Keeping enthusiasm for a piece

Jewelry Discussion
61

Several months ago, I was given a wedding set commission; no rush,
August wedding. Her stone was a very large, deep triangle, and there
were a number of difficult design issues. I had a general idea of
what I was going to do, and had roughed out the piece in wax, when I
hurt myself and was forced to take a hiatus from it.

Last week I finally got back to the piece, and my hindbrain had
obviously been working on the issue without my knowledge, because
most of the problems I hadn’t been able to solve when I first worked
on it seem much clearer now.

For me, at least, procrastination isn’t always procrastination.
Sometimes it’s just doing something else for a bit, while the
subconscious is hard at work.

Janet Kofoed
http://users.rcn.com/kkofoed

62 
There's more than one way to skin a cat.

Everything Andy says is true, as usual. The value of play can’t be
underestimated, and it MUST be acknowleged that Orchid speaks to an
incredibly diverse audience. I gather that Michael D. Sturlin and I
share a less forgiving stance on design in general, though. “You
don’t get a pass around here”.

I took jewelry 101 in college, and for the first project the
instructor suggested making random squiggles on a piece of paper,
picking out a nice spot and turning it into a pendant. Every student
but one (guess who) did just that. Now, granted, it was just a way
to get beginners a piece of metal to learn on - not a big deal. Is it
jewelry designe Of course it is - You ARE designing a piece of
jewelry, after all. Take it to another level, though. Imagine one of
two things: You are paying $10,000 for a course on jewelry design,
and they tell you to scribble on a piece of paper - HUHe!e! Or
someone’s paying YOU $65,000/year to be a jewelry designer - trust
me, they want more than scribbles.

I think that I, Michael and David in particular are holding the bar
higher because that’s our job - not to say, “There, there it’s ok”,
but to say, “Try harder, that’s just not good enough”. That’s
mentoring and that’s how great jewelers are formed. It’s not mean
spirited, it’s what happens in every jewelry shop every day. Jewelry
design is a job - I would maintain that a jewelry designer BETTER be
able to design jewelry without having to wait for some flash of
inspiration from the sky. It’s just a job, and it makes no
difference what style one is working in. I’ll say again that I’m
talking about professional level work - the high bar - and those
many here who as happy as clams toodling around on their kitchen
table are truly welcome to it. I chose the following link as a good
example, not because it’s classical styling but because of the
complexity and discipline: http://www.cazzaniga.net/Gioielli.htm

Imagine if your pumber had to wait “until he was inspired” to get to
work…or serendipity.

A bit beyond the enthusiasm part, granted, but it’s all related,
too.

63 
That is exactly how I feel when I am making very complicated
piece! What helps me is to imagine the worst case scenario if I go
ahead and screw up. Usually it is not that bad (and I can also
develop a plan B). That puts me (instead of my fear) back in
control and helps me go ahead.

What is lacking in jeweler’s training programs nowadays is the
exposure to potential disasters and how to plan to avoid it. This
cannot be taught in a book or in a classroom. Whenever asked, I
always recommend to spend couple of years in jewellery houses
handling important before going on your own. There isn’t
jeweler alive who did not experience the same feeling one time or
another. The trick is to know how to deal with it.

Leonid Surpin

64

I have been overwhelmed by the sheer number of responses I’ve had to
this thread - thanks to everybody who’s take the time to respond.

I’ve had a very busy and stressful few weeks, which is still going
on, so I’m struggling to keep up with Orchid and respond to what
folks have said. So I’ve put all the responses into a folder so that
I can read them in detail when I get the time - hopefully soon.

A few people have really hit the nail on the head as to the nature
of my problem. Dave Phelps was extremely understanding - thanks Dave.
BTW Dave, I didn’t think you were being confrontational at all
regarding the learning psychology thing - from our communications, I
feel that that’s not in your nature. A few people have taken it out
of context and suggested that I find something else to do, which
isn’t something that’s appropriate to my situation.

It’s largely as Dave points out, all the extra stuff, organisation,
business, etc, etc, and an overwhelming workload of pieces to be
made. I’ll get sorted and get back on top, I’m sure.

Thanks for all the help.

