The transformation from a found piece of rough to a cabbed or faceted gem is beautiful and dramatic. Sometimes the finished piece bears little resemblance to its humble beginnings. Here are a few before and after photos of the beauty of nature’s treasures from mine to mine.

Hematite Hematite is one of the most important sources of iron because of its high iron content, wide distribution, and abundance. Hematite derivс its name from the blood-red color of its powder. It has been used as a paint pigment since prehistoric times.

Malachite Malachite derives its name from a Greek word meaning “mallow green color.” Copper can be obtained from malachite using the smelting process. Malachite was used as an eye paint by the Egyptians and as a paint pigment starting in the 7th century.

Agate Most of the Tennesee Paint Rock agate deposits are located on the west side of the Cumberland Plateau near the Tennesee-Alabama border. Agate is a common variety of chalcedony and is found with bands of different colors and transparency. Agate often gets their name from the location where they are found.

Smoky Quartz Smoky quartz is produced when clear quartz is exposed to natural radiation. It is transparent to opaque and has a brownish-gray color. With a Mohs hardness of seven, it is a good candidate for use in the jewelry trade.

Tiger’s Eye Tiger’s eye is a variety of cryptocrystalline chalcedony quartz. Its chatoyant property (cat’s eye effect ) makes it popular with collectors. Tiger’s eye is naturally golden brown. Other colors, such as red, are sold in stores and have been treated to achieve different colors.

This story about rough gemstones to jewelry appeared in Rock & Gem magazine. Click here to subscribe. Story by Richard Gross and Pam Freeman.

The post From Rough Gemstones to Jewelry first appeared on Rock & Gem Magazine.

While viewing the front of the Brazilian agate slab, I spotted a much more interesting group of features that I could use to enhance the overall aesthetic of the piece. A three-inch circle would allow me to bring out all of the best patterns that the piece could offer. I sketched the circle and added a curved feature on the top so I could drill a hole for suspending the piece as a pendant.

Where do I get my project inspiration? First, this column pushes me out of my usual cab shape routine and into using different materials, shapes, textures, patterns or colors. I read a lot of books on lapidary and jewelry design and also subscribe to a couple of magazines that have current jewelry styles and materials such as blue gems and minerals. Sorting through my multiple boxes of slabs often triggers my imagination too.

MAKING THE SHAPE

Before and during grinding, I make sure to follow proper lapidary safety precautions. While grinding the piece to a preformed shape, I used a one-inch diameter Mizzy silicon carbide wheel run dry to shape the inside curves on the top section. I drew a line halfway up the girdle as a guide for shaping the dome of the cab. I used an ultra-fine Sharpie felt tip pen to draw the line.

After I finished shaping and sanding the front of the Brazilian agate cab, I turned it over and focused on the translucent area. It was to be enhanced and ultimately be the main focus of the cab. From the start, I intended to drill four holes in the back of the cab so they would show through from the front. I drew a curved line in the center of the translucent area so I could lay out the position of the four holes. (It gives more visual interest if the holes aren’t in a straight line and if they are varied in size from larger to smaller.) I also made sure that they were evenly spaced between the holes.

DRILLING & FINISHING

I drilled small pilot holes for each bit and placed the bits in these holes to verify the correct spacing. I started drilling with a small coarse diamond bit. To get the best drilling action on the bits, I turned them on their sides. If you try drilling by placing the bit vertically, the very center of the bit does no work because it is spinning in one spot. By placing it sideways, the diamonds in the bit sweep across the cab and remove material.

I gradually stepped up in bit size and grit size until I reached the desired hole size. Because I wanted to ensure that the holes were highly visible from the front I drilled the holes up to 1mm from the front of the cab. I used an inside caliper to measure the 1mm depth. The final grinding step involved using a very large bit to chamfer the top edge of the hole to remove any chips.

The finishing steps were done with shaped wood bits using 220 and 400-grit tumbling media followed by shaped wood bits and cerium oxide polish.

The finished Brazilian agate piece came out much better than I had expected!

This story about Brazilian agate appeared in Rock & Gem magazine. Click here to subscribe. Story by Bob Rush.

Step By Step

The post Brazilian Agate Inspiration first appeared on Rock & Gem Magazine.

Many of us have some level of barely started or otherwise unfinished projects stashed away in our studio or shop waiting for the idea or motivation to work on them. Usually, I make my cabs somewhat larger for displaying at shows. I don’t often make my cabs for jewelry use, but this month’s jewelry theme gave me an excuse to resurrect a long-buried, but not forgotten project. 

