Bachelor of Arts Honours in Design 2015 - The Purpose of Research

A personal narrative

“Greater in battle than the man who would conquer a thousand-thousand men, is he who would conquer just one —himself.” ― Siddhārtha Gautama Buddha

The journey of understanding myself as a man in the 21^st century with the freedoms I and others take for granted, without attempting to understand those that have gone before and the sacrifices they have made is one of the greatest misfortunes. Coming from a generation where “mentorship” for lack of a better word does not exist and with most of the knowledge of gay history being written from a Eurocentic or American perspective. Being LGBT, there is no central repository of knowledge that one can call on to gain understanding of LGBT history that by enlarge has been outside of the heteronormative gaze. Being considered the deviant or fugitive as LGBT goes against the heteronorm and thus could not find acceptance. A full documented ancient history is therefore impossible. Queer theory is complicated to delineate, but its main concern is to combat against heteronormativity. Though homosexualism is widely accepted in society today there is still a lack of understanding.

Purpose statement

Welcome to Reon Davids precious metal weaving page.

The purpose of this research is to establish the relevance and current knowledge of past signs and symbols used during WWII to persecute homosexuals (1933-1945) in Nazi Germany, there is not only the pink triangle which was used as a sign to shame homosexuals. The intention is to claim other signs and symbols as cipher of pride much as the inverted pink triangle was claimed by the gay community. “For a gay ‘language’ to evolve, a community would normally need to be isolated from society for a lengthy period of time” (Cage 1999:22). The purpose here is not to establish a new language but to use symbols of the past in a new way of visual communication by the wearer of the jewellery to be created. Allowing the viewer insight into wearer’s possible preferences for example as displayed in figure 2.

Creating this range of jewellery that incorporates an assortment of symbols that speaks a language of its own, aimed at the gay market. While remaining mindful of the stigma attached to such symbols as in Figure 1 which is a table of coloured classification symbols for prisoners in concentration camps during WWII.

This is by no means a way to keep LGBT people closeted but finding another way of expression. Lomas, McNeill and Gray (cited by Steele 2013:23) states that, “…gay and lesbians have evolved not only coded clothing practises by which they might recognize others with a similar sexual orientation or interest, but also a nuanced vocabulary for reading dress.” Lomas, McNeill and Gray does not appear in the course list, only Steele. Jewellery with symbols subtly imbedded into them that only is understood by the wearer and others of their persuasion.

Figure 1
Table of colored classification symbols
for prisoners in concentration camps
during WWII

Figure 2
Showing how wearing pieces of jewellery and clothing strategically could carry meaning.
 ( Lord & Meyer 2013:27)

Stonewall in riots

http://www.gaystarnews.com/article/174443/#gs.YGEevDQ

Bachelor of Technology 2014 - The Purpose of Research

Welcome to the Reon David's: Precious Metal Weaving Page.

The purpose of this online research forum is to launch a South African brand by incorporating Zulu basket weaving techniques into jewellery, thereby creating a product that not only speaks to Zulu identity, but that could in future be identifiable to all South Africans. I also wish to generate a platform in the jewellery contexts for the African Renaissance often spoken of but not yet seen as it relates to the fields of design in jewellery. In conjunction with the branding of a jewellery range, I have researched identity of the Zulu people. According to Statistics South Africa the highest urban population is currently living in Gauteng Province, notwithstanding the corridor of Pietermaritzburg and Durban.

Wedding basket by Mary Sibaya

The search for identity had also brought home my own search as a person classified 'coloured' (meaning of mixed descent) in South Africa. It is interesting to note that my maternal family is aware of our German, English and Indian heritage but omits to comment on our black heritage. This is by no means an exception though, it is a norm in the mixed race community in my opinion. 

Great, great grandmother-maternal

German great grandmother-maternal
(Mother in law to my grandmother)

'Coloured' grandmother-maternal (from St Helena Island)

Great Uncle on his wedding day marrying
my Great Aunt. My mother is named after her as she was born 
3 months after this picture was taken.

