Non-jeweler designers at shows

Jewelry Discussion
61

Hi, Mike and all,

I don’t really disagree, on the whole, with your rant against the
prejudices that sometimes come to light on Orchid. But before you
create the same fear of posting that you describe (for fear of being
found narrow-minded), bear this in mind:

It is only by airing these issues and debating them that people may
begin to examine what they themselves think, compare that to what
others think, and possibly decide that their view could stand some
adjustment. As my husband is fond of saying, you don’t find out what
others think by agreeing with them.

There may be folks on the forum who couldn’t change their mind with
a nuclear bomb, but I have faith that the vast majority read these
threads because the contrast of opinion stimulates thinking. After
all the discussion on this particular topic, I’m still not sure
where I stand. To me, that means there probably is no one
despositive answer. Like so many things, it is all in how you do it.
But the discussion seems like a worthwhile end in itself. Let’s hear
it (once again) for Orchid!!!

Noel

62 
to put it into current Olympics' vernacular: it's like some
athletes bringing catapults onto the field, loading in their
discus, javelins, puts, or hammers & hitting the 'on' switch; their
end results are the same as those of the people who worked hard to
learn, practice & perfect their specialty, but to me they would
lack honesty, how-to & heart.

Something just like that was recently aired on one of those Monster
Machine shows, and the builders lost to the Olympiads!! They won the
shot put and javelin throw (both were air cannons), but lost the long
jump, high jump, 400M race?, and the hammer throw.

The “practice & perfection of their specialty” had everything to do
with their victory, especially if you saw how awkward some of the
machines were.

After seeing the javelin pierce a car door, I thought the Monster
Machine builders would have won the competition.

Cheers!
Jeff Simkins

63

Hi Jessee, again. I’m sad and feeling disgusted about this
business of discrimination on the subject of castings. You will
have perhaps seen the posting I sent yesterday in response to
something IVE wrote, but not because of her posting. Unhappily, I’m
exhausted at present and may not make the best sense. But please
let me suggest that if you are creating your own waxes and doing the
finishing - for the moment at least - you need Not apologize to
anyone, nor feel your work is unworthy. This is what I’m fighting
against - the notion that what we’re doing is any less beautiful,
creative, or worthwhile than those hammering and fabricating and
using the hydraulic press and drawplates and tree stumps to create
jewelry. It is totally not fair nor logical. Rather than put down
castings in general, say they Ban commercial waxes, Ban commercial
findings, Ban commercial stampings and Ban commercial cast pieces,
not ones’ own, that have been Assembled !

Then, sit back and see what happens to the very jewelry industry
that supports us ! But we can still produce our wonderful waxes and
castings, because we can certify that WE made them, by hand, as much
as any other jewelry has been made by hand. I avoid much in this
argument by not mass producing my work. But then I don’t have to
make a living at it either. I can do show pieces, or one-offs, or
limited production editions of a dozen. Nobody would quarrel with
that. But if you need bread and butter pieces, and most do, keep
them in a separate category from your show pieces, and gather
customers for them from your excellent mailing list, and make a good
living with both facets of your creations. Just DO NOT feel put down
because you’ve chosen casting or wax working to do it. This is an
unreasonable prejudice, among unreasonable and uncreative thinkers.
Makes me grumpy, just like being exhausted does. Can you tell? Sorry.
But I’ll feel the same way tomorrow and next week and next year
about this. Those who whine can’t begin to do what we do, even though
we can very likely do what most of them can, and choose not to! So
there! Keep learning and you will develop mold-making skills and be
able to do your own casting too. Just refuse to be intimidated !
You Go Girl !

Pat, off to a well-deserved nap

64

In attempting to show my wife the design style of Art Nouveau
tonight so that she might better see the style of our new cases, I
remembered that Renee Lalique (along with most of the other major Art
Nouveau jewelers) had a large studio of jewelers working under him to
actually produce his fantastic pieces of jewelry. Are there any of
you out there who care to argue about whether or not he was not only
one of the most influential jewelry designers of the twentieth
century but also an amazing jeweler (even though he probably didn’t
actually produce much of his work directly)???

