P r e s e n t s
DEDICATED TO THE BENCH ARTIST
FEATURING: Q & A WITH
John Sorich I V A CONVERSATION WITH Joanne Ryall TECHNICALLY SPEAKING
The Eyes Have It by Mitchell Lurth
Learn: DEDICATED TO THE BENCH ARTIST Summertime, and the Learnin’ is easy! In this issue, you will find a Q&A with John Sorich IV, an in-depth conversation with Joanne Ryall, a volcano setting tutuorial by Mitchell Lurth that you have to see, plus inspiration, tips, and more! Welcome back to
CONTRIBUTORS Learn magazine wouldn’t be possible without our awesome contributors! If you have an idea for an article, tips or techniques you’d like to share, or just want to send us some photos of your latest work, please email GRS at creative@glendo.com. Joanne RYALL A CONVERSATION, PAGE 04
Joanne originally trained and worked as a sign writer, developing a successful business in this field. One day, she found a classic book on the art of engraving steel and precious metals. Devouring it from cover to cover, she was totally enthralled by the possibilities of this medium and her future was set.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the Glendo LLC. Although the highest care has been taken to make the information contained in “Learn” as accurate as possible, neither Glendo LLC nor the authors can accept responsibility for damage of any nature resulting from the use of the information within. © Glendo LLC 2021
Today, after years honing her skills, she is recognised as one of the world’s premier hand-engravers, specialising in the embellishment of fine watches, knives and firearms. Mitchell LURTH VOLCANO SET TUTORIAL, PAGE 12
John SORICH IV Q & A WITH JOHN, PAGE 18
John’s family has independently owned Diamonds Direct in Minneapolis since 1981. He was exposed to jewelry and diamonds at a young age. John studied goldsmithing in Vicenza, Italy, at the government-run Scuola D’Arte E Mestieri. During the next few years, he honed his skills by studying hand engraving under Michele Griggio and attending the three-month optical diamond setting course at Alexandre School. In 2015, John began working for two Italian jewelers and taking commissioned orders online. In 2017, he moved back to the United States and attended the graduate gemologist course at the Gemological Institute of America. Nowadays, John works at his family’s business, creating custom pieces for customers that come to the store or contact him via Instagram.
Mitchell Lurth has been an engraver for more than 10 years and a stone setter for more than 5 years. Currently, he works as a professional jeweler and hand engraver for Philip’s Diamond Shop in Marion, Iowa. Mitchell graduated from Emporia State University with an Engraving Arts Degree (BFA) and attended numerous GRSTC courses during training. He completed the GRS Grand Masters Program in 2012 under Alain Lovenberg. He was also an intern for GRS during college to assist in product development. His extensive training, innovative design work, and stunning technical abilities make him a great fit for teaching at the GRS Training Center.
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THE Ryall DEAL A CONVERSATION WITH JOANNE RYALL
Q & A WITH
JOHN SORICH IV
THE Eyes HAVE IT
TECHNICALLY S P E A K I N G WITH Mitchell Lurth
INSIDER EMPLOYEE PROFILE: CHELSEY KESSLER
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GREG’S MAINTENANCE TIP
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All photos Copyright Joanne Ryall Engraver
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A conversation with Joanne Ryall
Are you an Engraver, Jeweler/Stone Setter, or both? I am an Engraver.
How long have you been at the bench? I started cutting in 2009, so a little over a decade as a full-time engraver . . . wow, how time flies! Howdid you first become interested in Engraving/Jewelry/StoneSetting? A good friend introduced me to a maker of black-powder pistols, who lived locally. He also dabbled in a little engraving. On entering his workshop, he showed a couple of his engraved pieces and an Optivisor. He must have seen the way my eyes lit up with very keen interest, as he kindly loaned me his copy of James Meek’s book, The Art of Engraving (I only returned the book to him a few years ago! Ooops). Something just clicked, and I was totally enthralled with the idea of engraving. Returning home that evening, I grabbed my laptop and found Sam Alfano’s ‘Engravers Cafe’ forum, brimming full of information, which I willingly and completely absorbed! I feel extremely fortunate that the information contained in that site is even available. I am very aware that years ago, it wasn’t, and new engravers truly did have a huge struggle on their hands. Modern engravers have a much easier time of it these days.
