｜课 程 序 言｜

...By staying for a full academic year, I have the chance to teach projects with the intention of introducing jewellery design students to a more conceptual approach rather than the unrestrained, subjective approach, which has been the case until now.

...一个学年以来，我开设这门课，目的是为了让首饰设计专业的学生采用一种更为观念的手法创作，而并非迄今为止，那种不受约束的、主观的方式。

最为重要，能够：

- 洞见：抽象思维的具象化，
- 领会：在任何时间，进行调节的必要，确保最终结果，展示无限可能。

｜ 课 程 简 介  ｜

Theme:  Back / Front
主 题：后 / 前

All of the projects we have done so far, should be seen as part of a general concept where: one thing

- leads to another，

- flows into another.

到目前为止，我们业已完成的课题，理应被视为整体概念的一部分，这一概念是为：

一件事或一种事物

- 导致了另一件事或另一种事物，

- 化境为另一件事或另一种事物。

For this project "Back / Front", we wil first consider the concept of opposites, and what happens when they come together. Through a spatial exercise we will then be able to illustrate dynamism, by showing the transition from the 2nd dimension to the 3rd dimension. This means, in actual fact that in the finished pieces a constant state of transition will be visible.

至于课题“后 / 前”，首先，我们需要考虑“对立”这一概念，并思考当二者相遇时会发生什么。通过空间练习，即经由呈现二维（平面）至三维（立体）的过渡，演示其中的律动。这意味着，成品中，一种恒定的过渡状态将被可视。

We will start by taking brass sheet, or square / rectangular wire which will be taken into another dimension by a single twist or bend. By adding multiples of such elements and then constrasting the finishes of the 2 sides - e.g. by applying colour or texture, we can make a powerful wearable piece.

首先，我们采用黄铜片或方形、矩形的金属线做“一次扭曲或弯曲”，通过这一动作，即可将平面形态带入另一维度。通过附加多个此类元素，然后，將前后两个面做比对性精加工，比如：添加色彩或肌理，由此，我们即可创造出极富说服力的可穿戴作品。

Times: 2 weeks

时间：两周

Research Suggestions:

Ikat Weaving 

Op Art (Bridget Riley)

研究参考：

絣织   

 “絣织（Ikat）为染织结合的一种织物，它原为马来人对扎线段染对花织物的称呼，后来这称呼被国际所接受，ikat不但代表了这类织物，同时也代表了这种先绑染花纹再整经对花的织作技法。 —— 摘自百度百科 ，编者注 ”

Ikat 织 品 局 部

｜ 详 细 说 明 ｜

The basics:

In order not to land in a dilemma, criteria that give an orientation are essential!

一些基准：

为了不至于陷入进退两难的境地，给出有方向感的准则，（在课程中）至关重要！

Jewellery has more than an ornamental character and purpose, it is composed of spatial, proportional, tactile and functional characteristics and is worn on the human body. The Mobius band explicitly shows the spatial transtion from 2nd to 3rd dimension.

首饰不仅具有装饰特性与目的，事实上，它是一个经由空间、比例、触觉及功能共筑的结果，且可佩戴于身。莫比斯环（Mobius band 见上图）即明确显示了从平面至立体的空间转换。

The transformation from paper model to concrete piece is the most difficult part of the process.The 4 rings and the silver spiraling pin show this process, applying twisting, bending and hammer forming techniques.

从纸本模型至具象物件的转化，是该过程中最大的难题。图中四个戒圈和螺旋形银制胸针，显示了此过程中，关键性的技术运用：扭、弯以及锤击成型。

Diagrams and example showing the transformation from square to 3 dimensional form, creating the basic element of a band connencted by universal joints. Intended to be worn around the arm or neck.

图表和示例（见上图），显示了从平面方形至立体形态的转换，表明一个由万向节 （universal joints）相扣的，环状形体的基本构成元素。这一创作适用于环绕在手臂或颈项的佩戴。

｜ 课 程 图 例  ｜

｜课 程 习 作 ｜

利 用 横 向 叠 加 的 “  扭 曲”

以 及 前 后 色 彩 对 比 制 作 的 胸 针 纸 模

色 彩、材 质 与 造 型 测 试

｜ 课 程 小 结  ｜

The elementary nature of this project serves to provide students with the essential design basics that can be used as a structural starting point for every future design task. 

Once this basis is fully understood, it can be decoratively transformed through the use of pure colour, textures, motifs or applied materials to suit any discipline, genere or even culture.

Students become acquainted with spacial relationships, which teach them to visualize space so that they can use its potenital, as gestaltungs element, to maximum advantage in jewellery design. Added to that, factors such as: scale, dimension & proportion are addressed so that they are able to make more and better decisions themselves.

学生通过熟识这一空间关系，将空间可视化，同时利用其中的艺术潜质，作为一种创作元素，（作者特别使用德语gestaltungselement 表达创作元素，而非英文。gestaltung的意思，中文大致可诠释为：统筹、安排、设计、表达、艺术等-编者注）在首饰创作中，將优势发挥至最大化。此外，一些其他元素：比例、尺度、规模等，也同时被考量、处理，为实现更多、更好的设计决策，创造可能。

Finally, through directly experiencing the transition from 2nd to 3rd dimension, students apply the gestaltungs element of implied movement, so that they know how to employ dynamism to enliven their work.

Although the time allowed was too little to fully realize the brief, it was enough to show that cultural background, love of ornament, filigree and colour are powerful sources of spontaneous expression.

尽管课程中，可被使用的时间算是有限，以至于（学生）无法完全掌握课程精髓。但是，个人的文化背景，对饰品的由衷喜爱，以及对细金线条与色彩是为自发性表达之强大动力的认知，已得到充份体现。

Such projects as this one serve to equip students with design methods, which can be used to order their thoughts as they work. The students have proved that potential is there, with the right course content, it can be deepened to generate a contempoary but authentically Chinese jewellery genre.

总体来说，该课程为学生提供了方法性裝备，以协助他们在创作时，捋清思绪。学生们的作品已然证明：他们极富创造力，只要给予正确引导，即可提升这种潜质，从而生成当下的、真正属于中国的，首饰创作新局面。

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ABOUT 「THIRD VOICE」

「三声 | 饰品与文化略记簿」：一间独立媒体公众号。以笔记体方式纪录、解析、讨论与饰品相关的文化议题、文化观念及文化事件。除在线传播，线下实践拓展至: 设计、出版、实验室、展览等。为便于归档与查阅，「笔记薄」以英文 26 个字母为母题，逐一发声。始于2020，全球穴居期。

Third Voice |  Notes on Jewellery & Culture, is an indie blog/vlog/...where the jewellery-related issues, notions & events would be recorded and interpreted widely on. Apart from online podcasting, the offline approaches: design, publishing, laboratory and exhibition are also synthesized as one in practice. All notes, in that sense, serves in alphabetical order for archiving and checking to voice out. Starting from 2020 - a year of global homing.

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