COLOR

DESIGN ELEMENT 3: COLOR

Color is a complex, vital element in jewelry design. It evokes emotions, defines shapes, enhances theme and adds contrast to a design. We all have our favorite colors and are drawn to designs with the colors that please our individual temperament.

This section explores the complex topic of the use of color in jewelry design. It is broken down into six manageable parts.

Section I is a brief history of color theory including a 1949 color wheel with basic definitions of color terminology.

Section II explores how enameling is used to add color to jewelry.

Section III provides examples of how rhinestones are used to add color to jewelry and the importance of specialty stones to add color to jewelry designs.

Section IV discusses how color enhances theme, defines shape, and adds depth to jewelry designs.

Section V is a brief overview of the psychological impact color.

Section VI defines the most popular types of plating. Plating adds color to jewelry. It can be black, silver, gold, or a combination of silver and gold. It is a design choice based on the overall look of the piece, the requirements of the brand, and the type of metal used in the manufacturing process.

Section I: History of Color Theory

Radiant energy comes from the sun and is either reflected or absorbed by an object. Our eyes sense or “see” the colors that are reflected off the object. In jewelry, the reflective properties of the object can greatly impact what the “eye” sees and how colors interact with each other. For example, a faceted rhinestone reflects light differently than a cabochon stone.

The color spectrum is the light that is visible to the human eye. In 1666 Isaac Newton, while working on a telescope, observed that when sunlight passes through a prism a rainbow of color is visible. Newton observed seven colors in the rainbow: red, orange, yellow, green blue, indigo and violet. (In subsequent years, indigo was eliminated leaving the six colors of the rainbow we are familiar with today.)

Color systems were developed to categorize and understand the relationships between colors. A well-known system is the color wheel. Different versions of the color wheel have been developed but their basic principles are the same. A 1949 Munsell Color wheel is shown in Figure 20.

Regardless of the version, the color wheel has three primary colors: yellow, red, and blue. Figure 21 shows a Corocraft crown pin with primary colors red and blue. The primary color red stone is the dominate color with the smaller, blue stones providing contrast.

Secondary colors (orange, green, and purple) are made by combining the primary colors red, yellow, and blue.

Red + Yellow = Orange, Yellow + Blue = Green, Blue + Red = Purple

The Nolan Miller butterfly in Figure 22 is a lovely example of secondary color purple as the dominate color in a design.

The intermediate colors or tertiary colors are placed on the wheel between the primary and secondary colors and consist of a combination of a primary color and a secondary color. The Ciner lizard pin in Figure 23 is an example of a tertiary (yellow and green) enamel design.

Yellow-orange, red-orange, red-purple, blue-purple, blue-green, and yellow-green

Complementary colors are any two colors opposite to each other on the color wheel. In jewelry complementary colors create contrast. To mitigate this contrast often in jewelry design one complementary color is used as an accent to the other. The Coro clip in Figure 24 illustrates this idea. The red enamel accents the green center design.

Analogous colors are any three colors next to each other on the color wheel with one of the three colors the dominate color. Yellow, yellow-green, green are analogous colors. The Coldwater Creek Christmas tree in Figure 25 is decorated with analogous colors.

Rhinestone colors in jewelry are often next to each other, in varying shades and tints. The result is harmonious and helps to limit the number of colors in a design to control the costs. The more colors and the more specific the placement of each color, the higher the labor costs.

Tetradic colors are two sets of complimentary colors that roughly form a rectangle on the color wheel. Complimentary colors red/turquoise, with complimentary colors orange/blue are tetradic colors. Usually, tetradic colors are too complex for costume jewelry designs. The Trifari enameled scarab pin in Figure 26 is a rare, especially vibrant example of tetradic colors.

Monochromatic color schemes consist of one color with limited tints and shades. The light reflected is all the same wavelength. Many beautiful costume jewelry designs, like the example in Figure 27, rely on monochromatic color schemes partly because monochromatic jewelry designs coordinate easily with fashions so they are easier to wear.

Today, with the almost limitless supply of color and color variations, the graphic representation of the relationships between colors has been expanded to include the amount of tint (white) and shade (black) added to color. The relationship between colors is no longer a circle but a grid. Paint strips are available in most paint stores showing the relationship between colors and the huge variety of shades and tints available.

Section II: Enamel

Decorating jewelry with enamel is an ancient art that has been available to jewelry designers dating back to the 11^th century. It is a great choice to add bright colors to jewelry, especially in tight and small places where stones would be difficult to place. Enamel is a durable finish that lasts for decades and does not fade. It is a flexible medium that can be employed to add a simple outline to a design or be used as the point of central focus in a design. The range of colors and textures is almost limitless in the hands of a skilled enamellist.

There are many, many different types of enameling and over time the terms have become muddled. In terms of collectible costume jewelry there are two main types of enamel: Vitreous enamel and resin paint often referred to as “cold enamel.” Most costume jewelry “enamel” uses one of these two processes.