Helen
UK

65 
I would maintain that a jewelry designer BETTER be able to design
jewelry without having to wait for some flash of inspiration from
the sky. It's just a job, and it makes no difference what style one
is working in. I'll say again that I'm talking about professional
level work - the high bar Imagine if your pumber had to wait "until
he was inspired" to work

i consider the meditation on the jewelry design/model at hand, in
your hand> the highbar, the deeper you go into it the deeper the
piece can turn out and change in so many ways, doesn’t have to be
cut and dry expert technique, and it doesn’t have to be just decent
looking as long as it’s finished, some plumbers install boilers and
lay pipe with expertise, but meditation and fantasy are what
comprise exceptional jewelry art design, true, production jewelers
have the advantage of whipping up pieces of quality faster than
“kitchen” jewelry designers, but it’s the love, the cerebral
activity, the time tediously spent making model after model, over and
over until you get what your satisfied with, that brings out the most
sensual in jewelry design,all the scrappers can in turn be made
into slightly different offshoots of the original, when the piece
is finished or almost finished you can go back and start again,
making copies of it so you can make all the changes that you thought
of along the way, a little different than the garbageman, more
like the sculptor,.dave

66

not speaking to helen on this but one thing i have always said to
newbies is that you must do a process 50 times to start getting it
right, don’t even

question it, i came up with that from working in a sweatshop,
carving production in ivory, exotic woods, acrylic for ten years,
alot of earrings with detail, symmetrical opposites, that’s the way
it is, dave

67 
For me, at least, procrastination isn't always procrastination.
Sometimes it's just doing something else for a bit, while the
subconscious is hard at work.

Well said, Janet. That’s why I work on several things at once. My
subconscious is still working on piece A while my hands and
forebrain are hard at work on pieces B and C.

Andy

68

Well put, Sally.

My point also is that there are a lot of ways to begin a piece or a
body of work… There’s also a lot of ways that people get stuck and
a lot of ways that people bust through the walls that sometimes pop
up.

I see many parallels between writing and metalsmithing,
painting–what have you. They are all creative endeavors. To extend
the metaphor, there are writers whose interviews I have heard or read
who approach the whole business of writing very differently than
Annie Lamott. They consider every word carefully before it is typed
or written down on the page. And then they edit as well. Some writers
conceive the entire project–essay, novel, technical article-- fully
before they begin, outlining the whole thing and then fleshing that
outline in. Other writers detest outlines and simply begin at the
beginning (or even somewhere in the middle), writing fully developed
sentences as they proceed.

I think that fear can enter into the creative process at many
different points. Fear of the “blank page” occurs, of course, in any
medium. Painters, sculptors, writers, jewelers-- I imagine actors, as
well-- experience the intimidation of beginning. But even once the
process has begun, once the the wheels are turning, fear can pop up.
The fear of beginning is joined by the fear of making the wrong
decision or even the fear of continuing (aka the fear of wasted time
or material) with a piece that may or may not turn out.

Make it past those and the fear of completion may lie in wait. This
worry is complex. It can simply be another version of making the
wrong decision: choosing the lesser of two possible resolutions. Or
it may be the fear of commitment: choose one resolution and all the
others go away. (Consider Michael Sturlin’s advice of using the next
piece to explore more possibilities.) Or it may be the fear of what’s
next: where do I go from heree

I have experienced all those fears at different times. Getting past
them is the key. Various strategies work. The cognitive: "What is
bothering mee ". Using more fear to lever the situation: “Time is
ticking and I have to do something…”. Even anger and terminal
frustration can serve as the catalyst: “I’ve had it. I just don’t
care what happens or how it turns out; I’m just going to finish/start
this!”

Here’s some common fears that I’ve encountered in myself and that I
have observed in students:

Fear of the “blank page”.
Fear of completion.
Fear of judgement.
Fear of failure.
Fear of being “found out”.
Fear of the unknown.
Fear of change.
Fear of commitment.
Fear of mediocrity.

It’s funny, but I think that when it comes to making art, the more
success or notoriety that you have achieved, the more difficult it
can become to take chances. It can be scary to try something new and
maybe not get the accolades that you may have gotten used to. Those
pats on the back can feel very good…

But, really, I think that it may be glib to see fear as the only
game in town when it comes to “blocks”-- jewelers’ block/writers’
block/painters’ block, etc. Maybe it is simply boredom that can stand
in the way.

