ART AND DESIGN

CONTENTS

1. Art and design

2. Art : embossing art
3. Design : jewellery design (kundan meenakari work)
4. Design of ring with jadatar wrok and embossing art
 ART AND DESIGN

1. what is art?
2. impact of art
3. the importance of art in daily life
4. art in the home
5. principles of art
6. elements of art
7. art and society
8. what is design
9. the design process
10. relation between art and design
 WHAT IS ART?
• Art is anything and everything that's creative. ... For example, a sculpture is a piece
of art and interior design that giv.es the sculpture focus could be the architecture.
• ART is the expression or application of human creative skill and imagination, typically in a
visual form such as painting or sculpture, producing works to be appreciated primarily for
their beauty or emotional power.
 IMPACT OF ART

• Art influences society by changing opinions, instilling values and translating experiences across
space and time. Research has shown art affects the fundamental sense of self.
• Painting, sculpture, music, literature and the other arts are often considered to be the
repository of a society’s collective memory. Art preserves what fact-based historical records
cannot: how it felt to exist in a particular place at a particular time.
• Art in this sense is communication; it allows people from different cultures and different times
to communicate with each other via images, sounds and stories. Art is often a vehicle for social
change. It can give voice to the politically or socially disenfranchised. A song, film or novel can
rouse emotions in those who encounter it, inspiring them to rally for change.
 THE IMPORTANCE OF ART IN DAILY LIFE
• Art surrounds life, all people in every location, without us being aware of it. Since time
immemorial, art has existed as long as man has. It is a huge part of our culture, which shapes
our ideas, and vice versa, and provides us with a deeper understanding of emotions, self-
awareness, and more.
• Many people fail to realize how art impacts their daily life. Everyone uses art on a continual
basis. The majority doesn’t know how much of a role art plays in their lives and just how
much we rely on art, in all of its forms, in our everyday lives.
• Why is art important in our daily lives? Because we are surrounded by art, and without it, the
human race will not be as you know it.
 ART IN THE HOME

• Arguably, almost everyone has some form of

art in their home—a painting, a framed
photograph, a table centerpiece, and even the
main layout and design of a house is art. Art is
not purely for looking at and admiring, a lot of
it is functional too, especially when it comes to
our homes. Everything from a delightfully
patterned quilt on the bed or even your
decorative tea towels and teacups can be
considered a form of art. Our brain is just
conditioned to think that these type of items
are not art when it’s only for decoration.
 PRINCIPLES OF ART
• Rhythm: This principle of art describes the
movement in or of an artwork. Rhythm is created by
the variety and repetition of elements in a work of
art that come together to create a visual tempo or
beat.
• Harmony : This is achieved when the elements of an
artwork come together in a unified way. Certain
element are repeated yet still look and feel similar.
Not monotony and not chaos, harmony is that
perfectly honed combination of both.
• Balance : Artists combine elements to add a feeling
of equilibrium or stability to a work of art. Symmetry
and asymmetry are manifestations of balance.
• Contrast : Areas of contrast are where a viewer’s
eye are usually first drawn. Artists will
combine elements to stress the differences between
those elements.
 PRINCIPLES OF ART
• Movement: Movement is used to create the look and
feeling of action in an artwork. It guides the viewer’s eye
throughout a piece. A sense of movement can be varied
lines, repetition of elements, and gestural mark-making
among many more.
• Pattern: This is the uniform repetition of an element of
art or combination of elements. Anything can be turned
into a pattern through repetition.
• Proportion : Within the realm of the elements and
principles of art, proportion is the relationship of
elements in an artwork to the whole and to one another.
• Variety: The principle of art concerned with diversity or
contrast is that of variety. Variety is brought about by
using different colors, sizes and shapes in a work of art. It
is the partner of unity. Artists seek the balance between
the two.
 ELEMENTS OF ART

The 7 Elements of Art

• Form Objects having three dimensions (3D), or height, width, and
depth. You can walk around a form. Examples of form can include
cubes, cylinders, and spheres.
• Value The lightness or darkness of an object; the degree of lightness
or darkness in a piece of art; or the effect of light and shade on
objects in a picture. Value vocabulary includes tint (adding white to
make something lighter), shade (adding black to make something
darker) and hue (the true color). Shadow, highlight, and light source
are also some vocabulary words to consider with this element of art.
• Space The element of art that refers to the emptiness or area around
or within objects. Positive space refers to the part of the artwork that
takes up space. Negative space is the area around that object. This
element of art also refers to the "parts" of the picture... Foreground,
Middle ground and Background!
 ELEMENTS OF ART

