Digital Innovation and Jewellery | Panel @ Digifest 2019 Educators Forum
The. Topic, is digital, innovation. And jewelry, almost, always a fan of wearables. Of. Course. My wearable, tells me that I don't sleep enough so, and. Not wearing jewelry, and I'm not sure that maybe, that's the same kind of thing that this is gonna teach us but I'm really looking forward to hearing about this this, will be the, cha-cha-cha. Style, presentation. Where. We'll look at how five designers, are merging tech, and their craft. Each. Presenter, will have 20, slides speaking. For. 20 seconds, on each. Which. Is going to be exciting, to, coordinate. That from a technical perspective for. Four people back-to-back. And I'm looking forward to that as well and to lead, those talks, we. Have, someone by the name of wink, hm. Wink, a is a Toronto studio, jewelry designer and maker she, started her design education in, Hong Kong, graduated. From the University, of Texas at Austin in 1994. And as. Nscaa. D, University. In Halifax, Nova Scotia in, 96. When. Cate discovered her passion for teaching during her graduate studies and she joined, jewelry, studios, studies. At George Brown College as, a full-time prof in 1997. And coordinated. The program, from. 2008, to 2014. She's. Been developing and teaching digital technology, to the jewelry program, since, 2003. And our work emphasizes, exercises, economy. While, using precious, metals finding a balance between traditional. Jewelry techniques. And using, non-traditional, materials and, digital technology, as a sensibility. To relationships, between object, body, and environment, join. Me in welcoming, link'. To the stage. Round. Of applause. Hi. Everyone how, are you. Jewellery. Has been viewed almost always. As, a craft at is heavily. Based on traditional, techniques, and, these. Techniques takes years and years of training hands-on, training and some, of these techniques may include, precious. Metal fabrication. Wax. Carving. Models. Singh and gem settings for instance. However. In recent years. Advancement. In, technologies. Particularly, in 3d printing 3d. Modeling. And cat. Computer-aided. Design. Have. Completely kind of changed, and disrupted. The jewelry design, and making process, so. Today. We're, going to look this, panel is going to look at how. The industry is thriving with, these new technologies very. Rapidly, changing, technologies, and. How.
Education. Jewelry. Education, is changing. Modifying. To catch up so. I'd like to, introduce. You to our four panelists. Corina, asterik. Valerie. Lemieux. Leena. Marie Maria, El Vedado. Paul. McClure just, come on stage. Welcome. And, I'm going to give a brief introduction. To each of our panelists, please have a seat, I. Guess. So. Corina. Graduated. From the jewelry arts program, in 2008. With honors she. Was born in Russia and that is the designer behind in Carmel able. Para. To is discovering. 3d printing, 3d, modeling, her, work is based primarily, on precious. Metal and gemstones and. Using. Traditional casting. Methods. In. And. The. Discovering, of CAD has completely, changed your. Design and, material. Choice but. Jewelry making and. 2015. Carina found at her company korma, which. Is a jewelry label that blends elements of contemporary, and traditional design. And since. 2018. Since last year Karina has been on board at. The GPC jewelry, studies teaching. Various courses in. A 3d, modelling. Valery. Lamia it's, also a church run grad few, years ago and Valerie. Is a Toronto designer. In go Smith focusing, on, jewelry. And objects, for smaller introductions. She's, currently a designer, in residence, back at George Brown College and, one, of her Rose is tutoring, students, on 3d modeling. Lina. Maria Avedon. Oh Linda, was born in Colombia and her. Passion for art literature. Design, and her love for beauty, and functionality. Was, inspired, very much inspired by her grandmother who. Was a, Spanish. Literature professor. With, a great passion for painted. Porcelain, in. 2004. She studied industrial, design at. Pontificia. Bulava, rihanna university, they get it right and. A, place where she discovered the magic of jewelry in. 2015. Lena graduated, from the George, Brown College, jewelry. Arts program and since. 2018. She has been our studio technician, for digital, technologies. Paul. McClure is a Canadian, artist and designer of, contemporary. Jewelry. Contemporary. Jewelry his work is represented. In private. And public collections. Including. Montreal, Museum of, Fine Arts Canadian, Museum, of, History, Design. Museum of, Barcelona. And National. Museum of Scotland, he, graduated from NASA University. In Halifax with, his BFA into the in, 1989's. Colum, Masana Barcelona, Spain in 1990. And, an. MA, in. In. 1999. From, the National College of Art Design Dublin, Ireland, his. He, exhibits, and lectures throughout North America Europe, and Asia an, additional. Two maintaining, a studio practice, poi is also an educator, writer, creator, and, community. Arts event, organizer, since. The year of 2000, he's been a I'm professor at the jewelry studies at George Brown College and has been coordinating, the program since 2014. Paul. Has received the city of Rothman Award a Governor General's Award which, is Canada's former, distinction, for excellence in visual arts and. Next. We're going to have a as. Matt mentioned we're going to have a brief presentation from. Each. Of, our panelists, about their, work and the practice, and then we'll start, our panel discussion okay. First up would be Karina can. I just ask a question yes are we going to be able to see on, that screen those okay. Now. There was a. Okay. I will start my, name is Karina Osric and I'm really honored to be here today and share my story so. The first thing which represents, my war. It's not my work I just borrowed it from Internet but, it just shows how little I knew before I started my studies at George Brown in the, jewelry art program, and there's, a church year, student, I was already capable to. Fabricate. Pieces like this so