all over but only when we remove it from its primary context can it's true design be appreciated.

Empire's Brooklyn Bridge Ring:  Emitations.com.

The symmetry of the Brooklyn Bridge turned into a ring.  We see the whole figure here; we don’t separate it into a double ring with a bridge on top.

Proximity 

The Old Mac Daddy trailer park in Elgin  - Pin wall in Grolsch Caravan

In this pin wall even though each hand print is a separate hand they  form a united pattern that works together.
We also see how by differentiating some of the pins by pressing hand prints, the hand prints become a separate object to the rest of the wall.  The Proximity principle explains that things which are close together are seen as one whole, i believe this is evident in this image. 

Design student Anna Schwamborn has created a range of jewellery made with the hair and cremated ashes of a dead loved one.

 Pieces of hair placed together to form a bracelet and we no longer see the hair as separate strands, the hairs become one unit.

 Necklaces by Spanish artist Victoria. Each piece features quotes by famous authors like Samuel Beckett, Virginial Woolf, T.S. Eliot, and Jean Genet

Similarity 

Avocado Cuff III (BR902) Created By: Hilary Hachey. Sterling silver cuff is hand-fabricated and partially oxidized. Measures 1 1/4 inch at widest width.

There is a real unity between the shapes here, there is a strength in the relationship of the separate objects because of the shared visual characteristics.

 

Final example ----- > If these shapes didn't share common characteristics such as colour, shape and texture, this star wouldn't be seen as a whole.

In conclusion I found that many Gestalt principles can be found in one design. It is also interesting that many jewellery designers actually use the Gestalt theorem as part of their inspiration therefore creating their own "unified whole".