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DESIGN “Digital technologies have fundamentally transformed designers’ creative toolboxes” SILVIA WEIDENBACH, visiting lecturer at the Royal College of Art in London and winner of the 2015 Goldsmiths’ Fair Best New Design Award I was studying at the Royal College of Art in London for my MA when I was first introduced to a concept called additive manufacturing, a concept you may know better as 3D printing. I can’t say I was immediately impressed. I’d learned the craft of making jewellery the classical way through a long apprenticeship in a silversmith’s workshop, learning how to create with my hands not remotely, via a third party and a computer screen. I was sceptical but in retrospect I had misunderstood the role of digital technology in the creative process. The correction came with the introduction to yet another new technology, one you may be less familiar with. Called a ‘haptic arm’ it was a digital sculpting tool that linked the traditional process of drawing designs to the digital virtual environment. It allowed you to work on digital models with an amazing and tactile precision; it felt like you were dragging your hand through soft clay, meaning you could generate detailed 3D models but as if by hand. Using the arm, you could zoom in and out of tiny components, redesigning them without destroying the record of what they had been before. I realised then that not only was digital technology here to stay but it would fundamentally change both what is now possible in jewellery design – and ultimately the role of jewellery itself. In 2015 I embarked on a tongue-in-cheek project I called Granny’s Chips Reloaded, Queen Elizabeth’s nickname for her grandmother’s brooch, which features two vast stones cut from the Cullinan Diamond – at 3106 carats the largest ever discovered. The basic structures of my Granny’s Chips Reloaded brooches were designed using the the haptic arm and manufactured from nylon using a 3D printer. Ultimately traditional ‘analogue craftsmanship’ was employed to complete the pieces, colour was applied and other materials such as silver and diamonds added by hand. The digital element of the process however was the key to me realising the artistic expression for which I had been searching. And I am far from alone in taking advantage of these new techniques. Digital technologies have fundamentally transformed jewellery designers’ creative toolboxes, directly influencing the way we conceive and manufacture jewellery today. And it has profoundly widened the scope of what jewellery can do or be. We are crossing the border now between analogue and digital design and at the same time exploring how processes in both can be combined. Producing complex and detailed pieces of jewellery remains one of the most demanding forms of traditional craftsmanship so the technologies we are now able to exploit represent a huge leap forward. Moreover so called digital wearables like optical, head-mounted displays and smartwatches have their own aesthetic, communicating an ever-more effective extension of our natural abilities. Digital wearables not only enhance what makes us unique as a species but also serve us in a socially communicative sense. In other words: jewellery today is becoming a form of communication, driven by the opportunities we have to create new interactions between design, material and purpose. Internationally a number of curious and visionary designers are today heading this movement. The artist 44 THE JAGUAR
MIXED MATERIAL ARTS: 3D modelling gives artists absolute freedom to experiment with materials. Left: Weidenbach’s Made to treasure and pleasure Jewellery vision in mixed media. Above: Dorry Hsu’s Touch the invisible ring in silver PHOTOGRAPHY: UDO W. BEIER, PR (3) LIMITLESS: Daniel Kruger’s pendants (above) and Norman Weber’s brooch (right) are examples of how today’s designers experiment with forms, structures and materials THE JAGUAR 45
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