Vitreous Enamel

Vitreous enameling is the fusion of glass to metal. It is a compound comprised of a combination of materials. For example, one formula for a vitreous enamel might include sand, red lead, soda, or potash. The selected materials are then melted together to make “flux”. Flux has a slight blue or green tinge and is used as the base for colored enamels. Enamel colors are made by adding metallic oxides to molten “flux”. Once the enamel is colored, it is ground into a fine powder for easier storage and use.

Beautiful glass enameling adds value to jewelry.

In jewelry most vitreous or glass enamel is applied by sifting the powder over a prepared surface or by “wet packing” the powder into channels. Enamels can also be applied like a watercolor. A small amount of powder is placed in a tray and a few drops of distilled water are added. A brush is used to mix and apply the color(s). If the color is not strong enough, another layer is added. When dry, a thin coating of “flux” is used to cover before firing.

The Fred Block floral shown in Figure 28 is a beautiful example of 1940s era enameling using vitreous enamel with the look of watercolors. To achieve this look, water is added to the enamel to thin it. The more water the thinner the enamel and the lighter the color. A thicker enamel is used to add outlines. More than one color can be used in the design. The little bubbles of the enamel are visible from the back of this piece.

Vitreous enamels are categorized as hard, medium, and low firing. If a design needs several colors of enamel (each is made with different combinations of oxides), the hardest enamel is fired first, usually for five minutes, and then cooled to room temperature before a new color is added and fired again. Enamels are further classified as transparent, opalescent, and opaque. Transparent enamel allows the metal to show through; opalescent enamel is semi-transparent and opaque enamel covers the metal.

Working with enamel requires great skill and careful planning. The composition of the metal used is important because metal shrinks and expands with heat. The colors are tested on the chosen metal to determine the correct duration, temperature, and order they are to be applied for the best color result.

The more colors, the more firings, and the more expensive the process.

The cost of producing jewelry with more than two colors of vitreous enamel rises exponentially. To reduce the cost of multiple firings, most enameled costume jewelry designs use no more than three colors that include different tints and shades that can be fired together or that require a minimum number of firings.

In 1973 Eisenberg, a well-respected brand of vintage costume jewelry, launched a design group called the “Artists Series” featuring exquisitely enameled pins, necklaces, bracelets, and earrings. The designs were inspired by famous artists including Braque and Picasso. The Eisenberg turtle pendant and earrings in Figure 29 is part of this series and features six colors of vitreous (glass) enamel. The surface of this set is hard, shiny, and vibrant and a wonderful example of high-quality glass enamel. (See more examples from this series in Chapter Two.)

In the 1960s studio art (art made by individual artists and sold in studios) was popular. Kay Denning was a studio artist who sold her hand-made enamel on copper jewelry designs through the Bovano Art Studio. Her distinctive designs often featured globs of glass (vitreous) enamel and recognizable white enameled backs. Denning’s designs, like the necklace shown in Figure 30, often included geometric shapes. Ironically, her unreadable signature is an identifiable trait of her designs.

Some brands, like Matisse, excelled at enameled designs. The two Matisse copper leaf pins in Figure 31 are beautifully enameled. The enameling is done in two colors: black and red or black and green. The black adds shading and dimension to the design.

Matisse made their enameled designs from copper because copper holds up well to firings. The back of these pins is coated with a clear enamel. This is called “counter” enamel and is done to eliminate stress to the front as the enamel cools. There is an identical pattern in the copper decorating both sides of the pins. The pattern was likely created in a machine stamping process that pushed the design into the copper from the front and the back.

Cold Enamel (Resin)

“Cold Enamel” is a misleading term. Traditional enamel is fused glass to metal. Cold enamel is an epoxy resin – not glass – with the look of traditional enamel. Epoxy enamel is a 3:1 mixture of epoxy and a catalyst that must be used within ½ hour of mixing.

The development of resins dates to as far back as the 1920s. Resin was used in the nitrocellulose lacquer used to finish automobiles in the early 1940s. (1949 Painting and Decorating Craftsman’s Manual Textbook p. 41) During the 1940s and 1950s the development of useful resins exploded. It is unclear when resins were first used to decorate costume jewelry, however, resin enamel paint was being used by non-jewelry artists in the 1940s as an alternative material replacing traditional paints, so it was available to jewelry manufacturers in the 1940s.

An internet article www.grosse.hk provides a comprehensive history of German jewelry manufacturer Henkel and Grossé that helps to date the use of synthetic lacquers (varnish) in jewelry.

Jewelry manufacturers in the 1930s and 1940s looked for ways to speed up the process of making jewelry and ways to cut costs. “Cold Enameling” would have been a tempting choice. It worked on many different surfaces without the need for high temperatures. In the hands of an artist, “cold enamel” can be so well done, it is difficult to distinguish it from glass enamel. However, in the early days, the finish was not as durable as traditional enamel, it scratched more easily, and did not produce the same luscious finish as glass.

To determine if the enamel is glass or resin lightly hold a straight pin vertically over the surface to be tested and gently move it over the surface. If the surface is glass, the pin will glide. If the surface is resin, the surface will be tacky.

