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Yeah. This is a necklace. Elaborate and jeweled. See how the light sparkles from its stones. Here is another piece of jewelry. It looks different. But why? It's made today by Milton Carbonero, a modern jeweler and used today as a part of our modern style of dress.

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Yeah, right. Discovery. All right. Mhm presented by mhm. And now your host for today, Dr Lloyd Luckman. Milton. I've been very proud of these cufflinks since I received them last Christmas For Mrs Lachman. They're your work, you know. Tell me, what kind of

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wood did you use here? That's Ebony Lloyd. And Ebony is used rather extensively with silver because the, uh, to have a great contrast. Yet one works with the other to create a very rich effect. I see. What was it? The only would then that you rely

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on in jewelry works. No, it is. And I used woods from all over the world in my work such as Rosewood and, uh, Purple Heart Vermillion would to name just if I've never heard those names of wood. But tell me, how are the piece of wood

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like this be used in your jewelry work? A piece of that could be used, of course, for many different kinds of things. Uh, as a matter of fact, this particular piece of wood, uh, which is ebony is the same kind of ebony that is used in

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your cufflink. Exactly. The same type of father and son, right? And I can show you very briefly how your cufflink is put together. Would you do that for me now? First of all, a piece of wood like this is sliced from this larger block that you

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just saw. And then from that, a smaller slice has taken on the saw to bring it down as close as possible to the actual size of the piece of jewelry that is going to be made. I C. I could put this in the vice very quickly

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here and cut a little piece off. Yeah, that will represent the wooden part of the jewelry cuts pretty easily, doesn't it? Yes, of course. You have a very sharp saw. And so we have the wooden piece ready. And then we must take two pieces of silver

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such as this, and bring those together and sauder them like that. We have to add flux to make the Sauder adhere to the metal, and then you use the usual wire solder. Is it silver solder you can use? In some cases, you use silver sauder for

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certain things where the sauder does not show, and yet you are able to get the required strength. You can use soft sauder in this case because it flows quickly. I'm going to use a piece of soft sauder, but the principle is the same, bringing the metal

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to the proper temperature so that the sauder will melt. But if the sun was going to show, would you use silver solder? That is correct, because the soft cider has a different color than the the sterling silver, and the silver cider is made to look as

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much like the actual silver as possible. Aren't you going to hold those two together? Well, in some cases, you have to wire them together or clamp them together. In this particular operation, it isn't necessary to do look at that very close together together. Now it's a

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field. Is that the right word? No, no. A kneeling is something else again. That is when you heat the metal to work at those terms, slaughtering is slaughtering. All right, well, there you have the two pieces brought together, and now that Sauder has to cool In

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the meantime, I'll take this little piece of wood and touch it up on the Sanders. Oh, all your edges are true. Yes. Now I have two edges that are square to the metal, you say. And it's possible for me now to take those and put them

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together. How are you going to do that? Well, I'm going to do that with, uh, an asset eight resin Lloyd. Okay. Acetate resin. Yes. Acetate resin is more commonly called a glue. Is that one of the modern developments in the field of adhesives? And it's one

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of the interesting things that I'm able to do so many of my present pieces of jewelry because of this kind of glue. The bonding is so strong that I do not have to worry about it coming apart. You see me as strong a bond as the

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Sauder was against metal. Well, it's not quite that strong, but nearly so nearly so. And I don't need to worry about the wood falling off my cufflink. No, absolutely not. In other words, if you wanted to separate that piece of wood from the metal when it

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was dry, you'd have to chisel it off. And then at that point, the Woodward part before the Saudi would part. So here you have a modern product that is blending into modern design, and so far as you can get, these bleeding edge is because of this

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new adhesive. That's correct. Otherwise, in the old days when you didn't have things like this to work with, you had to pin it or set it as you would a stone with in a business manner, like So now, when you when you can see the design

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for this, where was there some relationship, then between the materials you were going to use or did you just draw up the design? How'd you go about that? Well, in this case, the the idea was preconceived and worked out very carefully with various models until everything

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was precise. You see, uh, and then now you can go ahead through these steps. But I mean, there had to be these relationships then that you've demonstrated to me the relationship of the medal to the Sauder, to the wood to the glue and these things influenced

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you. Design some? Yes, because every step has to be logical. Now I have to do all the suffering before I can do the gluing of the wood. You can understand how that Well, I'm gonna let you go ahead and finish this. I'm going to have a

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conversation while you're finishing with Joe Sanel. Ah, about industrial design and modern jewelry. Fine. I think you'll find Josephine l A very interesting person to speak to one design way. Hello, Joe Lloyd. How are you today? Fine. We have a very interesting display here of jewelry.

