2019 Updates to Policies

I realize that I’ve been terrible about updating the page for the past year, and I’m hoping that things will start to turn around shortly.

I wanted to post an update that there will be changes made to the following policies that will take place at 12:01am January 1, 2019. Here is a summarization of the changes that will be taking place:

Custom Work

Custom work will require a non-refundable 50% deposit due before the piece goes into physical production. The remaining 50% deposit will be due at the time that the project is completed.

Layaways

Lay away payment plans will be executed at my discretion. They will require a $100 deposit due immediately to hold the item. The item must be paid in full within 90 days. Any and all payments made will be non-refundable, but will be transferable within TGP.

Pricing

The pricing structure of TGP will be changing in 2019. Any and all projects that are started in 2018 will be grandfathered in to the current pricing structure.

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An Engagement Ring for B & S

I heard first seen and fallen in love with the creations by The Gemstone Project in 2016, while looking for unique pieces for my personal jewellery collection.
I really enjoyed that even my casual questioning and interest was met with positivity and genuine responses. As an Etsy favourite, when one of the listings jumped out at me, I sent the link to my partner, just stating that I found the ring I wanted.
He immediately inquired as to the possibility of having a ring resized and sent to us in Australia. Elle made it a very simple and comfortable process for him to get my correct ring size, and the ring arrived much faster than anyone expected.
The fit of the ring is perfect, it’s almost weightless and extremely comfortable. Well my newly minted fiance kept frantically checking that it was still on my hand, but I was 100% certain that it wouldn’t fall off accidentally.
The quality of the piece is unmatched, I have had endless compliments on the colour and cut of the stone as well as remarks on the ingenuity of the secret diamonds on the sides. All of my close friends and family members have remarked that it is very much suited to me, as well as the fact that it is very unique.
I have no hesitations in asking Elle to craft matching wedding and eternity rings. – B & S
Congratulations to you on your engagement and I’d be positively delighted to be involved in the wedding ring process!
Elle

Lemons into Lemonade

Sometimes life throws you lemons, and you have to make lemonade.

Consider me a lemonade factory at the moment.

 

Feel free to reach out via the contact page with inquiries, and I will do my best to respond in a timely manner. Please keep in mind that I’m a full time employee with an super impressive sounding job title, a full time mom to a wonderful, vivacious child and that I do jewelry for fun and because it’s my passion. So patience would be greatly appreciated at this time!

Hopefully soon everyone’s patience will be rewarded with some evolution in my jewelry designs and photography.

Hand Forging vs. CAD and Cast

 I feel like the topic of different ways to manufacture jewelry has been coming up more and more lately in email conversations with clients, so I figured I’d write a little bit about it.
*Please note, I’m not going to discuss die struck jewelry in this post!
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I think it’s Mark Morrell that was a touch snarky about answering the question of “are your items handforged?” I believe his answer is along the lines of “I use the best manufacturing method for the job at hand.” Which, to me, says loads – it says that he thinks the question is hogwash, he uses both “methods”, and isn’t going to waste a lot of time molding metal to make a ring that could be manufactured easier and quicker through other means.
In reality, all jewelry is made by jewelers manipulating a variety of tools through a variety of techniques to get the desired result.
It seems to me that there has been a big fuss about what tools and techniques are used to achieve those results.
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Now, there are obvious differences in production, but there is very little that can be produced “better” via “hand forging” vs CAD and cast. CAD and cast is easier, it’s cheaper, and the time savings is tremendous as far as labor goes. CAD and cast are also typically going to be more precise and symmetric. A computer and a machine just aren’t going to make the mistakes that a human would. The differences boil down to how the parts of the jewelry were created. Otherwise, there is a ton of overlap in the methods. Hand forged items, if you’ve watched videos, have been brought into their shapes with tools and a person guiding those tools. No matter what, the pieces are all soldered on the same way, they are all polished the same way, the seats for the stones are all cut the same way. Engraving is done the same way. You get the idea.
Feel free to mute your sound should you choose to watch the video!
I have a Mark Morrell piece in my personal collection, and what I can tell from it is that his finishing is impeccable. You can tell that he goes over every millimeter until it’s to his standards. The ring is CAD and cast, though I have no doubts that he uses hand forging methods when necessary. I have played with a 100% hand forged piece and I can see solder where the band was put together, the prongs on the center stones are all different lengths and widths, and one doesn’t quite touch the stone correctly, causing it to catch on things and have constant chunks of fuzz under it.
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Mark Morrell set with a colorless spinel
For me, it becomes a question of, “Do I want this cheaper, quicker and easy to replicate? Or do I want this to cost 5x as much, imperfect, longer manufacturing times, and not easily replicated?”
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My Pétiller ring is one that’s good to think about because it’s quite simple in execution, and was cast. The cast pieces were assembled by hand, and then the seats were hand carved out of the solid metal for each diamond. The only difference in making that ring via hand forging vs CAD and cast is that the methods would be different to get the solid shank, and the bezels that make up the support structure between them. Otherwise, the methods to put it together are exactly the same.
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My stance is that I prefer CAD and cast over hand forging. Much of the manufacturing methods are the same, it’s just a question of how the metal came to be the finished shape before things like setting stones and other finishing techniques take place. CAD and cast is much easier, especially when it comes to online orders – the client gets to see what it’s going to look like before it’s produced, rather than just hoping it will come out how it’s been envisioned, and seeing it when it’s finished.
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So much of the jewelry world is incredibly secretive. I don’t think that most jewelry people like to take time out to explain the differences to laypeople, especially when it’s hard to gauge the audience – are they really wanting to know the specifics behind the manufacturing methods or is it just a question being asked to make small talk? And sadly, most sales people in the retail world have no idea about manufacturing methods at all.
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Ombré du Soleil

