We have previously spoken about the inspiration of our Shikra Pendant, but we have not shared with you its manufacturing process.
Did you know that an apparently simple result like this requires some ‘geometrical magic’? The reason is that setting a watch movement like this one is not so easy as it could seem because it is asymmetric: due to its wider base (the watch face), a mere parallel side is not useful to achieve a perfect adjustment.
This means that we have to take into account its inclination, following the same procedure used to create crown and collet settings. Let’s sum it up:
- Draw an accurate side view of the watch using real measurements in a piece of paper.
- Extend the sides to meet, set a compass centered in the meeting point and draw an arc in the superior and inferior sides of the watch. That will be a cone pattern.
- Cut the cone pattern in paper and glue it on a sterling silver sheet. Cut the pattern in silver with a jeweler’s saw.
- Bend the cone side, close it and solder it.
- True up the cone on a mandrel to give it its final shape.
The result of following these steps carefully is a bezel that can be exactly adjusted to get the following result:
Performer Erica Mulkey (aka Unwoman) is a solo musical artist from San Francisco, California. She began playing cello at nine years of age and piano at eleven, and also plays cello banjo and theremin. Thanks to her personal style, she has self-produced eight solo albums and recently completed her seventh successful Kickstarter campaign.
As we said in this interview, we have been supporters of Erica’s work for a long time and we adore the delicate and eclectic combination of Erica’s voice with electronic layers and classical instruments like her cello. ‘The Snowstorm’ is the ninth track of the album ‘The Fires I Started’.
We have previously spoken about the artistic use of natural motifs during the Victorian era (let’s remember this short blog post about flora and fauna in Victorian jewelry featuring an astonishing hummingbird brooch, for example). Artists in general and goldsmiths in particular benefited from this, leaving an amazing legacy behind.
In addition to this trend, the influence of Scottish design was evident during the Romantic Period (1837-1860). In fact, Queen Victoria herself was proud of her Scottish ancestry and some traditional Scottish jewelry pieces became all the rage. Without hesitation, this brooch that incorporates the talon of a game bird set in gold and adorned with gems is an outstanding example of the convergence of these trends in the field of jewelry.
1.- The interviewee
Aleksei Sigaev is a master jeweler who lives in Moscow. He is a member of the Creative Union of Artists of Russia and the winner of the National Competition in Jewelry Design “Golden Constellation” 2002. In addition, he is very well known for his ‘modding’ skills. He is an active member of the Russian ‘Steampunk’ community and many of his creations can be found at Steampunker.ru.
2.- Russian Steampunk
Our first contact with Steampunker.ru was in March, due to the release of the compilation of the twelve interviews of the series ‘Steampunk jewelry tonight with…’ published in 2012. We have the feeling that Russia has a very active Steampunk scene, but it is almost unknown outside of the Russian-speaking countries. For this reason, when Peter, Editor of Steampunker.ru, asked me if we would be interested in interviewing Russian creators, we showed our interest immediately.
When Peter told me that Aleksei Sigaev was willing to participate in our interviews’ series, both Irene and I felt electrified and we are more than pleased to help make Aleksei’s works known beyond the boundaries of his country. Why? Because Aleksei may be totally unknown for our readers, but he is a genuine master jeweler and an expert ‘modder’. Enjoy!
Q.- Aleksei, you are the first Russian interviewee of this interviews’ series. How did you discover Steampunk and what makes it so attractive for you?
Three times nominated for a New Zealand Music Award, Jordan Reyne is an experimental musician born in New Zealand. She lived in Germany from 2006 to 2011, relocating then to London. Combining folk noir and industrial, her style challenges any categorization.
The song ‘The Proximity of death (blue eyed boy)’ was included in the fifth album of Jordan Reyne, ‘How the dead live’. This album, launched in 2009, was an Arts Council and Department of Conservation commission based on one of New Zealand’s first pioneer women who arrived in New Zealand from Gravesend London in 1874. Both Irene and I are big fans of Jordan Reyne and choosing a single song has not been easy, but we do love the strength and symbolism of this one.