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And I wonder if you, as an industrial designer would just give me your reaction to what we see here in this case. Well, that's fair enough. But, uh, there's an industrial designer. Of course, I look upon the work here of, uh, the individual designer that is

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the designer who conceives and develops a an article complete, uh, for, uh, a given personal use as against the industrial designer's work, which consists of designing objects for mass production and distribution. So when we speak about the artist designer, we're talking about just a single product.

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Even though he may repeat that again, and the industrial designer will have a single product that is multiplied with that distressed. However, of course, the function of design is much the same. But you spoke there about repetition? Yes. Well, uhh. In this work of the jewelry

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designer or any other individual design, it's not so much repetition as recurrence. Uh, the for instance. It's been said that Edward Steichen photographed an egg 1000 times. Uh, now, I don't know that some of the egg wasn't. Yeah, I don't know that even a hen that

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that amount of very German individual egg, But they were not really repetitious. They were the recurrence or the over movements of the certain thing. And, of course, uh, every designer every artist has to play upon the variation of a theme that, uh, he must work in

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a basic basic pattern. Well, now we have some basic patterns here, but I'm particularly interested in this more traditional piece in the center of the jewel necklace. And then I hope you'll comment on its relationship to the other pieces we see. Well, of course, that traditional

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pieces there is probably a very, uh, rather elegant representative of the kind of work. But I would say that in the main they accepted jewelry, commercial jewelry. Today is a matter of craftsmanship. Without the aesthetic guidance, there seems to be more of the aesthetic guidance in

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this than in most of the craftsman's work, wouldn't you say? Oh, yes, I would say Decide What's the piece on the father's from us there. How about that? Well, there we get a piece of Navajo silver jewelry. The Navajo, incidentally, was not a silversmith until he

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came in contact with the white man, But he's using his his tribal motives. Incidentally, he's using universals that a very, uh uhh Well, those universal being deserved in the modern world seem also to be in this work here by Milton Carbonaro The artists I just left

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at work. This is a necklace by him. Yes, that is so. That's why I say the universals are necklaces, a pendant form that of necessity requires to be hung around the neck. And then there's a radiation of the various elements, the decorative elements in the thing.

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So here we have a common denominator. Even in all three of these pieces, haven't from here to here and even in the central piece, the central people with the lighter touch, there seems to be a little more strength against a certain Lacey. This about the traditional

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jewelry. I have an interesting piece here. This is an earring by Keith Monroe. Uh, how about this? Well, that is a piece where the more casual or accidental elements are entered in with an overall control. However, that is instance in the spear oId form of the

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of the thing itself. But naturally, there's a depth and an airiness through it, uh, which gives it, uh, its character as a piece of, uh So we didn't think of modern jewelry always in the broader strokes. Or there can be this type of refinement or laziness,

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as we indicated. Oh, decidedly, there's great variation can be achieved. Would there be any other common denominator you'd like to emphasize in so jewelry and the way in which it's dealt with in modern jewelry? No. Well, in the case, as we see here, a bracelet silver

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bracelet, which again is navajo. And then a modern bracelet, uh, which is, uh, more what I would call a rod or wire rendering. That's Caroline routines work? Yes, but there's a fundamental at work there, too. They both have to go over the risks. Hence, there's a

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cylindrical, uh, qualification. But that qualification, then it's just a question whether the Navajo has given us the illusion of having pierced the material or she has actually pierced. Yes. Well, thank you very much, Joe Sanel, for giving us these highlights as an industrial designer. I'm going

