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Birmingham Institute of Art and Design

Š Copyright Birmingham City University

SCHOOL OF JEWELLERY SUMMER SHORT COURSES 2013

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Professor Jack Cunningham PhD / Head of the School of Jewellery

Gay Penfold / Manager, Jewellery Industry Innovation Centre

Welcome to the School of Jewellery which is positioned within the Faculty of Birmingham Institute of Art and Design at Birmingham City University. Behind its 1890’s façade, this unique facility offers an outstanding contemporary environment in which to learn and study. In addition to a full programme covering all aspects of jewellery, silversmithing, horology and gemmology, the School has an enviable range of traditional and cutting edge equipment and technology, which students can access, and is the largest School of its kind in Europe.

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The imges used throughout this brochure do not necessarily represent the adjacent course text, however they do depict student work.

These courses are a very important part of the School’s wide portfolio of education and training. They offer the opportunity to anyone involved in the jewellery or creative industries to learn highly specialised techniques and approaches in a relatively short time frame. In keeping with our reputation we have once again engaged some of the very best tutors from industry and academia. Jewellery by Zehava Hashai Spellman

We hope you will join us here on one of our exciting Summer Short Courses.

Welcome to our 2013 Short Course Programme. We are delighted to launch this year’s selection of courses at Birmingham City University’s renowned School of Jewellery, based in the heart of the historic Jewellery Quarter.

Dawn Meaden-Johnson / Short Course Co-ordinator

Do you need advice or guidance on the suitability of any of our summer or flexible bespoke courses? Using my experience as a graduate of the School of Jewellery, practising designer, maker and short course coordinator, I can help you select the most relevant training for your professional or personal creative development. Tel:+44 (0) 121 248 4584 Mon/Tue/Thurs 9am to 2.30pm E:dawn.meaden-johnson@bcu.ac.uk

Please refer to the programme for further information about each course. Due to the intensive and specialist practical nature of the courses, student places are limited to between six and ten students per course, therefore we suggest you reserve your place early to avoid disappointment. We look forward to welcoming you to the School of Jewellery. 3


Anticlastic & Synclastic Creative Hammering: Masterclass

Antique Jewellery Revealed

Cynthia Eid | 8th-12th July 2013 | £565

David Byrne FGA, DGA, MIRV | 17 & 18 July 2013 | £270

These “Shellforming” techniques allow us to create complex three-dimensional structures from a single sheet of metal, beginning with any shape; square or amoeba, round or long/thin and fluidly combine concave and convex curves. You will learn to use a hammer to transform a flat piece of metal into elegant fluidity. You will be working on a time saving Jewellery scale during this workshop, but the techniques apply to larger scales. Synclasting 4

can create domes for brooches, bracelets, bowls etc. Anticlasting can be used to create open forms for jewellery or sculpture, as well as spiculums. Learn hammering and forming techniques and how to move metal. Through methodical hammering, metal is stretched or compressed, changing its form. You will learn how to hammer comfortably and with control, the techniques will allow beginners to easily hammer for hours at a time. Demonstrations will alternate with hands-on practice time. You may choose to practice on samples, or to create finished designs. Students with basic jewellery and metalsmithing skills, as well as professionals, are welcome.

Cynthia Eid is an internationally recognised jeweller and silversmith who has been hammering and forming silver and copper for over 40 years. She has co-written the book Forming for Jewellers and Metalsmiths which is being published by Tim McCreight’s Brynmorgen Press.

Jewellery by Cynhia Eid (left) & Natalie Salisbury (right)

During this five day course you will explore the infinite possibilities of synclastic and anticlastic forming.

This two day introductory course will give you a fascinating insight into jewellery types and styles from the late 18th century through to the mid-20th century. Focusing on affordable everyday jewellery of each period, you will learn key information for dating jewellery on stylistic grounds. This will involve discussing diamond cuts, gemstone types, hallmarks and the jewellery construction techniques used in these historical periods. In addition, part of the course will be devoted to discussing methods used for the identification of fakes and reproductions and the current price, both at auction and in the antique market.

This course may be of interest to antiques enthusiasts or those working in the jewellery, pawnbroking or antiques trades. No prior knowledge of antiques is required. You should bring along one piece of antique jewellery for discussion during the course if you have one.

and silver valuer. He also provides expert insurance valuations for modern jewellery retailers. David has extensive trade knowledge from working in the jewellery trade for many years and he also teaches at the School of Jewellery on courses requiring his area of expertise.

David Byrne originally studied at the School of Jewellery in Birmingham, he has a Retail Jewellery Diploma and became a Fellow of the Gemmological Association in 1990. David is a member of the Institute of Registered Valuers (IRV) and he currently works as independent jewellery valuer for local auction houses as their antique jewellery 5


Bespoke Training Option

CAD Rhino: An Introduction

CAD

Paul Yeomans | 5-7 August 2013 | £360 Familiarise yourself with a reasonably priced Computer Aided Design (CAD) software package suitable for jewellers and other creative industries.

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Jewellery by Cloe Duran (left) & Humphrey Wong (right)

During this three day course you will cover the creation of 2D lines and curves to produce 3D surfaces and solid models for client presentation, digital model making and/or manufacture. You will concentrate on common and industry specific modelling techniques to generate a true 3D representation of your design and you will build your skills using step-by-step practical tutorials and tutor guidance. No previous CAD experience is necessary.

Paul Yeomans is a CAD/CAM technologist at the Jewellery Industry Innovation Centre who specialises in Rhino Software, which also involves undertaking a wide variety of new product development work. Prior to joining the team over five years ago he worked as a CAD technician in industry. Paul also teaches at the School of Jewellery on specialised CAD and Rapid Prototyping courses.

Option 1: CAD: 3D Scanning Day Gain insight and practical knowledge about the Roland LPX600 and Cimcore Infinite Arm scanning systems to obtain hands-on experience of exciting new 3D technology. Discover how to scan and manipulate real-world objects and collect data on their shapes using laser technology to replicate single components and learn how to successfully reduce or increase the scale using Computer Aided Design (CAD) to produce a computer file suitable for building a model for casting. Training is one-to-one tuition tailored to your specific needs, as much as time permits. Option 2: CAD: Training Day Obtain one-to-one tailored tuition at any skill level on any of the following CAD software options; Artcam Jewelsmith, Jewelcad, Rhino or Solidworks.