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Please describe your work history/experience since you began metalworking. I have always had an artistic nature, and from an early age would produce pen and ink drawings, the subject composed of thousands of tiny dots. Later, I encountered Scrimshaw and found myself transitioning to producing ‘bulino’ style images on ivory, antler, and bone. These were used in rifle grip-caps for sporting rifles, knife scales, pens and walking sticks. Engraving metal was yet another medium to explore, and was allied to my existing work on sporting goods, so a natural development. The differing styles and techniques required for the varying pieces I engrave have ensured that boredom is never an issue. As soon as you become competent in one style, you realise that you still need to put more time into developing your skills in another area. Twelve years later, I am still enjoying learning and developing the skills needed to produce quality work. Having worked with some great people and wonderful projects along the way, I definitely find myself placing increasing importance on this aspect. I am now in a very fortunate position where I can pick and choose the projects which excite me the most and I only want to produce pieces that are done to the best of my ability. After all, I made the choice to become an engraver, and my aim is to continue enjoying the work. This may be a bit idealistic, but it works for me and keeps me smiling!
When creating a new piece of work, what process do you go through (sketches, research, etc.)? For me it helps to have the object in my hands. This tends to give me the certain feeling I need to start creating the design. The size, the shape, even theweight in my hands, all help to guide me toward a design style for that piece. It also allows me to achieve accurate templates, which are essential when attempting to find a perfect fit of design and medium. Inspiration for a theme having been obtained, the actual process of formulating a design is not easy to describe. There are the obvious rules, and the design needs to be bold enough to see with the naked eye, and of course, balance. A sense of balance is as important as the design itself. After much pencil lead, I get a ‘gut feeling’ that tells me I’m going in the right direction. Where do you go for inspiration? Are there particular artists that inspire you? I am a huge fan of Victorian architecture as well as the era as a whole. This forms much of my inspiration. Artists such as Escher and Dali have long been favourites for me. Even as a kid, I was a huge fan of the fantasy genre and the artist Boris Vallejo. There are a few true, master engravers out there, whose work I adore, from composition through to execution. In their work, it is very easy to see the passion they have for what they do. I have huge respect for those people, and feel sad for those who simply see engraving as a job and pay-cheque.
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Out of everything you have worked on, do you have a favorite project? What is your most memorable project? Why are these your favorite/most memorable? My favourite might well be a recent piece, a titanium fishing reel that was part of a traditional split-cane fly rod set.
I politely suggested he wait until the watch was complete, and if he then wanted to send me a ‘little something’ that was slightly more freight friendly, I would be delighted to accept. Throughout the next few months, we conversed and found quite a few common interests, one being motorsports, and particularly, Formula One! Eventually the work was complete, he was delighted with the finished work and dialogue immediately resumed regarding the topic of a ‘thank you’ gift. He dropped a bombshell, and with his wife, invited myself and my partner to Texas — for a VIP trip to the Austin Formula One race in October! Three fabulous days of F1 followed, then a further six days site-seeing and gorging on as many edible delights as possible.
I spend much of my time engraving small pieces like watches. By contrast, the ‘real estate’ (pun intended) of the 72 mm reel plate was an absolute dream. It allowed for bold yet elegant embellishment, and was hugely enjoyable. Part of this enjoyment was working with the client. A really great guy who trusts me, and steps back to allow me to produce a design that I know will work . . . ‘The perfect client.’ I guess the most memorable has to be working on a gold Rolex Daytona. Not necessarily because of the job itself, albeit that was another fun piece where I was again allowed free rein, but more due to the client, who was so pleasant to work with. Before I had even started working on his piece, the client was already talking about sending me a thank you present! His suggestions ranged from a handmade, bespoke ranch hat, to a taxidermy shoulder-mount of a Texas long horn cow — measuring 7 ft across! Did I mention he was a Texan!?
Just an incredible trip . . . a truly once in a lifetime opportunity, and so very much appreciated.
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What are your interests away from the bench? I used to have far too many, but over the years, these seem to have consolidated into engraving-related pastimes now! However, I do love sitting next to the log burner, sketching with my two Spaniels beside me . . . mostly engraving related work, of course! Does that outside interest inform or influence your creativity in any way? Years spent handling firearms while hunting and shooting worldwide exposed me to the art of engraving on steel. It also emphasised that first and last, the tool must be fit for purpose. I believe that embellishment should beautify and add value to a piece, but never to the point where it is no longer capable of being used for its original purpose.