the piece on the left your. Left yes those, has a fully, hand fabricated, earrings. And because. It's so difficult to achieve perfect symmetry I would, get it I would use a trick and make it asymmetrical the, ring. On the right is actually, my first attempt of Art Camp cat now. Those two pieces are my, jewelry, after I graduated, school and I had to outsource cat, designers, why because I didn't have access to the software and to the equipment and it was very challenging to communicate, with people who were making it for me because. It. Wouldn't be quite what I imagined, in my head now. As a time passed by I came, across those images and this is work of Eric, Stewart American. Jewelry, designer and his, work blew my mind, why because I couldn't explain to myself how. Those pieces are made and I. Knew that it's not art can the program, learn, and I definitely knew, it's not. Hand-fabricated. Now. Other, two designers also, were, the turning, point in my life when I saw those images and I, was completely blown away by work of Stefania, who Chetta an Italian, jewelry, designer she's, a pioneer of 3d, printing, and 3d.
Prototyping. And Jazmin, Watson, is a New Zealand Ian designer. Now, after. My research, I found out that the software, they were using is the rhinoceros. Is, a very powerful 3d. Modeling software used. By architects, and designers, and, also, product. Designers and engineers and. This. Program was adapted by jewelry, industry because. Of its precision now. Those are my very first, attempt. To create my, own designs, in, the, software using, kronosaurus, and, it took me quite a while putting, all the time before I have, a courage. To actually bring something into the physical world because. It's quite expensive making. Things in gold now, this is as a further I would develop. A little bit more of a skill I was, able to incorporate multiple. Gemstones, in my jewelry and create. More, challenging. Casting, wise pieces, and. It. Was very satisfying because I was able actually to have, full control of a process. Now. As a time passed by I had, a baby and suddenly, I had no access to the studio I couldn't, make anything by, hands, and I, was looking, for solution, and if, first, year I was completely fine with that I was consumed, by a role by, the role of being mother, then. I found the solution what, I can do from home and there is a company, a great company, where I could just upload, my file and, two. Weeks later get, 3d, prints, at my, home without. Actually, using any, jewelry. Tools now. The bags. And a few years ago and I start using this company, they were offering over 20, materials, for printing, and one. Material, I just gave it decided, to give it a try was Nylund, because, it was relatively inexpensive. So, I thought I would give it a try because I never experienced. It and, I was blown away by its physical, quality, why because it's super wide porous, and I was able to create things which I would never be able to. To. Make through. Testing, in. Metal so, I was able to create those shapes as you can see, interlocked. One sphere. A night inside, another one and very, wellness. Hollow. Shapes, now. Because, of the physical, properties, of the material. I am very limited on the type of the jewelry I could create, so. The others think I could make wear pins and the, colors you see have nothing actually to do with the digital world I would, dip dyed and. That, allowed me to create to, give it a little bit of a one-of-a-kind, quality. To each piece because. As you can see they are identical. To each other except, the color and this. I was used fabric, dyes and that, allowed me to make it each piece unique, because. I would dip dyed and I would use it's completely, a hand, dying. So. Now after a while I had. I. Could. Go back to the studio and I put back who, could go back to the material I'm very comfortable with is metal. And. I. Could, actually create. Now much more complicated, shapes and forms and as. You could see through the multiple. Of the images. I always. Was fascinated with the color and metal. Is much more difficult to. Work. With and achieve different color but, because, I was able again to build it in the computer I was, able to create. Different. Topography. And, actually. Achieve, different colors, so all the pieces you can see on the screen I actually sterling, silver but. Because I would use different metal. Finishing, techniques and. Gold. Plating I could, actually make them each piece individual, and different, from each other and it, was very satisfying now. I have to say a few words, on other, 3d. Modeling, software available. On the market and one. Is a fusion 360, it's, a cloud-based software. Another. One blender, is a very powerful software, as well and the, most important about this software it's offered, for free, now. To other softwares 3d, coat and ZBrush, those. Two softwares, can actually do something which rhinoceros. Can they, can, create. Organic. Shapes human, faces animals. And as, you, can see very intricate, jewelry pieces. This, jewelry piece is made and by a Thomas wittle buck he's the legendary in a ZBrush. Community, now, those images, are my very last. Projects. And the. One, on the top left, is a real, and I'm. Trying to incorporate. My. Skills, with enameling, which I never did before so. I'm really hoping to be successful, there and so. I have many projects, on the go and. It. Looks like I have to wrap up the, time passed by so fast so. Thank. You. Thank. You Corinna Valerie. Naeun up next, hi. Everyone my name is Valerie Lambie ow I'm a designer. And goldsmith, and in, 2018. I graduated, from the George Brown jewelry, Arts program and, this. Past academic year, I've returned, as a designer, in residence assisting, in the Rhino classroom, and Rhino labs actually assisting, Karina and her classes. So. Just a bit about me I, was, born in the Philippines and raised on the west coast of BC so. Naturally. The beach is my happy, place and it's a constant source of inspiration when, I'm creating, and designing my jewelry so.