• Line A path created by a moving point, mark or object. It is a dot

that takes a walk. A line can be straight, swirly, wavy, jagged, dotted,
dashed, broken, thick, thin, zig zag, diagonal, vertical, horizontal,
curved, bold, parallel or perpendicular.
• Shape A two-dimensional (2D), flat enclosed area. When a line
crosses over itself it creates a shape. Examples of shapes could be
geometric, organic/natural, irregular, circle, square, rectangle,
diamond, oval, crescent, heart, triangle, octagon.
• Color The element of art derived from reflected or absorbed light.
Color adds interest and mood to a work of art. It is also referred to
as "Hue". The primary colors are red, yellow and blue. The
secondary colors are created by mixing the primary colors. They are
purple (violet), orange and green.
• Texture How something feels or looks like it would feel if you could
touch it. There are two kinds of texture: Real (how something
actually feels, such as a sculpture) and Implied (when an artist paints
or draws a texture but it is artificial).
 ART AND SOCIETY

• Art has a monumental impact on culture and society around the world. Throughout human
existence, art has been an imperative tool in measuring cultural sophistication and recording
history. Before language and the written word were developed, mankind shared their lives
and stories through art, leaving behind cultural artifacts and constructions still existing today
— Stonehenge, the Greek Parthenon, Roman Colosseum, St. Peter’s Basilica and more. It is
through a culture’s art that society gains a deeper insight into the history of said culture.
• Every era throughout history has been defined or classified by the advancements of
civilization — Byzantine, Stone Age, Middle Ages, Renaissance, etc. These eras in time include
both artistic and scientific advancements of humans, not one or the other. The Renaissance
(1300-1600) saw the rebirth of art after the dark ages, but more importantly the fusing of art
and science. This fusion is portrayed in works like “Vitruvian Man,” created by Leonardo Da
Vinci, which brings together ideas of art, architecture, human anatomy and symmetry into
one image.
 WHAT IS DESIGN
• Most people think that design is about making things
look pretty – a decoration. Art. But design is as much an
art as it is a science. Cold and calculated process.
Sometimes the detriment of pretty. Yet, the design is not
allowed to fail. Design is for everyone and no one in
particular. Humans speak through languages and things
speak through design. It seems today that nobody claims
to speak a foreign language they haven’t studied but
everybody thinks they know design.
• Let’s dive deep into the world of design and try to
understand why it is so important and what purposes it
serves.
• Design exists to solve problems. To see the problem and
find a solution, designers rely on data. So the toolset of
the designer is based on research, not prettification.
 THE DESIGN PROCESS
1. Define the Problem: You can’t find a solution until you
have a clear idea of what the problem is.
2. Collect Information: Collect sketches, take photographs
and gather data to start giving you inspiration.
3. Brainstorm and Analyze Ideas: Begin to sketch, make,
and study so you can start to understand how all the data
and information you’ve collected may impact your design.
4. Develop Solutions: Take your preliminary ideas and
form multiple small-scale design solutions. THE DESIGN
5. Gather Feedback:Present your ideas to as many people PROCESS
as possible: friends, teachers, professionals, and any
others you trust to give insightful comments.
6. Improve: Reflect on all of your feedback and decide if
or to what extent it should be incorporated. It is often
helpful to take solutions back through the Design Process
to refine and clarify them.
 RELATION BETWEEN ART AND DESIGN