“Excellent, I would definitely recommend this course” - Niki Byrne CAD Rhino An Introduction Tutor: Paul Yeomans

Date to suit you: Subject to tutor availability. Please contact us for a quotation if you would like to add additional training days. Course fee £425 (Up to 2 persons) 7


Coloured Resins in Jewellery: An Introduction

Bespoke Training Option

Clare John | Monday 29 July 2013 | £170

Clare John has been a practising jeweller for over thirty years and she runs her own successful 8

“An excellent course, well paced and it exceeded my expectations”

jewellery business. She specialises in using different forms of resin in her work. Clare also uses her extensive knowledge in the use of resin to undertake consultancy and training work in the jewellery and associated industries, as well as occasionally teaching for the School of Jewellery, in her area of expertise. She also designs and writes projects for magazine articles and is a guest designer on Jewellery Maker TV.

- Diane Perry Colourful Resin Jewellery Tutor: Clare John

This one day course is ideal for tutors or technicians who require a more in-depth knowledge about the types of resins and their applications; mould making and use of ready-made moulds; finishing and polishing: adapting other materials and best workshop practise including health and safety information. This one-to-one tuition can be tailored to your specific needs, as much as the time allows. Date to suit you: Subject to tutor availability. Tutor: Clare John

Jewellery by Clare John

This course is a useful introduction in how to introduce gorgeous colour easily to your work by using resin and produce wonderful cold enamel finishes without the use of expensive machines. Resin is odourless and ideal for those working on a small scale. This one day course will introduce you to the basic techniques of using resin, you will embed objects and pictures, sample various special effect resins and cover problem solving. By the end of the day you will have made several jewellery samples.

Colour Resins in Jewellery: Advanced Techniques

Please contact us for a quotation if you would like to add additional training days. Course fee £425 9


Bespoke Training Option

Colouring Anodised Aluminium Explore with one-to-one tuition on how pre-anodised aluminium sheet can be decorated in a variety of ways to create stunning colour, pattern or texture effects. Time does not permit the forming of aluminium to be included in a one day session, however, this can be arranged as a separate or additional day at the same cost. Date to suit you: Subject to tutor availability. Tutor: Samantha Chilton

Image: Dawnstorm Jewellery

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Please contact us for a quotation if you would like to add additional training days. Course fee per option £425 (Up to 2 persons)

Creative Engraving & Punched Surface Decoration Robert Campbell-Legg | 22-24 July 2013 | £395 Discover the historic art of Hand Engraving during this three day practical course, you will start by learning basic engraving techniques which includes essential tool preparation/safety, holding methods and transfer/ tracing out designs. You will also explore how various shaped tools can produce different patterns or cuts and how to use the ‘Graver’ to create decorative stitches. During the course you will also learn how to make punches and how to use them to mark and decorate the surface of the metal. Techniques will be practised on copper.

Robert Campbell-Legg started his trade experience as an apprentice to WW Allen, working as a Hand Engraver and Diesinker for the printing industry, he subsequently trained as a silversmith and jeweller and was a designer maker in London for several years before returning to Birmingham.

of Jewellery after 23 years, however he continues to work as a maker and he also teaches part-time at the School of Jewellery on courses involving his areas of expertise.

In addition to teaching, he has completed many prestigious commissions including the trophy and trainer’s prize for the King George V and Queen Elizabeth Diamond stakes at Ascot. Robert recently retired as a full-time tutor at the School

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Decorative Inlaying and Overlaying

Diamonds: Identifying Synthetic, Treated & Imitation Diamonds

Robert Campbell-Legg |

Kate Hopley |

25 & 26 July 2013 | £295

This course is ideal for those with a basic knowledge of jewellery making or silversmithing who would like to discover two alternative and unusual methods of surface decoration. 12

Robert Campbell-Legg started his trade experience as an apprentice to WW Allen working as a Hand Engraver and Diesinker for the printing industry, he subsequently trained as a silversmith and jeweller and was a designer maker in London for several years before returning to Birmingham. In addition to teaching, he has completed many prestigious commissions including the trophy and trainer’s prize for the King George V and Queen Elizabeth Diamond stakes at Ascot. Robert recently retired as a full-time tutor at the School of Jewellery after 23 years, however continues to work as a maker. He also teaches part-time at the School of Jewellery on courses in his areas of expertise.

Jewellery by Annie Cracknell

Use this course to explore the techniques of Inlaying with silver to create unique and gorgeous patterns within metal. The tutor will demonstrate how to inlay silver wire into steel as used by traditional metal smiths of India, China and bespoke gun manufacturers. The tutor will also show you how to overlay silver onto copper by soldering and using a rolling mill to create interesting visual effects. Materials will be provided.

Tuesday 16 July 2013 | £160

Diamond sales outnumber sales of all other types of Gemstones, they are subsequently widely imitated by both natural and manmade gem and diamond materials and they can also be treated to make them more saleable. During this course you will be shown you how to separate a diamond from its imitations, using standard Gemmological instruments including a thermal diamond tester, the emphasis being on synthetic moissanite and cubic zirconia (C.Z.) which are today’s most successful imitators. As synthetic Diamonds are also becoming more widely used, you will be also be shown how to look for essential synthetics indicators using standard Gemmological tools, and in which occurrence

you should send a diamond to a Gemmological Laboratory for investigation. Also covered is the recognition and identification of Fracture Filling and Laser Drilling diamond treatment methods using a 10x lens and a microscope. No previous gemmology knowledge is required in order to participate, those working in the jewellery industry would acquire essential knowledge, also a fascinating course for enthusiasts. All necessary equipment is provided, as are course notes. Kate Hopley has been a Fellow (FGA) of Gem*A (Gemmological Association of Great Britain) since 1996, a

holder of the Gem*A’s Diamond Diploma (DGA), since 1997, a correspondence tutor for the Gem*A, and a qualified Graduate Gemmologist (GG) of the GIA (Gemmological Institute of America). She originally studied at the School of Jewellery in Birmingham and has been teaching since 1997, including being their course Director of Gemmology from 2006 to 2011. Kate has completed a course in diamond polishing in Hatton Garden and regularly attends international workshops. Kate specialises in training students to FGA and DGA level, achieving a sound track record of student pass rates, and delivering courses to the jewellery trade. 13


Diamond Grading – A Basic Guide

Bespoke Training Option

Diamond Mounting

Grenville Millington F.G.A, R.J.DIP, BA (Hons) | Monday 5 August 2013 | £160 See and handle graded diamonds in this exciting one day course developed to help you understand how diamond grades differ. During the course the tutor will explain what is involved in grading polished diamonds for colour, cut and clarity and explain other factors to be considered for grading laboratories written reports. You will be provided with an extensive set of course notes, which you will retain.