I'm Just gonna show you a few, pieces of my work and how I use digital technology. In creating, some of my pieces. So. As a student in the George Brown program. I was really engaged and, eager. To learn everything I could about traditional. Goldsmithing, and, hand fabricating, techniques. This is me pouring my very first cuttlefish. Casting, and the. Final finished, product is on the right, and, what. I love about making jewelry is really the the tactile, and handmade, aspect, of the practice and. There's. Also a sense of pride in creating. Something entirely, by hand and without any you. Know digital assistance at first. But. As I progressed in the program and my, designs got a little bit more complex, and maybe I was trying to meet certain. Deadlines, or wanted, to make a uniform. And consistent, form. I really, embraced, any. Digital, assistance that I could get, especially. When creating the final thesis. Work in the last year of the program, so. For example, a. 3d. Sorry a hand, fabricated, gold. Ring that you see here, is entirely, made by hand but. I was not able to achieve a, specific, pattern that I was referencing so, I used a digital file to create that texture. And then etch it onto the metal and to. Achieve that texture, and, to. Me the. Digital, aspect of a jewelry practice, isn't just to make things quicker, it, also, opens up a lot of possibility, for experimentation. Playing, around with alternative, materials, rather than just the precious, metals that were always, used to in this field so, these are just some fun laser. Cut acrylic earrings, that I've produced. And. In my practice in particular I. I. Use. The, digital assistants, in prototyping. And helping. Me to achieve my final, design, maybe, a little bit quicker, and a little bit more precise and have a lot of control, in that process so. These. Are those. Were prototypes to this eventual, product which. Were made using a laser-cut, matrix, dye so, the outline of the earrings, will always be uniform, always be the same but the. Finishing. And the texture is all applied by hand and, I've created a handmade. Piece, of jewelry in the end and I. Still I continue. Using the technique, to create these custom bridal, earrings for a client and again, with that control, of the digital, technology I'm. Able to work, with my client, to give her exactly what she wanted for her big day and. In. The summer of 2017. Before, my final year of the program I was selected to go on an internship in Sicily, Italy where. I was placed in a small jewelry. Studio with, that, was run by all women it, was a wonderful, enriching, experience, but really, this is where things kind of clicked for me and I, really understood, the, real-life application. Of the, technology in a, jewelry, studio so. This small studio, in a very small town was able to produce everything, in-house and not have to outsource any. Part of their process thanks. In large part to their in-house. 3d printer which. I happily used of course and, when. I returned from that internship, I came back with a lot of confidence. And, just comfort in, using the Rhino software. In. Being. Able to take on custom, work and custom, clients, and again. Being able to deliver exactly what they want for such a big investment. And. For. Me I also use the software, to assist, myself. In the, later stages of the productions, such as gem, setting, which, is typically outsourced, by most jewelers, but, for me because. I have so much control in modeling, my piece I'm comfortable. With setting, all of my stones myself, such. As this you. Know these eternity, bands that I'm planning to produce. This. Technology. Also allows me to partner with companies. And. Create. Branded, branded. Products, for them and it. Also allows, me to have a very predictable. Estimated. Delivery, time, so I can you. Know deliver what, they what they need and I. Also work with visual, artists, in fabricating. Components. Of their, installations. This, is a Canadian artist whose work you see here is up in Taipei. At the moment and I created, the. Hardware. Of heat, of his flow eggs and, although I didn't 3d, print these items I had. Fabricated them I still use the software in communicating. With the client to give, him exactly the. Dimensions, that he wants and same, goes when I'm working with fashion, designers I'm currently. Working with a young designer in. Creating. The gold components. Of her earrings, and visually. The software also lets, me render. And give, her a visual of what, the final product will be and these.