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to take this piece and go over and see how often Milton is doing Noten. Thank you. Right. Our progressive yet the final probably saw you in a second. I see the wood can stand the same buffing as the metal. Yes, uh, can Lloyd and the

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same also can stand the same buffing compound in such a case as this. And there you have the final cuff link with the cuff back added, such as this and polishing and the squaring up of the cufflink. How can I have that extra run in case

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it falls? My other falls under the bureau sometimes. And put that in your pocket. Okay, fine. Thank you very much. Now, I found this in our display, which is a very interesting, whimsical little piece. You see if I can do it. Justice here. What sort of

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materials have you used in this? I see the silver. That's okay. Yes. Well, that's a combination of bone and wood. I thought it was stone. Well, it does have some stone like quality. Uh, lots of wood, Uh, is very rich in texture and grain. And the

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bone also has wonderful qualities when their polished and worked with, uh and these things are brought out. They look exceedingly fine together. Well, I asked you what kind of wood you use. I I'm going to now follow that question up with what kind of bone do

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you use? This there's a lamb chop bone or what have we will? I believe that is off of a land, Lloyd. As a matter of fact, I have a lot of phones here that you might be interested in. Look at. Well, I'll take a piece of

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phone like this, for instance. How would you use that? Are you going to use it in the hole? Well, that might be used in various ways. One has to study the bone very carefully to find out exactly what he wants to do with it Now, here's

00:14:26.970 - 00:14:42.190

an example of uh, like that bone in your hand. This was a bone of similar character. I see. You need to start slicing down. It was sliced across this way, and now you have two pieces such as this. You know, here's a piece of jewelry that

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was made from just these. This piece of bone. Yeah, you see, And then we have the three pieces of bones. That's right. In other words, this was a slice off of that bone such as that now what treatment did you give it to get the contrast

00:14:58.170 - 00:15:14.120

there? Well, I worked with the bones considerably. They all have to be bleached and clean properly, and in some cases I dye them. And that's what you get here. In this case, it's died. Whatever made you think of working with Bone Milton? Well, it's I don't

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know. That's a question I've never asked myself. Really. It's one of those things. Why did I work with wood or anything else? The materials are fascinating, and bringing them together seems to be just a natural process. As far as I'm concerned as a designer, show me

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how you go about designing or working this pendant. Did you do that quickly like they did? Yes. I can give you an outline of what I do now. I start with the bone such as this, which you will notice is somewhat similar to the bone in

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shape of the little figure. And I put that in advice and cut a section off. You saw that also? Yes. It saws just like wood. Same general process. Something of a surgeon that gives us our first piece of bone. Now I'll take a piece of wood

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to go with it, which is a wood very similar to the one that you saw in this, I figure here and put that on the vice. What kind of wood is that? Well, this is a Philippine ebony which is not quite as dark. It has brown

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streaks in it a little different than the African evidence that you are coupling. I see now when you've done have you to pieces in the matter of design, where have you got the design for this? You mentioned in the cufflinks you had certain preparations to make

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and designing it. And here we seem to be following along the steps that I can see A and B the two pieces of wood. But where's you? What's controlling here? Well, the the idea comes out of your head, so to speak, your imagination and your knowledge

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of design. But in this case, the bone is an influencing factor in the formation of the sculptural shape. You see, it has a certain form, and the wood then must conform somewhat to that I follow you. That's why we got this smoothness. That's correct. I'll take

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these and square the edges. Uh, so now these two pieces be glued together, glued together just like the I C. And then how are you going to put the eyes and the mouth in? Well, those things are, uh, done on the drill

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press that is ready to set. In other words, you come over here and just drill that in your drill, press within the facial features and then for any decorative details the hair, for example, and the arms and all that's drilled right in there. That's true. I

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see. And that's just as your sculpt with your, uh, what with your wheel. That's what you're doing, isn't it? That's right. Shaping the form on the sanding wheel. I see. Well, I have my eye has been resting on this very, very interesting little mobile, isn't it?