After struggling to remember what I did with a particular pair of preforms five years ago, I found them together surprisingly quickly. The intended design was to have one piece nested into the larger one. The larger one is a slab of Brazilian agate with contrasting color bands. The smaller piece is a small cab of Laguna agate.

Making the Cabochon

I started with shaping the Brazilian agate slab into a semi-circle with an inverted curve in the bottom to accommodate the smaller cab. I also sketched a design at the top so I could carve a tab that I could drill through for stringing the piece on as a necklace. I shaped the Laguna agate into a pointed teardrop shape sized to fit into the bottom of the larger cab.

I shaped the curve in the larger piece with a silicon carbide Mizzy wheel. The Brazilian agate piece was ready for carving the ridges across the face. I started carving the ridges in the face of the Brazilian agate with a small diamond wheel. I followed this by enlarging and shaping the grooves with a shaped Mizzy wheel. The next step involved sanding the groves with a shaped 220-grit silicon carbide sanding block. The final sanding was done with various shapes of wood bits and a slurry of 220-grit tumbling media. The polishing was done with shaped wood bits and a slurry of cerium oxide.

I drilled the inside curve on the bottom of the Brazilian agate and the top of the Laguna agate cab with a 1mm diamond core drill so I could install a silver wire loop in each of the holes.  I used Epoxy 330 to glue the wire loops into the stones. I assembled the stone pieces by connecting the silver loops. I’m pleased with how the project turned out. 

Steps by Photo

This story about cabochons for jewelry making previously appeared in Rock & Gem magazine. Click here to subscribe. Story by Bob Rush.

The post Cabochons for Jewelry Making first appeared on Rock & Gem Magazine.

Walking along the beach, Allen McGhee isn’t just there for the beautiful ocean view. He’s on the hunt for sea glass and smaller beach stones that might make a nice piece of jewelry or a DIY sea glass art project. Brown and green sea glass are common, red and blue are more elusive, but all have the potential of being transformed into a recycled work of art. Tackling this beautiful craft may be easier than you think, especially with some helpful hints to get you started.

Preparing Cuttlefish Bone Molds

Cuttlefish are cephalopods like octopuses and squid. Cuttlefish bone makes an excellent material for creating molds for jewelry-making endeavors. Cuttlefish bone is inexpensive and readily available from jewelry suppliers and pet stores. However, it’s generally cheaper at pet stores, especially those that buy and sell it in bulk.

Cuttlefish bones have a hard side and a soft side. It’s important to inspect each piece carefully to make sure the soft side of the cuttlefish bone is relatively flat. You don’t want any large cracks or indentations that can’t be easily sanded out. These can detract from your design or cause the cuttlebone to break during the jewelry-making process.

Choose medium-sized pieces that are large enough to cut in half. McGhee likes to use a flush-cut saw to halve his pieces, although you can use a jeweler’s saw or a coping saw.

When cutting a cuttlebone in half, always place the soft side down and cut from the hard side. This helps prevent cracking or splitting. The cutting process will create a lot of dust, so be sure to wear the appropriate eye protection throughout the entire process.

You also want to make sure you’re wearing appropriate clothing since you will be working with an open flame. Clear your work surface so it is free of debris that can catch on fire, such as paper towels or cloth rags.

After the cuttlebone is halved, you must prepare it to be used as a mold. Sand the soft side of the cuttlefish bone to create a smooth contact surface that provides a perfect fit between the two halves. Some people rub the soft sides of the two halves together, but McGhee likes to use sandpaper. Lay the sandpaper on a flat surface and rub the soft side of the cuttlefish bone along the top of the sandpaper, not vice versa.

McGhee uses a circular motion. Rubbing back and forth can create a curved surface you don’t want. Both halves must be flat when finished. While the sandpaper helps create a smooth surface, it doesn’t detract from the natural growth lines found within the bone. These lines resemble wood grain and give each piece a unique texture.

How to Melt Silver to Make Jewelry – Simplified Steps STEP 1: Cut the cuttlefish bone in half STEP 2: Sand soft sides of the cuttlebone until smooth STEP 3: Blow off residual dust STEP 4: Carve a design into cuttlebone STEP 5: Bind the two halves together STEPS 6 & 7: Melt and pour the metal STEP 8: Remove the hardened metal jewelry piece

How to Melt Silver to Make Jewelry – Carving the Design 

McGhee carves all his designs freestyle by hand. This is probably the most creative part of the process and one he enjoys immensely as an artist. He creates each carving using a variety of wood carving tools and dental tools. Take care when carving your design because it takes very little pressure to etch the surface. You don’t want to go too deep and risk breaking the cuttlebone.