Are All handmade. By artisans. In Brazil and I've. Produced. And fabricated, the gold components, that go with them and. Aside. From jewelry, I'm also trying. To broaden my practice, and not just wearable. Items but also small. Objects. And this, is a recent piece I made, that's, a reversible, candle, holder slash. Dish. Or container and I, have plans to produce, this in different colorways, and, different. Coloured acrylics, and pearls. My. Most recent work is available. Actually right now at the TIFF Bell Lightbox gift. Shop as part. Of the year-end, graduation. Exhibit, of all of the jewelry, jewelry. Students graduating, this year so, you can go and check that out until May, 5th and, I. Appreciate. Your time thank you so much. Hi. My name is Lee Nam ninamarie, Avendano I am actually. The jewelry, digital, technician, at George Brown College. Today. We are talking about digital innovation, and jewelry and my partner's start to say and present, they work. Many. People ask me why, did I focus, my studies, in jewelry as an industrial designer well. For me jewelry, is a development. Of. Industrial. Design in small skills, it challenged. The. Exploration, of new materials. And technologies, is. Actually, a high. A. Highly, connected with ergonomic cost. Talk with the customers, and also. Is. A foreign, to create. A new product the same the. Challenge that the industrial, designs have dialing, for. Me InDesign has these, four elements that, is important, for no matter what is the design, functionality. Where, how why. Morphology. That is the. Shade the form and economics. Bodies, piece and production. Materials. Process. And equipment, for. These in. These images we can see the inspiration that is a puppy and then we start to. Collect. The shape and. Clarify. And clean the, form, to, produce the, shape, in, this, image you can see how actually, my work for. These parts of years is inspired, by the, morphologic. Of the, nature that is, most of the time, by.
The. Demonstration, of my work. Also. You can see in these colorful. In. Materials. So. This piece it was my first piece that I make for as, a technology. Piece, it, was made it by laser-cut, and 3d, print in different, materials I use, plastics, and I use metals. To. Try. To achieve the lower calls for these pieces I changed. Kind, of. Materials. As acrylic, because, laser cutting metal, is a little bit high. Cost and also. I use. A 2d, print in cast, today, also after. It was. Casting. By, the house. After. After. These as I, you can see in this image I start. To, explore. A little bit of the shapes, of the wings of the butterflies. The. First, image you can see that it was a hime a piece. Then. It, was. The. Product from the laser. Car company. To. Achieve this forum I. I'm. A paper because. It's not absolutely. Done for. The. Laser-cut. Companies. After. That I start to use a different kind of shapes and then. I use the rotation and, I start to be an assertive, forum, for. To. Try to achieve, a different kind, of shapes, so. So. You can see here in the design that is I, use a rotation, and I use a different, kind of colors that. I only did we had killed the same design, and I add a texture, that. It was aligned that it was cut it for. My last pieces, that I designed other in the other. Artists. In residence, at George Brown College. It, was a very difficult, piece, to me. Because. You, understand. And I got, the part of the ergonomic, they. Have to be a, costume. Mate I. Start. To explore forms, and shapes and. Try. To use, my partners, on my co-workers, our servers, on, my customers, to try, to, see. If you the piece was comfortable. And it was our gonna make for the, part -. The. Part - to. Sustain or support the the, aircraft, in in, the air I. Use, the same shape. The. Only part, that I actually I created. Differently. It was. The. Supports on the ear. From. This part I understand. That. The materials, is actually, is a challenge, sometimes, the. Thickness, if, you. We need depends, on the design that you want to do. You. Need to understand, what is how. They how, the materials, is actually, affected, now that I am in George Brown and in these technology, is available, for us, to. Attack the, two 3d printers, that, we, have right now that for 3d printers - for lamps and to, my craft, I. Start. To experiment, a. Different. Kind of soft words and different. Kind of materials, and also. So. The students right now they, are using vinyl on Adobe. Illustrator, to materialize. Their. Designs. So. What a my work is to. Try to understand. And achieve, what. Is the goals in the designs, analyze. What is the difficult. And critic. And critic. Points, to 3d. Print or to. Cut their. Designs. So. For my craft we have this award that you can see it there and, for. The right, for, the right now we have another. Kind of software. From Chile informal, form lots and, for. To, attack we are using Rhino, on illustrator. So. For each technology. We have a different, materials, that I have, been. Kind. Of. Difficult. For the. Environment. Sometimes. Different, material, i'll. It.