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No previous gemmology experience is required. Grenville Millington has extensive experience as a tutor for the Retail Jewellery Diploma and FGA (Gemmological Association of Great Britain) gemmology courses and was a regular contributor to the FGA’s Gem and Jewellery magazine, he has run his own independent gem testing and diamond grading business and has broad jewellery trade knowledge and expertise.

- Velma Peake Diamond Awaress (Grading) Day Tutor: Grenville Millington

Jewellery by Emily Richard

This course is ideal for those working in the jewellery trade or for diamond and gemmology enthusiasts who require a brief introduction to the grading of polished diamonds.

“This course was excellent and the tutor provided a wealth of knowledge. A very enjoyable worthwhile day”

On this one day course, you can obtain one-to-one tuition on fabricating mounts for stones which can be tailored to your specific needs as much as time permits. This can include techniques such as marking out, gaps, gallery wires, drilling and piercing out, Date to suit you: Subject to tutor availability. Tutor: Cassie Reed Course fee £425 (Up to 2 persons)

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Bespoke Training Option

Enamelling: One-Day Introduction

Electroforming

Tamizan Savill | Monday 24 June| ÂŁ170 You will find this course an ideal starting point if you would like to learn how Vitreous Enamel can add vibrant colour to your jewellery. The basic techniques of enamelling will be demonstrated, such as preparation of metals, and firing enamels, including blending and layering colours and some specialised finishes.

Tamizan Savill runs her own jewellery business in Bristol 16

specialising in enamelled work and she has a wide range of teaching experience. She is a member of the Association for Contemporary Jewellery and the British Society of Enamellers. Tamizan has exhibited her work internationally and has completed commissions for Bristol Cathedral and Macrorie House Museum in Maritsburg, South Africa.

Dates to suit you: Subject to tutor availability. Course fee ÂŁ480

Jewellery by Tamizan Savill

You will complete a sample piece of enamelling during the course and the tutor will also discuss how you should consider incorporating your ideas for using enamel in a piece of jewellery at the design stage.

On this one day course, you will obtain oneto-one tuition tailored to suit your specific needs, as much as time will allow. Please contact us for a quotation if you would like to add additional training days.

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Fabricating Hinges for Jewellery or Boxes

Fusing, Granulation, Soldering & Keum Boo with Argentium Silver: Masterclass

Cassie Reed |

Cynthia Eid |

Tuesday 16 July 2013 | ÂŁ170

Those wishing to fabricate using precious metal will be required to make a local purchase with tutor guidance.

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Cassie Reed is a graduate of the School of Jewellery who has extensive experience working in the jewellery trade for over 25 years as a Fine Jeweller, Diamond Mounter and Master Model Maker. Cassie undertakes trade and private jewellery commissions and she has worked for companies including Harrods and Barbour and prestigious clients including House of Commons, V&A Museum, Tower of London and others. Cassie also teaches a wide range of skills across all levels on a variety of courses involving her areas of expertise.

Jewellery by Rebecca Walklet (lleft) & Cynthia Eid (right)

This course has been specially developed to offer practical guidance to makers who would like to learn the art of hinge making. With step-by-step tutor guidance you will work through the techniques required to construct a hinge design, select the correct size/length of tube, hinge and pin cutting and the fitting and joining process. You will work in base metal to practise on, or if you prefer, you may bring an item you wish to fit a hinge to.

3-5 July 2013 | ÂŁ425

During this three day course you will discover how easy it is to granulate and fuse this innovative metal under the guidance of renowned Argentium Silver specialist Cynthia Eid. Argentium Sterling (AS) is an alloy that is more than 92.5% pure silver; it does not firescale, is highly tarnish resistant, is more malleable and ductile than traditional sterling. It fuses and welds more easily than traditional sterling and can be hardened using a kitchen oven or kiln. Because the germanium in the alloy makes AS conduct heat differently than Sterling Silver, annealing, soldering, and hardening will be demonstrated in

addition to granulation and fusing. Demonstrations will include using a torch to fuse gold granules to AS sheet and wire. Argentium Sterling is also a wonderful material to use for Keum Boo, (an Asian gilding technique used to apply thin sheets of 24K gold to silver with heat and pressure) since the surface doesn’t need to be heated and pickled as extensively as traditional sterling prior to application of the gold foil. Demonstrations will alternate with hands-on practice time. Participants may choose to practice on samples, or to create finished designs. Students with basic and metalsmithing skills,

as well as professionals, are welcome. Cynthia Eid is an internationally recognised jeweller and silversmith with over forty years of experience. She has been working with Argentium Silver since 1999, and is the author of The Technical Guide to Argentium Sterling used by Rio Grande, as well as articles published by the Society of North American Goldsmiths and Art Jewelry magazine. (www.cynthiaeid.com)

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Japanese Inspired Patinas on Press Formed Shapes

Jewellery Fine Techniques Masterclass

Rebecca Walklett | 15-17 July 2013 | ÂŁ375

Richard Witek | 22-26 July 2013 | ÂŁ465

The tutor will guide your experimentation of mould making from acrylic and how to use it to create press formed items in copper using the controlled power of a hydraulic press, which can also be used to create jewellery components, boxes or small vessels. Samples of patinas on silver will be shown and advice given on how to achieve these 20

colours. Most of the chemicals used have household alternatives and the tutor will advise on where to obtain them and how to use them safely during the course and home/workshop usage. You will complete a variety of samples, a jewellery item or small box in copper. This is essentially a simple but fascinating process that opens up an exciting world of possibilities to introduce colour and a 3D element to your jewellery or silversmithing work. Rebecca Walklett has a BA in 3D Design and is a practising metalsmith and jeweller with a passion for colour and form. Inspired by Michael Rowe

and Richard Hughes’ book on patination, she has spent over 20 years exploring the use of patinas and colour in her work, which has been exhibited nationally. Rebecca specialises in working in copper to create patinated press forms and she has been teaching these techniques for over 10 years.

