Professional Diploma in Jewellery Design From Inspo to Jewelo

Professional Diploma in Jewellery Design

From Inspo to Jewelo Module 1 Lesson 4

Summary Notes

2 www.shawacademy.com

PROFESSIONAL DIPLOMA IN JEWELLERY DESIGN

Contents

3 Introduction

3 Lesson outcomes

3 Introduction to drawing

8 Fundamentals of drawing

10 Colour rendering

11 Conclusion

12 References



Introduction Before jewellery makes its grand appearance in-store, on social media and even magazines, the designs began as a simple

concept sketch. Jewellery drawing propels the designer’s ideas from conceptualisation to realisation. I remember when I

was still a jewellery student, I was extremely intimidated by the art of jewellery drawing. I am here today to tell you to not

fear a blank piece of paper staring at you. Just remember, every drawing starts with just one simple line.

All you have to remember is to relax and let go of all those ideas stuck in your head. A drawing does not have to be perfect;

just allow your creative mind to guide your hand.

Drawing is a powerful tool for visual communication, and we use a variety of techniques to express, develop and present

our ideas.

The quote that I would like to share with you today is from Vincent Van Gogh and he states that: “As practice makes perfect,

I cannot but make progress; each drawing one makes, each study one paints, is a step forward.”

Today we will be looking at drawing techniques, but before we start I would like you to know that every artist has their

unique way of drawing. Never compare yourself to other artists. The journey is about finding your unique expression on

paper. And like Pablo Picasso says: “In drawing, nothing is better than the first attempt.”

Even if you think your doodles or scribbles look bad, never throw those drawings away! Sometimes they turn out to be the

spark you have been waiting for.

Introduction to drawing Drawing is a vision on paper through individual perception, observation and interest. Drawing is a personal desire to

express our emotions.

When choosing drawing as our medium of expression, one should be aware of the fundamentals from which we progress.

Lesson outcomes By the end of this lesson, you should be able to:

• Analyse the pencil and grip techniques

• Introduce light, shadow and shading

• Explore the 5 P’s and 5 C’s of drawing

• Experiment with colour rendering

Practical lesson outcome:

Shading and colour rendering.



Brief history Blast from the past

Have you ever thought about how our earliest form of communication was depicted on? This is evident in:

• Cave walls

• Papyrus, stone tablet, clay, wood and limestone

• Animal skin

Material development

As an artist, I think we take the materials we have available today, for granted. Let us take a quick view of the origin of the

materials we use.

Paper was invented in Ancient China during the Eastern Han period (25 – 220 AD). Nicholas-Jacques Conte, who was a

scientist in the army of Napoleon Bonaparte, invented the modern pencil in 1795. One of the best drawing materials

created were the french curves. It was invented by Ludwig Burmester during the 1880s. It has been made with various

materials for example wood, metal and plastic. It is used in many different industries for drafting and creating perfect

curves.

Paper

Some of the most noteworthy developments include:

2000 BC – Ancient China invents rice paper.

13th Century – The Middle East & medieval Europe the first water powder paper mills were built.

18th Century – Charles Fenerty & F.G. Keller developed pulp wood fibres.

Modern – Developed thin material of pressed fibres using wood, rags or grass

Pencil

Some of the most noteworthy developments include:

Ancient Roman – Used a lead writing instrument called ‘stylus’

Cumbria, England – Discovered graphite around 1565

European grading pencils – Introduced in the early 20th Century:

• H - hardness

• B - blackness

• HB - standard writing pencil

The pencil and grip techniques The pencil – the alpha and omega of drawing!

The pencil is your most powerful tool as a designer. Without realizing it, the pencil pulls your ideas and thoughts from your

mind and brings it to reality on paper.

There can be quite a debate on how to hold your pencil and there are many ways. When sketching, just remember to relax

the hand. To give you an example, I can’t hold my pencil the same way for writing and sketching. The writing grip is too

tight.

A pencil should and must be treated as an extension of the artist’s hand, arm, and fingers.



Tripod Grip:

The tripod grip is the most common way of holding a pencil. The correct way to make a tripod grip is to have equal

pressure between the side of your middle finger, the tip of the index finger and the thumb. The index finger rests on the tip

of the pencil and the other end should be pointing at your shoulder.

The correct grip maximizes one’s motor skills, which are needed for drawings.