Back to the writing: I have found myself to be all those types of
writers at different times. Sometimes I’m the page puker, just
getting it all out and sorting through the mess; sometimes the
outliner; sometimes the brick layer: linear, systematic, laying down
one carefully considered and moving to the next.

We all see things so differently and work in such a variety of ways
at different points in our lives that there must be a multitude of
reasons for starting and stopping and a multitude of strategies to
keep things moving along. Often times, for me, it is a matter of just
continuing to work. Keeping at it. I consider myself a professional
and (as I have written before) have a real problem with the notion
that artists somehow sit around waiting for inspiration. We all need
inspiration but it can come from a lot of places, sometimes just
appearing, sometimes in the form of cash incentive (pay check),
sometimes by simple observation and application (how do I replicate
that accidente). And sometimes you just have to go out and look for
it.

Take care, Andy

69 
What keeps me enthusiastic is visualizing the CHECK! Hopefully
with a lot of zeroes.

I don’t believe there’s anything magical or metaphysical about
making jewelry (go ahead, shoot me). Its thought process and finger
dexterity. Mental and physical labor. This bit about not being
inspired is really just issue avoidance.

Think about it…then do it. If you screw up, start again or change
your plan. Git er done and then go fishing or whatever. Jadede Eh,
maybe a little.

70 
but meditation and fantasy are what comprise exceptional jewelry
art design,,,

Yes, Dave, the first thing I do on an exceptional piece is cogitate
and chew on it - sometimes a week or so. As another said, I often
stop for the day sooner than I might so I can come in fresh the next
morning. And I also “wing it”, though I always have a big picture in
mind. I just saw another writer’s interview (don’t remember his
name, but he’s LBJ’s biographer) and he said he knows the last line
of his book before he ever starts writing. Of course, he’s an
outliner because biography’s like that. It’s not an argument - Andy
C. popped up with a slightly different POV that’s completely valid…

My point is (and I’ve said it before) that there’s nothing mystical
about jewelry design, or any design. It’s just a process. I say this
because there’s a still-lingering sense in some of society that
artists are somehow different, chosen or born. It’s simply not true,
though there’s only one Picasso, too. It’s not to say that design is,
or should be, cut and dried or cookie-cutter, just that when you are
trained and experienced it IS just a job - no Ouija boards, no
crystal balls… That’s the thing to strive for, and just like
having a solid skill set at the bench, that’s when the fun starts.

71 
The fear of beginning is joined by the fear of making the wrong
decision or even the fear of continuing (aka the fear of wasted
time or material) with a piece that may or may not turn out.

this is exactly the reason that you make multiple blanks because you
are really supposed to be hoping for “mistakes”, changes in
direction, what have you, accidents are things that make beauty, a
slip of the hand, the piece flies against the wall, you step on it,
it went wrong, whatever, then you look at it and say wow that
looks cool, i could make another one that looks like that, or leave
this one, and make another of the original design, and a few more
blanks, just in case i see other options/ideas, this is actually a
design fundamental technique, not so much for production(store,
customer orders), even though a production run of one offs is fun as
well, but you need to make up the blanks at least, anyway you
have a much better chance in going with an accident than a decision
from the high command-your reason, they hurt for a sec, but when
you get over the trauma, everything is roses, don’t be fooled into
thinking that an accident is a mistake, or even has the remotest
possibility of being so in a design, do you know how they say
count your blessings> count your mistakes!, dave

72 
This bit about not being inspired is really just issue avoidance.

Did I miss somethinge This thread seems to have morphed into a
“can’t get inspiration” thread, whereas the gist of my original query
was that I do not lack inspiration at all. It’s that inspiration for
new pieces and new techniques which means that I sometimes don’t
finish a piece I’m currently working on. Not that there’s anything
wrong with a thread morphing - it happens all the time and starts up
some interesting debates.

There’s been a fair amount of criticism, with posts saying things
such as “you’re in the wrong game”, or “just get on with it”.
Fortunately, there have been lots more constructive posts with good
advice, much of which I can draw from - thanks.

For me, Dave Phelps was spot on. Other factors in my case are to do
with organisation. I don’t draw, so perhaps I should. That way, if I
get a flash of inspiration of something I want to try, I should draw
it, or write a description of it so that I can carry on with the
piece in hand without forgetting it.