Daniel R. Spirer, G.G.
1780 Massachusetts Ave.
Cambridge, MA 02140
617491-6000

@Daniel_R_Spirer

65

I am a caster and a fabricator. They are different ways of making
art or craft. Casting is just a legitimate as fabrication. Production
casting is, of course, another question. I have attempted to solve my
problem of how to approach being in shows with makers of only
one-of-a-kind jewelry by writing an artist statement that clearly
tells anyone willing to take the time to read it that I do both
one-offs and production work. I do not send this to the show
organizers or call their attention to it, but it is displayed at the
show for them to see. Some patrons/customers/lookers read the
statement with apparent interest, and ask me further questions. Most
just look at the work, apparantly deciding whether there is anything
in my cases that they want to buy. They just seem to care about the
look of it, and the price. I feel that it is obvious that my $30-$65
pendants, for instance, must be production work to be priced so
righteously. But I suspect that most consumers of low-end precious
metal jewelry just don’t care.

I get my personal thrills by creating a good, effective design and
knowing how to make it work all through the production processes,
and by making special one-off pieces, of a more expensive nature. It
all works for me.

The following is my Artist Statement , displayed at shows:

M’lou Brubaker, Jeweler

ARTIST STATEMENT

We look for meaning and a way to relate to things around us so that
we can have a context in which to relate to other people and the rest
of the world. Humans have been doing this for ages, and much of my
work contains symbolic meanings and connections as a part of this
process. Ancient myths and stories are rich with symbolism, and have
provided material with which I have forged new meanings and ways to
connect with our past, with each other, and with our hopes for the
future. My studies have included Goddess lore from ancient Greece,
the Near East, and old Europe, and an extensive look at the Viking
culture. Nordic myths and historical craft or art forms have provided
images and ornamental styles on which I base my Viking Collection of
jewelry.

My jewelry is often highly ornamented with patterns, symbols, or
drawings. I draw with pen and ink, and then make an etching from the
drawing into which I can emboss sheets of pliable wax. Thus I get a
reverse of the original drawing, in low-relief, which can be formed
with more conventional wax-working techniques to make models for
lost-wax casting. The models are invested in plaster, the wax is
burned out, and metal is cast into the space once occupied by the
wax. Once the design has been transformed to metal, it is further
refined, and other touches such as stones or engraving are added.
Often I will make a rubber mold of the piece into which I can inject
molten wax to make reproductions of it. These waxes, in turn, must
each be invested, cast , filed, sanded and polished.

I also do fabricated forms which are joined by soldering or fusing
pieces of metal together. These one of a kind, original designs can
also sometimes have molds made from them if I have allowed for that
technically as I designed the piece.

The many steps required to create a finished mold ready for
production casting involve a lot of work, but when done properly the
process allows me to let someone else take over the job of
reproducing my production cast pieces, which I do to facilitate work
flow and to keep designs available at appropriate prices. All is done
according to my specifications and from my original models and molds
that I have created in my studio.

Most of my jewelry is Sterling silver. I also work in 14K and higher
gold alloys, and some pieces I have gold-plated over either Sterling
(known as Vermeil) or brass. Many designs incorporate gemstones or
other materials as accents to the metal, or to highlight the beauty
of the materials.

I hope this might help someone else. I hope it does not start an
unpleasant, accusatory thread. I mean ;to put it out there in a good
way. Peace,

M’lou Brubaker, Jeweler
Goodland, MN

66

All the answers have a lot of right arguments. Nevertheless, it is a
complex problem without a very clear answer. The rules and
regulations of a particular show should be determined and read
precisely. It is interesting to hear all the different opinions…

One of the answers really saddened me as an artist, jeweler and
designer. I feel I have to speak up and address the issue. Once
more, I read that people in the jewelry field today always see
casting as a mass production tool and look down on it. It is such a
cliche!

Historically some of the Roman jewelry, Renaissance jewelry and
closer to us Art Nouveau were often cast. Those pieces were by no
mean the cheaper pieces; quite the contrary! In fact they were
destined to a very small educated and knowledgeable elite that could
afford it. In fact, in Roman times constructed jewelry was destined
to a less wealthy market who could not afford the heavy weight of
cast pieces. The purpose of constructed jewelry was to to reduce the
weight of the metal and therefore make it more affordable.