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You have worked on so many nice watches, collector firearms, family keepsakes, and other projects that are very meaningful to the client. What is the most stressful part of a project like that? Strangely, the only truly stressful part of any project is when the piece leaves me and is then committed to the care of a courier company! Personally, I have been lucky in this department, but ‘losses’ in shipping seem to increase, especially around the Christmas holidays to the point where I will not ship a piece during December. A silver locket I engraved for my mother was certainly the most meaningful to me. She loved it and like all Mums, she proudly shows it to everyone . . . usually more than once! You have worked on so many amazing projects, is there a project that you have in mind that you have not been able to do yet? A piece for myself . . .specifically a watch. Every time I can see a little space in my diary, where I can start a piece, more work arrives. One day though . . . oh yes! Of all the styles of engraving you do what is your favorite? (sculpting, inlay, lettering, bulino, etc.) From a design point of view, Victorian ornament is definitely my favourite. I find it hugely enjoyable and very relaxing. Sculpting is certainly a style that I would like to use more frequently in the future.
Where do you see the future of hand engraving?
Despite other forms of faster and cheaper ‘machine’ engraving, I feel there will always be connoisseurs of fine quality, hand-crafted items. In the same way that Rolls Royce and Bentleys are still desired by those who appreciate true quality, as opposed to yet another mass- produced but functional vehicle.
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If you could pass one bit of advice on to other artists, what would it be? Just one bit of advice? Jeez! Back when I started cutting, Andrew Biggs suggested the following to me. As usual, he was completely right!
“If you ask for advice, listen to it, as there is plenty out there.”
Some good, and some (although well intended) not so good. For a novice, it can be a real minefield trying to identify quality advice, so always view that person’s work. If the person’s work is good, then chances are, their advice is worth heeding. On any forum, you will find there are always prolific posters. Don’t automatically assume they have the practical experience or ability needed to give quality advice. Again, check out their work. Learn the difference between good and bad engraving, because you need to be able to ‘see’ in order to improve. ‘At-a-boys,’ whilst lovely to hear, will not help you progress. If you want to be an accomplished engraver, don’t be too keen to show your work too early . . . it’s rubbish! You will not actually recognise that until a few years down the line. Poor work with your name attached to it will haunt you throughout your career. Instead, show it to your parents, they’ll love it and give you the praise you need, until you’ve reached a point where your work starts to resemble the quality needed. Is there anything else that you would like to share? Remember to thank anyone who offers you help. It tells them that you appreciate the time they’ve taken out of their day in order to try and be of help to you. It’s just good manners!
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TECHNICALLY SPEAKING
HAVE IT THE Eyes
CREATING AN EYE WITH THE VOLCANO SETTING TECHNIQUE // MITCHELL LURTH
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Hello, my name is Mitchell Lurth. I am a jeweler and engraver at Philip’s Diamond Shop in Marion, Iowa. I am going to go through the steps on how to set a stone in the “volcano set” style. We are going to use this technique to set a stone and make it look like an eye with sculpted eyelids!
Supplies ¨ 4 mm CZ ¨ Brass Plate
¨ 900 V-Point Graver ¨ Small Flat Graver
¨ Round Bur ¨ Hart Burs ¨ Flat Punch
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Fig.1 For this example I will use a 4 mm CZ and a piece of brass to set it in. I put a brushed surface on the brass for photography purposes.
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Fig.2 I first start out by laying out the design. I draw a 4 mm circle where the stone is going to go. Then I draw the shape of the eyelids over the circle.
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Fig.3 The next thing to do is to cut out the inner eye. I use a 90 degree V-Point graver to cut the outline. Then I use a small flat graver to remove the metal within the eye. The further you cut into the material, the thicker your eyelids will be.
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Fig.4 Now we can use that same flat graver to cut under the eyelids. You are going to use the flat graver to split and peel back the lids. Cut small sections, working your way back and forth across the eye, making sure not to rip the material as you peel it back.
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Fig.5 For making the seat for the stone I like to use round burs and hart burs. I like to use a round bur to make a large azure, and to remove the bulk of the material. Then I use a hart bur smaller than the stone to start out cutting the seat, working my way up to a 4 mm hart bur.
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Fig.6 Once you have the seat made, you should be able to slide the stone into the eye.
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Fig.7 Next up is to take a flat punch and hammer the eyelids down over the stone to lock it in.
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Fig.8 Now that you have your stone set, it is time for the fun part! I cut some lines around the eye with a V-Point graver to create the folds around the eye. Then you can use a punch to help soften the lines and give it that sculpted look.