It's. The. Material. Is actually come there. Come they. Each. Material it needs to it the. For each. Material. Works, in different form, depending. On the. Depending. On many kind, of, elements. That is going around how. Actually, they dry how, actually, is cure which. Is a material heat. And. The shapes how actually the shapes is, affected. The. 3d print and how Annalise can, be or used a different kind of angles so. For, me this year I have been a challenge, working. Now as a as, a, part of the. Agility. Technician. Because, I have to analyze most of the time and prove. That in materials, is gonna work for the design so. For the students I think is the best way is to, understand. How each machine, is working plus, with all the, materials. I it's. Gonna, work. For each, kind, of design. Thank. You so much. Thank. You. Hi. Everyone my. Name is Paul McClure and I'm the professor. And program coordinator, at George Brown and. I'm gonna I've split my presentation, into two components, the first to talk a little bit about our program the, first happen that I'm going to talk a little bit about my own practice so here you see, our. Jewelry studios and we, teach traditional. Goldsmithing. Skills. That's our history but we also teach. Digital. Technology, so we have the, classroom and then we have the lab and. Digital. Technology, for jewelry, has been around for a while mostly. In. The model making side of the. Of the business, so, we teach hand hand, carving, that you see here but we also teach. The. Production. Of models, through, technology, and you see sort of the process here, so a ring is designed in the software then it's 3d printed, up top and you get a castable. Wax, model, which, then has to be a. Lot. Of handwork has to be applied to it it's not a magic, tool that, you can just create, a piece of jewelry there's, stone setting there's finishing, and and. A lot of really fine skills I'm. Going to show you a little bit about our senior students, work who work both in traditional. Skills that you see on the left. And some. Digital technology, so we. Have a production, project, where we get. Students to work with, 3d. Printing, such as this piece on the right. Which. Fits into the whole sort of aesthetic of the collection, but this one is printed in laser. Centered, nylon, and then, there's some handwork added to it with the handset. Pebble. In. The bottom right hand corner. The, laser cutter which Lina brought up already is another tool that we use, and. The issue, with this tool is that everything's two-dimensional, design everything's flat and so, the challenge, here is to, create designs, create, jewelry that isn't, necessarily flat another. Advantage to it is that you can work in separate, Mitch alternative. Materials, like textiles. And wood and acrylic. These. Pins on the right for, example are done, in acrylic, the pieces on the left of course are fine goldsmithing, but, the ones on the right also.
Take Advantage of powder making which, digital. Technology, is really fantastic for the laser cutter in particular. This. Piece which I'm wearing now in my lapel is an. Example Agnes's. Work which deals, with themes of computerization. She's. One person who, was able to kind of. Overcome. That flatness, of laser. Technology, and use. The laser to create modules, and build up 3d form. Now. A third area that, digital. Digital technology, influences, jewelry, at the moment is wearables. Wearable technology, and we've, just really dabbled. In this a little bit through a couple of Applied Research Projects. This. One here is a triode, 'life bracelet. Which. Was a project. For Alzheimer's. Patients. Now, that the technology is getting small enough the electronics. We. Are. Starting to have ways. Of using it and and actually I'm going to be going off to Kia, Copenhagen, School of Technology where. They have a particular, wearables. Lab tied, to their jewelry department to, find ways that we can link these two together. Onto. My work these things go fine. My, work is is is about the body it's. About the body the, content, but it's also for the body so I'm going back a little bit here to show you how. How. The body is this important, part in my work first, off with the x-rays, that you saw there and then, I moved into sort. Of digital, imaging. Particularly. Visual. Images of the body and. Microbiology. Micro cells in these, enhanced. Electron, micrographs, of chromosomes. Up on the top and then cells at the bottom and the, pins that are used for those or that are inspired by those then. I was looking sort of about how, the. Digital how, the body is digitized, in our contemporary. World and. These. Rings come from. Having. Clients, DNA, sequenced. Receiving. These numbers that you see on the right on the left rather and then, creating, a pattern that's wrapped around the wedding bands and this. Too also comes from chromosomes, I had my own DNA sequenced, and created this sort, of metal. Sketch that you see up at the top left and then, use that with. The help of Leena, to. Create. Some of these big chromosome, neck, pieces. In. 23, 23 pairs like the chromosomes, antibodies. Is another muse the the, image you see of the antibodies, here and these rings. Take. The form of the antibody, it's kind of like a mule etic jewelry, right antibodies. Are in us to protect us and fight fight, for us in our immune system and these, rings were the first pieces where I