They just wanted to be made. – Elle

I had posted these on instagram the other day, just a small macro shot, and immediately got requests to see more. Well, the thing about that is that these are ridiculously difficult to photograph for one simple fact – they are huge.

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A couple years ago, when we were still in California, I had an overseas collector send me a great number of stones to sell on consignment. That’s the reason my etsy shop was initially opened. There were a handful of stones that I knew immediately that I didn’t want to sell – I wanted to create something with them.

My starting point in this particular project was the largest pair of spessartites. They just glowed, in an almost unearthly way, with this ridiculous neon orange that photos don’t really do justice, as orange is one of the hardest colors to photograph accurately.

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Now, this collector had sent along literally about 40 carats of spessartites, including a handful of smaller round oranges with fantastic color, and a pair of bezeled round spessartite earrings.

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Spessartite, as with most gemstones and colors, goes through bursts here and there of popularity and trendiness. Unfortunately, just as I got this package, spessartite was hitting a slow spot, so most of the loose gems that I had never even hit the market. Instead I started to have big dreams for them, all brought upon by the incredible color of that large pair. I created a sketch of the initial idea, which included using the bezeled studs as is and then later amended it to add a few details, involving a change to the stud.

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About six months ago I went to visit my favorite gem shop and one of the first things on my mind to pick up were gems that would fit the ombré  color scheme I had dreamed up.  I needed to find exactly the right graduation of color and size to match cohesively with the overall concept. Luckily I was able to find that in some sapphires from Madagascar.

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As soon as I had all of the stones collected, I sent the picture to a friend.
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And a couple months later, she asked me when I was going to make the earrings? Why hadn’t I made them already? I had all of these beautiful stones, why not make use of them already? So I turned around that week, and sent them off to the jeweler, along with a picture of the sketch.
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As I mentioned before, the sketch went through a couple of revisions. The final version ended up being so large that the entire thing wouldn’t fit on one page of my sketch book, so I had to improvise a little bit, and drew the stud separately from the rest of the earring. A quick note: I draw everything at 5x scale.
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 So, lets talk specifics of the finished product.
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The bottom 5 stones are spessartites, the top three in the bottom section are sapphires. The top stone (the stud) is a spessartite and then the rest (second stone in the stud and then the little connecting section) are all fancy yellow diamonds.
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These are definitely more hefty than I usually make, but the one thing I wanted out of these is that I wanted to have that heft, and I didn’t want them to feel cheap. I feel like they easily could have gone the costume jewelry route, but the setter managed to avoid it, keeping the walls between the stones quite thin, and the edges from stone to outside rim thin in most areas . The largest stones are 7mm and very deep so we really had to have a lot of metal to hold them all in place.
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The settings are open in the back to let in a ton of light, even though they are bezeled. The emphasis for this project was really on the stones, the ombré effect and the concept of light. Seeing as how it took about two years to find the right stones in the right sizes, tones and saturation to I really wanted to not detract from the concept as a whole and keep the ombré effect in the metal that’s holding the stones together. As you will see in the images below, the color of the stones change from one image to another – the most accurate devices for color viewing are Apple products, iphone, ipad, Mac computers, and images with the brightest colors and least amount of brown are the closest to real life.
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14 grams of 18kt yellow gold

.16 carats of yellow diamonds
.41 carats of yellow sapphires
14.13 carats of orange garnets

14.7 total carats

They measure just over 2.5 inches long.

