Evolution of "Mother and Child" Pendant.

The evolution of this design is a perfect example of serendipity. To follow the steps it begins with the selection of the stone. I choose from a number of 30x22mm ovals and once selected traced a proportional oval upon which to set the stone: using a template I choose a 60mm long axis to go with the 30mm long axis of the stone. It is then positioned at the lower end of the larger oval and I start to work out the design which Is then traced in ink before being transferred to the metal.

Now we have the design which is done in pencil until we have one that meets with our design criteria, and that will be rendered in ink. This in turn will be traced onto Mylar before being transferred to the silver blank.

The next step in the evolution is the cutting of the Sterling silver blank and making the bezel for the stone and it will immediately be noticed that there are stamps on the oval. Originally these were applied to prevent fraudulant manufacturers from selling metal that did not conform to the standard of 925/1000 part pure silver and 75/1000 copper, tin or lead in some instances . Here you see the ster mark as well as my registered trade mark RD, plus a further mark which I apply to indicate that it has been made in Canada .

On the right is the design traced onto the sterling silver blank with a tungsten-carbide scriber. Although this is very faint it is enough to guide the engraver. The process of transferring the design is a very simple one that I learned from an engraver who had learned his craft/trade in the large manufacturing firms of England, producing silverware for the wealthy clients who would commission whole tea services with their family crest engraved on each piece. These sets would consist of a simple "Tea Service" of a tea pot, milk, sugar, sugar tongs, strainer and tray. The process is to trace the design on the reverse side with a pointed stylus, not sharp, but enough to leave an indentation. You roll soft wax or plasticine over this and then align the work underneath and burnish with a bone or smooth piece of plastic so as to transfer all the wax to the work and leave a faint line that has no wax. This then is scribed onto the work.

Eh, voila we have the finished pendant in a lovely presentation box along with a photograph for insurance records as well as a card with the story of the evolution.

It started out as a simple Celtic knotwork to fit the shape of the stone and the blank, however once I started the engraving it became clear to me that this looked very much like a mother in times gone by who might squat at the riverside to give birth to her child. Arms out to catch and enfold, with knees projecting on either side. Not till later did it occur to me that even the shape of the piece and the position of the stone were also really indicative of the child bearing process. It is with humility and wonder that I think of my mother who went through this process which has brought me to this.