Ink Sketches

ink-sketchesTraditionally, I have always started my design process with sketches on paper in ink. I was working on developing a process for converting the ink sketches into 3D without simply sawing them out of a sheet of silver, such that they would have somewhat more variation in dimensions; a subtle but marked difference between front and back. I often don’t have a clear idea in mind of what it is I’m trying to design at the outset. At times I may even get an idea for what I want to create from a sketch I made haphazardly in the margin of a notebook.

The magic for me of approaching design in this way is that, without knowing what it is exactly that I’m trying to draw or make, by making aesthetic decisions about for instance, the quality of line, the shape, the dimension etc., interesting patterns begin to emerge. Then, by selecting segments among these patterns and further playing with them, numerous possible designs arise. Most of the sketches lent themselves well to two fold or four fold symmetry. In other words, I would select a section of the sketch to represent half or a quarter of the design and then use mirror images of the sketch to create the other half or three quarters.

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Paper Cutouts

paper-cutoutsI wanted to experiment with different symmetries: five fold, seven fold, nine fold etc. With the paper cutouts I initially began again with ink on paper. I was using a compass to transfer points around the axis of a circle, dividing the 360 degrees equally in order to achieve different symmetries. I was getting some interesting results but found the process somewhat arduous and fraught with human error. Living in Taiwan at the time, I was intrigued by the wonderfully intricate paper cutouts that one sees everywhere during festival times. I also happened to be teaching young children and occasionally did arts and crafts with them. One day we were making ‘snowflakes’, by folding paper in equal parts and cutting them with scissors. It occurred to me that this was a much simpler way of doing what I was trying to do. Thus, I experimented with folding the paper 8, 10, 14, 18 and 20 times, depending on the symmetry I hoped to achieve, drawing with marker onto the folded paper and then carefully cutting around the marker through the many layers of paper with a mat knife. The Paper Cutouts are based on the patterns which emerged.

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Natural Patterns

natural-patternsAs I had been working with line drawings in accordance with the process I was trying to develop, I found that I was becoming more cognizant of line patterns that occurred everywhere in my surroundings, which seemed to jump out at me and beckon my attention. While there are an infinite variety of such line patterns, the most commonly overlooked seemed to be cracks, as in the dry mud, in the asphalt, in old cement walls, glazes on ceramic, and shatter patterns in glass and ice. I’ve just barely scratched the surface with these few selections but I have a mind to explore some others in the future as I come across them.

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Drop Pendants

These designs allude to natural forms. Natural forms tend to be more round and fluid as opposed to static and angular. Seen from different angles they reveal different aspects of their character and beauty, much like the human body. Jewellery has a distinct relationship to the body of the wearer. As such, I think that these soft, tactile forms compliment the soft curves of the body and are both comfortable to wear and eye-catching.

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These rings are designed to be statement pieces for those of you who are bored of dainty little band rings. They are big, bold, and because they are mostly hollow, they aren’t too heavy.

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