Today some of the most exclusive and expensive jewelry such as JAR do
use casting when appropriate mixed with constuction.

I also use a mix of both casting when appropriate and constuction. I
never take a mold of my pieces except occasionnally as a record for
my archives, but do not like to repeat pieces. Sometimes I have
carved pieces that involve over 200 hours of wax work and maybe 40
hours of construction as I do use screws and bolts (that I do myself)
rather than soldering. I hardly see how a one of a kind piece
involving 240 hours of work could be called mass produced. As a
matter of fact I know few jewelers puting that kind of time on a
single ring. I do it when I have the clientele and work on commission
as I could not afford to put that kind of time on ready made piece.

Wax carving can be the best mean to achieve more flowing designs such
as animals, human figures, draperies, flowing shapes, fabrics and
even some flowers,leaves or fruit… I do carve by hand and sometime
even fabricate my own tools to suit my needs.

Today, a lot of people use wax carving and casting as a tool of mass
production. It has tarnished the image of quality carving and
casting.

A well designed and fabricated quality piece of jewelry is quality
jewelry. Constuction, forming, casting or a combination of all of
the above is not what determine the quality of workmanship in my
opinion.

I have seen constructed “hand made” pieces of mediocre quality as
well as bad carvings, great ones as well!

Cyril

67 
isn't it up to the show's authorities to determine whether a
designer who had nothing to do with actually making the piece is
allowed to enter?

james -

the original posted was that the ‘designer’ was in a
beginning metalsmithing class - ergo: she knew little if anything
about fabricating, etc. jewelry yet she was entering shows with
other people’s work based on [according to her] ‘her designs’. the
only way she could have gotten into any rated shows was by NOT
telling the juries she had not actually produced the finished pieces
[lying], so it was not up to the authorities to say yea or nay on an
issue of which they were ignorant; trust those of us who do rated
shows, she wouldn’t have gotten into the first show on ‘designs’
done by other parties. my contention is that they probably were/are
not even her designs, since, while it is possible but not likely, to
do designs without a working knowledge of the mechanics [recall the
beginning metalsmithing] it really ‘ain’t gonna happen’ enough to
get by.

ive

68

I’d like to put a slightly different spin on this thread in
particular. As a person who makes most of his living doing repair
work, I have seen far too many ‘art’ clasps come across my bench for
replacement or repair. Yes, it is nice to have a clasp that is
aesthetically in keeping with the rest of the piece, but for goodness
sakes, do the engineering, too. I have seen some clasps over the
years that were truly a work of art by themselves, beautifully
designed, expertly executed. Only problem was they were extremely
difficult to use, or just plain didn’t work. Sometimes some good old
precision manufacturing is a GOOD thing. There are so many styles
of clasps available today that surely we can find something that
looks and works well with most pieces, if they are truly intended to
be worn. To those who say we can make our own box clasps, and many
other styles, you are right. If I sit down and take the time, I can
build a clasp. I end up partially rebuilding many in the course of
repairs. But, when it comes to something that only I will know the
difference on, sometimes I would prefer to buy a suitable
manufactured finding and put my time, energy and expertise into
creating a new piece. While my mindset isn’t for everybody, I
usually prefer to use commercial findings when they are available,
suitable and expedient. There are only so many hours in a day, and I
don’t feel like spending all of them making components that I can
purchase more easily for ordinary pieces. I prefer to spend those
hours creating something truly special, something that will be
noticed. Maybe I am just in the wrong place (I know I am, actually),
but most of the people I do work for now wouldn’t know the difference
between a handmade clasp, basket setting, whatever and one that is
commercially available. And if they did see the difference, they
would think I am nuts to do the extra work.

Just my humble opinion.
Jim
http://www.forrest-design.com

69

The core issue is not one technique of metalsmithing over another,
or any of our subjective opinions regarding what constitutes
artistry or true craftsmanship, etc.