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Everyone keeps asking me, “why did you make these? Are they for yourself, or to sell?” and my answer has been, “They just wanted to be made.”

At the moment, I don’t know what the future holds for them. But absolutely something bright.

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Incoming Gemstones

Whoa! Gemstones ahoy!

I got a couple of packages from a couple of collectors looking to consign items, and there are some really awesome gems, and a couple of finished jewelry pieces.

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Some of the stand outs include:

40+ carats of green garnets: tsavorite, demantoid, mint, including melee!
2+ carat blue spinel pear
1.89 carat neon pink spinel
Green zircon
6+ carat blue zircon
Light teal-blue tourmaline
Pink Vietnamese spinel
Ruby studs
Handful of diamonds, rounds and cushions
Precision cut Mahenge garnets
Lavender tourmaline

Plus more!

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Also expected this week, a precision cut gray spinel antique cushion with a certification from AGL.

And I still have more incoming in the next couple weeks!

All of these will be listed to my etsy shop in the coming weeks, while I’m hoping to have everything up by Thanksgiving, but that just depends on how things go, and how much sun I get for photographs! If you are looking for anything in particular or if any of the above sound interesting, please reach out to be added to the interest list!

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If you haven’t found my coupon code on my Facebook page yet, you should go check it out because it expires October 31!

Also I have accounts with some wholesale dealers, so if you’re looking for anything in particular, let me know!

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We are getting very close to the holiday season. I will be releasing deadlines for holiday ordering within the next week – where has this year gone?! I cannot believe the holiday season is upon us!

So many custom projects going into production right now, I am so excited to see them come to fruition!

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Creating the Ingénue

Ingénue – Innocent young woman

When this idea came to me, I really wanted to create something that was classic, could be worn with anything, and wasn’t overpowering to either the woman or the gems. I wanted simplicity that was more than just a solitaire. The name of this game was subtlety.  Something quiet. Graceful. Sophisticated.

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I started with a two stone idea. A smaller stone “bale” with a larger stone hanging below.

The first version I pulled out for this idea was with an angular stone. I had a small princess lying around, so I thought that would work well and go with the angular shape of the stone I was considering. But the main stone ended up selling out from under me, so I had to change gears.

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I decided that classic rounds would be the way to go – rounds are the most popular shape, they would always be plentiful and I’d have no problems sourcing some when I was ready to make the design.

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So of course, I always jump at any chance to make something with rose cut diamonds, and in this case, anything else would have been too flashy. I love the way the light floats across the facets of a rose cut – it’s reminiscent of the light from the setting sun hitting the soft waves of a lake. For the rose cut, I decided that a simple bezel with milgrain would do nicely.

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The bottom was harder.  I started playing with the idea of another metal halo style, because I didn’t want diamonds. Since I had already decided I wanted a bezel on top, a bezel seemed to make sense for the bottom. But that would be too predictable. Instead I went in another direction: prongs. It became a metal halo with prongs, much like the Aurore. But how do you make a metal halo interesting? Metalwork. Two rows of milgrain combined with some delicate engraving helps add a little extra detail without being too overwhelming.

Note: I never draw engraving. I cannot do justice to a master engraver’s work. Seriously. So I don’t even try.

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Now the question became, what to do with the back? I always try to get something a little unexpected in my jewelry, and the back, or the underside are the perfect playground. For this I went back to where it began – the rose cut. And I used the rose cut facet pattern that I love so much and brought it to life in the metal.

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The hardest part yet was figuring out what stone to be the star of the show. As I mentioned, I originally was planning on making it with a fancy shaped diamond (this design will work for absolutely any shape!) but that fell through. Then I figured I’d make it with a round diamond, but that seemed predictable – there are so many diamond necklaces out there already! And for a person who loves other gemstones I wanted something that was more interesting and rare. Something that fit the classic look and feel but wasn’t a diamond.

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Which is where Geoffrey Watt of Mayer & Watt steps in. I had asked him to find me a white spinel at JCK 2016, since I wasn’t going to make it this year. He obliged, and I found my main stone. Not long after, the sketch was complete.

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It wasn’t until the necklace was out of production that I realized that I wasn’t feeling the high polish. I tend to try to avoid brushed finishes because they can wear away so quickly, but for a necklace that wouldn’t be coming into contact with anything but skin, it made sense.

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I think I accomplished my goal. Classic, versatile, sophisticated with a vintage feel. Something that be dressed up or down. The Ingénue.