• During the process of human’s producing and creating activities, practicability is conjunct
with beauty, endowing materials both physical and spiritual influences, which is one of the
fundamental points of human design activities. With the division of labor in society
manufacturing process, art and design begin to be separated and become two distinct
individuals. However, art and design are always interpenetrated and interacted from the
perspective of the development track of both art and design. For example, Davinci, a great
man in Renaissance, is not only a painter, but also a sculptor, architect, meteorologist,
physicist, etc. In spite of the separation and differences between art and design, the two are
inextricably linked.
METAL EMBOSSING ART
 CONTENTS
1. introduction
2. history of embossing art
3. types of embossing
4. metal embossing
5. characteristics
6. commonly used materials
7. in embossed art in india
8. making process
9. tools and raw materials
10. famous artists
11. famous work
INTRODUCTION
• Embossing refers to the creation of an
impression of some kind of design, decoration,
lettering, or pattern on another surface like
paper, cloth, metal, and even leather, to make a
relief. Embossing is done for purely decorative
reasons. Strictly speaking, the term is applicable
only to raised impressions produced by means
of engraved dies or plates.
• Embossing and debossing are the processes of
creating either raised or recessed relief images
and designs in paper and other materials.
An embossed pattern is raised against the
background, while a debossed pattern is sunken
into the surface of the material.
HISTORY OF EMBOSSING ART

• The earliest form of embossing can be traced back to the 15th century, where stamping
plates were heated and used for the creation of personalized stationery. This was limited,
expensive and well sought after, as it was seen as a mark of high quality and professionalism.
• Embossing became more of an art in the 19th century, as printing services were more
affordable and much more attainable. The most notable embossed product from this era is
embossed and engraved coins;
• During the Hopewell (Middle Woodland period). of the American south east and Midwest
goods of the embossed metal were fashioned as ritual regalia and eventually used in prestige
burials.
• A classic Century BC. Embossing were commonly made in India to create objects such
as embossing piece using embossing method includes the bronze Greek amour plates from
the 3rd designed water vessels. These vessels were generally made of Copper and
silver. Metal embossing is a 500 years old tradition of India.
TYPES OF EMBOSSING

• Registered Emboss:
In this type of embossing, the embossed image exactly
registers to a foil stamped or printed image. The foil
stamped image area is usually embossed so as to give it a
raised look.
• Multi-Level Emboss:
The embossed image area is raised to multiple levels with
varying depths and in so doing, gives the image more
texture and relief which gives it an interesting look.
• Blind Emboss:
It is also known as same-colouring embossing or self-
emboss. In this type of embossing, the effect is
not stamped over a printed foil or image. The colour of the
image is usually similar to the colour of the surface.
TYPES OF EMBOSSING
• Sculptured Emboss:
This refers to a hand-tooled process. It is usually used in a
drawing or photograph to create different levels of depth so
as to make the image appear multi-dimensional and realistic.
• Printed Emboss:
The embossed area embodies the printed image. The bevel
can go outside of the printed image or remain inside; it all
depends on the client’s specifications and personal
requirements.
 METAL EMBOSSING
• Sheet metal embossing is a stamping process for producing raised or sunken designs or relief
in sheet metal. This process can be made by means of matched male and female roller dies, or
by passing sheet or a strip of metal between rolls of the desired pattern. It is often combined
with foil stamping to create a shiny, 3D effect.
• The metals most often used for die construction. The material used for a specific application
depends upon a number of factors.
• A Metal is a material that is typically hard, opaque, shiny, and has good electrical and thermal
conductivity. Metals are generally malleable-that is, they can be hammered or pressed
permanently out of shape without breaking or cracking.
METAL EMBOSSING
• Sheet embossing are usually done for the king’s chariot, temple doors, Idols of Gods and
Goddess, Pillars of temples, Chariots.
• Copper and tin were the earliest non-ferrous metals used by man. Later, these were mixed to
form an alloy called bronze. Nowadays there is an extensive use of brass, bronze, copper, iron
and bell metal in India.
• The metal sheet embossing operation is commonly accomplished with a combination of heat
and pressure on the sheet metal, depending on what type of embossing is required.
 CHARACTERISTICS
• The metal embossing manufacturing process has these characteristics:
• The ability to form ductile metals.
• Use in medium to high production runs.
• The ability to maintain the same metal thickness before and after embossing.
• The ability to produce unlimited patterns, depending on the roll dies.
• The ability to reproduce the product with no variation.