                                                                        

My father is of Indian descent but because my grandfather lost his parents young I have no connection or images of the family. He also died while my father was a young child.

Btech 2014 Sources Consulted

Armadillo, Booker’s Blog home page. 2012. [o]. Available:
http://talltalestogo.wordpress.com/2012/09/16/the-blathering-idiot-and-the-pro-accordion-party-part-4-armadillo/
Accessed 06 March 2014

Benesh, CLE. 2012. Mary Lee Hu Working with wire. California: Ornament Magazine. [o] Available:
http://www.ornamentmagazine.com/backissues/backissue_35_3_mary-lee-hu
Accessed 06 March 2014

Butler, J. Rotberg, IR & Adams, J. 1978. The blacks homelands of South Africa: The political and economic development of Bophuthatswana and Kwa-Zulu. Berkeley: University of California Press.

Carton, B. Laband, J. & Sithole,J. 2009. Zulu identities - Being Zulu, Past and Present. London: C. Hurst & Co. (Publishers) Limited.

Dickenson, S. 2006. Ascot formal wear. United Kingdom: Royal Ascot Tickets. [o]. Available:
http://ascotticket.com/Ascot_Formal_Wear.htm
Accessed 15 May 2014

Hall, C. 1994. Gemstones. London: Dorling Kindersley Limited

Honest, BB. 2010. Let them look. Canada: Honest 2 Betsy. [o]. Available:
http://honest2betsy.blogspot.com/2010/11/let-them-look.html
Accessed 06 March 2014

IMperia, G. 2011. Kumihimo wire jewelry. New York: Random House.

Macrae, S. 2001. Designing and making jewellery. Wiltshire: The Crowood Press Limited

Magubane, P. 2002. African Renaissance. South Africa: Struik Publishers (Proprietary) Limited

Maimela, D. 2014. Born frees do not exist. South Africa: Mail and Gaurdian online network. [o]. Available:
http://www.thoughtleader.co.za/davidmaimela/2014/01/08/born-frees-do-not-exist/
Accessed on 20 February 2014

Manheim, J.2009. Sustainable jewellery. London: A&C Black Publishers Limited.

Mcniff, J. 2002. Action research for professional development. [o]. Available: http://www.jeanmcniff.com/ar-booklet.asp
Accessed 26 August 2014

Mertler, CA. 2014. Action Research improving schools and empowering educators. California: Sage Publications Incorporated

Miller, S. 2011. Wire art jewelry. China: Asia Pacific Offset Limited.

Millipede, Jungle Key home page. [Sa]. [o]. Available:

http://www.junglekey.fr/search.php?query=Millipede&type=image&lang=fr&region=fr&img=1&adv=1&fqhist1=Millipede&start=50

Accessed 06 March 2014

Mitchell, E.1993.BiblicalHistory. [o]. Available:

https://answersingenesis.org/archaeology/ancient-egypt/radiocarbon-dating-shortens-the-timeline-for-ancient-egypt/
Accessed 14 May 2014.

Nettleton, A.2010. Life in a Zulu Village: Craft and the Art of Modernity in South Africa.The Journal of Modern Craft 3(1). [o]. Available:

http://journalofmoderncraft.com/docs/nettleton.pdf

Accessed on the 20 February 2013

Olver, L.2002. The art of jewellery design. London: A&C Black (Publishers) Limited

Mills, GE. 2011. A guide for the teacher researcher. United States of America: Pearson

Statistics South Africa. 2014. Mid-year population estamites 2014. [o]. Available:
http://beta2.statssa.gov.za/publications/P0302/P03022014.pdf
Accessed 18 September 2014

Steyn, ME & Motshabi,KB. 1996. Cultural synergy in South Africa. South Africa: Knowledge Resources (Proprietary) Limited.

Untracht, O.1985. Jewelry Conceptsand Technology. New York: Banton Doubleday Dell Publishing Group Incorporated.