really, started to look into how, to use. Additive. Manufacturing, not. Just not just casting, so, the, pieces. In the middle are dyed. Laser sintered nylon and the pieces on the left are. Laser. Centered, steel the. Problem with those is the, surface, of them that the the the, resolution and the surface of additive. Manufacturing is. Very weak. Still, it's not it's not a nice texture, these. Pieces went back to the to. The. Nylon. And kind, of use them in a combination. With hand skills just. As in with these pieces as well. Trying. To figure out ways of putting together the, the. The. Material in a way that's permanent, unfortunately. My. Conclusion, to date is that it's not very permanent it's a difficult material, it's not stable but. Luckily we have on the way. Finally. We have additive. Manufacturing using. Gold, and silver powders, so that we can start to print in in. These precious metals Birmingham. City universities the first educational. Institution, to have one of these machines on, loan from, Cookson, who, produces. The technology, and here's a little little. Video, it's. Kind of like. Additive. Manufacturing, porn. Video. So. Direct metal laser sintering as. I said is a 3d printed technology, that, takes the design file and slices. It into very thin layers but. Technology. Then rebuilds, the item layer. By layer, bypassing. Its laser beam across a thin sheet of fine gold powder and, melting. It into, the required profile. A. Fresh. Layer of gold, powder is then spread, again and the, process repeats, itself until the item is printed, which you'll see here. The. Ability to design and produce really. Geometrically. Complex, and even ultra, ultra, lightweight designs. Whilst. Potentially, removing, time-consuming. Steps, in the production process, cutting, out the need for tooling, cutting, out the need for molds, and minimizing. Waste means. That the 3d printed printing, technology.
Now Can, transform, sectors, of the jewelry industry and. And. We'll, see how this is how this is going to play. It at playout currently. A machine, like this is, about. Four million dollars. But. You know it'll. Come down fast. Enough. So. That's. Where we're at on the technology, and looking forward to exploring, that machine myself, and the years to come, thank, you very much. Okay. So. One. Of one, of the questions that, I was gonna ask you is how digital technology. 3d. Modeling 3d prototyping, and CAD, has shaped. Your, practice. Professional. Practice, in recent years and. As. If you got the memo everyone, already actually talked about that in the presentation. And, if there's, anything. That. I would, like to say a couple words me, as a one-person. Company I have now my company core my right it's. Allowed me to actually create, a full collection and just. Being, able to offer, something, to the stores and at the shows and just not. Outsourcing. Anybody, but. By just using the technologies, it's amazing, because now I can actually plan, ahead and it, gives me certain, timeline, which. Makes it very comfortable. To. Run business like that on your own right, so it's a great advantage for small. Entrepreneurs. Yes. Exactly, companies. Like shapeways right right and make it possible yeah and jewelers are very comfortable, running, small businesses yes. Because. If. We can move on I like, to ask you because. You've all involved, in jewelry education, in various capacity. Right so. What, kind of challenges. Or opportunities, are. You or. Advantages. You seeing in having. Digital technology. In in. Education, particularly in jewelry, education, I. Can. Start there yeah I, think. One, of the things that's very interesting where, we are at at, this point is a lot, of our. Students, come to the college come to our programs, because they they, want to make things with their hands that's. The majority there, they're there, they're actually, not. Or, they're, even turning away from the digital because they they really want to produce. With their hands and we're. At this place where we have to it's. Imperative, that. Some. Digital, skills are acquired. Because. That really is the future of the industry so. Getting. This balance I think is is is is a challenge. Convincing, students. Or training. Students, that, they need to spend the time to. Learn. Software. Which can be really quite demanding. And quite the learning, curve can be quite high quite. Long. Because. Until, you have those software, skills you can't get to the making, and, or, designing or, designing. Or designing, but but it's the making that that I think a lot of the the, the the. Classic. Creative. Maker. Wants. To go into this area, because they want to make. They. They. Do also, design of course but but getting to the making part of digital takes. Quite a long time once, you get there once you're able to design and and, create a model, then. You actually start, playing with the machines and, getting. Getting getting some, actual, physical, product, in your, hands, which. Then of course as I was saying sort of needs needs a little bit of finishing. Needs quite a bit of hand fabrication, afterwards but that's that's the crux, of like getting getting, this. Getting. Us to the place where, students. Are. Comfortable. With, the digital to design to, get them to the making is is, is one, challenge. Just. To add to that just because I'm right. Now our in the past year I was assisting, in the Rhino tutorials.