COMMONLY USED MATERIALS

• Aluminium • Galvanized steel
• Brass • High strength, low alloy, steel
• Card stock • Hot rolled steel
• Cold rolled steel • Steel
• Copper • Zinc
 IN EMBOSSED ART IN INDIA

• Both the literature and the metal mages excavated by archaeologist establish the fact that
the art of bronze casting has been continuously practiced in India for more than five
millennia. The Indian metal smith is known for various methods of metal-working and has
created forms with vision, conception, and sensitivity of a sculptor. Copper and tin were the
earliest non-ferrous metals used by man. Later, these were mixed to form an alloy called
bronze. Nowadays there is an extensive use of brass, bronze, copper, iron and bell metal in
India.
• The technique of embossing dates backs to antiquity and has been widely with gold and
silver for fine detailing work and copper and bronze were used for the larger sculpting works.
A classical piece using embossing method includes the bronze Greek amour plates from the
3rd Century BC. Embossing were commonly made in India to create objects such as
embossing designed water vessels. These vessels were generally made of Copper and silver.
Metal embossing is a 500 years old tradition of India.
 MAKING PROCESS
• Theoretically, with any of these procedures, the metal thickness is changed in its composition.
• Metal sheet is drawn through the male and female roller dies, producing a pattern or design on
the metal sheet. Depending on the roller dies used, different patterns can be produced on the
metal sheet. The pressure and a combination of heat actually "irons" while raising the level of the
image higher than the substrate to make it smooth. The term "impressing" refers to an
image lowered into the surface of a material, in distinction to an image raised out of the surface
of a material.
• In most of the pressure embossing operation machines, the upper roll blocks are stationary, while
the bottom roll blocks are movable. The pressure with which the bottom roll is raised is referred
to as the tonnage capacity.
• Embossing machines are generally sized to give 2 inches (5 cm) of strip clearance on each side of
an engraved embossing roll. Many embossing machines are custom-manufactured, so there are
no industry-standard widths. It is not uncommon to find embossing machines in operation
producing patterns less than 6 inches (15 cm) wide all the way up to machines producing patterns
70 inches (180 cm) wide or more.
MAKING PROCESS Metal embossing

Metal sheet is basic Detailed drawing of

raw material used the products is done
fist on paper

Sheet is put on
Paper is pasted on
surface which is
metal sheet
smeared with lac

Before carving the

Design is traded on metal sheet, the area to
metal sheet by using be carved is burned
fine instruments with the help of gas
burner

Sheet is carved as per Once the design is

the design pattern with
the help of different
shape of chisels.
carved completely, the
lac, which is kept under
the shee is removed
and the sheet is
washed.
 TOOLS AND RAW MATERIALS
• Metal Sheets: Silver, copper, brass, bronze and gold are used to create embossed design/patterns.
• Lac: It is used to provide a solid base to work on, whilst allowing the metal to be pushed out and
shaped without obstruction.
• Scissors: A pair of scissors used to cut the metal sheets.
• Gas Burner: It is used to burn the area to be carved and embossed with the help of gas burner,
that makes the sheet soften and that makes the carving work easy.
• File and Buffer: These are used to smoothen the edges and give shine to the product.
• Hammer: It is used to hit the chisels in the process of embossing work.
• Sheet of Paper: Design to be carved on sheet is drawn on a paper sheet for reference.
• Chisels: Different sizes and shapes of chisels are used in embossing process.
 FAMOUS ARTISTS
Albert Gilles
• For nearly 100 years, the Gilles family has been renowned for its metal
craftsmanship.Its founder, Albert Gilles, was born in Paris in 1895. He was, at
the age of 11, introduced to the art of ¨Repoussé¨ (metal embossing) by his
aunt, and very quickly, this hobby became a passion. In 1926, he even won the
first price for “Arts Décoratifs” in Paris.
• Crossing the Atlantic in the 1930’s to benefit from the advantage of the ¨new
world¨, he then put his talent to serve famous personalities. He worked in
California for the Universal Studios as a decorator. He received at this time
orders from Mae West and Fredric March, actors of the ’30 and decorated the
houses of Roy and Walt Disney.
• Then, he emigrated in Canada where he specialized in church decorations.
From 1940 to 1960, he decorated many churches, Basilica and Cathedral in
Canada and the United States. Were ordered Stations of the cross, doors,
tabernacles, communion rails, baptismal funds and more.Since his death, in
1979, his wife, daughters and granddaughter carry on his work, with the same
tradition of excellence.
FAMOUS WORK
JEWELLERY DESIGN
(KUNDAN WORK)
 CONTENTS

