Erica Earle-Robertson s1978564

Urban Landscapes II: COLLAGE • Flatlays • Location Drawings • Texture Rubbings • Collages • Brooch design • 3D model Flatlays from the beach. LOCATION DRAWING: Seawalls in graphite. LEFT HAND STUDIES.

Carbon paper drawing. Charcoal. Ink & watercolour. Biro & watercolour. Ink & watered acrylic. TEXTURE RUBBINGS SURFACE OF WOOD SEAWEED WHITE CHALK STUDIES This was the first collage I made. I combined cuttings of coloured card, textured rubbings, ink, charcoal and tracing paper. The circular form was made using wire and stitched down on the paper. While I liked the combination of colours and textures, the composition was far too busy and slightly overwhelming. In going forward with my other collages, I focused more on observing and selecting shapes, and then rearranging them. SHAPE & LINE EXPERIMENTATION/ DEVELOPMENT

Continuous line drawing, cuttings Adding another colour. Rearranging the pattern. of yellow card. After playing around, I found the Added shapes to the best suited design. negative spaces. Exploring different seawall configurations: card & balsa wood. The design I liked best. Tracing paper added to negative spaces. Botanical Garden Glasshouse: coloured card windowpanes. Development of Patterns. Final Design & additional threaded string metal beams. Added tracing paper & white ink negative shapes. Collages Critical Analysis Development & Design Ideas ARTIST RESEARCH: Ike Jünger

Brooch, 2010, silver, gold, and enamel Brooch, 2011, silver, enamel, Untitled, 2013, brooch, silver, gold, 2 3.8 x 2 3.8 inches. slate, 3.35 x 2.36 inches. enamel, 50 x 50 mm. Jünger takes two contrasting approaches to her work; one inspired by nature, and then strict geometrical shapes & clear colours. She experiments with the versatility of enamel and looks at how it can be rough or shiny, transparent or opaque, applied lightly or thick and evenly. I love how she combines contrasting colours and textures influenced by the natural world; she manages to capture the beauty of the disregarded aspects of nature, ie. crumpled dead leaves, dry twigs and curling bark. I closely observed her placement of forms and their relation to each other, keeping in mind that she too uses Untitled, 2013, brooch, silver, gold, repetition and rearranging to create a balanced composition. enamel, 70 x 4mm. RAMON PUIG CUYÀS

Cuyàs’ jewellery pieces emerge after a long process of repetition, rehearsal, elimination, selection and decision. Whilst drawing and making exploratory sketches, I found it really interesting that he creates these flatlays which explore new paths and variations in composition and Suite Pompeyana, 2016. Brooch. Nickel Nickel, silver, paper, plastic, choral, enamel silver, enamel, plastic. . materials. He observes a dialogue between materials and forms by stretching their limits; rather than fighting with the creation process, he lets solutions appear naturally. Cuyàs uses the Sgraffito technique in his work, whereby he applies the enamel on wet, lets it dry and then etches into it. This creates some expressive markings and provides an experience lived through his working process. nº 1603, brooch 2016, nickel, silver, Nickel, silver, paper, plastic, bronze. enamel, plastic, reconstructed stone. Exploring depth using layers: I worked with card cutouts and 3D tape to see how my brooch might look if it were raised. I really liked the shadows and how particular pieces were emphasized. In addition to this, I thought about how scale might affect my design. MATERIAL EXPLORATION Observing how other jewelers work with layering and texture in enamel.

Steffi Götze, Brooches, Untitled, 2015 : silver, copper, enamel Rebecca Churcher Emma McFarline

Jill Hermans, Small Square, Brooch 2012 Jessica Turrell, Field Unit, 13 brooches, vitreous enamel on Myung Urso, Chamber, 2017, Pulp basket, etched copper, oxidized silver, 2014 sand, marble dust, acrylic paint, silver FINAL DESIGN PLAN PHOTOGRAPHED 3D BROOCH MODEL

painted balsa wood varnished card opaque card annealed wire frame manipulated using pliers to get tight bends. BACK FRONT

1st layer: dark colour 2nd layer: white acrylic & textured card variation of greenhouse beams etched pattern into paint BROOCH PIN

I stretched out a piece of wire and wrapped it around The catch was made by bending a small piece of wire one side to create the pin. and attaching it to the frame using waxed thread. SIDE VIEW

In these images, you can really see the dimension of the piece. I used 3D tape to create layers & add depth. BROOCH ON THE BODY

Overall, I was really pleased with how the piece came together. I focused heavily on the construction of the pin and the textures of different materials. I have conflicted feelings about the size of brooch, whereby I like how striking and bold it is as it sits, however, if I were to create it using metals and enamel, I would maybe make it a bit smaller.