Carve your design into one of the halves of the cuttlefish bone and leave the other side unmarred. This is also when McGhee notches a place to insert a piece of sea glass or beach stone into the mold. Sometimes he incorporates more than one piece of glass or stone into the design based on what he envisions.

While he’s carving, he uses a manual air blower to remove dust from the surface of the cuttlefish bone so the lines of his design are crisp. Because he primarily creates pendants, he either includes some type of loop or opening in the design or drills a hole in the top of the finished piece for a chain. Once he’s satisfied with the design, he cuts some air reliefs. These are simply a few thin lines that radiate from the design.

“Air reliefs help make sure the melted metal gets all the way to the bottom of the mold,” said McGhee. “Without them, the metal may only fill the crevices of your design partway and it comes out incomplete. Since you can’t reuse the mold, you have to start over, but you can melt the metal again and reuse it.”

Next, sandwich the two halves together with the flat sides facing each other and bind them. McGhee likes to wire the two pieces together. He says you can also use a clamp but wire is easiest. No matter what you use, be sure the pieces are tight to ensure none of the scorching hot, melted metal leaks out the bottom.

Carve out a pouring cone at the top of the cuttlefish. The cone is a large indentation and should just meet the top edge of the design inside. This opening is where you’ll pour your melted metal.

Cuttlefish bone is a popular option for jewelry molds because it’s naturally resistant to the heat of melted metals, but the process does destroy the mold.

QUICK TIP: Don’t throw away your used cuttlebone. A cuttlebone mold isn’t reusable for jewelry-making, but it’s recyclable as plant food.

How to Melt Silver to Make Jewelry – Pouring  

McGhee prefers sterling because of its lower melting point. It’s easier to work with and more desirable than some metals. It’s also much cheaper than gold, making it a great metal when you’re learning. While he’s used bronze some, silver remains his go-to metal. You can buy silver castings, sheets and tubes from various sources, but you can save money and practice recycling by purchasing used silver. McGhee buys broken jewelry, sterling silver flatware and other odd pieces of silver from pawnshops or at garage sales. When he uses old forks, spoons, cups or other large pieces of silver, he must first chop them down to size. The pieces must be able to fit inside your crucible. Plus, smaller pieces of silver melt faster than larger ones.

All you need to melt metal is a propane torch, propane, a crucible to hold the metal while it’s melting and some borax to act as flux. McGhee uses the small 16-ounce camp stove replacement propane tanks because they’re easier to manage since they’re small and they’re relatively cheap at about $4 a piece.

When preparing to melt, estimate how much scrap silver you need to fill your mold.

It’s better to overestimate because you can always remelt any unused metal. Place the metal into a ceramic crucible and begin heating it with your torch to melt it. Add a small amount of borax as it heats and starts to melt to prevent it from oxidizing. Carefully swirl the crucible as the metal begins to melt until it’s completely liquified.

Once you have liquid metal, pour it into the pouring cone you created. Be prepared to pour the molten metal into your mold immediately. If it cools, it will harden again. To get a nice pour, you don’t want the metal to cool down even a little as it goes into the mold.

Once the liquid metal reaches the top of the opening, stop pouring. The metal usually hardens quickly but stays very hot to the touch for a while. The safest option is to let it cool inside the mold before opening it up.

McGhee likes to open the mold as soon as the metal has hardened and throw finished pieces into a container of water to cool down quickly. However, if you choose this route, be careful as the metal will be hot enough to cause a serious burn. Wear heat-resistant gloves to protect your hands.

WARNING! Cuttlebone puts off a strong odor once the hot metal is poured inside and singes the surface of the cuttlebone.

This story about how to melt silver to make jewelry previously appeared in Rock & Gem magazine. Click here to subscribe! Story and photos by Moira K. McGhee.

The post How to Melt Silver to Make Jewelry first appeared on Rock & Gem Magazine.

Mining Natural Resources

Precious metals and gemstones must be mined from the earth. At least 50% of newly mined gold is used in jewelry. As jewelers, we depend on mining to obtain new materials. Mining methods and their impacts vary greatly. In each case, there are challenges to overcome, as well as opportunities to help people.