The issue which lies at the heart of the situation inspiring this
thread is simply this; most shows have concise qualifications for
entry stipulated on the application, and as honest and ethical
people we should either comply or not participate, but there
generally seems to be a few who take liberties.

If the show’s entry requirements are lax, and you find yourself next
to someone who is selling goods which they did not make, you need to
either suck it up or skip the show next year. If, on the other hand,
the application which you and everyone else signed stipulates that
all goods sold are handmade by and sold by the artist, and you find
yourself next to someone peddling that which they did not make with
their own two hands, well, you have a problem. You paid for entry
into a show with a stated degree of exclusivity, and you did not get
what you paid for. As a consequence, you are facing unfair
competition and possible financial harm.

What to do? While it is altogether possible that the offending
merchant simply lied on their application, it is also possible that
the promoter is simply a greedy #$&!* and knowingly booked the
offending seller to fill a booth and get the fee. You should not
have to sort that out, though. The fact is that you did not get what
you paid for, and your issue in either case is with the promoter.

Lee Einer
Dos Manos Jewelry
http://www.dosmanosjewelry.com

70

Thank you David.

What you are doing is no different than Faberge or Lalique (Daniel
Spire’s post). I admire your wisdom in knowing what you do best. Far
too many of us try to “do it all” and end up turning out less than
the best we could do. Too many “great” designs are weakened by crappy
hand work. Yes, I understand the economics that underline this
thinking too. Far better not to do a piece than do it poorly.

I have often wondered if Faberge ever polished a single stone for
any of his pieces?

In my mind, it is the quality of the final product that counts.
Especially if I am the designer!

You are definitely OK in my book.

Bill Churlik
@Bill_Churlik
www.earthspeakarts.com

71

I havn’t posted for awhile, but as a goldsmith/ designer and
festival artist for many, many years, I thought I’d jump in on this
one. I do mainly fabricated pieces. The castings I use (which I carve
or fabricate and sub-contract out) are embelleshed to be
one-of-a-kind pieces when I am finished. Each piece I sell comes
with a certificate with a picture of the piece, stone and metal
descriptions, and process (fabricated or cast/ fabricated)

Do cast pieces or mass production pieces at shows bother me? As a
rule, no. I strive to do the best shows where knowlegeable people
are doing the jurying, and you get a great array of different kinds
of wonderful art-jewelry. My customers are usually collectors who
know the difference between what they are buying at the fine craft
shows, and what they find in department stores or on TV shopping
networks. My last show, the Sun Valley festival of the Arts, was a
perfect example of this. I saw perfect examples of high end jewelry
artists who have a wonderful, but small, cast production line. That
line blends in beautifully with thier overall style.

Occasionaly I willl do a show that I know is not juried to the
standards of most of my shows, and they will let in jewelry that
“runs the gamut of quality”. I know there is a large segment of the
jewelry buying public that doesn’t care, whose primary concern is
price. I take a gamble that the educated buyers find thier way to my
booth.

Finally, I believe it is part of our job to educate the buyers. I
feel it is important at a show to take the time to explain how your
work is made and how it is different from other jewelry. For
example, I do a lot of highly detailed piercing. Many customers ask
if it was done by a laser. I have to tell them that I had to drill a
hole for every line, thread the sawblade through it…etc… Also,
if you are at a show which has awards, I feel it is perfectly fine to
educate the JUDGES. Some of them are gallery owners, or are in an
art area in which they have little exposure to fine art jewelry. The
you give them will help them to make more informed
decisions next time they are called to a jury panel.

Wendy Newman
Moab, UT
www.goldgraphix.com
@Wendy_Newman3

72 
  Someone told me I needed 300 pieces to enter a show...any idea
if this is accurate.

Howdy, I have a formula that works for me. I will go by a dollar
amount. I fugure out how much stock it takes to have my booth
looking fabulous, just the way I like. Say 3,000 dollars. Then I
add the amount of money that I think is reasonable for that show, the
most I could expect to make, say 4000.00. Then I add an extra 1 to 3
grand for good measure…I need atleast, 8-10 thousand worth of stock
to have an excellent show at that location. I like to make sure I
have plenty of selection all the way through Sunday night. If your
selections are waning too badly, you are probably loosing some sales.
Nothing feels better than being loaded down with quality stock, when
you pull out of your home driveway.