Extended Grip:

This is the same grip as the tripod grip but holding the pencil closer to the end. Since your control is at the other end of the

pencil, small movements of your hand make larger effects.

Underhand Grip:

Another variation of the tripod grip is the underhand grip. This is another relaxed way of holding a pencil for broad

sketching. Using this type of grip will help you make firm lines and small linear details.

Overhand Grip:

This is another variation of a relaxed grip, but the pencil is still secure. Shading is easier with the overhand grip. Shading is

easier with the overhand grip.

Ingredients of a drawing There are 4 key ingredients in drawing:

1. Line:

• Represents and mimic objects we see

• Without the application of line, you cannot conceive any work of art

• Is an observation of an object’s edge

• Enables an artist to create space

Let’s have a look at the basic lines used in drawings.

Flat lines:

• Express emotional state

• Evoke emotional response

• Horizontal lines gives an image a wider look

• Vertical lines gives an image a narrower look

• Diagonal lines invoke unrest, instability and variation

Contour lines:

• Are the basic outline and important edges of the object

• The purity of a contour line distinctively display the shape of the object

Accent lines:

• Gradual increase or decrease in line weight

• Creates emphasis in specific portions of the drawing

Scribble lines:

• One of the most expressive lines

• May appear abstract and random

• Layering of scribbles is a great way to establish the desired shape and form



2. Shape:

• The result from line drawings

• Serves as the basic outline

• Start of giving life to a concept

• Can be geometric or organic or even both

3. Form:

• The result from shapes drawn

• Once you have established your desired shape, you can start giving it a three-dimensional form

• Form can be straight, curved, wavy or even jagged

4. Texture:

• The final ingredient is texture

• A representation of the finished jewellery piece

• Examples: Smooth, buff, sandblasted, hammered or engraved

Light, shadow and shading Now we get to the fun stuff! I don’t know about you, but flat drawings don’t appeal to me. Let’s have a look at how to give

life to drawings!

Light and shadows create atmosphere and dimension. Everywhere we look, there are shadows as there is always some

light source. So to make your drawings more realistic, you need to understand light and the shadows it creates.

Shadows add perspective to a jewellery drawing. Shading and shading techniques, on the other hand, are important to

avoid your drawings from looking flat. Shading allows you to create a shape and form.

Shading techniques create illusions that will make drawings more realistic.

Just a quick tip – when I’m drawing jewellery that is not in front of me and I must imagine it in front of me, I imagine a light

source coming from the upper left corner of my page. And if you need to, add a diagonal line as this will help you to

imagine where the shadows will be.

Speaking of light, let’s look at the different lights.

Hard Light:

• Is the one light source that is far away from the subject

• Produces highlights and hard-edged shadows

• Examples include direct sunlight, camera flash or a naked bulb

• Effect: moody and striking

Soft light:

• Is more subtle

• Creates softer shadows



Shading

Let us look at the elements of shading.

The highlight:

• Where the light directly hits the object

• Light reflects the brightest area

• Halftone refers to the areas between the dark and light areas

The cast shadow:

• The darkest areas of the object

• These parts require more shading

The reflected light:

• The reflected light is a combination of the light reflected on the subject, from the surface it sits on or ambient light

around the object

• The shadow edge are the areas found in between the halftone and the reflected light

Shading techniques

Regular shading:

Moving the pencil from left to right or top to bottom produces this shading technique.

Irregular shading:

As opposed to the regular shading, the pencil's direction in irregular shading changes at intervals.

Circular shading:

Instead of making straight lines or making irregular strokes, a circular motion is used.

Directional shading:

Two directions are used in shading, although, they should not overlap each other.

Shading exercise

The goal of using pencils are to be able to achieve at least 5 distinct shades of grey. Practice by creating your own “ladder”

of the different shades. You can use my example as a starting point.

Tips on tones and value

• Better to use blunt pencil

• Use a B pencil or even a 2B – these are dark enough to give depth

• Make your lines/stokes near each other to make it difficult to notice the different strokes

• Do not over shade – you can easily add tones than trying to lighten it



Fundamentals of drawing Anyone can draw but not everyone can make good drawings. Pencil drawing is a skill that needs a good foundation on

theories because pencil drawing is a blend of theory and proper execution of these theories.

Practice makes drawing perfect but the foundation on the theories and techniques in drawing paves the way for better

drawings.