1. jewellery design
2. history of jewellery design
3. types of jewellery
4. kundan and meenakari
5. history of kudan design
6. products
7. making prosses
8. tools and raw materials
 JEWELLERY DESIGN
• Jewellery design is the art or profession of designing and creating jewellery. This is one of civilization's
earliest forms of decoration, dating back at least 7,000 years to the oldest known human societies
in Mesopotamia and Egypt. The art has taken many forms throughout the centuries, from the simple
beadwork of ancient times to the sophisticated metalworking and gem cutting known in the modern
day.
• Before an article of jewellery is created, design concepts are rendered followed by detailed technical
drawings generated by a jewellery designer, a professional who is trained in the architectural and
functional knowledge of materials, fabrication techniques, composition, wearability and market
trends.
HISTORY OF JEWELLERY DESIGN

• Early jewellery design commissions were often constituted by nobility or the church to honor
an event or as wearable ornamentation. Within the structure of early
methods, enameling and repoussé became standard methods for creating ornamental wares
to demonstrate wealth, position, or power. These early techniques created a specific complex
design element that later would forge the Baroque movement in jewellery design.
• Traditionally, jewels were seen as sacred and precious; however, beginning in the 1900s,
jewellery has started to be objectified. Additionally, no one trend can be seen as the history
of jewellery design for this time period. Throughout the 20th century jewellery design
underwent drastic and continual style changes: Art Nouveau (1900–1918), Art Deco(1919–
1929), International Style & organicism (1929–1946), New Look & Pop (1947–1967),
Globalization, Materialism, and Minimalism.Jewellery design trends are highly affected by the
economic and social states of the time. The boundaries of styles and trends tend to blur
together and the clear stylistic divisions of the past are harder to see during the 20th century.
 TYPES OF JEWELLERY
• India is the largest repository in the world of privately-held gold. Even the poorest Indian woman
possesses a gram or two of gold in the form of jewellery. Traditional dance forms in every part of
India - bharatnatyam or kathakali, odissi or kathak - extensively use ornate jewellery made of gold,
silver or gold-plated silver.
• Antique Jewellery
While the terms 'antique jewellery' and 'vintage jewellery' are used
interchangeably, the difference is in the time period. Jewellery is
considered to be antique when it is a hundred years old or more. A
piece of vintage jewellery is at least fifty years old and in designs
that are classic and never 'go out of fashion'.
• Temple Jewellery
Temple jewellery is the name given to the jewellery worn by
Bharatnatyam dancers. This kind of jewellery is inspired by
ornaments used to decorate the idols of Hindu gods and goddesses
in South India. These are ornate and employ traditional motifs of
peacocks, parrots, fishes or images of gods like Ganesha and
Lakshmi. Temple jewellery is made in silver and then plated in gold.
 TYPES OF JEWELLERY
• Bead Jewellery
A bead is a small decorative object formed into a variety of shapes with a
hole pierced into it for treading or stringing. Beads are found in a wide
variety of materials from paper, glass and wood to metals such as gold,
silver, brass, copper,
• Fashion Jewellery
Custom jewellery, also known as fashion jewellery, junk jewellery, fake or
faux jewellery or 'fallalery', are inexpensive accessories that are used to
look fashionable without costing much. These are meant to compliment a
fashionable outfit or costume.
• Kundan Jewellery
In modern diamond jewellery, prongs are used to hold the gemstone. In
kundan jewellery, 24k gold foil is used between the mount and the stone.
Other gems commonly seen in kundan setting are emeralds, rubies,
sapphires, spinels and pearls.
 TYPES OF JEWELLERY
• Polki Jewellery
This style of jewellery was introduced in India by the Moghuls.Polki is the
name used for uncut, flat-cut or rose-cut diamonds. These are not as thick
as regular-cut and facetted diamonds (such as round brilliants) nor do they
sparkle so much. It follows, then, that polkis cost less than brilliants
diamonds. The polki is also called valandi and typically used in
jadau/jadtar/kundan jewellery.
• Navratna Jewellery
Navaratna is the name given to the nine gems that represent the nine
planets in Indian astrology. The name is derived from Sanskrit; nava means
nine, ratna means gems. The belief is that, when worn together in a
particular setting, these act as a talisman against negative effects and bring
good luck to the wearer.
 KUNDAN AND MEENAKARI
• ‘Kundan keshri’ is the oldest name, which is called as ‘Kundan’ in
general terms now a days. The word ‘kundan’ means ‘highly
refined gold’ which is fiery yellow gold color in its purest form
• Kundan jewellery includes the hollowed golden framework in
which a balanced arrangement of minimally cut gems, diamonds
or glass is set. This reveals the beauty of setting these gems in
the shining golden base mounts.
• usually for elaborate necklaces. The method is believed to have
originated in the royal courts of Rajasthan and Gujarat. It is one
of the older forms of jewellery made and worn in India
• This art initially flourished at Jaipur in India, as the king of
Amber (Jaipur) Raja Man Singh invited the five skilled enamel
artists from Lahore to Jaipur in 16th century. Thus this art
became famous among the Mughals and the Princes of
Rajasthan. And now Jaipur is the center of traditional meenakari
production.
HISTORY OF KUDAN DESIGN
• Origins of Kundan jewelleries in India are dated back to at least 3rd century BCE. Kundan
started off in Rajasthan Royal court and then flourished under royal patronage during
the Mughal era. Over the years, the Kundan jewellery of the courts was successfully copied in
silver in Rajasthan, Bihar and the Punjab and became popular with the common man.
• Kundan, also known as Bikaneri or Jaipuri jewellery, is a popular variation, wherein
enameling with vivid colours and designs is on the reverse, while the kundan setting is in the
front. The city of Jaipur in Rajasthan has traditionally been the centre for Kundan jewellery in
India.
• Kundan jewellery holds credit as one of the oldest forms of jewellery in India with a rich
legacy of over 2,500 years. Since 24 karats are a little softer, a complete jewellery piece
cannot be made from it—only the jadayi part is done in 24 karats, which is ultimately known
as kundan. The art of making kundan is also known as jadau jewellery.
PRODUCTS