Bye now,
Holly

73

I totally get your point, ive. And I empathize. Even though I won’t
participate in jewelry shows, I’ve run across similar instances in
the past that were associated with another art form where clients
have entered my (not jewelry-related) pieces in juried shows. Since
the pieces were their property, it was up to them. Still, I was
answering Noel’s original question with the only answer I can come
up with. Her question was:

How do any of you feel about jewelry creators who created the
design but not the jewelry and then sell it at craft shows? The
rules say the "artist" must be present, and the designer is the
"artist"... ??

My paraphrased answer (well, question, really) was and still is:
Isn’t it up to the craft show’s authorities to decide that? Well,
okay, that didn’t really answer Noel’s question, so I’ll try to
answer more clearly.

My gut reaction is that a beginning metalsmith with practically no
experience should not be allowed to sell items they designed (but
didn’t craft) at a craft show. Why? Because I consider design to be
far more art than craft. It is, after all, a craft show. The post
didn’t say anything about “rated shows”

Then again, Merriam-Webster defines “craft” as: an occupation or
trade requiring manual dexterity or artistic skill. Well now, it
seems that a craft requires artistic skill. Designing jewelry
certainly requires artistic skill, so perhaps I was wrong…let her
sell.

ive, I’ll certainly trust those of you who do rated shows as you
ask, especially since you will never find me within range of one.
But the rules of each show as imposed by the show’s authorities will
arbitrate who sells and who does not, I suppose. Did she lie, as you
say, to get in, or did that particular show’s rules allow it? And
since it wasn’t a rated show, does it even matter?

I guess that since I don’t participate in these shows, I shouldn’t
have replied to the thread, I was reacting more to the meanness from
some of the purists toward others who ply their trade differently.
For those of you who liked “Deli Church” I hope you start your own
similar get-togethers. Our main purpose is to sit down to a nice
meal, break bread and discuss how we created something, the
techniques involved, any new stones or rough we have cut or bought
or even a cool mineral specimen, meteorite, etc. It’s a lot more fun
than arguing with and judging who or what is better. A lot more
productive, too.

James in SoFl who never discusses religion or politics at Deli Church

74 
  I am an artist, have been all my life, and no one else can say
I'm not, any more than they can say I'm not a woman. I can't stand
the idea that the pursuit of art should be limited to those who can
afford to get a degree!

Hear, hear! This is a sentiment that deserves repetition (and a
great line, too). While it may not be right to call oneself a “master
jeweler” or other similar title without the proper credentials, it
would be terrible to mandate that one could not be called an artist
without the proper degree. Think of all the talent that might never
be recognized if this were the case; how many incredible painters,
sculptors, and, yes, jewelers were never awarded an MFA? The vast
majority, I’d say. I’ve been dismayed at the recent shift in many
colleges toward accepting art instructors/professors only if they
have achieved the terminal degree in their field. This means that
Picasso, to throw out a random example, could not teach at the
majority of institutions. How much experience, talent, and mentoring
ability will be turned away?

I think that many of us who call ourselves artists have one
characteristic in common: we share a deeply spiritual–indeed, almost
physical–need to create. We are constantly challenging ourselves
with new media, new techniques, new design difficulties, all to bring
into being something that we (and, we hope, the rest of the world)
will find aesthetically, emotionally, and intellecually stimulating.
Most of us would be hard-pressed to say exactly why we do this, but
we would agree that without some sort of creative outlet, our very
souls would wither like neglected orchids. It takes a great deal of
hutzpah to call oneself an artist; it means embracing a difficult way
of life and offering yourself up to the world for its scrutiny,
knowing full well that it may not like (or understand) what it sees.
Putting your work “out there” when so much of yourself is caught up
in it is a great act of courage, and it is this courage that gives us
the right to call ourselves artists.

What if someone had said to the painters at Lascaux, “Hey, stop
that! You don’t have the proper certification!”