So, what do you think makes a drawing good? Intelligence perception can help answer this.

Intelligence perception:

• It is a vision coordinated with the brain

• As we develop, our brain starts to accept appearances to be truthful and therefore abide by these decisions

• Our senses combined gives us intelligent perception

The 5Ps of drawing Andrew Loomis is an American illustrator, author and art instructor. In his book Successful Drawing, he introduced the 5P’s

and 5Cs of drawing.

We will first look at the 5Ps of drawing.

Proportion:

Proportion refers to the size relationship between objects. If you want to draw jewellery with accurate proportions, you

must employ proper techniques and train your eyes over time.

Every jewellery item has height, width and depth. The ratio of these three dimensions is proportion. When the ratios are

correct, we have a convincing representation

Put quite simply - Drawing cannot be good if it is not in proportion. The more time you spend on improving the accuracy of

your drawings, the better you will “see”. We will discuss the golden ratio in lesson 5.

Placement:

Placement is the composition of the different parts, the position in space. The positioning of the object within the

boundaries of the drawing area. Paper represents open space, within which we want to place the subject

A drawing is like a mystery. You must consider where to place the jewellery item. The goal is to choose a suitable

placement within the area that is most visually pleasing.

To summarise, we need to carefully consider the viewpoint, where the subject will go, the size of the subject and how close

or far away.

Perspective:

After selecting a viewpoint and placement has been decided upon, we can start to draw. Even if you know nothing of the

science of perspective, we all have a sense of space and depth.

When a design or drawing does not coincide with what experience has taught us what is truthful or normal, we are quickly

aware of distortion or deformity. Again, this refers to intelligence perception we spoke about earlier in the lesson.

Perspective drawing is a technique to create the linear illusion of depth. Perspective is the object's relationship to the eye

level/horizon. All drawing needs to be related to a horizon. No object can be drawn without perspective.



Planes:

Once we understand the perspective, we must separate the three planes. This provides a convincing form in the effect of

light and shadow.

The effect of light on planes results in a solid appearance of form as a surface appearance is defined by light and shadow.

Everything we can perceive with our sense of sight is made possible by the degree of light which falls on it. Where there is

light, there is shadow. Dividing an object into planes is essential to understand how to render light. Projection planes are

used often in geometry and graphical representation. A picture plane in the perspective drawing is a type of projection

plane.

Pattern:

The first part of the visual puzzle is complete once you have figured out proportion, placement, perspective and plane.

Next, you must consider the light, darkness and textures. This is called the pattern.

The pattern is the overall tonal arrangement of a composition. The tonal arrangement is the focus on values. Placement

relates to a composition in terms of the line; pattern relates to it in terms of tonal areas.

Best practice: Draw sketches in 3 or 4 tones until you get the right feel of the subject.

The 5Cs of drawing Conception:

Before drawing, you explore the basic idea or purpose. Then you can do rough sketches, doodle and scribbles until your

subject starts to take shape

Construction:

Once you have your concept sketches and material reference, you need to establish the volume and form of the subject.

Then determine your viewpoint and perspective.

Contour:

Contour is the outer edge of form in space. The contour will determine the limits of the form. Construction is based on

viewpoint and perspective. The contour appearance will be different from every angle, therefore we must establish an eye

level to establish contour.

Character:

What distinguishes one object from another – specific qualities of individual units of your jewellery object in light.

The use of material brings character to a drawing. Character effects are dependent lighting, viewpoint and placement. The

study of metal and gemstones adds character.

Consistency:

Consistency is recognised by a viewer’s intelligent perception. Lighting, proportion and perspective are conducted in a

manner that all elements belong to one subject. There is a technical consistency so that that you can see all the different

parts have been done by one hand. There is a unity of all the elements brought together into one whole effort.

Start with the basics If you think about it, all jewellery pieces stem from a basic geometric shape.

Let’s start with an exercise of a sketch using some of the basic shapes.



Refer to the drawing of basic shapes. See how light and shadows have been used to give these basic shapes life. If you can

understand how to draw this, you just need to apply that in your jewellery drawing.

If you want to practice your shading, I invite you to choose 1 basic shape and practice, practice, practice!

Colour rendering Now that we have learned the foundations of jewellery drawing, how about we experiment with colour rendering.