Challenges related to social issues include the impacts on local communities, human rights, child labor, and health and safety for miners. Environmental issues include the use of toxic chemicals, loss of agriculture or wildlife, deforestation and soil erosion.

Mining can also provide valuable opportunities when managed properly, such as honest work for a great number of people, benefits for the country of origin and delivery of quality materials to the jewelry industry.

As a jeweler, you have the power to make a difference by capturing as much precious metal scrap as possible and keeping it in the system, which benefits both the planet and your bottom line.

How to Collect Bench Scrap

Review your jewelry designs, planning and operations to reduce metal loss during fabrication, casting and cleanup. Be sure you have implemented every possible practice for capturing precious metals from the time they enter to the time they leave the workshop. Precious metal particles can be found almost anywhere dust particles are found.

Separate Your Metals by Collecting in Paper

For jewelers who work with various precious metals, a simple way to collect your bench scrap while keeping your karats and alloys separate is to line your bench pan with a large piece of paper, folded like a book with a crease down the center. Before switching to a different metal, sweep the metal dust and scraps from the paper into the collection container for the appropriate karat or alloy.

Keep a clearly marked piece of paper for each alloy near your bench to save time. Before beginning to work with a different alloy, lay the paper marked for that alloy in your bench pan. Careful use of this method will help increase purity in your scrap collection. If you diligently keep your alloy scraps separate, Alan Revere, founder and director of the Revere Academy of Jewelry Arts, suggests that scraps large enough to be picked up with tweezers can be recycled in-house by casting them into an ingot.

Carboard Box Alternative

An alternative to the paper pan liner is to use a shallow cardboard box for each alloy or karat being collected. You can use either collection system to prevent metals and other materials that should not be refined from entering your scrap.

Use a different piece of paper or cardboard to collect nonprecious metals, stone, plastics and other materials that would contaminate your scrap. Benjamin Manning, of Utopian Creations in Adelaide, Australia, uses hard, flat, recycled wooden trays that slide in and out on runners for catching bench scrap.

Remove Iron & Steel

Before sending scrap in for refining, use a strong magnet to remove all iron and steel [and remove steel parts from watches or other mechanisms]; Manning suggests using an old speaker magnet to remove steel. During refining, it takes more energy to separate the iron from the precious metal, creating a greater impact on the environment and lowering your returns.

Recover From Every Location

Linda Weiss, of Linda Weiss Designs in Santa Rosa, California, recovers precious metal dust from her broken saw blades, as well. She puts the broken blades (collected over about a year) in a jar with water, which she places in the ultrasonic to vibrate off the precious metals. Then, she evaporates the water on top of her kiln. She states, “since this usually is a random mix of metal, I weigh and pack it separately from the known quantities.”

Though she does this because she doesn’t like to waste, she states, “even if I recover two to three dwt, at current metal prices, I think the time spent is also cost-effective.”

Collecting Scrap in the Studio As Marc Choyt, of Reflective Images in Santa Fe, New Mexico, states, “It’s not just [at] the bench. It is every speck of dusk in our work area.” Choyt says, “I accumulate all of this over a few years and send it to our refiner … and they send me a big fat check.”

Use an Extraction System

Both Manning and Weiss use Quatro Air Technologies extraction systems at each bench tray to capture polishing dust. Manning used parts from a plumbing store to modify the debris capture area for the Quatro.

James Binnion, of James Binnion Metal Arts in Bellingham, Washington, recommends a fully enclosed Quatro Pro polishing hood for capturing the maximum amount of precious metal dust at the polishing machine.

Using natural rubber to cover the studio floor to capture materials that fall to the floor and makes it easier to see and recover everything. For workshops with carpeting, refiners suggest investing in a vacuum with a water filter. Not only will it help eliminate dust, but the fast agitation of the machine also helps to separate polishing compounds from precious metal particles, and the water filtration system allows the heavier particles to settle to the bottom.

Reclaim Precious Metal from Sludge

Reclaim precious metal particles from the sludge that collects in water vacuums, sink traps, tumblers, and ultrasonic cleaners. Especially for vacuum sludge, let the heavier materials settle to the bottom of the receptacle and remove the lightest material from the top. Then, allow the liquid from the sludge to evaporate.

Many refiners will calculate your total returns based on the incoming weight of your package. Therefore, it is in your best interest to allow sludge that contains precious metal particles to evaporate before sending it in for refining. You can promote rapid drying by passing sludge through a coffee filter.

