heat for manipulation, so doing repairs while stones are in
place is impossible — diamonds will frost over and the piece
will be ruined. Similarly, sterling silver is an excellent conductor, making set stones susceptible to high temperatures
and reconstruction a real challenge.
So how do you transform a lump of mineral into an
eye-catching bauble? With a lot of heat and a selection of tried-
and-true tools, some of which are depicted in Renaissance
paintings, Alix points out. These include hammers for shap-
ing — each varying slightly in shape and size, designed to force
metal in different directions — plus pliers and, most important,
fire. Whereas metalsmiths of yore would surround an oversize
flame source in groups, trying to modify the temperature with
bellows, today’s jewelers work solo with handheld torches.
Fueled by butane, propane or a combination of propane and
bottled oxygen, most torches offer adjustable flame sizes and
temperature, enabling jewelers to manipulate pieces and tar-
get tiny specific areas. “It’s kind of exciting, the melting and
transforming of the metal from solid to liquid to solid, and
then shaping and forming — that’s all very intriguing to me,”
Bartel says. “Most of my work is based on techniques that are
hundreds and thousands of years old.”
But newer techniques now prevail, notably for merging of
metals: Modern jewelry-making employs soldering, “a way of
bonding two metals with the help of an alloy that makes a bond
at a lower temperature than that at which the metal melts,” Alix
explains. That means jewelers can create joints and secure sepa-
rate items without jeopardizing the integrity of the piece. “In
ancient times, they didn’t know about solder, so they relied on
fusion welding for everything,” Alix adds. “Fusion happens at
the temperature at which the metals are beginning to melt. And
just as they begin to flow together, but before they lose shape and
form a big blob, you pull the heat away.” It was a “difficult and
delicate technique, the failure of which means all your work is
for naught, and [artisans] had so much less control.” Another
modern innovation is a laser welder, a machine that wields a
concentrated, narrow beam of heat, permitting precise, intricate
repairs and designs not possible before.
After pieces are heated, cut, formed, hammered and fused,
jewelers use files and polishes to make the works look like
new. “The shiny, finished metals you see in stores — there’s
a whole process to get the metal back to that state,” Saxen
says. “Files get rid of the rough marks, which kind of hides the
crude steps of the actual process, so it’s more of a mystery.”
For jewelers who work with precious gems, the metal
is a frame to showcase the stone. Today’s range of settings
includes channel (stones are suspended between two strips
of metal); prong (gems are held by prongs with minimal metal
to highlight the stone); bezel (metal is bent to match the shape
and size of the stone, then soldered to the piece); and burnish
(metal is pushed around stones after insertion). “Finding
beautiful stones is not very hard,” says Alix, who mentions
the Tucson Gem and Mineral Show as a major resource. “Like
many others, I usually design pieces for the stone.”
Asked what separates fine from fashion jewelry, local mak-
ers cite a number of factors. “There’s a level of care to be found
in a piece of fine jewelry. Even with technology, you can only
rush a handmade piece so much,” Saxen says. “When cus-
tomers see an aspirational piece in real life, they know that
it began as a creative fantasy. Aside from the materials, what
makes it worth the price point is that, to the person who made
it — brought it into being through a process that’s only acces-
sible after years of training and experience — it’s priceless.”
Fine pieces are designed to serve as family heirlooms
that hold many stories over time. But most of all, Alix notes,
they’re made to be enjoyed.
“A lot of people have regular lives, and we want to make
things they aren’t saving for once a year — what’s the fun in
that?” she points out. “I really advocate that people wear their
stuff, especially if it’s special. Life is short. Wear your jewelry.” m
This spread: More of
Bartel's many tools and
some concept sketches.