Jewellery by Rebecca Walklet (left) & Emily Richard (right)

Use this exciting course to explore the use of Japanese style patinas such as Su-tanpan, Sakusan-do and Ohaguro and heating and their quenching methods, to create a variety of excitingly subtle green/blue, orange, red and brown colours on hollow 3D forms.

This essential course is designed to provide practical understanding and knowledge and help you develop your professional making skills further. During the course you will cover techniques and methods for handmade jewellery, fine jewellery, model making, diamond mounting, and jobbing jewellery and learn many trade tips. This hands-on course will also include trouble-shooting and demonstrations and it is aimed at the designer/maker, inhouse jeweller or model maker, therefore it is essential you have an intermediate or advanced level of skill in order to attend.

You will be required to provide your own precious metals, details and supplier information will be provided prior to the course. Richard Witek has run his own successful fine jewellery business in the West Midlands for many years; he has more than 30 years of extensive trade experience and industry knowledge as well as a wide range of teaching experience. Richarrd is often engaged to teach at the School of Jewellery on a variety of courses and projects involving his areas of expertise.

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Carlton Campbell | 25-28 June 2013 | £395 This four day open workshop offers you the opportunity to work independently on your own project. This course will provide practical understanding and knowledge for those wishing to develop their professional making skills further and you can gain expert advice from the tutor on any existing practical issues you may have. During this course you may like to undertake your own inspiring new project, complete a difficult existing project with technical assistance and guidance or learn tips of the trade from an experienced trade practitioner. Those booking a course place will 22

benefit from the opportunity of direct email contact with the tutor prior to the course to discuss any technical issues they may wish to follow up during the course. You should bring your own precious metals/materials; hand tools and solder or materials are also available to purchase locally as necessary with tutor guidance if required. Carlton Campbell has more than 40 years’ trade experience as a jewellery mounter, including working for one of the country’s leading regalia jewellers, Toye Kenning & Spencer who manufacture many bespoke hand-made jewels for large organisations and individuals.

His vast industry experience has enabled him to provide an expert tuition in a wide range of skills, instil confidence and convey essential practical skills and trade tips to makers.

Jewellery by Lana Crabb (left) & Zehava Hashai Spellman (right)

Jewellery Making (Intermediate): Tips of the Trade & Troubleshooting

Jewellery Making in Silver for Beginners Katherine Campbell-Legg | 1-4 July 2013 | £395 Transforming a piece of silver into a simple piece of jewellery can be a fulfilling and exciting creative process. This informal four day course will introduce you to the traditional techniques and tools used to make jewellery.

on, then progress to using silver for your final piece. This course is an ideal introduction if you are taking your first steps in jewellery making. Copper, a small amount of sheet silver and tools will be provided.

The aim of this course by demonstrations and step-by-step structured guidance from the tutor, is to instil confidence as you use techniques such as filing, soldering/annealing, sawing/ cutting and simple shaping and finishing to create a piece of silver jewellery during the course and to continue making afterwards. You will start by using copper (which has similar working properties to silver) to practise

Katherine Campbell-Legg is an established designer maker who has worked in Birmingham’s Jewellery Quarter for over 15 years. During this time she has been developing and perfecting her jewellery and exhibiting in UK galleries. Katherine has taught regularly at the School of Jewellery for several years and is a member of Centrepiece, a Jewellery Quarter designer maker group. 23


Bespoke Training Option

Jewellery Illustration for Communication

Laser Welding (Rofin)

Zoe Phillips | Monday 29 July 2013 | £160

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Zoe Phillips graduated from the prestigious jewellery course at Edinburgh College of Art. She spent several years as a new product development specialist and designer at the Jewellery Industry Innovation Centre (JIIC) and as a bespoke designer in jewellery retail. Zoe also specialises in coaching jewellery creatives on design, marketing and trend evaluation, in addition to running her own successful fine jewellery business.

Jewellery by Yotong Wu

Communicating your jewellery design ideas is essential for every successful business, whether you use illustrations to communicate a commission idea with a customer, accurately explain a technical issue to a trade supplier, promote your design ideas through a portfolio or create a stunning image for a competition entry. This course aims to help you develop your drawing skills, you will be shown how to produce elegant handrendered jewellery illustrations of metal and gemstones, how to produce realistic quick and readable sketches and how to produce a drawing for a portfolio or presentation.

“A must do for all jewellers. Excellent” - John Gaunt, Bespoke one-to-one Laser Welding

On this one day course, you will obtain one-to-one tuition tailored to your specific need, from Laser Research Fellow and Jeweller Dr Ann-Marie Carey PhD. Date to suit you: Subject to tutor availability. Please contact us for a quotation if you would like to add additional training days. Course fee: £425 (Up to 2 persons)

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Make It Pay: How to Generate Money from your Creativity

Me, Myself and Why? Masterclass

Pete Mosley |

David Clarke |

Monday 15 July 2013 | ÂŁ115

This essential course will help you explore options for increasing your income and earning more from your creative output, knowledge and experience.

Pete Mosley has worked in the Arts for over 30 years, originally University based he offered post graduates business support and 26

advice connecting to creative Industries. Currently he is the business editor for Craft and Design Magazines offline and on-line content and he also writes and blogs about the business of creativity and professional development.

Innovative silversmith David Clarke offers this challenging and thought-provoking course opportunity for professional makers to return to a safe environment and be supported through questioning their own practice.

Pete also presents at national seminars, and he designs and delivers specialist training throughout the UK, advising creative individuals and businesses. His book Make your Creativity Pay was published in association with Craft and Design Magazine in 2012.

Working in groups and occasionally individually, this workshop provides space to reflect and focus through questioning on what is important for you as an individual maker. During five individually paced days, you will test out and experience alternative ways of working as well as potentially enjoying the risks of opening up your ways of thinking and making.

Silversmithing by David Clarke

During the course you will look into how you value yourself and how to effectively manage the money cycle of selling, invoicing and expenditure. Importantly this course is about the value of what you do or create, the price you charge and your financial survival, not accounting, self-assessments or balance sheets.

22-26 July 2013 | ÂŁ525 Day 1: Arrive. Settle with a piece that is important to you. Through open discussion and reflection identify what the essence of the piece is. Day 2: Take Apart. Look at the materials, form and the thinking, via a series of 2D &3D creative actions. Day 3: Explore. What is the potential? Fast intuitive play and workshops of making and thinking. Day 4: Build. Reflecting on the previous three days events you begin to make but with focus and spontaneity. Day 5: DELIVER. Pause and reflect on a busy creative week, centred on individuals needs, limits and potential.