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Evaluating a Neon Pink Red Mahenge Spinel

This week’s blog is an evaluation of a 3.21ct Mahenge spinel that I did for a client recently.  The stone was brought in from Mayer & Watt, a wholesale dealer where the advertised MSRP is $5,256/carat. The following is a direct copy and paste of my email.
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Color:
It is always interesting to see how different stones look when up against other stones of similar colors. For this pear, I pulled out the large Mahenge reddish-pink cushion I have, the small Burmese pink-red, a red-red oval, my red spinel band, and my pink-pink Mahenge spinel. So this one is interesting because up against the more pink stones, it looks more red, and when it’s up against a red red, it looks pink. Overall it’s strongly saturated, medium in tone, with the slightest hint of orange when compared to pinks that are more blue-toned.
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Inside
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Outside
Inclusions:
My biggest concern going into it was the inclusion. As I think I mentioned in a message I sent you earlier, in some lighting situations, it’s more obvious than in others. Right now it’s about 18 inches from my face, and even though I know where it is, I have difficulty finding it. I think that it would be very close to where a prong would sit to hold it, so once set, it may become even less obvious. I just put it under 14x magnification and it looks as though there is a cluster of 3 bubble inclusions, which are typical for the Mahenge location. They don’t pose any problems for setting, they don’t even come close to reaching the surface. The largest one has a slightly larger cloud around it that’s typically not visible except when backlit, which I have attached a picture of. They are all clear or white inclusions, probably a negative crystal inclusion and two gas bubbles. Even with the three inclusions, I would say that this is a very clean example of Mahenge material.
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Cut/coloration:
You had asked about zoning earlier. There isn’t any zoning, but as is pretty typical with pear and marquise cuts, the color tends to concentrate on the tips, as a result of the cut. This one is actually pretty evenly colored, with just a slightly deeper color on the tip. As far as cut, this is a really well cut pear. There isn’t any windowing, and there isn’t an abnormal amount of tilt windowing. If anything, I’d say that there is less than the typical amount of tilt windowing.  There does not appear to be any bow-tie or large amount of extinction.
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Fluorescence:
It glows a bright red under UV light.
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Overall I’d say it’s a pretty exceptional stone. The only hesitation I would have would be the inclusion, but that’s really a matter of personal preference – I’m ok with inclusions so long as they aren’t detrimental to the overall look of the stone.
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Engaged: 3 Stone Spinel

Sometimes the best projects are the most terrifying. Warning – this post is picture heavy!

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A while back I had a new client come to me and she said, “I don’t know what I want, but really like the Accolade band, and a few other settings. Can you design my engagement ring?” To which I said yes.

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Looking back on it, I think it’s kind of funny because being given full creative control is so so scary, but her engagement ring turned out wonderfully and I couldn’t be happier.

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We had a lot of debate over stones, but once the actual setting idea came into fruition, it all seemed to fall into place.

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It was made using three precision cut spinels – the center is a lavender spinel, and the two side stones are gray spinels.

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Platinum ended up being the metal of choice due to it’s lack of maintenance.  The random polish to smooth out scratches, and it looks as good as new again!

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The angled shoulder view is often my favorite on any ring, but on this ring, it’s extra special – I love how the prongs and the curves just flow together!

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Last rays of summer sun…

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Once you see the profile, you can clearly see how it was inspired by the Accolade band!

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E, I am absolutely delighted for you and D, and I hope that this ring follows you through many great adventures on your life together!

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Design Thoughts & Questions

Just a sample of some of the questions I ask myself while working on a project.

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Does it have purpose?

What does it make you feel?

Is it risky?

Is it beautiful?

Does it flow with the other elements?

Is it functional?

Is this element both beautiful and functional?

Does it look like something I’ve seen somewhere else?

Is there a structural entity that could be more attractive?

Does this need to be here?

Does it need more structure to withstand time and wear?

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Is the wearable/comfortable?

Could someone wear this every day? Or is it an occasional wear item?

Where would the wearer wear this?

How does this interact with the wearer?

Does it move?

Could it move?

Should it move?

How should/could it move?

What are the stones? Are they especially fragile?

What kind of hazards would this likely come into contact with? Is there anything to be done design wise that would better protect it?

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What color metal looks best with the stone?

What color metal looks best with the design?

Would this design work for other stones?

Would this design work for other shapes? How?

Does this stone have any special issues I should try to compensate for or enhance?

Is this idea too fantastical?

Is this idea too boring?

Is this idea classic?

Will it stand the test of time? Or is it trendy?

What kind of surprise elements can I add that the average observer wouldn’t notice, but would make the piece special, and still keep with the feeling of the piece as a whole?

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