Lively Metal Surfaces

Since human beings first started transforming precious metals into jewelry, they have focused on ways of designing the surfaces. In addition to the optical appearance, the haptic experience played a significant role in the precious items, as they were worn constantly next to the body. Many of the millennia-old techniques, with which our forefathers lent a special touch to the metals with interesting structures and colorations, were lost and were only recently rediscovered. Sculptors who also designed jewelry objects were often the initiators of this clear focus on metal surfaces.

It was above all during the second half of the nineteen fifties that creative goldsmiths freed themselves of the shackles of mass taste, which dictated that gold and silver should simply be given a high gloss polish in order to please. Ambitious artists attempted to breathe life into the precious metals, drawing on structures or intentional oxidation. Their intent was to allow the metal to develop an inherent, artistic quality and not simply to serve as a background setting for gemstones. In many cases, the selected jewelry metal provided the incentive for a new surface design. For example, in order to distinguish platinum from other precious metals upon its reintroduction, it was, at the start, frequently rendered matt. The following summary provides a brief look into the most important, modern methods for surface design:

Diamond cut A fast-rotating, diamond-tipped tool creates in this method a high-gloss, reflecting cutting surface. Cutting surfaces in different directions create an inherent design and the jewelry looks as if it were encrusted with numerous tiny diamonds. Diamond-cut surfaces are durable and resistant to wear.

Hammered This method for processing the solid silverware produced in Viennese studios is also known as martelé. Silversmiths drew on this technique above all towards the end of Art Nouveau and on the cusp of Art Déco. This technique is also popular for silver jewelry. The evenly spaced, small and densely packed dents create an individual surface.

Flambé The modern surface design takes its name from the French word flamber, which means to braise, to singe or to enflame. This technique was already used by Fabergé goldsmiths, who called it "Somorodok Gold". In it, the sudden application of cold to an almost molten gold creates a surface resembling a natural gold nugget. This style of jewelry was rediscovered in the jewelry styles of the nineteen sixties. Flambé is often the basis for various other surface techniques such as sulfurization of silver objects, enameling or dyeing, etc.

Anodization A term to describe the refinement of an item of jewelry be electrolytic oxidation.

Granulation The term is derived from the Latin word Granulum = "granule". This technique was already in use in Ancient Egypt, Greece and Etruscia. Etruscan goldsmiths were particularly skilled in this technique. Granulation is in actual fact reaction soldering. In this decorative surface technique, small balls are bonded with the carrier material without metallic solder. Fine gold and fine silver, along with alloys with very high fine contents, are particularly suitable for granulation work. In the Middle Ages, granulation was popular in Siebenbuergen. On several occasions over the passage of epochs, the knowledge of granulation was lost; it was not until the 19th century that the Roman goldsmith Augusto Castellani rediscovered it after studying Etruscan jewelry. The attraction of good granulation work is dependent on the size and forms of the small balls (granules), the evenness of their arrangement and the barely discernible, metallic contact with the carrier metal. It is very difficult to produce perfectly round granules.

Engine turning This technique is predominantly used to decorate high-quality watches, bowls, tins and lighters, etc. In this form of engraving, an arm fitted with a chisel or steel pin travels with mechanical precision across the surface. Depending on the machine setting it can engrave various patterns consisting of straight or curved lines.

Lapidation This is understood to be the high-gloss polishing of jewelry and appliances.

Matting Production of a dull surface; depending on the application of various measures, this can produce various surfaces. For example, the use of a matting hallmark (hair hallmark) produces rough-granulated, even surfaces. It is usually applied by the chaser or engraver using a texturing brush (centrifugal brush) to produce light, matt and even surfaces; sand blasters (matt blasting) produce finely granulated, even, matt surfaces, found in various items of jewelry.

Metal adornments This is a generic term denoting various surface designs, for example etch decoration, iron cuts, enamel, filigree, tremblant, granulation, engraving, engine turning, niello (tula), satination, inlaying, embossing, chasing, bark structures, diamond grain, diamond cut, etc. The techniques that were enhanced during the Renaissance in particular transformed jewelry and the first pocket watches into small artworks. Ornament engraving was of considerable significance.

Oxidation Metal surfaces are aged artificially by oxidation and therefore receive a unique patina or even an entirely new color. Silver is rendered old by exposure to sulfur. The goods are immersed in a sulfur solution. They immediately turn black. If it is then rubbed down, the protruding parts appear naked, while a dark hue remains in the indentations.

Satinate This was the surface technique of the sixties. Fine, parallel lines are cut with a line graver. The pattern it produces has a silky appearance, similar to satin material.

Chasing Surfaces, lines, ornaments and figures are made plastic in this form of decoration. This technique is seen on jewelry and on appliances.