Body adornment is one of the oldest art forms and throughout history, people all over the world have decorated their bodies in one way or another. In its earliest and most primitive forms, clay and earth pigments were smeared or painted on the body to adorn it and to create mystery or theatre during rituals. Beads made from a variety of materials were one of the simplest forms of jewelry, and were also used as currency, to confer status and to ward off bad spirits.

 

Joy Bosworth’s Ceramic Jewelry inspires anyone wishing to explore jewelry and body adornment using clay with or without other materials. By developing new skills with different materials it may be possible to further develop your work and broaden its scope.

 

Download an excerpt from Ceramic Jewelry
 

Softcover | 112 Pages | Order code CA88 | ISBN 978-1-57498-305-0

 

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Chapter 1 Design considerations for jewelry

Bosworth directs this chapter at those who have not yet designed their own pieces or wish to develop their techniques, and suggests ways you can approach making work of a more individual nature. How, when, why and by whom the body adornment will be worn are the first considerations when designing. Considerations of size, scale, types of materials and function are all affected by the answers to those questions.

 

Chapter 2 Decorative clay surface techniques

In this chapter Bosworth covers basic techniques for creating jewelry such as working with soft clay slabs, sprigs, using found textures and slip techniques. While the techniques will be familiar to most every ceramic artist, you’re sure to find inspiration in working at a smaller scale than you normally would.

 

Chapter 3 Forming

Many of the forming techniques already known to ceramic artists and written about in other ceramic books are relevant for small-scale bead or jewelry work. For instance, handbuilding techniques, using molds, slipcasting, modeling and extruding are all relevant, and some ideas are suggested here.

 
Chapter 4 Color

Ceramic jewelry components can be transformed by the use of color, or by combinations of colors and other materials used in the finished piece. Color can be achieved through body stains, slips, glazes, lustres and enamels, as well as printing, firing techniques and the use of glass.

 

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Chapter 5. Firings and Kilns

While you can use a standard electric kiln, Bosworth discusses smaller jewelry and test kilns suitable for small work. She also illustrates jewelry made with bonfire and smoke firing and even using a micro kiln that can reach suitable temperatures in your home microwave.

 

Chapter 6. Some Simple Metal Techniques

You may prefer to work with a jeweler for more complex pieces, but if you can learn basic metalworking techniques, then your ideas for jewelry-making, using ceramics, will progress into a different sphere. The tools for sawing, bending, annealing, and soldering metal are reasonably priced and the techniques described easy to accomplish.

 

Chapter 7. Findings

Findings are what make a piece of jewelry function properly, and so should always be an important consideration when designing. The mechanics of a piece – cords, chains, hooks, jump rings, brooch backs, earring wires and fastenings – findings can be bought readymade from suppliers oat craft or hobby shops, or by visiting jewelry or bead fairs.

 

Chapter 8. Gallery

The range of jewelry being made out of clay is amazing and here Bosworth has assembled an impressive array of artists and their work. Sebastian Buescher, Daisy Choi, Aneta Regel Deleu, Rebecca Dolby, Lauren Griffiths, Claire Ireland, Tanvi Kant, Mervi Kervinen, Kathryn Partington, Ruudt Peters, Katin Seufert, and Ruth Tomlinson are all represented with their inspiring pieces.

 

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