• Kundan meenakari jewellery of Jaipur is the most uniquely designed jewellery. It is one of the
most demanding jewellery in bridal collections. The collection of bridal jewellery consists of:
• Maang tikka.
• Earrings.
• Mangalsutra.
• Bangles.
• Necklace.
• Nose rings and etc
 MAKING PROSSES
• There are main four stage for making jewel.
1. Jadaiyi
2. Ghadaiyi
3. Khudaiyi
4. Meenakari
• First of all the artisan works on a solid structure, called Ghaat.
• Then there is the process called Paadh during that process an artisan pours hot wax into the Ghaat
structure, moulded according to the draft he wants to obtain: Then there is the process called Khudal,
during which the stones or gems are put into the setting
• Now it's time for the Meenakari, the technique of decorating the jewellery. in fact during that process
the artisan takes care of enamel the Kundan Jewel
• After that there is the Pakai process, that's when the artisan put gold foils that hold the gems
orprecious stones from the base. How do they stand still? The artisan welds them using a particular
technique.
• At the end of the manufacturing process we have the Chilla process the gems or stones of theKundan
Jewellery are polished At the end they must be clean shiny and without any signs of the previous
wedding.
1. JADAIYI
2. GHADAIYI
3. KHUDAIYI
4. MEENAKARI
 TOOLS AND RAW MATERIALS

Forming blocks made of wood and A circular iron disc, used as a worktable
Different sizes of tweezers and cutters,
metal used by goldsmiths. onto which small gold objects are used for handling and cutting gold.
handled to make designs out of it

A hand operated roller, which

squeezes out the softened gold,
to form a thin sheet of gold.
A bowl used in a furnace,
in which gold is placed
and is burned to make it
soft
TOOLS AND RAW MATERIALS

A small sized hex blade cutter, used in cutting A steel scale, used in accurately measuring
through gold sheets. designs and proportions of the jewelry

A chisel with sharp edge, used in

intricate work of kundan making.

Bars of solid lac, which is melted and

filled inside the gold jewelry.
DESIGN OF RING
DESIGN OF RING WITH MEENAKARI WORK AND EMBOSSING
ART ON BOTH SIDE

this ring design is

having center
diamond . its done by
jadatar work. the side
of ring is having
embossing pattern as
jadatar work. so this
side jadar style
embossing give this
ring more aesthetic
value.
DESIGN OF RING WITH MEENAKARI WORK AND EMBOSSING
ART ON BOTH SIDE
JINAL RAVAL (19)