Jessee Smith
www.silverspotstudio.com

75 
 Should we say that beaders shouldn't be included in shows because
they buy all their beads and assemble them

Well, Jeanne, there are shows that do just that, so the bias does
exist. And I have come across show applications that specifically
state that they do not accept cast work for jury review.

IMO it is the show’s organziation / promoter’s choice regarding what
they allow; though I may disagree with some of the choices, it’s
their show. If you (general you) don’t like it, don’t apply for /
do that show. But what really drives me nuts is when they state
that all items must be handmade, and two booths down from me is a a
set-up which obviously has imported work that the “artist” selling
has not made!

76 
      I cannot support the suggestion that we would be better off
if "you have to have a University degree (MA of MFA) to be an
Artist". .....I can't stand the idea that the pursuit of art should
be limited to those who can afford to get a degree! This is not the
solution to the problems we encounter.

Noel,

actually we share the same frustration: having studied and worked
for years to “be an artist” and then going to shows and find a lot
of “designers” there who do just a part of the work that is involved
in our work - the design. I didn’t say it is necessary to have a
University degree, I said it makes it so much easier to know with
whom you are dealing. And another comment: it is not a matter of
being able to afford a degree in Germany because the education there
doesn’t cost anything. You have to apply to get in, show about 50
pieces of your work, and if they choose you, you are invited to make
a 2-3 day long test after which they choose to invite 5-7 people to
study every year. It is not a matter of being able to pay, it is a
matter of being talented enough to go through these 7 or 8 years of
Art education. I really think it is not necessary to have this
degree, but doing shows especially here in the US is very
frustrating having done all this education and standing at a show
next to somebody who did only the design and doesn’t have a clue how
to “make” the piece.

Edith
Edith Schneider Jewelry
P.O.Box 52001
Palo Alto, CA 94303
@Edith_Schneider
www.edithschneider.com
(650) 813 9755

77

People who say items created by casting are not as creative or
worthwhile as things that are fabricated from some raw materials and
some findings are people who have not fully achieved their
creativity potential. I think many of those who knock casting are
afraid to try it.

What difference does it make if a one of a kind piece is cast or
fabricated. Each piece is an original that is hand made using the
tools that are available. Each process allows the artist to create
and original in a different manner.

It would be great if all of us could make a living making one of a
kind pieces where EVERYTHING is made by the artists own hands. How
ever most artists do not make every thing with their own hands. They
use purchased gems, findings and material made by others then claim
items cast from wax are not an original.

Some arrogant individuals scoff at us artist who use the casting
procedure to create our dreams. Any person who can create something
in their mind then use the materials and tools available to create
their dream is the true artist. Not everyone can do that. The use of
tools can be taught to almost anyone. Not everyone has the ability
to dream an idea then develop it.

Is a piece of art created from a persons dream any less creative if
it is cast rather than fabricated? I think not. I would like to see
the pompous anti casting people create by using a sheet of silver,
saw, hammer, misc. tools and a tree stump some the work that is
created by artist who cast their work.

Many of the people who are famous jewelry creators do not touch a
torch, hammer, saw or tree stump. Their artistry is accomplished by
creating a dream then illustrating it with colored pencil and paper
then use great verbal ability to instruct a craftsman how to bring
their dream into a tangible article

I am sure that those artists who cast their work could create
things using a torch, metal and a tree stump if they wanted to.
Would that work be any more original or worthwhile than something we
carve from wax and cast? I think not.

So the answer is to let those pompous people who are afraid of
casting spout off. We casters will create and sell our originals and
in some cases our reproductions. In so doing we will make a living.

Lee

78

Omigoddess, here we go again! Folks, as we used to say in the early
women’s liberation movement, there are no personal solutions to
political problems. We can rip into each other or we can turn around
and face the system that is screwing everyone. We can do this in a
"think globally, act locally" way, by addressing the organizers and
jurors of specific shows–doing this as a group would be much more
effective–and we can also put together the collective wisdom of this
group to create a think tank that could address the larger picture.