The Trifari pendant in Figure 32 features colorful resin to simulate the look of stained glass. The design begins with a metal frame. A temporary backing is placed behind the frame. Then the resin is added. The backing holds the resin in place while it sets and is then removed.

Figure 33 illustrates an example of Trifari enameled jewelry from 1961. The red, orange, and green colors are matte, rather than glossy. The circles have gold tone edges that, unfortunately, show splashes of enamel that should have been wiped clean. A 1961 Trifari advertisement named this jewelry “Confetti” due to the bright colors. The same design concept was made in pink, purple, and shades of blue.

Today beautiful “cold enamels” like the Anne Klein enameled set shown in Figure 34 are available. Cold enamels are made in many different colors including transparent colors, opaque colors, pearlized colors, fluorescent colors, metallic colors, and colorful glitter.

Section III: Rhinestones and Specialty Stones

Availability of Stones

Many of the rhinestones used in early jewelry were imported from Austria and Czechoslovakia. During World War II rhinestone imports were curtailed by the conflicts in Europe; however, stones were not completely unavailable. Some large manufacturers had storehouses full of stones. They used them sparingly, but they were available. This availability is explained in the following excerpt from an article by Eduard Schwaiger titled “The History of the Production of Ornamental Jewels in Tyrol”.

In his treatise on the economic situation in Austria during the period 1939 to 1945, the Viennese historian Norbert Schausberger states, ‘The fact that the Swarovski company of Wattens continued supplying ornamental stones to the Gablonz industry without any interruptions must be considered a singular accomplishment. Until October 1943, the company still had an export volume amounting to 1.5 million German marks. This produced a significant amount of foreign exchange, which was greatly needed by the country at the time. For this reason the Swarsovski company was also allowed to continue exporting to the United States through Switzerland and Sweden.

The Schwaiger article was published in Cera Deanna Farneti Editor. Jewels of Fantasy Costume Jewelry of the 20th Century. New York, NY: Harry N. Abrams, Inc., 1992. p. 377

The Schwaiger article goes on to state that between 1951 and 1953 the demand for stones was so great they had to be rationed.

Rhinestones remain a popular way to add color to a design. The options are only limited by the imagination of the designer. The color wheel and modern color theory are useful tools when analyzing the way designers use color in jewelry design; however, the way the eye perceives rhinestones is complex. Rhinestones reflect light in ways enameled surfaces do not. The sparkle or brilliance of a stone is defined as the amount of reflected light the eye sees.

Costume jewelry designs often include stones of various shapes, sizes, colors, and finishes so that each piece reflects light differently. Understanding how stones behave in light is key to the success of a design.

For example, the three bracelets in Figure 36 each reflect light differently due the design traits of each bracelet and the reflective quality of the stones.

The top bracelet is signed Judy Lee. It features large, highly faceted, tear-drop shaped stones with an aurora borealis finish.  The aurora borealis finish, developed by Swarovski in conjunction with Cartier in the mid-1950s, gives the stone a rainbow effect that enhances the sparkle. The stones are set at an angle so that the line or edge of each stone draws the “eye” to the left and adds to their reflective quality.

The antiqued silver tone metal is exquisitely detailed on the front and the back of each link. Even the clasp is etched. The designer selected stones with foiled backs and placed them in decorative, basket-weave backs. The silver-foiled backs contribute to the cohesive design of the back.

The second bracelet is signed Kafin N.Y.  The goal of this bracelet design is to simulate the look of rare imperial golden topaz stones. The rectangular stones are faceted and held in place with decorative prongs. The settings are closed in the back which adds to the richness of the topaz color.

The light-weight capri blue bracelet below is signed Frierich. Oval and circular shapes are key to the design of this bracelet. The oval, faceted rhinestones are set in oval frames decorated with lacy semi-circles. The links are connected by three round, metal rings. The oval stones are unfoiled to allow the light to shine through and are set with fancy prongs.

The Judy Lee, Kafin, and Frierich bracelets all have monochromatic color schemes.

The Process

The process of designing jewelry with colorful stones is expertly explained in Memoirs of a Fashion Jewelry Manufacturer.

If we did multi colors, we tried to make each size a different color and the size was important in the color value, and how they were put together. Pieces were put together first in one sample piece with color in mind, and if it worked out well, then all the other pieces would be made in the group.

DeLizza, Frank. Memoirs of a Fashion Jewelry Manufacturer. New York/Florida: DeLizza Publishing, 2007. p. 44

Even with careful planning, this excerpt reveals that the designer must try the stones in the settings to see how the “eye” perceives the combination.

Author’s Note: Making each size a different color simplified the stone setter’s job. Suppose a design featured small round stones, medium round stones, and large round stones. If all the small round stones were one color, they could be quickly placed in the small round settings.

Specialty Stones

Specialty stones are stones with special colors, textures, or compositions. The popularity of jewelry with specialty stones peaked in the 1960s. Customers loved the unique look of the stones. Designers loved them too and were inspired to create jewelry designs featuring them.