You can use this eye element in a design for animals or people alike. I hope you enjoyed this tutorial and make some cool creatures with it!
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If you need advice with engraving or GRS tools, ENGRAVING
ASK A
SHADIN CUTTIN
TOOL GUIDANCE
HANDPIECE SHARPENING
800-835-3519 M-F 8AM-5PM CST RPEDERSEN@GRS.COM ANY TIME! ASK FOR PEDERSEN Master Engraver and GRS Training Center Instructor
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There’s nothing like Florentine finish, it can only be done by hand engraving. 18K rose gold tsavorite side pavé with hand-engraved Florentine finish. The weight of this ring is over 17 grams.
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John Sorich IV Q & A with
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What kind of work do you do? I am a graduate gemologist , a stone setter, a hand engraver, and a goldsmith. I also design jewelry. Pl eas e d escrib e your work history/exp eri enc e sinc e you b egan metalworking. My family has independently owned Diamonds Direct (not to be confused with the chain of the same name in the South) in Minneapolis since 1981. I was exposed to jewelry and diamonds at a young age but always looked at it as a sales job and not as an artistic career. In high school I was in advanced drawing, which influenced my artistic interests. I also learned to knit after college. After working in juvenile probation for three years, I was deployed to Iraq with the Army Reserve in 2009 for one year. Upon returning home I decided to make the leap and follow a dream in Italy to become a goldsmith. I studied at a government-run goldsmith school in Vicenza, Italy, Scuola D’Arte E Mestieri. I became interested in creating jewelry by hand when I was exposed to stone setting and engraving during the “incastonatura delle gemme” (in English, “gem setting”). My studies in Italy allowed me to see the old school ways of making jewelry. We made everything with wire and sheet metal; you really learn the labor of love for each piece you create. We made our own tools and polished them using an Arkansas Stone. None of the instructors spoke English, it was all taught in Italian with a Venetian dialect. It definitely was a challenge; I had Italian language classes four hours each week on top of my full-time jewelry coursework for the first few months I lived there. Using the Italian method of hand-push engraving to finish (polish) the belly of my (graver) tools with emery paper was fascinating, and hand-cutting various shapes got me really intrigued in hand engraving. I apprenticed for hand engraving in Padova, Italy under Michele Griggio. I apprenticed for a year and a
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half, learning basic cutting techniques first , and then more advanced techniques like intaglio wax seal signet rings. After that , I attended the three-month optical diamond setting course at Alexandre School in Antwerp, Belgium. There I was exposed for the first time to the GRS GraverMax G8 and many other modern tools. Between the Italian “old school” way of hand making your tools and the Belgian newest tools and modern equipment , I have found a happy medium where I’m able to tap into both methods of working. After graduating in May 2015, I officially started working in the jewelry trade. I had a goldsmith studio in my apartment in the historical center of Vicenza. I did setting, engraving, and repair work for two Italian jewelers as well as online commissioned orders. I moved back to the Unites States in 2017 and attended my graduate gemologist course at the Gemological Institute of America in Carlsbad, California.
When creating a new pi ec e of work , what proc ess do you go through? When I am working with a customer, I will often draw a counter sketch
with them after listening to their ideas. Many times this develops into an actual sketch for jewelry, engravings, or stone setting. The details of a customer ’s wishes can potentially get lost if I’m not present to hear their vision, so it ’s important for me to meet with them one on one.
How do you market and s ell your work? At the beginning of my studies my sister Naomi recommended I start an Instagram account and post pictures of Italy and my studies. I thought “Sure, what the heck.” I wanted to use “Johnny4” but that name was taken. Since my studies were beginning in Italy, I thought of combining “oro” (Italian for “gold”) at the end, that ’s how I created my brand. Facebook and Instagram were a great way to show my work living in Italy. Now I work at my family’s business and our customers can commission something in our store or digitally through Instagram.
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Where do you go for inspiration? Are there particular artists that inspire you? You have to look at a ton of jewelry to figure out what you like and what you don’t like. My first trade show I went to was Vicenza Oro where I saw incredible designers I never knew about and fell in love with, such as Palmiero.
Whenever I was in a new European city, I would look for jewelry stores that made jewelry by hand. Adelina Scalzotto owns a jewelry store in Vicenza’s historical center that inspired me. I also love looking at the really beautiful things that have been made throughout history by Tiffany’s, Van Cleef Arpels, Bvlgari, etc. You also need look no further than a book that has legends of hand engraving at its earliest times like Albrecht Dürer or Jan van de Velde II.