David Clarke is a graduate of the Royal College of Art, who produces highly original and innovative pieces that aesthetically challenge traditional silversmithing forms. He is a highly regarded and award winning British Silversmith who has curated several installations in Europe. His work has been purchased by many influential and prestigious galleries such as The Victoria and Albert Museum, The Worshipful Company of Goldsmith and he also teaches nationally and internationally.

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Making Sculptural Paper Jewellery

Marketing on the Internet: Effective Timesaving Tactics

Sarah Kelly |

Pete Mosley |

8-11 July 2013 | £425

This course will enable you to develop a skill set for creating 28

your own pieces of unique art from paper and in addition this course aims to illustrate the capabilities that paper holds within a jewellery context, enabling you to use paper to communicate creative ideas in an accessible, lightweight and economical way. This course is perfect for those with creative minds wishing to explore the use of this appealing and familiar material. Sarah Kelly is a well-known designer and maker who specialises in creating innovative statement jewellery made in paper under her brand name of ‘Saloukee’. Her collections

are created with the emphasis on elegance, clean lines and wearability and Sarah is the author of Paper Jewellery recently published by AC Black. She also teaches nationally on a variety of courses involving her area of expertise, including the role of visiting tutor for the BA Jewellery Design & Related Products course at the School of Jewellery in Birmingham.

Jewellery by Sarah Kelly

This inspiring new four day course will introduce you to a selection of sculptural crafting techniques and how they can be used to create gorgeous contemporary paper jewellery. A series of demonstrations by the tutor will show how paper can be formed, folded and finished to create beautiful, dimensional jewellery. You will then be supplied with a range of papers and encouraged to be hands-on in your practical experimentation, bring your own ideas and be inventive in exploring paper in varying forms as creative material and as a wearable 3D art form.

Tuesday 16 July 2013 | £115

The internet is a powerful marketing tool for makers and during this course the tutor will demystify the use of websites, blogs and social media for marketing, in a clear and accessible language and put an end to your anxiety about using the internet to connect with your customers. You will discover how to take advantage of the internet to promote your work by using a blend of tactics to get your sales message across effectively, without losing hours and patience in the process. In addition the tutor will explain how low or no-cost online tools

can become a trustworthy and valuable part of your marketing strategy. Pete Mosley has worked in the Arts for over 30 years, originally University based he offered post graduates business support and advice connecting to creative industries. Currently he is the business editor for Craft and Design Magazines offline and on-line content and he also writes and blogs about the business. of creativity and professional development.

creative individuals and businesses His book Make your Creativity Pay was published in association with Craft and Design Magazine in 2012.

Pete also presents at national seminars, and he designs and delivers specialist training throughout the UK, advising 29


Bespoke Training Option

Mokumé Gané

Microsetting (Gravermax)

Alistair McCallum | 15-18 July 2013 | £495

On this one day course, you will obtain one-to-one tuition on Gravermax microscopic setting equipment, which can include the use and types of gravers, graver polishing and sharpening, and making setting tools.

Mokumé Gané is the traditional Japanese metal working technique of wood grain metal, which can be utilised by jewellers or silversmiths to create highly decorative layered patterns by the lamination of metals.

The course content can be tailored to suit your specific needs, as much as time will allow. Date to suit you, subject to tutor availability. Tutor: Harry Forster Stringer Course Fee: £995 (up to 2 perons)

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Jewellery by Alistair McCallum

Gravermax engraving tuition can also be be arranged. Please contact us with your requirements.

This practical course will begin by introducing you to Mokumé Gané techniques using general workshop equipment. You will then make a personal interpretation of the process using your individual designs by creating sheets from sandwiched layers of copper, silver or gilding metal. If you wish to use silver you will be required to make a local purchase with the guidance of the tutor.

Alistair McCallum has practised the Japanese metal working technique of Mokume Gané for over 30 years, exploring different ways of producing innovative, distinctive patterns and establishing his own unique style of work. Alistair strongly believes that the highly decorative surface pattern produced by Mokume Gané it is best used on simple forms, where the relationship of pattern to the form is in harmony and balance, he recognised this philosophy when visiting Japan, and his experiences there continue to influence his work.

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Making Mounts & Setting Asymmetrical Stones or Found Objects

Photographing Jewellery: A Basic Guide

Cassie Reed | 8 & 9 July 2013 | £295

Rob Popper |

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hold your items and also how a constructed cage setting can also be a very useful method of setting for the more difficult/odd shaped stones. Those with basic making skills will take part in a guided project of how to make a bezel setting for a supplied cabachon type stone. Base metal will be provided for practise, if you prefer to work in silver you will need to make a local purchase with tutor guidance. Important note: The emphasis of this course is to assist you to resolve the issue of creating a piece of jewellery from an asymmetrical item. Those requiring traditional stonesetting skills are advised to attend our

Stonesetting – An Introduction course. Cassie Reed is a graduate of the School of Jewellery who has extensive experience working in the jewellery trade for over 25 years as a Fine Jeweller, Diamond Mounter and Master Model Maker. Cassie undertakes trade and private jewellery commissions and she has worked for companies including Harrods and Barbour and prestigious clients including House of Commons, V&A Museum, Tower of London and others. Cassie also teaches a wide range of skills across all levels on a variety of courses involving her areas of expertise.

Whilst this course does not endeavour to make you a professional jewellery photographer in a day, in this limited time you will gain a basic understanding of the processes involved in taking a good photograph of jewellery and obtain invaluable tips of the trade from a jewellery specialist professional photographer.

Jewellery by Anna Lorenz

During this informative new course you will have the opportunity to learn techniques for creating mounts, simple setting of unusually shaped stones or found objects and learn many ‘Tips of the Trade’. Using traditional jewellery making techniques you will work on your own fabrication and setting project and you will be required to bring in a selection of stones/ objects to discuss the possibilities with the tutor of fabricating and setting the chosen item to create a pendant or similar item. The tutor will also advise how bezel rub-over style of settings and claw settings can be adapted for use, demonstrate the technical aspect of how your fabrication will

9 July 2013 | £180

During the morning session, with tutor guidance, you will use your own digital camera to take several shots of your own jewellery/item, during which time you will obtain an overview of how to set up your work and consider backgrounds. The tutor will also discuss useful camera

and lighting accessories such as reflectors or diffusers and advise how the use of correct lighting can be more important than an expensive camera. The afternoon session will provide a basic introduction to editing photographs with Adobe Photoshop to create images suitable for use. After the course you will be able to practise the basic techniques learned and work towards confidently taking photographs of your own jewellery.

photograph, which must be covered by your own insurance. Rob Popper is a professional photographer specialising in jewellery, accessories, textiles, glass and ceramics. He is also an experienced tutor of digital photography at all skill levels and he has taught for broad range of creative/craft educators and associations.