I dream pieces in my sleep, or I’ll be working on something else and
my subconscious brain will figure out what I want to do with a
particular stone. My gemstones are often my sources of inspiration -
their shapes, colours, patterns - how to frame them well, and/or
compliment them with other etc.

Thanks to all who have helped on this one.

Helen
UK
http://www.hillsgems.co.uk
http://helensgems.ganoksin.com/blogs/

73

All the points made concerning design and enthusiasm have been
interesting. Like Helen, I enjoy the morphing of a thread and the
issues that this evolution raises.

As I read through these posts, I can’t help shake the feeling that
there seems to be a sense that the solution to jewelry design/
production problems or frustrations is somehow prescriptive, which
implies that jewelry design/production, itself, falls within one
definition.

We all build different types of jewelry for different reasons and to
fill different needs. Some build “fine” jewelry, along the classic
model, designed to appeal to a particular high end buyer. Others make
less visually sedate pieces strictly for themselves, friends or
family or for the gallery market. There are custom jewelers whose
design and building process must mesh with the needs and desires (and
fantasies) of their clients. And there are those who build functional
or less functional jewelry that is termed “academic”: conceptually
based, narrative, thematic, topical or even confrontational and made
from materials ranging from gold and platinum to stainless, sausage
skin (gut), enamel or plastic.

I believe that it’s useful to remember that there are a multitude of
reasons that people make jewelry, a multitude of approaches to doing
so and even a multitude of ways that people define what jewelry is.
At the risk of igniting another “Is it Art” flame thread, I say that
these are all valid pursuits.

Andy

74

Wow, can I just say that I am releasing my spring collection over
the next few weeks. On my way to one of the galleries the other day,
I was thinking I really need to do a “best practices” on a few of the
items I would like to offer in limited production - you know, what
worked, how I could improve it, blah, blah. But then I thought,
nah…that’s taking “art” a bit too “corporate”…then I read
Michael’s post and what he recommends to his students…“best
practices” here I come!!!

I am a slave to my Franklin Covey planner…everything but my
sketches reside in it. Two weeks ago while switching planning binders
I dug out a binder I hadn’t used in years. Taped to the very front of
it was a post that Sam Patania made on this forum in July 2004.

The gist of it is: “Make ugly things, make boring things, get them
out of the way and keep working.” Truer words were never spoken. Give
yourself permission to do those things so you can move on to the
next level!

Before I leave I would like to send out a big TY to Judy Hoch for
her book. Thanks for setting me straight on polishing. It has helped
me immensely…and another big TY to David Lee, whose 2006 post on
securing pearls just saved my bacon.

All the best,
Kennedi

75

Did I miss somethinge This thread seems to have morphed into a “can’t
get inspiration” thread, whereas the gist of my original query was
that I do not lack inspiration at all. It’s that inspiration for new
pieces and new techniques which means that I sometimes don’t finish a
piece I’m currently working on. Not that there’s anything wrong with
a thread morphing - it happens all the time and starts up some
interesting debates. LOL, if “creativity” is “divergent” thinking,
then we’ve got some awesome talent on this site. It’s diverted into
orbit, lol. I’ve thoroughly enjoyed trying to figure out what this
string has been about. But, it has been some fantastic reading.

Thanks everyone. :o)
Humbly yours,
Michael Johnson of Cosmic Folklore Studios
http://cosmicfolklore.ganoksin.com/blogs/

76

Helen and all,

Did I miss somethinge This thread seems to have morphed into a
"can't get inspiration" thread, whereas the gist of my original
query was that I do not lack inspiration at all.

I am actually grateful for how this (and many other threads) morph a
little along the way. Although some responses may not exactly fit
your initial question - the answers are really for all of us. As time
goes on someone will be sure to search the archives about their own
particular issues with “keeping enthusiasm for a piece” and there
will be many wonderful suggestions and points of view available
likely to help them.

Thank you Orchid!
Margaret

77

People! None of us has insight into another person’s head enough to
comment on whether or not their inspiration is mystical, spiritual,
magic, woo-woo or workmanlike, well-thought out mechanics based on
known principles of design. I don’t see the point of any argument on
this subject. If one person feels there is something outside
themselves that inspires them, fine! If another feels that study and
experience has built a body of design principles for them to draw
from, fine! This is like arguing religion.