And, Seeing. And hearing the students and. Their reaction to the software, firsthand. There. Is that initial challenge. Because they're so used to working in the physical space that it's hard for them to navigate the, digital. Space but. After, they overcome. That initial. Block. I, see, a lot of them I guess embracing, it maybe they learn how they and render their, assignments, a little bit quicker using, the software and, I. See, I think I see that as. Positive in, the end yeah, I. Think. Sometimes, more than the challenge, is an opportunity to, improve, designs. Like. His in terms of shapes, for. Example wanted they wanted to cut or they wanted to print and they. Feel, like is they're falling, apart, the, pieces they, say okay how actually I can improve my design, to be better in, that area I. Think. Is the. Program has run in to be a digital, part it's. Actually. Improve. The. Logic, and the thinking. In the students to improve the design and be better and to, where, the, pieces for the person that, is gonna be. There's. Also less investment, in like the material, where. You can continue modeling, in 3d and. You don't have to consume, a lot of the of, the metal. So. That's also an advantage in the in the software in. Terms of, sustainability. And and friendly to the environment I, think, yes. The Cheetos. 3d. Modeling is definitely, a. Good. Eight, not. Only indirect prototyping. In production but also in fabrication, which. Works, very. Tightly with the with the hand skills their students are learning right. If. We. Can. Move on to another question so now, what. Kind of future opportunities are you seeing with. Digital, technology, for, education. Particularly. Not, not. Just the. Skills that we're teaching but. How we teaching it in, jewelry, education. As well. As, for. The industry, at large to jewelry industry at large because we've been talking more about digital. Technology. Applying. To jewelry making and designing and. Not. As much as a tool for teaching. In the classroom and outside of this classroom. Well. Certainly in, terms of. Increased. Size. Of. Classrooms. For example. Video. Technology. Which, is didya, digital. The. Ability to, project. Video. Of demonstrations. To students, so you can have a room, of 60. 80 people. And. Then access, to that that, video afterwards, is certainly, a big benefit of digital, technology, in the classroom. That. That's sort of access, I guess the, access, to you. Know it's not like. 10. Years ago or 20 years ago where where, you'd, have a small group of people around a demonstration, bench, and you, know if you were if. You were couldn't. See over someone's, shoulder you, then you didn't dad had a hard time learning what was going on and so. So, certainly that that has a big, benefit, and that we're. Able to also. Sort, of log a lot of these. Teaching. Tools. And. Also I think that offer, a lot of choices with different learning styles, as. Well for students. Anyone. Else I wanted, to say that it's also for example for rendering and the representation. It's, a great tool because now, students, who can't actually draw by hand will. Be able to make. A great great realistic. Renderings, just by using the software we are teaching and that's, also I think it's a great, advantage. Kind. Of levels the field in terms of professional. Presentation. Yes, because not everyone can draw, by hand and this actually gives, the opportunity for people who can draw. Brings. Their pieces into the real world and I communicate. In the right way and being. Able to represent what, they have in mind on the paper, yeah. And I think that expectation. Is there too right in terms of clients. That. When. You're out there, as. A jewelry designer and maker your the. Expectation, of people is you're going to produce, beautiful. Photorealistic. Images, of. What this, person is spending 5 or whatever, thousand, dollars for, an engagement ring they, want to see what, does it really look like. They. Don't want to see you, don't you don't spend any money before, you actually before. The client come in before. The client commits to, the design and, it makes it much easier and smoother, process they. All already know what to expect right, the. Clients when. You can give. Some the renderings the digital renderings which looks very realistic many, companies use it as as, an internet vert iseman and it's. Actually, digital. Renderings, and not a real jewelry, it's. Kind of a cheating in my way what well. And it's that that whole thing kind of leads to you know that the advantage, of not having to.