Zulu. [Sa]. [o]. Available:
http://www.sahistory.org.za/people-south-africa/zulu
Accessed 09 October 2014

Btech 2014 Action Research

Approaching the topic and process of manufacture using an action based research methodology which Geoffrey E. Mills (2011) book, A guide for the teacher researcher, defines as a methodical examination conducted for the function of gathering information. Utilising Bachman’s action research spiral figure 1 as frame of reference the exploration will delve into self as a component of the process. By means of action research one can anticipate to not only investigate identity as it relates to the first peoples creating and using the technique of weaving but also the identity of self, as an individual identified as “coloured” in South Africa. “Action research is an inquiry conducted by the self into the self”. (Mcniff. 2002:7) Mcniff’s theorem that the research methodology relates to a deeper inquiry into self asks the practitioner to acknowledge that one cannot be an outside observer or separated from the practice at hand, signifying that one’s identity is closely linked to one's production.

Btech 2014 Evaluation and Conclusion

The assessment of manufacture, design and drawing as it pertains to action research has been insightful and pushes the boundaries of self and self exploration as it relates to the study of the subject. Creating an atmosphere of constant reflection allows one to not only explores the options and solutions on the surface of thought but a deeper understanding arises that allows for more solutions to present itself. It is possible to take this form of reflection and not only apply it to the business of manufacture and work but to one’s personal life. McNiff theorem (see 1.4) rings true. One cannot exercise the action research methodology without understanding the effect it could possibly have on self.

The subject of identity and self is so intertwined and can also find benefit with the use of action research. Through this study one gets to the understanding that identity cannot be fixed and identifying with a certain group of people does not automatically make one part of the collective. Zulu people though responding to being Zulu still have their separate ethnicities and identities. The Zulu nation makes up 22% of the total population (Zulu 2006). This is a substantial number and one would be remiss not to tap into the income generating potential of such a large group by creating a brand that speaks to their identity.



Weaving is an amazing art and can so easily be assimilated into jewellery or stand alone as pieces of jewellery. The issues around time and time management is the greatest obstacle one faces when there is more to do than just weave. Though these are not issues one could resolve here. When one weaves it becomes almost calming due to the monotonous nature of the work, yet exciting as the outcome becomes clear. Weaving is all encompassing activity that one must commit to in order to achieve a satisfactory outcome.

Btech 2014 Artist Statement and Abstract

ARTIST STATEMENT

Reon Davids, exploration into the applications of Zulu basket weaving in this body of work, to create a range of jewellery with more Afrocentric appeal. The use of two specific basket weaving techniques, coiling/wrapping and knotting was employed with varied results that created a dialog between past history and present perceptions of identity. In the examination of identity and while manufacturing jewellery having applied an Action based research approach which allowed for a deeper understanding of self for the artist. As someone classified as coloured in the old and new South Africa because of a varied and mixed heritage. Thereby creating an identifiable South African jewellery brand.



ABSTRACT

This study investigates the role of identity and its relation to the Zulu nation in a post-apartheid South African setting. It examines relevant parts of the history of the Zulu people and how the group came to be recognized as a united nation. The study concentrates on Zulu basket weaving which has developed from purely functional and ceremonial objects to internationally sought after art works. By employing specific weaving techniques and incorporating it into a distinguished South African jewellery brand, the project aims to create pieces that are appealing to a broad South African market. While still speaking to Zulu identity.

Btech 2014 Dean: The Pin

I designed a tie pin for Prof. F. Freschi, Dean of Faculty. The Dean offered a financial contribution to the B.Tech tour to Craotia in May 2014. Creating an exclusive piece was my idea that motivated this process. The unique carved Victorian jet piece was the inspiration accented with a 0.01ct diamond. “Jet is organic in origin…black or dark brown…colour…” (Hall 1994:140) The metal employed in the production of the piece was (925) sterling silver. The piece was hand manufactured.