DeLizza and Elster jewelry designs are renowned for their use of specialty stones. Figure 40 is a DeLizza and Elster pin featuring a specialty stone called a stippled cabochon. DeLizza and Elster used this stone beginning in 1963. The stippled stone added texture in the form of gold paint splatter to the design. The stippled cabochon in this example is called a “blue gold splattered” stone but it was also available in “coral gold splattered”, and “stippled multicolor”. The color scheme in this example consists of analogous colors (colors next to each other on the color wheel) blue, purple, and pink.

Information from: Pitman, Ann. Juliana Jewelry Reference DeLizza & Elster. Paducah, KY: Collector Books, 2010. Pgs. 18-27.

The overall shape of the DeLizza and Elster pin in Figure 40 is a circle. The point of central focus is the crystal aurora borealis center stone. The blue splattered cabochons are placed in a pinwheel shape. The “eye” is drawn to the center, enjoys the interesting, stippled cabochons and then follows the riot of color and shapes around the piece.

Additional Examples

Specialty stones were part of many jewelry designs especially in the mid 1950s and the 1960s. The following examples are a small taste of the great variety of designs built around these stones.

The green Regency bracelet in Figure 41 features matte finish (a finish with no shine) specialty stones enhanced by faceted yellow-green, smoke topaz, and gold (aurum) stones.  This is a rare tertiary color scheme consisting of primary color yellow (golden topaz and aurum stones) with secondary color green. The faceted stones are set at an angle to reflect the light and add sparkle to the design. All the stones are in closed-back settings.

The bracelet in Figure 42, also by Regency, features rare sappharine glass stones. Sappharine glass is made with a small amount of gold. The unique stones appear as both muddy brown and blue. This rare bracelet has two rows of sappharine tear-drop shaped stones traveling in opposite directions. Each sappharine stone is separated by alternating blue and golden topaz faceted stones.

Author’s Note: There is a wonderful article “Czechoslovakian Saphiret Glass” by Diane DeMango about Saphiret glass on the CJCI Costume Jewelry Collectors International website at www.costumejewelrycollectors.com I highly recommend reading this article to better understand this rare glass and the origins of the sapphirine glass used in the Regency bracelet shown in Figure 42.

The Weiss pin shown in Figure 43 resembles a turquoise and white snowflake. It features turquoise and white porcelain specialty stones, set in a circular pattern, with light blue aurora borealis rhinestone highlights. This monochromatic (one color with limited shades and tints) color scheme creates an “icy” wintertime vibe. The silver tone metal enhances the cool, winter look of this pin.

Figure 44 is a Weiss bracelet featuring an interesting combination of specialty bi-color stones accented with small emerald and sapphire rhinestones. Although the specialty stones in this design differ in shape and composition, they work well together due to the analogous blue-green-yellow (three colors next to each other on the color wheel) color scheme.

The 1 ¾” yellow butterfly pin in Figure 45 is an unsigned Schreiner design featuring white and yellow-striped specialty stones. The stripes add a subtle hint of texture to an otherwise plain monochromatic color scheme.

The variety of stones and the variety of the ways designers use specialty stones is endless. Tony Zangara was a trained sculpture who designed jewelry for DeLizza and Elster. In the following excerpt Frank DeLizza writes about Zangara’s talents.

Tony added a great deal to our line. His touch was a little more delicate; his lines were always smooth and flowing. In no time at all he was adding a new look and a new dimension to our line…He was one of the most prolific designers I knew. Just give him a lead or a clue, and he was off and running….Tony Zangara would say, ‘It is endless, just bring me a stone!’ and he would create a look or a line for it.

DeLizza pgs. 47 – 49

Author’s Note: Jewelry with interesting stones will always catch my jewelry “eye”. I love the variety of stones and the many ways talented designers use the stones.  

Section IV: Color Defines Theme, Shape, Depth

Color does more than add eye-catching interest to a design. Color also helps to define shape, add depth, and enhance the motif (a concrete recurring pattern or image) and/or the theme (an underlying, abstract idea).

Color to Define Shape and Enhance Motif

Figure 46 is a Nolan Miller pin called the “Summer Shell Pin” dating to the 1990s. The overall shape is a circle that becomes a spiral with the help of a line of pink, baguette rhinestones. This pink spiral defines the nautilus shell design and enhances the seashell motif.

Another example of color helping to define shape and motif is a 1990s Nolan Miller pin, appropriately named “The Peacock Pin” shown in Figure 47.  

The tail of the peacock is decorated with purple, green, and blue cabochon stones.  Purple, green, and blue colors are analogous (next to each other on the color wheel) and work together to define the shape of the tail and enhance the peacock motif. The figural is easily recognized as a peacock with a colorful stylized peacock tail.

Author’s Note: In 1967 famous jeweler Harry Winston created a fine jewelry peacock pin with a huge opal body and a long, stylized tail decorated with sapphires, rubies, emeralds, and diamonds. The famous Winston pin was anonymously donated to the Smithsonian in 1969. Many costume jewelry versions of the Winston design have been produced. They replicate the shape and prominence of the distinctive long tail in the Winston design.