What are some of your favorite or most memorabl e proj ects? I made a Greek Athena ring that was an intaglio signet ring in 22K gold. That was truly unique and fun make, people love pieces that tell a story and that customer commissioned it to remember his time living in Greece. I also made a pavé American flag piercing for a shadow box displaying my family’s four generations serving in the U.S. Army (Veterans of my family from WWI, WWII, Vietnam, and myself in Iraq). The pavé American flag is based on the original 13-star American flag brooch that Tiffany’s first created. This was my rendition of it in silver and with colored and colorless cubic zirconia.
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What are your interests outsid e of j ewelry and engraving? I have recently fallen in love with oil painting, Bob Ross style. I’m a big fan of traveling and eating amazing food too. Do es that outsid e interest inform or influ enc e your creativity in any way? Artists of all kinds inspire me. I love watching other artists’ work, how they hold their tools/instruments and how they approach their work. What are your goals/dream proj ects? I love projects that take a lot of time, that combine engraving and stone setting together to a finished piece. I also love making intaglio rings.
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Where do you s ee the future of j ewelry and hand engraving? I see the majority of jewelry customers wanting something unique. That ’s exactly what hand engraving is, it ’s one of a kind. It ’s up to us as artists to communicate inspiration or a design to our client; rings and pendants are blank canvases to me. If you could pass one bit of advic e on to other artists, what would it b e? The best advice I got from my goldsmith and stone setting masters in Europe was to specialize in something and become an expert in that , not to be the jack of all trades. Be an expert at what you do and you’ll be sought out. That ’s why the majority of my daily work is stone setting and hand engraving. Is there anything els e that you would like to share? Another great piece of advice I got from Alexandre Sidorov was, “Pick one project , at least once a year, that challenges your skills. That way you’ll continue to progress your work.” Master Hand Engraver Roger Sampson also gave similar advice, “If it isn’t hard to make or doesn’t take a lot of time, it isn’t fun.”
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This jewelers loupe features some of the smallest diamonds Grunberger Diamonds makes, 0.6 mm, 0.7 mm, 0.9 mm, and 1.1 mm. I’ve also inlaid 22K gold that I learned how to alloy with Jeff Parke into the steel loupe.
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EMPLOYEE PROFILE CHELSEY KESSLER
Chelsey Kessler has been a member of the GRS sales team for a little over two years now. She loves interacting with students and getting the opportunity to work with customers from all over the globe. She finds watching her customers’ growth as artists very rewarding. Chelsey mostly spends time with her 5-year-old, Brooklyn. They are outside as frequently as they can be and enjoy visiting Brooklyn’s uncles on the farm. Chelsey also enjoys working on DIY projects even though they don’t always turn out how she would like them to. When she finds the time, she enjoys playing the piano.
@GRSTOOLS FOR WEEKLY CONTENT FROM GRSTC
SEATS AVAILABLE FOR THE 2021 CLASS SEASON GRS.COM
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Greg’s Tech Tip:
REMOVING OUTER HOUSING FROM GRS MACHINES. Removing the outer housing is an easy way to have full access to the internal workings of the GRS Engraving Machines.
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REMOVE AIR FILTER Loosen, but do not remove air filter bracket screw. Unplug hose from back of machine. Slide air filter and bracket up to remove.
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LOOSEN BOTTOM SCREWS Loosen, but do not remove 8 total screws: 3 bottom screws on each side and bottom 2 on front. REMOVE TOP SCREWS Remove 4 total screws: top 2 on front and back.
800-835-3519 ASK FOR GREG GENTRY
• GUIDED SELF-REPAIR • RECOMMENDED MAINTENANCE • SCHEDULE SHIP-IN REPAIRS
LIFT HOUSING OFF Using secure grip, slowly lift housing up to remove.
IF YOU FIND YOUR GRS MACHINE ISN’ T PERFORMING LIKE IT ONCE DID, IT MIGHT BE TIME FOR SERVICE OR REPAIR. REPAIR IS GREG GENTRY’S MAINSTAY AND PASSION. He was a GRS customer for several years before taking on a job in Emporia as a resident service technician and repairman for GRS equipment.
Housing does have a correct orientation. If the screws don’t slide into the notches when replacing the housing, remove the housing again and rotate it 180° before placing it back on the machine.
PLEASE NOTE:
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Q U I C K C H A N G E S E T S AVA I LABLE AT GRS.COM
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