Figure 20

The choice of a stick pin figure 20 as opposed to a flat bar pin which is familiar to most people today, was a choice based on its distinctiveness as it is rarely worn today. It is an item of men’s jewellery associated with formal men’s wear. The more traditional adaptation is an uncomplicated white pearl, customarily worn with a morning suit. One does not have to adhere to the so strict rules of morning wear, day wear and evening wear as it applies to British aristocracy. This piece is placed directly under the knot in ones tie to keep the knot in place.

In this type of jewellery, is often worn at formal events like Royal Ascot in the United Kingdom. “Men are required to wear a morning suit, national dress or uniform-brown shoes are banned and top hats are the order of the day for Ascot formal wear”. (Dickenson 2006:1)

Figure 20.1

Figure 20.1, the use of the Rhinoceros CAD program to create this piece would have been ideal. However, in terms of time constraints, from growing the piece on Rhino to the casting process would have taken more time than the few hours it took to make the piece by hand. Rhinoceros CAD, as a designing and growing program, would have been an ideal solution and tool for the tie pin. But the associated time constraints, forced me to manufacture the piece at the bench.

Btech 2014 Literature Review

In this review of the literature the idea of identity is not rigid but ever changing. John Wright (2008:35) in his book, Being Zulu, past and present, he states that “…the idea of ethnicity is never a fixed, primitive form but is always a creation of past processes”. Suggesting (a collective shared) history has an effect on how identifies are shaped today. The Zulu Nation was fostered by the unification of the northern tribes by Shaka Zulu with the subsequent enforcement of subscription of young adults to foster the ideas of a Zulu Nation.


Mbongiseni Buthelezi[1] would argue that the idea of one Zulu nation has decimated the true historical identities of the separate tribes that make up the isiZulu (Buthelezi 2008:23). “In a speech at Nsingweni near Eshowe in January 2005,...the Inkantha or IFP president,Mangosuthu Buthelezi[2], implored his audience ‘to preserve…Zuluness…to make our voice rings out across the hills and valleys of KwaZulu; to let the rest of South Africa know we are Zulus’…IFP has been tied to the ideology of Mangosuthu Buthelezi, whose legitimacy rests on a reinvention of Zulu greatness.” Wright suggests it was not till the separate leaders of the tribes drew under the Zulu banner with the threat of expansionism by the British that the idea of a unified Zulu identity came about. Zulu identity cannot be fixed as in the time of Shaka among the ethnicities and whatever idea of identity the group had was diminished by colonial rule. The onset of apartheid created an even greater split between conquered peoples of the Zulu nation. Some of these divides persists to this day, due to the then creation of the Bantustans. The attrition of the rural family unit and migrant labor created a broader Zulu identity. “It was not until the after the First World War that claims to being Zulu began to be widely made.” (Wright 2008:36)


Weaving and apartheid

Literature on Zulu weaving the literature is somewhat sparse. During the time of apartheid the historically indigenous peoples of South Africa were disenfranchised to the point where even their traditions and culture deemed inferior stood the very real chance of not surviving. The European minority managed to hold onto their European identities. Basketry almost did not survive due to apartheid and the systematic destruction of Zulu culture defined as a “craft,” which was encouraged among black South Africans under the apartheid regime. It fell within the ambit of what was derogatorily labelled “Bantoekuns”[3] (Bantu art) in Afrikaans, because it was seen as inferior to European arts and crafts.”(Nettleton 2010:56)


Nettleton (2010:56) maintains, that it is perhaps due to Jack Grossert the man in charge of “native” education in Natal during the 1950’s and 1960’s who promoted the instruction of such craft as basket weaving at rural schools, which has been the cause of the continuation of the tradition in that province. Also that this has led to the growth of new cooperatives in the production of craft which survives to this day. One could argue that the ethnic tradition might have been diminished from the 1820’s to the height of apartheid, but one cannot hypothesise that an entire culture and tradition could be so subjugated that its traditions could not survive. In his contribution of work Wright[4] (2008:35), maintains that:

This identity was strong enough to survive defeat at the hands of the British in 1879, devastating civil wars in the 1880’s and the long ensuing period of white colonial rule. In the era of struggle against apartheid, Zulu identity was increasingly reasserted as a natural expression of a powerful and long-established group consciousness.