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We're talking a little while ago and, uh, one of the discovery programs about mobiles. And would this be a pendant mobile? Well, yes and no. It has mobility, Lloyd, but it isn't a troop mobile in the sense that we know mobiles. The kind of balancing of

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the forms and a mobile is a much more intricate than a different kind of process. I'm not using the word correctly. You can say it has mobility, but it is not a true mobile because it's nearly rotates on a central axis. How'd you go about making

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designing this? Did you have a preconceived notion? Ensure the drawing board with these geometric designs? In this case, unlike the figure which grew out of the shape of the bone, this is a preconceived idea that has drawn on paper to work out the details carefully and

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accurately because it's a geometric shape and the parts all have to fit very carefully together. I see. So then there's a bit of engineering and in your preparation for this well, in a modified way. Yes. Well, now, as we look over these three processes processes that

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you've shown us first of all working with silver and ebony there was an influence there of the relationship of the materials to one another in terms of the steps and the order building the cufflink. And so that influenced the idea and design that was in your

00:19:50.960 - 00:20:08.420

mind. Right Then we came to the wooden bone, and you indicated that the shape of the bone was going to influence the sculpting in that particular instance. And here, then, uh, you have, uh, instead of the fluidity of the first of the second situation, something more

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rigid, like the first with the, uh, geometric design being very carefully, uh, plotted. And your measurements exact. Uh, still in all the idea of forming, as you are applying these particular materials to the end object. A piece of jewelry, whether it be this pendant or, uh

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here again, uh, the bone itself giving you your creation, right? That's right. Well, thank you very much, Milton. I think, uh, the whole relationship of all of these particular pieces of jewelry is certainly clear to me. And I hope that our audience has some idea to

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just what it is that the modern jeweler and modern artists and modern San Francisco artists like Milton Cavagnaro really accomplishes when he adapts his materials in their purest form, uh, to the sculpturing, or to the designing that he has in his mind and his own creative

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genius. Now this is also a matter of modern style, and in so far as modern style is concerned, we're going to show you a little later how modern Julie jewelry complements modern dress. But before we do do that, here is a very special invitation for you

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from the San Francisco Museum of Art. Yes, you are invited to come to the San Francisco Museum of Art this Wednesday and every Wednesday at eight o'clock this week, and Daniel's fashion coordinator will show you what is appropriate for dress and for entertainment. She will show

00:21:49.220 - 00:22:03.670

you what colors and fabrics are best suited to you. Perhaps you are taking a trip. Then I'm sure that you will want to know what kind of clothes are best for travel a week from Wednesday at eight o'clock, you will find the answers to these questions.

00:22:04.240 - 00:22:20.700

Other Wednesdays, you will be told about things that are in the museum's current exhibitions. Perhaps it will be chairs how they are made, what they're used for, and so far, the discussion start at eight o'clock afterwards, there is always time to tour the museum galleries and

00:22:20.700 - 00:22:38.220

see the things that you've been told about for an enjoyable evening that will cost you absolutely nothing. Come to the San Francisco Museum of Art at the corner of Venice and McAllister at eight o'clock to make sure that you don't miss any of these talks. Send

00:22:38.220 - 00:23:00.020

a card to the San Francisco Museum of Art Civic Center, San Francisco, California and we will send you the calendar of events for the next six months. Jewelry certainly isn't supposed to be made and put in a case to be admired there. It's made to be

00:23:00.020 - 00:23:17.300

worn, And Carol Bigelow, uh, I hope you're going to explain to us just how it should be worn, particularly as I promised our audience with modern dress. Well, I am very happy Lord, you have the opportunity of during just that Number one. I would like to

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say. You don't mind if I get in the app just a little bit, do you? Because I felt air to some diamonds, which sounds very exciting, but I didn't think that grist, watch and ring were very exciting. So I had Margaret Pattern make a design for

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me of a very special pin just for me. I'm wearing a pin today. Lucky there was something about it. Well, number one, she looked at me and thought, What kind of things does she wear? Well, I wear a lot of gray, so she selected palladium as

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the metal. This is a cousin of platinum. It's a cousin of platinum and it's etched a little fine diagonal lines and sprinkled throughout. Almost it looks like the the constellation Exactly with little diamonds. And it comes right down featuring the large diamond at the end of

