Overhead flat-lay of a dense sheet of jewellery technical drawings on white cartridge paper, multiple ring profiles and stone-setting cross-sections arranged in rows, fine pencil lines with annotation marks, cool even studio daylight from above, no shadows, straight-down camera angle filling the entire frame
Overhead flat-lay of a dense sheet of jewellery technical drawings on white cartridge paper, multiple ring profiles and stone-setting cross-sections arranged in rows, fine pencil lines with annotation marks, cool even studio daylight from above, no shadows, straight-down camera angle filling the entire frame
/ Work — Drawings

Paper is where the design gets decided.

Every ring, pendant, and setting starts as a drawing. Not a thumbnail — a technical argument made in pencil, tested in proportion, revised until the form holds.

— Studio practice

A drawing is the first material decision. Proportions, mass distribution, and setting geometry are resolved on paper — not approximated, not deferred to the wax. The lathe confirms what the drawing has already settled.

Proportion and mass, argued in pencil

Drawings that survive multiple revisions become the binding reference for every subsequent stage. Nothing is discarded — the crossed-out iterations are part of the record.

The drawing resolves. Then the wax begins.