Figure 48 is a beautiful DeLizza and Elster leaf-shaped pin. The motif is a leaf. The theme is the beautiful changing colors of fall.

Color enhances this design in several ways.

• Bright orange (sun) rhinestones outline the brooch helping to define the leaf shape.
• A cluster of round yellow (jonquil) stones at the bottom reflect light so that they stand out above the darker Colorado topaz stones. Their placement and reflective properties add depth to the design.
• They also enhance the theme by showing the bright colors that emerge in fall.

On the color wheel orange is between red and yellow. The three colors (jonquil, topaz, and orange) are next to each other, analogous, so they play well together.

Author’s Note: The rhinestone industry assigns names to stone colors to help distinguish between different hues. The color names used in this book are from a rhinestone color palette purchased many years ago from www.mrstones.com. The accuracy of these names is dependent on how my human “eye” perceives the hue.

The Mazer brooch shown in Figure 49 is a highly collectible masterpiece from the 1940s. It is an example of how a skilled designer combines two colors to add depth to a design. Deep ruby and light amethyst rhinestones stones, set side-by-side, decorate the tiered floral design.

The deep ruby stones are set next to the lighter amethyst stones. When combined in this way the “eye” perceives the amethyst as a subtle shadowing of the deeper ruby tone. Although ruby and amethyst are different colors, they appear to the “eye” as one monochromatic color. Extra care and time are needed to set stones in this way which adds to the cost of the piece. The clear rhinestones, surrounding the ruby and amethyst rhinestones, add a brightness to the design and define the shape of the flowers.

A Progression, from Crystal to Colorful Stones

Collectors today look for colorful vintage designs. However, prior to 1948 most costume jewelry featured clear crystal stones. The following three excerpts from Memoirs of a Fashion Jewelry Manufacturer by Frank DeLizza help to define the progression from clear crystal jewelry to the colorful jewelry of the 1960s.

Chapter Two 1947 – 49

In those days all our pins, buttons and earrings were polished by hand with cloth buffs and polishing compound. There were then wired and plated – at that time mostly in rhodium – since all the items were crystal, and gold finish was not favored on crystal ornaments.

DeLizza pgs. 14 – 15

Chapter Three 1950 – 52

Duette clips were mostly crystal, and the big pins were always crystal. Necklaces were all in crystal, usually center stones were used in gemstone, emeralds, ruby, amethyst, or jet. These were the colors that sold well in necklaces at that time.

DeLizza pg. 24

Chapter Four 1953 – 56

In 1955 we also started to use German table-polished stones in colors. We used acid to remove the foil. We thought it was a better look. We also used open-back settings and made inexpensive colored stone pins. They were a huge success.

DeLizza pg. 32

It is reasonable to assume other jewelers followed the same progression into color from mostly crystal in the late 1940s – to the beginnings of gemstones in the early 1950s – to the routine use of color by the mid-1950s. By the early 1960s DeLizza and Elster, and other jewelers, were producing the colorful designs sought after today by collectors.

Past and Future

The transition of crystal to color can be seen by comparing a 1955 Weiss crystal pin (left) with a late 1950s Schreiner design (right) shown in Figure 50. The Weiss design represents the past and the Schreiner pin is the future.

Similarities:

1. Both designs have a square base with stacked, layers of stones to give the designs height.
2. Hook and eye construction (wires connected to loops) is used in both pins to add strength and stability to the tall designs.
3. Both designs use a variety of high-quality stones in varying shapes and sizes.

Differences:

1. The Weiss pin is solidly geometric with the stones arranged in a careful pattern. The Schreiner pin achieves the same shape by arranging the stones in a more interesting and innovative way.
2. All of the Weiss stones are in closed-back settings, so they reflect light in much the same way. Most of the Schreiner stones have open-backed setting that reflect light differently. Some of the stones are set point-side-up which is an innovation associated with Schreiner jewelry.
3. The Weiss design is monochromatic. The stones are all crystal and due to their settings and placement they reflect light the same way. The Schreiner pin features rose rhinestones in varying shapes and sizes, so it is mostly monochromatic. However, due to the placement and open settings, the various shapes and sizes of rose rhinestones reflect light differently. The Schreiner design includes one row of contrasting emerald rhinestones, perfectly placed in the design, to draw the “eye” to the top of the design – the point of central focus.

Both pins are beautiful but the design of the Schreiner, especially the innovative use of color and innovative use of stones, elevates the Schreiner pin from a beautiful pin to a masterpiece sought after by collectors.

Section V explores the psychology of color today with the psychology of color in 1949. It is a fun topic that is very much part of marketing today.

V: Psychology of Color

Today researchers study the psychological impact of color and color combinations on our emotions to help brands create meaningful logos and market their products. This is not a new idea. The book Painting and Decorating Craftsman’s Manual and Text-Book, published in 1949, devotes four chapters to the psychology of color. In a sometimes-humorous way, the book describes the emotional impact of primary and secondary colors in terms of decorating.