Important note: It is essential for you to bring your own digital camera and you must bring in your own jewellery items to 33


Polishing for Jewellers & Silversmiths: Masterclass

Silversmithing: An Introduction to Hand Raising

Stephen M Goldsmith | 24-26 June 2013 | £395

Samantha Chilton MA | 2-6 July 2013 | £395

Precision metal polishing, often underrated in the industry is one of the skills that can make or break a piece in minutes that has taken hours to make.

Important notes: A) No sample jewellery items will be available for you to practise on, it is essential you bring your own, covered by your own insurance. B) Despite the use of extraction it is inevitable that some dust particles will be in the air and anyone with a medical condition should consult their doctor before

reserving a place on this course. Stephen M Goldsmith is an apprentice of C Vander of Hatton Garden; he has worked for Stuart Devlin and Nayler Brothers (Garrards the Crown Jewellers workshop) on their polishing and gilding projects. Stephen started his own business in 2003, advising the Army, Buckingham Palace and The Royal Mint on the care of their special silver pieces. He has also worked in the Tower of London Jewel House and is currently working with West End celebrity jeweller, Theo Fennell. Stephen is a fellow of the Institute of Professional Goldsmiths and has judged the polishing section for Goldsmiths’ Craft and Design Council’s Awards, many times.

Jewellery by Olivia Nemeshanyi

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During this essential course Stephen M Goldsmith, an expert trade polisher with over 40 years’ experience, will teach you some of the tips and techniques of the trade to enable you to obtain a more professional finish to your work. This course covers traditional methods; machinery techniques; the theory behind the methods as well as giving you practical experience. Also covered are professional finish preparation; hand polishing; burnishing; use of abrasives and the use

of a variety of tools (leather, felt, brushes, mops) to achieve a variety of finishes. Antique restoration techniques and the care of polished silver are also included. This course is suitable for jewellers, silversmiths or those wishing to extend their knowledge from other disciplines such as design and sculpture.

This four day workshop has been designed for those requiring a basic introduction to silversmithing. Students will take part in a step-by-step guided project with the tutor, making a shallow bowl with a simple base in order to make use of and practise basic silversmithing techniques such as Blocking, Raising, Planishing, Soldering and Annealing. You may borrow basic hand tools from the School or make a local purchase, a list will be provided prior to the course. Samantha Chilton has been working in jewellery, silversmithing and creative industries for over 25 years, and has been involved in all

areas of the creative process, ranging from design through to final manufacture. Samantha is a School of Jewellery graduate silversmith and jeweller who also specialises in the application and finishing processes of materials such as decorative anodised aluminium and coloured titanium. Samantha regularly teaches at the School of Jewellery and works at the Jewellery Industry Innovation Centre (JIIC) as a specialist in the areas of surface finishing technologies and applications which involves her undertaking a wide variety of new product development work, research, consultancies, and training. 35


Nigel Yates |

1-5 July 2013 | £495

This popular introductory course is designed for those who have little or no experience of stonesetting who wish to learn basic styles of Channel, Claw, Rub-Over and other settings, along with essential tool preparation and maintenance. Your course fee includes a set of nine cast silver rings of various styles with appropriate cubic zirconium stones, which you will work on and practise setting during the course, by the end of the week you will have set stones into a variety of settings that you will be able to take home. You will be required to bring your own hand tools, a list will be provided prior to the course. 36

This course does not cover making mounts for stones; which are covered in our Jewellery Fine Techniques short course. Due to the intensity of this course student places are limited to nine. Nigel Yates has been working in the jewellery industry and Birmingham’s Jewellery Quarter since 1984, specialising in stonesetting and laser welding. He has extensive trade knowledge and expertise and he carries out private and trade commissions, and regularly teaches specialised short courses.

Jewellery by Portia Bartlett (left) & Natalie Salisbury (right)

Stonesetting: An Introduction

Successful Silver Soldering Carlton Campbell |

Monday 24 June 2013 | £170

Soldering silver is an essential technique that can be difficult and time-consuming to master successfully. During this one day course you will learn how to prepare the metal (sterling silver) in the correct way by annealing, which types of silver solder and flux are suitable for different types of work, how to make a perfectly fitting form and the use of acid to clean the oxidisation. The tutor will then show you how to produce a neat solder join and you will then practise soldering metal pieces and cleaning the soldered items ready for polishing. By the end of the day you will have received many ‘hints and tips of the trade’. This course is suitable for anyone who

would like to learn how to solder with confidence. No previous knowledge of jewellery making is required. Carlton Campbell has more than 40 years trade experience as a jewellery mounter, including working for one of the country’s leading regalia jewellers, Toye Kenning & Spencer who manufacture many bespoke handmade jewels for large organisations and individuals. His vast industry experience has enables him to provide an expert tuition in a wide range of skills, instil confidence and convey essential practical skills and trade tips to makers. 37


Synthetic Gemstones: What Lies Behind the Sparkle of the Stone? Kate Hopley | 23 & 24 July 2013 | ÂŁ295 This stimulating and informative workshop examines the synthetic gemstones that may be encountered in the jewellery industry today, with the focus being Sapphire, Ruby, Emerald, Diamond and Opal.

38

This course gives plenty of opportunity for you to examine a wide range of synthetics. Pricing and identifying synthetics in jewellery settings will be discussed, with informal question and answer sessions throughout. This course is open to all, although those working in the jewellery industry would gain essential gemmology knowledge.