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the pen, pointing it up. I just love it. I wear it with everything. You must be quite the envy. When you do wear that, now will you show us? I certainly will. Young ladies and their jewelry and modern dress. Now, everybody you know it doesn't fall

00:24:23.230 - 00:24:40.270

heir to diamonds, but they can all have very lovely modern jewelry to wear and Mrs Edwin Wilson, showing us how you can wear modern jewelry that really sets off a suit such as this that we have from Joseph magnets today. This is a cashmere suit, definitely

00:24:40.270 - 00:24:59.100

part of our scene because it's for town and country, You could say so are the earrings that are by Milton Carbonero. These are elongated triangles. They're made of silver and ebony. They're graceful, Wonderful for the person who wants a pendant earring and yet not have something

00:24:59.100 - 00:25:19.860

with too much wait or too much. Well, you might say, uh, drama to it. The pin is a related pin in design, but not necessarily a matching pin. Thank you very much, Mrs Wilson. And now I have another very lovely model by the name of Mrs

00:25:19.870 - 00:25:40.360

Walter McNiff, and her costume is very much a part of our scene today. Again, these are from Joseph Magnons, and the slacks are the tapered type of slack that we're seeing so very much black sat black satin stripe down the side on black velvet. Now that

00:25:41.040 - 00:25:56.730

choker she's wearing is also by Milton Carbonero, and I was quite amused to see how he uses bone. And I think when he combines it in something with the primitive influence. As this choker has been done, it really shows kind of a sense of humor. Thank

00:25:56.730 - 00:26:17.780

you very, very much. Thanks. This is Richard Adi. Look, speak and chic. Indeed, she's wearing, too, as far as her dress is concerned to. Fashion highlights of the fall black for the cocktail dress in wool and fur trim. In this case, it is whites. Erman. Look

00:26:17.780 - 00:26:35.400

at those hoop earrings for earrings that have a wonderful hoop for someone who loves them. Can wear something as dramatic as that. How marvelous to have something with as much light and grace as these have, and yet with as much dramatic interest. Thank you very, very

00:26:35.400 - 00:26:57.090

much, Mrs Oddy. I'm coveting those particular earrings myself. Now Mrs Wilson's costume being a sweater and skirt is something that some of us practically live in. A year round has been definitely complemented by this set by Peter Macaroni copper for the pendant necklace and for the

00:26:57.090 - 00:27:20.010

bracelet. The copper has been given a three dimensional feeling by, uh, using an acid that has created a wonderful green shade of copper for the inset they both dependent and the bracelet. Thank you very much, Mrs Wilson. And another suggestion for your at home attire to

00:27:20.010 - 00:27:33.250

be worn with the slacks is that pendant that you saw in the hand of, uh, Mr Lockman? Just a little while ago, I, too, would have called this a mobile, but I guess you'd call the mobile. It isn't a mobile, but look how beautiful those earrings

00:27:33.250 - 00:27:52.560

are. As a complete set, it has motion and excitement. Thank you very, very much. And thank you, too, Carol, for showing us how modern jewelry is worn with modern dress. There's certainly no doubt in my mind that it does complement the designers and their work in

00:27:52.560 - 00:28:09.960

modern dress. And I'm certain, too, that our audience has enjoyed this interesting description you've given us, Thank you, gang. And so I hope that all of you have gained the same appreciation as I have that there's a commonality in all of the application of modern design,

00:28:09.960 - 00:28:30.570

whether it be in jewelry or automobiles or airplanes or architecture. That's the simple, direct, honest use and application of the materials in their execution and the carrying out of the beauty and aesthetic principle the artist has in mind. Thank you very much for joining us. Join

00:28:30.570 - 00:29:08.990

us again on our next program. This is your host, Lloyd Luckman. Bidding you good bye. Discovery has been brought to you by Station, K, P X and the San Francisco Museum of Art. Next week, Discovery will present a special interview with Frank Lloyd Wright, the dean

00:29:08.990 - 00:29:10.270

of American architecture.