The tendency for persons of European descent in South Africa was an over exaggerated view of their own simulated and morphed culture. As they are by definition Africans creating believes true or false that cultures are different to their creolised anecdotal “culture” is inferior. This was typical of most European 19th century theories which still thrives today. “Ethnocentrism is the tendency among individuals and groups to evaluate the communication and behaviour of members of other cultures to the values of their own culture.”(Groenewald, HJ 1996:19)


This was perpetuated by Darwin’s theory of evolution in past centuries, which created tremendous fanaticism and a one-sided endorsement of the settler’s interest with the exploitation of South Africa. This has left a void where we (South Africans) were once identified as savages, slaves and then inferior persons to free people still subjugated. Then “true” freedom which came with the abolishment of apartheid, leaving one open to assimilation of other identities as the individual are so far removed from ones historic self. Leaving the question who are we as a people? Does the issue of a modern identity in terms of the Zulu people have relevance in today’s South African society? Or should the collective foster a utopian identity as South Africans and not as separate peoples? Shall the people take a leaf from Shaka’s book and create one identity using military conscription where the individual identity of peoples are subverted for the single unified South African identity.





[1] Mbongiseni Buthelezi cousin of IFP (Inkantha Freedom Party) leader
[2] Mangosuthu Buthelezi both of the Buthelezi tribe conquered peoples (under the rule of Shaka Zulu) who form part of the Zulu nation.
[3] “Bantoekuns”, (so coined by the ruling class during apartheid) art created by the then indigenous peoples of South Africa.
[4] John Wright, (chapter 3) Reflections on the politics of being ‘Zulu’ published in the book Being Zulu, Past and Present.

Btech 2014 Weaving History

Weaving as a technique has been practiced by many cultures through the centuries in one form or another as shows below some of these different techniques, of the creation of products for daily and ceremonial use. Dr. Elizabeth Mitchell stated in an internet paper published 1993 on the News to know site regarding radiocarbon dating in Egypt, there are reed baskets that have been dated between 6500BC – 2000BC found in archeological sites.

Typical, storage basket, found in the tomb of Kha and Merit at Deir el Medina and now in the Egyptian Museum in Turin. The Eighteenth Dynasty of ancient Egypt (1543–1292 BC)

Master weaver Mohammad Hafeez from Lahore Pakistan

Chinese domesticated silkworms no later than 3,000 BCE, but archaeologists have discovered cocoons at Neolithic sites

The ancient Chinese clothing often used patches of embroidery, which were mainly animal prints. This kind of embroidery was called the Buzi and was seen in the Ming and Qing Dynasty. These embroideries are very intricate and beautiful in its appearance. The various animals that were used also symbolized the rank of the officers who wore them on their garments. The ancient Chinese clothing showcases a rich and cultural tradition that has influenced its design. These continue to be a major form of inspiration to young designers even today.

Btech 2014 Inspiration

My inspiration comes from nature in other words plants, flowers, insect world and the animal kingdom. Water for example is an inspiration as it can exist in three different states. It can be solid, liquid or gas. In its liquid form it can flow gently, yet erode rock over time and when it is fierce it can destroy everything in its path. Without water nothing on planet earth can survive. The Hungarian biochemist and 1937 Nobel Prize winner for medicine Albert Szent-Györgyi says, “Water is life’s matter and matrix, mother and medium. There is no life without water”.