All necessary equipment is provided, as are course notes. Kate Hopley has been a Fellow (FGA) of Gem*A (Gemmological Association of Great Britain) since 1996, a holder of the Gem*A’s Diamond Diploma (DGA), since 1997, a correspondence tutor for the Gem*A, and a qualified Graduate Gemmologist (GG) of the GIA (Gemmological Institute of America). She originally studied at the School of Jewellery in Birmingham and has been

Jewellery by Christopher Hay

Firstly, the course covers at a basic level, the actual manufacturing methods used in the production of synthetics and the key features and aspects to look for in separating synthetic gemstones from their natural counterparts. Using Sapphire as the most appropriate gemstone example in this instance, the

tutor will first show you how to recognise several different types of synthetic gemstones, such as Verneuil Flame Fusion synthetics, to the more deceptive Flux material and others.

teaching since 1997, including being their course Director of Gemmology from 2006 to 2011. Kate has completed a course in diamond polishing in Hatton Garden and regularly attends international workshops and she specialises in training students to FGA and DGA level, achieving a sound track record of student pass rates, and delivering courses to the jewellery trade.

39


Transparency in Enamel: Tips & Troubleshooting

Valuation and Appraisal of Jewellery

Tamizan Savill | Tuesday 25 June 2013 | £170

David Byrne FGS, DGA, MRV |

40

further guidance and you may bring in samples of your work or current projects, etc. A small amount of silver sheet will be provided for you to work on and the tutor will have additional blanks for sale if you make quick progress during the day. Tamizan Savill runs her own jewellery business in Bristol specialising in enamelled work and she has a wide range of teaching experience. She is a member of the Association for Contemporary Jewellery and the British Society of Enamellers. Tamizan has exhibited her work internationally completed comissions for Bristol Cathedral and Macrorie House Museum, South Africa.

Jewellery by Zehava Hashai Spellman

Using transparent enamels in an imaginative way can highlight the beauty of gorgeous patterns or textures on the metal below. Blending and layering transparent enamels can create subtle tones of colour and areas of light and shade in your work. During this enjoyable course you will experiment with use of foils, cloisonné wires and creating textures in the metal. How to improve your results and correct common problems with enamelling. During the course you will gain many ‘tips of the trade’. This course is suitable for those who have some experience, or have completed an introductory enamelling course and need

29 July-1 August 2013 | £445

This fascinating and intensive course covers the appraisal and valuation methodology needed to give you the skills to value and appraise all types of jewellery, infill diamonds, enhanced and synthetically treated stones, and you will also cover the legal requirements for these valuations.

be explained, practiced and used on all valuations.

The valuing and pricing of mounts will also be included programme, and the ‘The Valuers Guide’ will be used. You will be shown how to assess gemstone colour and how to apply the grading to universal pricing of all gemstones and pearls. Course notes will be provided for all sessions and you will have the opportunity to compile working notes which will

David Byrne originally studied at the School of Jewellery in Birmingham, he has a Retail Jewellery Diploma and became a Fellow of the Gemmological Association in 1990. David is a member of the Institute of Registered Valuers (IRV) and has worked in the jewellery trade for many years.

This course would benefit anyone working in jewellery retailers, auctioneers, pawnbrokers and those involved in antiques, however jewellery enthusiasts are also most welcome to attend.

David is now an independent jewellery valuer, currently working for local auction houses as their antique jewellery and silver valuer and he also provides expert insurance valuations for modern jewellery retailers, he also teaches at the School of Jewellery on courses requiring his area of expertise.

41


A-Z Course Listing Continued

A-Z Course listing Course

Date

Cost

Tutor

Course

Date

Cost

Tutor

Anticlastic and Synclastic Creative Hammering: Materclass

8-12 July 2013

£565

Cynthia Eid

Making Sculptural Paper Jewellery

8-11 July 2013

£425

Sarah Kelly

Antique Jewellery Revelaed

17 & 18 July 2013

£270

David Byrne

Marketing on the Internet: Effective Timesaving Tactics

16 July 2013

£115

Pete Mosley

CAD Rhino: An Introduction

5-7 August 2013

£360

Paul Yeomans

Me, Myself and Why? Masterclass

22-26 July 2013

£525

David Clarke

Colourful Resin Jewellery: An Introduction

29 July 2013

£170

Clare John

Mokume Gane Masterclass

15-18 July 2013

£495

Alistair McCallum

Creative Engraving & Punched Surface Decoration

22-24 July 2013

£395

Robert Campbell-Legg

Mounts & Setting Asymmetrical Stones or Found Objects

8 & 9 July 2013

£295

Cassie Reed

Decorative Inlaying & Overlaying

25 & 26 July 2013

£295

Rovert Campbell-Legg

Photographing Jewellery: Basic Guide

9 July 2013

£180

Rob Popper

Diamond Grading: A Basic Guide

05 August 2012

£160

Grenville Millington

Polishing for Jewellers & Silversmiths: Masterclass

24-26 June 2013

£395

Stephen M Goldsmith

Diamonds: Identifying Synthetic, Treated & Imitation Diamonds

16 July 2013

£160

Kate Hopley

Silversmithing: An Introduction to Hand Raising

2-6 July 2013

£395

Samantha Chilton

Enameling: One day introduction

24 June 2013

£170

Tamizan Savill

Stone Setting: An Introduction

1-5 July 2013

£495

Nigel Yates

Fabricating Hinges for Jewellery or Boxes

16 July 2013

£170

Cassie Reed

Successful Silver Soldering

24 June 2013

£170

Carlton Campbell

Fusing, Granulation, Soldering & Keum Boo with Argentium Silver 3-5 July 2013

£425

Cynthia Eid

Synthetic Gemstones: Behind the sparkle of the stone

23 & 24 June 2013

£295

Kate Hopley

Japenese Inspired Patinas on Press Formed Shapes

15-17 July 2013

£375

Rebecca Walklett

Transparency in Enamel: Tips & Trouble Shooting

25 June 2013

£170

Tamizan Savill

Jewellery Illustration for Communication

5 August 2013

£160

Zoe Phillips

Vaulation & Appraisal of Jewellery

29 July-2 August 2013

£445

David Byrne

Jewellery Making: Intermediate

25-28 June 2013

£395

Carlton Campbell

Jewellery Making in Silver for Beginners

1-4 July 2013

£395

Katherine Campbell-Legg

Jewellery: Fine Techniques Masterclass

22-26 July 2012

£465

Richard Witek

Make it pay: How to Generate Money from your Creativity

15 July 2013

£115

Pete Mosley

42

43


Continued: Reservation Information & Booking Conditions

Reservation Information & Booking Conditions we intend to do this. This deferred payment

been taken.

for cancellations of less than four weeks’

tools and/or materials if necessary; this is

applies only to payments made by credit /

Please be aware we cannot accept any

notice, we may however be able to transfer

dependent on the individual project you

debit card.