If the economy was really good, we wouldn’t be attacking each
other–the people who fabricate everything and cut their own stones
wouldn’t have time to attack someone who designs work that someone
else (yes, possibly someone with no design ability) makes for her.
And if the public were educated, and everyone were honest, and the
government supported the arts, and, and, and…

Face it, the system sucks and, when the economy sucks, we feel it
even more. Demonizing resellers and assemblage artists and designers
and casters and PMC people and everyone who doesn’t make every jump
ring by hand doesn’t help. Vent your spleen at the cause of the
problem. Or relax your spleen, and, as the saying goes, don’t
agonize, organize. Orchid has the potential to do a lot more than
give us a venue for attacking each other.

This whole discourse is so historically and culturally
specific–William Morris is part of what created it (thanks, Jim) but
its roots are in the Renaissance and the rise of capitalism. The
whole idea of an “art jeweler” who is the sole creator of a
one-of-a-kind piece made entirely by him (and I use the masculine
pronoun advisedly) couldn’t even be imagined in many times and/or
places. As the Old Man said, “Freedom came into the world dripping
with blood and sweat.” And it’s still dripping–on us. Capitalism is
great until its “invisible hand” smacks you in the head.

If you want to know what it was like in the good old days, check out
Jack Ogden’s “Jewellery of the Ancient World,” (is that British
spelling right?). I got it through inter-library loan (all the way
from Beverly Hills) and just took it back. Half the stuff we see in
museums was made with mass production methods–dies and molds–and
the makers were slaves (never mind that a lot of that lovely soft
high karat gold look is the result of damp-grave-induced depletion
gilding). Fabulous, mind-blowing book.

I don’t know why I’m writing this–I have to be out of this
house-sit on Monday. I’m supposed to be packing! (Hi, my name is
Lisa, and I’m an Orchid addict…)

Lisa Orlando
Aphrodite’s Ornaments
still in Benicia, CA

79

I have to respond to the statement by Fishbre396 who stated that
work that was cast was “nothing more than reproduction work” and
like having “prints”. I need to humbly, yet firmly disagree. My
husband has been in the jewelry industry for decades and many of his
one-of-a-kinds are cast pieces. Of course, someone can make copies
by casting, but that neither means that the artist is any less of
any artist than someone who might just slap a tiger’s eye on a piece
of silver and call it a pendant and say their work has more
integrity because it was fabricated. In the zillions of craft shows
we have participated in I have seen some pretty nasty fabricated
work, but I would never assume it was the fabrication technique - I
would assume it was the lack of talent of a less than gifted
designer.

My husband works both with casting and with fabricating. Some
pieces are more conducive to being carved from wax and then cast and
others need to be fabricated. The piece and the design dictate the
method that will be used.

I think that both cast and fabricated methods are honorable ways to
create jewelry. It is not the method, it is the quality of the
design and the craftsmanship that makes a piece a work of art.

Marlene Richey

William Richey Designs
P. O. Box 4115
15 Wharf Street . Portland . ME . 04101
207.846.3607

80

Hello all, This is my first response to orchid, but have enjoyed the
site for some time. I’ve been trying to keep up with this thread
about- to cast or not to cast, Did I make the whole piece, or just
part if it.

I enjoy making jewelry both cast and fabricated, mostly a
combination. I find it hard to believe someone would denounce another
persons work because of how it was produced. A quality piece is a
quality piece. I enjoy wax carving so this is what I do most of. I’ve
recently hired someone to mill a design on a CAD\CAM lathe which I
don’t think I could have done myself. Does this make me a designer,
or does the person who types in the info to the computer and hits
"go" take the credit? I will be casting the piece and setting the
stones (yes, I said cast) myself. Does this qualify as something that
would be “OK” for an art show? I have a friend who uses a lathe, both
for wax and metal. Because he does it in wax rather than metal one
time, is this blasphemy? Making something with your hands is making
something with your hands regardless of it’s origin.

The customer who shops for one of a kind pieces will probably know
the difference between something that’s well put together and one
that’s not. If they can’t, it’s our job to inform them of the
difference.

Why can’t we all just be friends?
Scott in Mpls., Mn.