Art and Design: Three-Dimensional Design - 4TD1 PearsonEdexcel

Jewellery And Body Adornment

Gbogbo ọrọ náà

Jewellery is the only design work that is worn. It is measured in millimetres, it touches skin for sixteen hours at a time, it has to survive a coat sleeve and a car door, and it says something about the person wearing it to everyone who looks at them. It is also the one area of study where a two millimetre error is the difference between a ring that fits and a ring that does not.

This note covers the whole intimate scale: how the body governs the design, the difference between making one piece by hand and designing something to be made two thousand times, the core bench processes of piercing, forming, soldering and finishing, casting and the lost wax method, and the non-precious materials that have carried most of the interesting jewellery of the last fifty years. The makers here worked in gold, in wallpaper, in resin and in aluminium, and every one of them was arguing about what jewellery is for.

Ebumnobi

  1. Develop and construct both individual and mass-produced jewellery and body adornments
  2. Use a range of jewellery and body adornment materials, tools and techniques such as metal, glass, textiles, wood and plastics, modelling, digital and non-digital design and recording methods

Akwụkwọ Ọmụmụ

The specification asks for the development and construction of both individual and mass-produced jewellery and body adornments, using a range of materials, tools and techniques including metal, glass, textiles, wood and plastics, modelling, and digital and non-digital design and recording methods. Two things in that are easy to miss. First, mass production is explicitly named, so a project that only ever considers a unique handmade piece has answered half the objective. Second, the material list runs well beyond precious metal: glass, textiles, wood and plastics are all named, and this is a subject in which a plastic bangle can be as serious a proposition as a gold one.

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Nnyocha Ọmụmụ

Ekele diri gi maka imecha ihe karịrị na Jewellery And Body Adornment. Ugbu a na ị na-enyochakwa isi echiche na echiche ndị dị mkpa, ọ bụ oge iji nwalee ihe ị ma. Ngwa a na-enye ụdị ajụjụ ọmụmụ dị iche iche emebere iji kwado nghọta gị wee nyere gị aka ịmata otú ị ghọtara ihe ndị a kụziri.

Ị ga-ahụ ngwakọta nke ụdị ajụjụ dị iche iche, gụnyere ajụjụ chọrọ ịhọrọ otu n’ime ọtụtụ azịza, ajụjụ chọrọ mkpirisi azịza, na ajụjụ ede ede. A na-arụpụta ajụjụ ọ bụla nke ọma iji nwalee akụkụ dị iche iche nke ihe ọmụma gị na nkà nke ịtụgharị uche.

Jiri akụkụ a nke nyocha ka ohere iji kụziere ihe ị matara banyere isiokwu ahụ ma chọpụta ebe ọ bụla ị nwere ike ịchọ ọmụmụ ihe ọzọ. Ekwela ka nsogbu ọ bụla ị na-eche ihu mee ka ị daa mba; kama, lee ha anya dị ka ohere maka ịzụlite onwe gị na imeziwanye.

  1. Annealing is carried out in order to: A) Harden metal before polishing B) Soften metal that has become hard and brittle through working C) Remove oxide and flux after soldering D) Colour the surface Answer: B
  2. Which process removes oxide and flux residue after a piece has been heated? A) Annealing B) Pickling C) Piercing D) Doming Answer: B
  3. Anodised aluminium in jewellery is normally joined by: A) Hard soldering B) Welding C) Cold connections such as rivets or screws D) Enamelling Answer: C
  4. A rigid bangle must be sized so that it will: A) Fit the wrist exactly with no clearance B) Pass over the knuckles of a compressed hand and then stay on the wrist C) Be the same diameter as the forearm D) Match a standard ring size Answer: B
  5. In lost wax casting, the wax model is: A) Left inside the finished casting B) Burnt out of the investment so the cavity it leaves can be filled with metal C) Used directly as the master mould D) Soldered to the metal piece Answer: B

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Ị chọrọ ime ajụjụ ule ọmarịcha gbasara Jewellery And Body Adornment? Budata ngwa Green Bridge CBT iji nweta ajụjụ ule ọmarịcha na nyocha zuru ezu gbasara isiokwu a.

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