There are two people who have inspired and fostered a love of weaving, though I have never met either. Figure 1, Ruben Ndwandwe 1941-2007 was a master basket weaver whose work is known worldwide; with his death in June 2007 the baskets created by him rose in price dramatically. He was known for having created a new way of weaving that no one could duplicate. Figure 3, Mary Lee Hu who is a metal smith from the United States of America and currently a professor at the University of Washington, Seattle. Hu is a weaver and uses refined textile weaving techniques to create her work her 2005 collection is truly inspirational see figure 3. She works with natural forms with consideration to movement and balance.

Figure 1

Rubin Ndwandwe (1914-2007) holding one of his hand woven baskets

Figure 2

Mary Lee Hu

Figure 3

Hand woven choker by Mary Lee Hu

Btech 2014 Design Process

The starting point for practice, being a manufactured woven component at which point one would draw and design to facilitate a resolution to any perceived design flaws and issues relating to technical process and fabrication. As in the case of drawing the process of design only starts manifesting results once time is set aside for practice and brain storming. Marion Richardson (cited by Macrae 2001:137) states that, “Unless a child is expressing his own vision he is expressing nothing at all”. The statement was made in reference to children’s art. One can draw the conclusion as to the relevance of this quotation by Richardson to the drawing and design process as it relates to action research. Design was mostly informed through the manufactured woven work and could not be resolved separate from it. Figure 13 and 13.1 shows this process one then go through to get to the reflection stage in figure 13.2 that follows through to resolution in figure 13.3

Figure 13.1

Figure 13

Figure 13.3

Figure 13.2

Btech 2014 Computer Aided Design (CAD)

The future of jewellery design and manufacture is computer aided design as it reduces manufacturing time and can create the most accurate of pieces without any of the issues related to manufacturing by hand. When one opens the Rhino program on occasion a popup screen appears on the far right of the computer screen,that outline, “Rhino is a 3d free-form modeller you can use to create anything from a heart valve to a ship hull and from a mouse to a monster”.

Figure 14

The process of creating this piece in Rhino for the purposes of rendering was quite time consuming. It took over 8 hours to achieve. The pre-existing neckpiece helped as one could take accurate measurements, this was the simpler part of the manufactured work to render in CAD[1] Figure 14 shows the progression from where the CAD rendering process started with simple line and shape. After the basic shape of the necklace, figue14.1 it was time to create the focal points of the piece. Creating one half of the piece and mirroring it to create the second half. These two halves put together created the blue drop bead figure14.2. The simplest part of the process was creating the jump rings; figure 14.3 from which the second pendant hangs. It requires the jump rings to allow it more movement as the blue bead is stationary. The creation of the pendent figure 14.4 follows the same method as figure 14.2.

Figure 14.1

Figure 14.2

Figure 14.3

Figures 14.4

Challenges with creating weaving in Rhinoceros

The tendency is for one to substitute the weaving with mesh figure 15 to mimic the hand woven style in Rhino does not always give the best result. The weaving creates challenges as the Rhino file becomes so big that the computer slows down or the CAD program simply stops functioning. Figure 16 is an example of the problem encountered. The file size of figure 16 is 178830KB, to make one alteration to the piece takes the computer 1.5 minutes to respond, a function that should be almost instantaneous. Figure 16.1 took a full 5 min to achieve.

Figure 15

Figure 16

Figure 16.1

One can conclude that Rhinoceros is an important CAD program in addition to the extensive possibilities in its uses. The computers atones disposal simply do not carry adequate memory to attempt very intricate weaving techniques as employed. In my work I explore the options of substituting the techniques with existing Rhino techniques of meshing to represent the knotting technique or using millions of jump rings for the representation of the wrapping and coiling technique of weaving as in figure 16.

[1] CAD abbreviation for Computer Aided Design

Btech 2014 Manufacture Process

In order to discuss my manufacturing process I will focus on one piece of jewellery figure 18. This neckpiece has been discussed as it currently is being rendered in the Rhinoceros program. This neckpiece was manufactured by hand and took 360 hours to create. The sum total of the time that was used in the weaving of the neck chain,was 240 hours. The chain has astonishing flexibility and shows none of the signs of weakness one would expect from fine unalloyed metal.

