Brandon Holschuh - The Jewelers Studio Handbook: Traditional and Contemporary Techniques for Working with Metal and Mixed Media Materials

Traditional and Contemporary Techniques for Working with Metal and Mixed-Media Materials

Brandon Holschuh

For Michelle and Meena

Riveted Bead Ring,

Open-Band Copper Bracelet,

Photo: Dan Fox

Artist: Todd Pownell
Title: Hidden Halo
Materials: Diamonds, gold, sterling, aquamarine, sapphire
Techniques: Fabricated, constructed, soldered, fused

Creation is existent within a critical region of material, thought, and process. All is passing. Meaning cannot be suspended and tension is always present. Jewelry objects have a powerful residue of emotion. Still, everything becomes thin and the ideal object remains thought undefined.

The construction of jewelry involves a compressed attitude toward objects and their use: putting together raw, drifting, and partially formed material from an understanding of their innate qualities through a compiling and composition of these partial materials. The jewelry maker conspires with scattered pieces to produce an object that invites wanderings by being worn on the body.

The jewelry object must produce wonder by engaging and enticing the eye in play and hypnotism into exploration and journeys. The joy of motion trumping the melancholy of unrelenting change is the drama of jewelry. Jewelry is for the finding of desires into nomadic thought as well as tangible voyages through visual forms. The desire to pin or wear jewelry objects on a vacant body is to generate a mini-environment or a portal into unexplored territories via the wearer. Jewelry should never be a mere subject for decoration. Jewelry is exploration and intimacy together.

The jewelry making process is also an intimate exploration. It begins with the gathering of things and proceeds with organization, cutting, drilling, and linking together. A quality jewelry maker succeeds with relentless attention and an honest strive to proceed and produce.

Brandon Holschuh is such a maker. His work is imbued with both exploration and intimacy and succeeds in transporting both the wearer and viewer into new and different worlds of perception.

An intimate look into a jewelry studio such as his is a rarity and a shared luxury, which is sure to give new insights to jewelry makers of all levels.

TODD POWNELL began his jewelry studies at the Bowman Technical School in Lancaster, Pennsylvania, where he gained an in-depth exposure to jewelry making. During his training he also completed the GIA graduate course in Gemology. He excelled in the craft of jewelry making and went on to a successful career in fine jewelry. Todds love for the material led him to make his own explorations which have evolved into a large body of work that reflects his own inquiries as an artist.

Jewelry artists have the unique ability to bend perception, push limits, and redefine wearable art. Personal adornment is a broad, diverse, and limitless craft. Original, inventive, and artistically designedthis is what makes great jewelry.

We all create objects that speak volumes about our innermost feelings and thoughts. To create work that speaks louder than words, though, you need a foundation, which is why this book is in your hands. The Jewelers Studio Handbook teaches you the core techniques, introduces you to the materials, and hands you the tools needed to flourish in the jewelry-making studio.

In these pages you will tour the artisan studio, inside and out, learning along the way how to express yourself through the tactile, versatile, and ancient craft of making metal jewelry. Illustrating everything from drill bits to silvermiths hammers and onward to scores of nontraditional materials, the pages of this book are rich, hardworking, and inspiring.

For me, writing gives me the same feeling of creation that making jewelry does, sharing my experiences and teaching the processes and techniques. This book is an opportunity for me to communicate to you the same ideas my work conveys visually and I learn more and more about the craft myself along the way. The rush of ideas that stems from teaching, the questions you might not always think to ask of yourselfboth enrich you as artist and as teacher.

I encourage you to experiment. Learn from your mistakes. There is inherent value in creating the unexpected; you will always learn best by trying and doing. May The Jewelers Studio Handbook refine your skills, better your designs, and facilitate your creative process.

Before choosing the location of your studio, you may want to spend some time reviewing your needs. Space considerations are important, but availability of resources and important health and safety factors should enter into your decision as well. While some jewelers may choose to set up their workbench in a compact corner of the living area, others may prefer to set up in an entire room, or even to rent a work space outside the home. When considering any of these decisions, ask yourself the following questions:

How much time will I spend in this space?

The time spent in your jewelry-making work space will determine where in your house it is located, or whether its located in your house at all.

Does this space have ample access to resources?

As you begin to outfit your studio, you will notice a greater need for electrical outlets, access to running water, and ample, varied lighting.

Will I be able to grow in this space?

You may quickly find yourself wanting or needing to purchase additional or more advanced equipment. It is best to prepare for this early on.