Primary Colors

Red

Decoratively speaking, red is a color to be used judiciously. On too large areas it is overpowering, irritating. Used as an accent color, it lends life and gaiety to less interesting surfaces.

Painting, p. 345

Red evokes emotions of passion and power. Most of the time red is used as a background or accent color in jewelry.  Figure 51 shows a red DeLizza and Elster pin comprised of only red stones. The deep ruby stones are a background to the ruby aurora borealis stones decorating the flowers.

This design works because the ruby aurora borealis stones reflect a blue light. Red and blue are primary colors. Primary colors are contrasting colors. In this case the contrast defines the round shape of the seven small floral elements and outlines the overall shape of the pin

Figure 52 shows an Elizabeth Taylor for Avon Necklace. Ruby stones and beads provide a strong accent color used to outline the heart shape and enhance the mogul theme of the design. Mogul colors are deep ruby, sapphire, and emerald.

Yellow

Yellow is associated with fire and the sun. It is the most visible of the colors, so it is used for traffic markings.

Painting, p. 352

Yellow is a happy color. In jewelry design yellow is a magnet to the “eye” commanding its attention. Like red, yellow is most often an accent color. Jewelry featuring yellow as the main color is unusual.

The design of the Trifari “waterfall” necklace shown in Figure 53 was produced in several colors including the unusual yellow beads in this example. The overall shape is a soft diamond created by cascading lines of beads.

Figure 54 shows two enchanting BSK fish pins with creamy yellow enameling. The yellow color is subdued in this design and a harmonious match for the creamy green fins. White is added to the yellow to soften the high visual impact of bright yellow.

Curved lines are prominent in this design. The fins curve to provide the illusion of movement. The shape of the body is curved suggesting a swimming fish with appropriate tail movement.

Blue

Blue is the color associated with sky and water. It is clear, cool, and transparent in quality…blue is likely to lower the blood pressure and reduce pulse and respiration rate. Emotionally, the color inspires peace and introspection.

Painting, 345

Blue is one of the most popular colors in jewelry. It represents both strength and peace. The jewelry “eye” loves blue. It works as an accent color or as an overall color with equal effectiveness. The following three examples of jewelry designs featuring blue are a small sampling of how beautifully blue works in jewelry designs.

Figure 55 is a 1965 Hobé pin and earrings set with crystal and dark sapphire rhinestones. The deep blue color adds richness to the design and pairs well with the crystal (faux diamond) stones. Sapphire is considered a “royal” color so when it is combined with faux diamonds the design evokes emotions of rarity, high-status, and wealth.

Lines of crystal and sapphire rhinestones form the “V” shape of this pin. A “V” shape is often associated with victory. The stripes of color suggest it was inspired by a military metal or ribbon.

Figure 56 is a Made in Austria design featuring four shades of sapphire stones: sapphire, dark sapphire, light sapphire, and Indian sapphire combined with crystal stones (faux diamonds.)

The overall shape of this pin is circular. Spoke-like lines of stones lead the “eye” to the center stone. The open space between the spokes and the lacy metal work gives this design a lightweight lacy vibe. This lacy vibe and the cool blue stone colors suggest a snowflake or wintertime theme.

Figure 57 provides another prospective on the use of blue in jewelry design. This Nolan Miller pin features creamy blue and purple enameling with green enameled leaves all accented by small crystal stones. The blue contributes to the natural calmness of this beautifully made floral design.

The curvature of the stem and the careful placement of green enameled leaves leads the “eye” to the elegant blue bloom. Purple is a secondary color made by combining red and blue, so it blends harmoniously with the blue enamel.

Secondary Colors

Orange

Orange is associated with fire and the sun. It is a color that grabs attention so it is used to mark hazardous materials.

Painting, p. 352

Orange is an energizing color and rare in jewelry design. The Florenza set in Figure 58 features bright orange cabochons stones.

The triangular shape of the design elements supports the “grapes” motif. The orange color suggests the grapes are Orange Muscat grapes used for sweet or dry wines.

Figure 59 is an unusual Eisenberg pin featuring dark smoked topaz and Madeira topaz stones that reflect orange and red/orange in the right light.

The crescent shape of this design draws the “eye” up into open space. The lines of crystal rhinestones accentuate this upward movement.

The Florenza bracelet in Figure 60 illustrates how the jonquil (light yellow) stones and the light topaz stones provide attention grabbling “fire” to brighten the design.

The “coffin” shape of the art glass stones is unusual. Interesting small white flakes are embedded in the stones.

Green

Green can be used successfully on an area of any size and in any section of the household. Be careful, however, not to use too yellow a green on bathroom walls. Painting, p.345

Painting, p. 345

Green represents harmony, especially harmony with nature and is prominent in costume jewelry design. Emerald green is associated with royalty and wealth.

Figure 61 is an elegant, rich looking Kramer design featuring deep emerald rhinestones. The design is reminiscent of a fireworks display with curving lines of crystal stones acting as trails of smoke behind the brilliant bursts of green.