Figure 18

The Chain

When creating the chain the use of 0.3mm fine silver wire was used and woven around a 19mm wooden dowel. A dowel is a solid cylindrical rod, usually but not exclusively made of wood. In its original manufactured form a dowel is called a dowel rod. Using the knotting technique of weaving figure 18.1 the length woven was 45cm in 260 hours. The purpose was to use the piece in its present condition. However upon the reflection aspects of action research it was determined to experiment with drawing the piece through a draw plate.

Figure 18.1

Figure 18.2

The results achieved by this process of drawing the woven piece down were spectacular figure 18.2. The chain now resembles machine manufactured shake chain, though one can still visibly see the difference. One could argue that by taking the weaving a step further, there has been an elimination of the woven feel and style. However, the idea is to not only use the techniques of weaving as is, but; to explore the possibilities of what can be achieved by alteration.In Figure 18.3 one can see the weaving in its original state on the left side of both images and the change to the right.

Figure 18.3

The interesting point note is that the chain has a hollow inner core. In the course of the process of drawing the chain down utilizing a draw plate through progressively smaller holes has caused the chain to have a greater internal strength. The process of creating a clasp for the piece was very challenging at initial, but, upon reflection and consultation the solution was clear. The dilemma was to create a clasp that did not detract from the piece as it would have to be placed in the front of the chain. This means it would be on the chest and visible therefore it had to be a feature that blended well with the simplicity of the design of the piece. This quandary was resolved figure 18.

Figure 18.4

Bracelet

Figure 19

Figure 19.1

Figure 19 and 19.1 shows a segment of the chain drawn down to create the length required to create this bracelet. Though the piece appears simple it’s the complexity of the manufactured chain that should take centre stage. The bracelet made of fine silver and the clasp or simple design element of sterling silver as is the neck piece figure 18.4. This bracelet was again a result of the natural progression in action research. Where I constantly manufactured, reflected, redesigned and reverted to manufacture.

The DNA inspired necklace

This piece was woven with satin ribbon which has an amazing rigidity. The weaving technique employed was the knotting technique. Unlike metal weaving this satin piece took 16 hours with no technical problems to resolve.

The material coiled with ease and holds the shape very well.

BTech 2014 Drawing Process

The development of drawing as it relates to the process though integral, has been a secondary step so to speak in the growth and resolution of ideas. “Artists and designers are visual people who see ideas as images rather than words…” (Olver 2002:30) This quotation from the book, The Art of Jewellery Design has merit as one relates to a practice based approach which is integral to the creative process.

Figure 11

Drawing as technique has been difficult as one is prone to sketching rather than clear drawing which could be perceived as a lack of confidence in ones drawing ability. Figure 11, 11.1 and 11.2 shows drawings of inspirational animals like the armadillo and insects such as Millipedes, not to mention the woody fruit of the pine tree, the pine cone from the natural world. When examining figure 11.1 and 11.2 one can see the development as the use of line and shading becomes more sensitive as the technique of drawing improves in the first month of the Bachelor of Technology program. One can only see growth through practice therefore, setting time aside for this purpose is an essential part of learning.

Figure 11.1

Figure 11.2

Figure 12

Figure 13

Figure 12 and 13 represents the drawing practice instigated by my lecturer to bring my standard of drawing to a reasonable level. The progression is evident.

Millipede drawing study

My favorite mythical creature. The dragon with pearl of wisdom

Dragon claw clasping the pearl of wisdom

Armadillo study and design process. Though the armadillo yields a lot of design possibilities I found myself stuck on the body armor. 

Figure 14

Figure 15

The woven bead in figure 14 upon reflection seemed somewhat plain and I elected to create a bead with a solid outer sleeve, figure 15 with a woven inner sleeve that shows through saw out shapes in the solid bead. This bead then pops into a ring or can be used as a stand alone pendant.