Express your views about how YOU see what YOU do. That is valid
because you are THE expert on the subject. Let others
express how they view themselves and give them the same respect you
wish to receive. We get where we’re going by our own methods.
Consider that while one can smirk at the woo-woo folks, the
woo-wooers can feel horrified that the mechanics work without
heart…and neither is entirely right or wrong, most likely.

What’s good for the goose may not be good for the peacock and is
certainly not good for the hummingbird. A little less attitude in
comments on line and in life isn’t without merit.

Marianne Hunter
http://www.hunter-studios.com

78 
I am actually grateful for how this (and many other threads) morph
a little along the way.

I apologise. I didn’t mean to sound so selfish when I wrote my post.
I know that the replies are not just for me, but many were addressed
specifically to me, as well as to others, as though the writers
assumed I was having problems with inspiration. I was merely pointing
out that that was not my problem. I was careful to point out that
there is nothing wrong with a thread morphing - and I do appreciate
that such deviations will be helpful to others.

Helen
UK

79 
As I read through these posts, I can't help shake the feeling that
there seems to be a sense that the solution to jewelry design/
production problems or frustrations is somehow prescriptive, which
implies that jewelry design/production, itself, falls within one
definition.

{And yes, this has morphed far beyond Helen’s question, which I
agree is a good thing}

What Andy says is, again, true. My own motives on this thread have
been to give people hope and the idea that there IS a methodology
that can be learned and used for design. And in that spirit, I’m
going to disagree with Andy - realize that I’m not ~really~
disagreeing in any real sense.

All design and all art - that which is successful, that is - begins
with the kernel of an idea. That idea germinates, and in essence
grows into a work of art not really much differently than a tomato
seed grows into a plant. Roots go down, leaves come up, branches
branch and flowers flower. It is literally a form of evolution in a
cup. I would submit that the similarities of how humans accomplish
that are more common than any real dissimilarities.

I understand what Andy is saying, but to me it’s more on a level of,
“I drink tea while I paint, and you drink coffee”, or “I like to
draw it first, and you don’t”. Not of which is actually that
important in the greater scheme of things. We both have a concept,
and we both need to turn that concept into something tangible, and
we will take a similar (but not identical) path to accomplish that.
These things can be learned. The most important thing that can be
learned is the materials science - What do I need to do to make this
idea in metal successfully? or leather…

Again, it’s not an argument - there’s nothing to argue about.
Probably the single thing most lay people have trouble with is
creativity - how does music come out of your head? How did Picasso
ever come up with Guernica?

I’ve just been trying to show that there’s a method to the madness.
I started out just like everybody here (including Andy). I wasn’t
born a fine jeweler, I evolved into one…

Start from the center, light, dark, tone, mood, theme, composition,
shadow, proportion, illusion, color, size, shape, line, form, curves,
and more -and materials science. Easy…

80 
If one person feels there is something outside themselves that
inspires them, fine! If another feels that study and experience has
built a body of design principles for them to draw from, fine! This
is like arguing religion.

There’s no argument that I’m aware of, Marianne. The issue was
raised that one of the main reasons for work fizzling is “writer’s
block” - no argument… A very interesting discussion of the nature
of design and getting work done, I’d say.

I’m reminded of the movie, “Quest for Fire” - not suggesting people
should go watch it… One group of prehistoric people got fire from
lightning, and thought it was God-given. The flame went out and they
went looking for fire. In the end, they found another tribe that knew
how to make their own - astonishment, amazement, enlightenment, etc.

Does the fact that a person has no deep understanding of the design
process mean that it can’t be known by anyone? Are all the design
schools of the world taking student’s money for nothing? Is it all
just some murky, foggy process that we can never understand? Not
really, no. We all get inspiration, and we all use that inspiration
in some context of design principles, and - lo-and-behold - when we
actually study it we find that we really aren’t as unique as we
thought we were. If you are poking around in a fog, you are still
using design principles, you just can’t quantify them. That’s why we
have schools and books.

It’s not “The Way”, it’s a toolkit.

The vision that our souls compel us to paint or write or compose is
our own- the processes of painting, writing and composition are well
understood, for those who would look for them. No place are they more
well understood than in the field of goldsmithing.

All of this, again, is for my own part just a way of giving students
and those who are struggling with the whole design thing a sense of
guidance - I’m not trying to argue some arcane philosophical point,
it’s more like Design 101. Leaving some mystery for the public is
good PR - an artist is supposed to know.