Figure 62 is a Nolan Miller orchid pin decorated with green and yellow enamel that sets a calm mood.

Green and yellow is a color combination inspired by nature. Yellow is a primary color and green is a secondary color created by mixing two primary colors (blue and yellow). The design features natural-looking curved leaves and a decorative, rhinestone studded, interior.

Purple

Purple is subduing, slightly melancholy, …Owing to its excessive cost in ancient days, purple became a ‘royal’ color. Consequently, it often seems to us to be impressive, pompous, and stately.

Painting, p. 345

Purple is associated with luxury and passion. The deep, rich purple of the amethyst stones add elegance to the design of the Lisner bracelet shown in Figure 63. Aurora borealis amethyst stones provide a touch of sparkle to this design.

The purple is a secondary color. Gold is a warm yellow color on the color wheel. Purple and gold are complimentary colors and work well together. The curving gold tone metal leaves add a graceful but bold contrast to the amethyst stones.

The Madeleine set in Figure 64 features interesting bi-color (blue/purple) stones. Amethyst stones outline the design adding depth and richness to the design.

Color Variations Change the Mood

Jewelers produced color variations to attract as many customers as possible. For example, the Weiss butterfly pins shown in Figure 65 were produced in several colors including the sapphire/emerald combination and rose rhinestone pins shown here.

The two Weiss pins in Figure 66 feature similar rose designs but evoke different moods due to the color differences. The pin on the left features gold tone plating and classic crystal stones for a rich, elegant design. The similar rose on the right features turquoise enamel and light sapphire rhinestones. This design is fun and less formal than the classic crystal design.

One of the most interesting design elements in the design of these pins is the use of line to subtly shape the rose bud shape. It is a distinctive and recognizable design trait.

The complexity of selecting rhinestone colors for a design is further influenced by plating colors. Many jewelry designs were produced in more than one plating option. The Section VI provides basic information on the most popular plating options for costume jewelry designs and explores how plating influences design.

Section VI: Plating

Plating is defined as the process of covering a metal with a layer of another metal. It is an essential ingredient in the design process. The color of the plating alters the way the stones reflect light and the overall mood of the design. Importantly for collectors, the quality of the plating impacts the collectability of the jewelry.

There are many different types of plating. Each manufacturer had their preferred plating formulas that evolved over time as new plating techniques became available. This section explores several plating options and the impact each choice has on the overall design and future collectability of the piece.

Rhodium

Rhodium is a metallic element that is silver in color, highly reflective, and resistant to corrosion. Vintage jewelry designs plated in rhodium are sought after by vintage costume jewelry collectors because rhodium plated costume jewelry has survived for decades with minimal wear. In addition, the reflective shine of the plating enhances the look of the jewelry designs.

Although the metallic silver color achieved with rhodium plating is not shown on a traditional color wheel, rhodium plating behaves as a neutral gray and pairs with many colors. In jewelry design, rhodium plating is often paired with clear crystal rhinestones due to the way the shine enhances the reflective quality of the stones.

Cool colors are hues of blue, green, and purple. They work well with the icy rhodium plating. Warm colors are hues of red, yellow, and orange. Warm colors can be paired with rhodium because it is a neutral; however, they are often found in gold plated designs. Some, especially wonderful designs feature both rhodium and gold plating.

Figure 67 is an unsigned pin dating to the late 1930s or early 1940s attributed to Mazer. The flower vase is constructed in two pieces attached by a screw, one gold plated, and one rhodium plated. The flowers, in round gold-plated cups, are decorated with red cabochons.  Red is a warm color that plays well with gold plating. The large, rectangular stone in the vase is an icy aquamarine color that plays well with the rhodium plated metal.

This is a rare and beautiful pin. The lines of pavé crystal stones at the top add height and interest to the design. The curving pavé handles are a design trait of the 1930s with an art deco vibe.

Today rhodium is one of the most expensive metals in the world in part due to its use in catalytic converters for automobiles. A solid rhodium bracelet would be more expensive than a solid gold bracelet. Rhodium plating is also used to plate sterling silver jewelry to keep it from tarnishing and white gold jewelry to add shine and durability. 

Figure 68 shows a rhodium plated Weiss, heart-shaped pin with clear crystals. The central heart shape is framed by two rows of crystal stones. Due to the neutral color, this beauty is wearable with all colors.  Unfortunately, the camera could not capture how the beautiful rhodium plating enhances the eye-catching sparkle of this piece.

Silver Plate

Silver plate is a thin layer of silver over metal. In jewelry the metal is often brass but could also be copper, nickel, pewter, or an appropriate alloy. Silver plating provides a finish that resembles sterling silver. Depending on the quantity of silver in the silver plate, it can tarnish a bit giving the piece an antiqued look. The antiqued quality of silver plate adds an old-world richness to the overall look of costume jewelry.

The two Napier charm bracelets in Figure 69 date to approximately 1953. They are both silver plate over brass.  Napier silver plate has a distinctive “look” and a wonderful smooth feel. It is also durable. These bracelets have survived in wonderful condition for over 70 years.