When I do colour renderings, I love to use colour, textured paper. And then I use a white pencil to do my drawing.

Rendering metals

Metal has highly reflective surfaces, so keep that in mind when drawing metal. Let’s have a look at the steps to create

colour renderings of metals.

I will demonstrate a plain band in white, rose and yellow metal.

Step 1:

Create guidelines on colour paper with a white pencil.

Step 2:

Fill the ring shape with a white pencil.

Step 3:

Create shading on the outer edges of the bands.

• For white metal – use different shades of grey

• For yellow metal – use different shades of yellow and brown

• For rose metal – use different shades of peach and brown

Step 4:

Finish the drawing by adding a final darker shade to give depth.

Rendering a diamond Step 1:

Create an outline of the shape of the stone with a white pencil.

Step 2:

Create the lines for the table and four facets.

Step 3:

Add the additional lines for the facets.

Step 4:

Add the final lines of the facets.

Step 5:

Fill the diamond with white pencils (lighter than the lines).



Step 6:

Create the triangular lines of the diamond. Remember that stones refract light – you can’t just create smooth shading.

Step 7:

Lastly, the colour in the triangles – the triangles should have lighter and darker colours. Remember to add blue, red and

yellow sparkles in between to resemble a diamond.

Rendering a cabochon ring For our last exercise, we will create a colour drawing of a cabochon stone ring.

Step 1:

Create guidelines on with a white pencil.

Step 1:

Start with the stone – fill the stone with the white pencil.

Step 1:

Create shading for the cabochon stone. For the cabochon, I used different shades of purple.

Step 1:

Fill the shank and setting with the white pencil.

Step 1:

Create shading for the metal. For rose metal – use different shades of peach and brown.

Step 1:

Finish and refine the shading definition.

Conclusion I am sad to say that we have come to the end of this lesson. I truly hope you have enjoyed it and that your fingers are

itching to get working on improving your drawing skills.

I would like to leave you with a reminder of the quote from Vincent Van Gogh at the beginning of the lesson: “As practice

makes perfect, I cannot but make progress; each drawing one makes, each study one paints, is a step forward.”

Remember that every artist was once a beginner – the only way to perfect your drawing skills is to keep practising. Lastly,

don’t forget to also have fun.



References • Johnlovett.com. 2020. [online] Available at:

https://www.johnlovett.com/perspective-

drawing#:~:text=Perspective%20drawing%20is%20a%20technique,to%20the%

20use%20of%20perspective.

• Kemp, W., 2020. A Beginners Guide To Light & Shadow : Part 1 | Will Kemp Art

School. [online] will kemp art school. Available at:

https://willkempartschool.com/a-beginners-guide-to-shadow-light-part-1-

drawing/

• Loomis, A., n.d. Successful Drawing.

• OfficeXpress. 2020. Eight Wonderful Pencil Facts | Officexpress. [online] Available

at: https://www.officexpress.co.uk/pencil-facts/

• Ogura, Y., n.d. The Complete Guide To Drawing For Beginners.

• Partington, P., 2004. Drawing For Beginners. London: Collins.

• Pierce, A., n.d. Drawing For Beginners.

References •

References • Johnlovett.com. 2020. [online] Available at:

https://www.johnlovett.com/perspective-

drawing#:~:text=Perspective%20drawing%20is%20a%20technique,to%20the%20u

se%20of%20perspective.

• Kemp, W., 2020. A Beginners Guide To Light & Shadow : Part 1 | Will Kemp Art School.

[online] will kemp art school. Available at: https://willkempartschool.com/a-

beginners-guide-to-shadow-light-part-1-drawing/

• Loomis, A., n.d. Successful Drawing.

• OfficeXpress. 2020. Eight Wonderful Pencil Facts | Officexpress. [online] Available at:

https://www.officexpress.co.uk/pencil-facts/

• Ogura, Y., n.d. The Complete Guide To Drawing For Beginners.

• Partington, P., 2004. Drawing For Beginners. London: Collins.

• Pierce, A., n.d. Drawing For Beginners.

https://www.johnlovett.com/perspective-drawing#:~:text=Perspective%20drawing%20is%20a%20technique,to%20the%20use%20of%20perspective



https://willkempartschool.com/a-beginners-guide-to-shadow-light-part-1-drawing/









Professional Diploma in Jewellery Design From Inspo to Jewelo

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