responsibility for travel or accommodation

your reservation to an alternative course,

have chosen to do, the course content or

Reserve your course place by telephoning

Course places are allocated on a first come

arrangements you may have made should a

availability permitting.

both.

us on 0121 248 4584 to advise your

first served basis. Course content may vary

course cancellation occur. If you think you

Once your course is established as viable to

If tools or materials are required for your

By Rail:

credit/debit card details.

slightly from that described in this brochure

may be affected by this you should contact

proceed we will send you a letter or email

course, a student tool/materials list will be

Hill and Moor Street Stations are around a

in order to cater for individual students

your insurance broker for advice about

confirming all the details and you will also

compiled by the tutor and sent to you in

five-minute taxi ride to the School. There

needs. Please note we cannot reserve you

personal insurance coverage.

receive:

advance.

is a train available direct from Moor Street

a place on any of the courses until we are in

B) If you need to cancel your course

-A map of the area

In some cases materials or kits will be

Station (a five-minutes walk from New

receipt of your payment details.

reservation you must give us a minimum

-Student tools/materials list (if applicable)

supplied by the tutor. If this is applicable to

Street Station) to the Jewellery Quarter

of four weeks’ notice before the course

-Local supplier list for tools/materials (if

your course you will pay for them prior to the

Station

Short Course office opening hours Mon/Tue/Thurs 9am to 2.30pm

44

Travelling to the School

Making a course reservation

Booking conditions

A map of the local area will be supplied in advance. Birmingham New Street, Snow

start date in writing or by email. A £175

applicable)

course and retain these, alternatively you

Course fee payments need not be paid to us

A) Your course may be cancelled if there

cancellation fee is applicable to all courses,

-Local Hotels/ Apartments list. We

may need to make a local purchase with the

immediately, however by giving us your card

are not enough reservations to

however if you course fee is less than £175,

are sorry, but we are unable to provide

tutor’s assistance. This information this will

details you are agreeing to pay the course

make it viable. Should this occur you will

your cancellation fee will be the same cost

accommodation for short course students.

be sent to you approximately four weeks or

fee in full and attend your chosen course.

be notified at least four weeks before

as your course fee.

We will take a payment from your card once

the course start date. Should we need to

The cancellation fee will be deducted from

Tools/materials

we know your course will definitely proceed

cancel your course for any reason we will

your refund or charged to your credit /

Many courses are of a practical nature,

from the School, all students should bring

By Road: M6 to Junction 6, follow the

(May/June time depending on your course

telephone you immediately and refund your

debit card if you have not yet made a

therefore you should make allowance for

their own if they have them (eg. Pliers, Files

A38/M5 to Junction 3, follow the A456

date) and we will advise you by email when

course fee in full if a payment has already

card payment. No refunds will be given

the additional cost of purchasing hand

or Saw, etc.)

then the A450/M42 join M6 to Junction 6.

earlier than the start date of your course. Small hand tools are not readily available

By Bus:

Take the 101 from Livery Street

by Snow Hill Station or Colmore Row by Victoria Square and get off at the ‘The Clock’ Frederick Street, Jewellery Quarter.

45


on site, however there is a multi-storey car

make the most of their time at university.

park located on Vyse Street (B18 6LP)

We regard disclosure of a disability as a

which is a two-minute walk to the School,

positive thing and think it is important that

or pay and display parking on local roads.

you feel you can tell us about

Employability

any disability you may have so we can try to

Birmingham City University is committed to preparing students for successful employability and professional careers. We have an innovative approach to employability that will help you obtain an interesting and well-paid graduate job. Read our Employability Statement to find out more: www.bcu.ac.uk/courses/employability-

46

support your individual needs. If you have not made us aware of your disability or you feel you may have a disability please contact the Disability Service on 0121 331 5128 or email us at disability@bcu.ac.uk Alternatively you can discuss this with our advisor when booking your short course place.

Useful Websites

facilities and forms no part of any contract between you and the University.

www.schoolofjewellery.co.uk

About the design A collaboration with 3rd year students studying

www.bcu.ac.uk/biad

Although reasonable steps are taken to

Graphic Design: Visual Communication, this years

www.visitbirmingham.com

provide the courses as described, the

design team came out 3 classmates wanting to

www.jquarter.org.uk

University cannot guarantee the provision of

collaborate together.

Heritage

any course or facility. Any course may be altered or withdrawn

The Concept behind our design came from a mixture

Our contribution to the education of

owing to circumstances beyond the

of what the School had asked of us, along with our

the citizens of Birmingham and beyond

University’s control. It is strongly

desire to create a design the school hadn’t seen

stretches back through a succession of

recommended that prospective students

before.

predecessor institutions for over 160 years.

contact the relevant faculty or visit the

We achieved University status in 1992 as

University website to obtain the most up-to-

With almost a delicate design, we also knew the

the University of Central England, changing

date course information.

use of space was vital to create something pleasing to the eye. The use of the refraction patterns came

to Birmingham City University in 2007, reflecting our commitment to, and pride in,

For full terms and conditions please log on

from this also, as well as a want to tie everything

our home city.

to; www.bcu.ac.uk/about-us/policies-and-

together with imigary that was reminisant of

procedures

jewellery, yet not literal.

statement

Equal opportunities

Students with disabilities

Birmingham City University promotes its provision. For full details of our Equal

This information is intended as a general

Birmingham City University’s Disability

Opportunities Policy, please visit www.bcu.

guide to the University’s courses and

Service aims to enable students with

ac.uk

equality of opportunity in every aspect of

Chelsea Herbert

www.Behance.net/ ChelseaHerbert

disabilities or learning support needs to

Natalie Taylor

Jack Graham

www.taylormydesign.co.uk

Parking: There is no parking available

Continued: Reservation Information & Booking Conditions

www.JackGrahamdesign.com

Continued: Reservation Information & Booking Conditions

47


Contact details Dawn Meaden-Johnson, Short Course Co-ordinator

Tel: +44 (0) 121 248 4584 Mon/Tue/Thurs 9am to 2.30pm E: dawn.meaden-johnson@bcu.ac.uk Birmingham City University Birmingham Institute of Art & Design School of Jewellery Vittoria Street Birmingham B1 3PA England. 48

BIAD School of Jewellery summer short courses brochure  

Design Project - BIAD School of Jewellery summer short courses brochure

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