Gold Plate

Gold plate refers to a thin coating of gold over a base metal. To achieve a good quality and lasting finish, jewelry is first coated with nickel to keep the base metal from leeching and tarnishing the gold plating.

The Hobé set shown in Figure 70 features amethyst and light amethyst stones set in gold-plated metal. The floral design is unusual because amethyst, a cool color, is most often paired with cool, silver tone metal. In this example the gold-plated prongs stand out against the amethyst stones to add texture and contrast to the design.

Most gold plate is between .5 and 1.0 microns thick. Jewelry with this type of gold plate is not marked as such on the jewelry because the gold content is too low.  If a piece is marked HGP for heavy gold plate, the plating is 2.5 microns thick and provides a longer-lasting finish than average gold plate.

14K is an alloy that contains 58.5% pure gold. 18K is an alloy that contains 75% pure gold. 24K is pure gold. Pure gold is soft and unsuitable for jewelry. 24K gold plating is used on jewelry but the resulting finish, unless sealed, is less durable and scratches more easily than 14K gold plate.

Generally, the amount of gold in 14K, 18K, and 24K gold plating is so small the karat weight of the gold does not greatly impact the cost of the plating. Of course, 24K gold plate has more gold than the 14K gold plate but the difference is small. It is more important to determine if the 24K gold plate has been sealed to protect the surface from scratching.

There is a difference in the “look” of 24K gold plate vs 14K gold plate, so it is a design choice. Figure 71 shows a side-by-side photo of 24K gold plate and 14K gold plate. The 24K gold plate has a deeper, richer gold color.

Today the amount of gold in jewelry called “gold plate” is regulated, so if the plating formula contains less gold than the regulations require, the jewelry cannot legally be sold as gold plate. Plating that does not qualify as gold plate is often described as being gold washed, gold clad, gold finished, or gold toned. For vintage designs where the type plating is unknown it is safe to assume if the condition of the plating has survived for decades, it is quality plating.

Gold-Filled

Gold-filled jewelry is marked GF. The amount of gold in gold filled jewelry is 300 times the amount of gold in gold plate jewelry. For this reason, people today are extracting the gold from gold filled jewelry. Jewelry marked 1/20 12K G.F. translates to: 1/20 (5% total weight in gold) 12K is the purity of the gold used; G.F. stands for gold-fill. The Star-Art set in Figure 72 is an example of gold-filled jewelry.

Gold Overlay

Some Krementz jewelry is plated in a method called overlay. The pamphlet accompanying the jewelry describes this process.

The first step in making Krementz Jewelry is to bond a heavy layer of 14Kt. Gold to the high grade foundation metal. This combined metal is then rolled into strips of correct thickness. Krementz Jewelry, made by this costly process, has a surface layer of hard rolled 14 Kt. Gold, which is thirty times thicker than that used on ordinary electroplated costume jewelry.

How to care for your Krementz Fine Quality Jewelry Pamphlet

Vermeil

Vermeil is defined as a thin layer of gold over sterling. This type of plating is also called silver-gilt or gilded silver. This was a popular plating choice from 1942 – 1948 when many jewelry designs were made in sterling silver because the harder metals were needed for the war effort; yet the fashions of the time called for gold plating. Jewelers satisfied both needs by producing designs in sterling silver with a thin layer or gold plating.

The vermeil plating on the unsigned sterling orchid pin in Figure 74 is in good vintage condition. The tiny black age flaws are normal and help to authenticate the age of the piece.  

Japanned

The term “japanned” refers to the black lacquer boxes and other objects imported from Japan in the 16^th century. The ancient term has been applied to costume jewelry when the metal is finished with black enamel rather than gold or silver plate.

The reflective quality of stones is enhanced by a black background providing an eye-catching contrast in colors. The 1961 Weiss flower pin in Figure 75 features a black enamel, japanned finish.

Antiqued

Antiqued metal has been altered chemically to speed up the oxidation process to achieve an antiqued, vintage look. This type of finish is especially useful for designs inspired by history.

The two Etruscan inspired pendants shown in Figure 76 are nearly identical Florenza designs. (The ancient Etruscan civilization was part of ancient Italy until the fourth century. Etruscan jewelry is characterized by intricate metal designs. One Etruscan design technique is called granulation. Granulation is when a surface is covered with tiny granules of metal.) The pendant on the left features antiqued silver tone metal and the pendant on the right has antiqued gold tone metal. The faux turquoise stones in the left pendant are a wonderful match for the antiqued silver tone metal. Green is considered a cool color, so it adds a nice contrast to the antiqued gold tone finish of the pendant on the right.

As can be seen from these examples, the color and quality of the plating is a factor in the overall look of a design. The silver/rhodium plating provides a neutral background that endures over time. Gold plating is a rich-looking choice and depending on the thickness of the plating and the proper application of the plating can also last for decades. It adds a touch of yellow to the design and works well with warm colors.