Keep, An inventory exact. Right yes. Not having to spend all this money on having all this inventory of gold or platinum, gemstone. Rings but. You, have realistic. Renderings. And photographs, so that you can. Present the work without actually, presenting. Physical work and investing, all that money and in a way eliminating. A lot of processes, the material, in between I would think as well like traditional, casting, it takes, wax to. You. Car for wax you make a mote out of plastic, right, and then it takes. Seven. To ten hours of burning out in, a kiln using energy and then. We have to use heat. To melt the metal to. Throw it into the cast casting, mode right and then, and then finishing, if. Jewelry. Industry is, heading direct printing, in the. Direction. Of direct printing then a lot of those processes, and materials. Would. Be able to be eliminated. In. Terms of, usage. And, also, a lot of those materials are not necessary, that eco-friendly, right so, in terms of being, sustainable I inferni. To an environment and and and, eliminating. The process I think that's also. A great advantage, of 3d printing, particular, in direct metal. Any. Other addition. Should we open the floor for questions, I. Know. It's very specific. We're talking about something, that's very specific there's, a lot of sharp talk here but if anyone wants, a more clever, clarification. For. The inquiry yes. Is. It possible for someone, to, take a photo of a, ring. That no longer exists, and. We. Can create very. Similar, very close to the picture, yes. It's possible as long as we have a picture from the different, views so you have an idea how it looks from different views, then, it's very possible yeah. Yeah. That sort of work has been going on like with insurance, companies there's, often jewelry, insurance companies, are also. Manufacturers. They'd. Act because. They they're, the ones who have initially, required the photograph. Of the piece to insure it and then.
It's. Recreated, from a photograph, in order to replace, things. That are stolen, yeah. I'm. Just curious for the instructors, where, do you see the the future of the education, part. Of the digital sphere. Of, technology, going like do you see that you could be able to teach online. To. People in smaller towns who don't necessarily have the funds to move to an expensive city and, be able to teach them online how to like model and how, to produce the jewelry I. Have. A couple words about especially learning how to use 3d modeling software there. Are a lots of material, available online right like, you can actually, educate yourselves that's what happened to me all, I did I took a three day course and then, I would educate myself by using resources, online, so, it is possible just, to learn yeah. But. What. I what I just wanted to say was only to compliment you have seen the program over the past couple of years and I think that you as instructors, are artists, and I think that that is a valuable component more than just the, technical abilities, but how do you teach people how to make art. Along. With those technical, skills. There's. No doubt in my mind you there's. There's room and there's places, to find where you can move some, content. Online and, you. Can. Reach. A. Broader. Base. Of students. Ur. Internationally. And and and we, just simply can't come into a physical. Space but. But. There is, there. Is really it's. Not the kind of program that could. Ever go totally online not. At all there, it, really there's. So. Much in our program already has. To happen. One. On one not even like ten on one and, even. Though you know we're in a environment. Where we're being asked to do 40, on 150. On 160. On one meaning, one faculty member but. In order to bring the caliber, high enough like some of the images. That you see up. There of graduating, students. They're in a program that's only two or three years long, versus. You know a European, model of seven years so. We're trying to do in three years what's done in in seven, years traditionally. In a German, goldsmithing. Program, so. That. Work I really, don't believe that work could happen. If. It wasn't for that one-on-one contact. Surely. Skill, how, to use, the software how. To solder. In, some, set situations, those could be documented, in video and taught. But. The finesse working. With the material. Actually. Not, so, much about using. The software, but how to design, a. Functional. Piece. Of jewelry that's, also a set aesthetically. Pleasing and. Have concept, story. Enough to exist that. I think, takes the human contact, and it takes. That. Coaching, that, we. Not. Using, in our existing, or. Experiencing, in our existing, education, system, so far, let's. Put it that way I can't say about the future yeah, nobody's, taught figured, out how to teach creativity, online. It's. Hard enough to teach creativity, in, person. Under. My experience, I think is you need to touch the, materials, and you need to see. Why. How, words because. Even though if, the, sister Lin silver, is a steel, its. Goal, is, copper. Is brass all, of, the materials, they. Works, in different, in. Totally, different form one a you cannot solder when you're gonna cut it one, you're gonna bend. It so. You. Can teach stuff. From, online of course. Rhino. Illustrator, that, is all the tools but I you need a logic. Think. To. Design, pieces that. Is something that I give you the school when. A you process, about. When. You do that kind of process and design and make, and touch it and feel it, and see, it. All. That alterations. That you can make through. One a good process and develop your, your, pieces you only, can see one, of you absolutely, you are approached, with the material, is. It's. Totally fine to have videos. Right now we are in the area that, are you can you to everything. But. It doesn't mean that. You can make it sometimes. You need the experience to. Do something, you, need to experiment, a you, need to try you need, to fail you need to do something with that material to, see that it actually is working, for. The design that are you doing so, I feel, like is you can combine but. I you need the. Present, the, to, be present, in that. Moment to. Make it. Because. Some, of for example of my pieces that. I cut with laser-cut, they. Give you in. A, rush. Piece. You need to finish in. No. Matter how you need to be presentable, that. Is jewelry it's present, something that is perfect, for, point, of view. Any. Other. Questions, from the audience. Very. Good thank you very much for. Attending Thank. You panelist. Thanks. Very much everyone wink a Paulina. Valery and Karina much. Appreciated. You.