How to Choose a Refiner

It is important to do your research before selecting a refiner. Refining is not an industry that is FDIC insured. For the security of your business, select a company that has a track record you can trust. For the health of both the planet and our industry, verify that your refiner has earned a third-party certification of the safety, environmental responsibility and transparency of their operations. There are two most common types of certification for refiners.

SCS Global Services offers a Responsible Source for Precious Metals certification that verifies precious metals are derived from recycled sources and are conflict-free. Standards also ensure labor protections, improved sourcing strategies, environmental practices, and requirements for continuing to improve environmental performance over time.

The Responsible Jewellery Council (RJC) certification programs are designed to support responsible business practices in the jewelry supply chain. Currently, two certifications are available. RJC’s Code of Practices for RJC Member Certification addresses business ethics, human rights, and social and environmental performance. RJC Chain-of-Custody Certification is a voluntary standard, designed to build on the Code of Practices and focus on the flow of precious metals through the supply chain.

This story about how jewelers can save precious metal scrap appeared in Rock & Gem magazine. Click here to subscribe. Story by Christine Dhein.

The post How Jewelers Can Collect Precious Metal Scrap first appeared on Rock & Gem Magazine.

Q: How did you become interested in wire wrapping jewelry and beading and how did you master the techniques?

A: When I was about six, my mum got me a book on how to make little beaded critters (bees, dragonflies, skunks, etc.) and I loved it. I spent some time working through the patterns in that book and then started to want something more challenging. I found more complex patterns and techniques on YouTube. The YouTube algorithm started suggesting basic wire wrapping how-to videos. They were really interesting to watch, but it took a while to commit to buying supplies and trying it out myself. After about a year of watching other people play with wire, my uncle gave me a jeweler’s sampler pack of copper wire and I fell in love with it. By then I already knew some basic techniques, so it felt like I hit the ground running.

Q: How did you develop your style?

A: After mastering basic wire wrapping techniques, I spent a long time working on my own projects without looking at what other people were making so I could develop my own style. I spent a lot of time looking at other people’s work and thinking about how I could combine, adapt, and expand on elements of the pieces I liked. I then took a long break to give myself the space to develop a distinct style. Design work became much easier when I started to incorporate cabochons into the mix because I already felt like each stone had a pattern best suited to it. I find that the rocks I choose already have their own tiny worlds that I want to showcase and compliment. I have never been drawn to wraps into which any old stone could be dropped.

Q: I see that you first learned how to master lapidary skills at The Crater Rock Museum near Medford, Oregon. How old were you when you started to learn how to cut and cab?

A: I had been drawn to lapidary work for quite a while, but had to wait until I met the museum rock shop’s age requirement (14) and had finished their training program before I could finally get my hands on the machines. Now, being able to select my own rough and designing and cutting my own cabs has given me even more freedom to create unique pieces. I can choose exactly how any patterns in the stones are positioned and design the wire and stone portions of a finished piece at the same time.

Q: What are your plans for the future?

A: Being homeschooled allows me to focus on learning new techniques and expanding my knowledge base. I have a pretty good handle on cabbing, but not much else when it comes to lapidary work. I would like to get a faceting machine and learn how to facet gemstones, mostly to play with setting them in rings. My parents remind me I’ve always had a penchant for tiny things so this seems like a natural progression. I would also like to spend more time playing with a wider variety of metalwork. I’ve done a tiny bit of metalsmithing and I’d love to expand my toolset and abilities there, as well as getting set up to do metal casting.

Larkin can be reached on Instagram and Facebook.

This story about a wire wrapping jewelry artist previously appeared in Rock & Gem magazine. Click here to subscribe! Story by Jim Landon.

The post Wire Wrapping Jewelry Artist Larkin Hamilton first appeared on Rock & Gem Magazine.

By Antoinette Rahn

Inspiration is at the core of how artists create and who they are. For some, like D. Robert Smith, after decades of forging a creative path, they may find themselves (happily) returning to their roots, in many ways.

Smith’s roots include an intriguing lineage of artistic influence, nearly 60 years of experience in the rock, gem, and mineral world, and completion of more than a quarter-million pieces of lapidary jewelry. And while he has formally “retired” from an in-shop studio setting at least once, he has no plans of leaving the bench for good. As he explains it, his career continues to “morph.”

“I’ve spent most of my life in the mineral business – since I was about 12,” said 67-year-old Smith, who lives in Durango, Colorado, and retired to take a four-year hiatus for medical reasons between 2012 and 2016. “When I restarted my business [in 2016], I made a conscious goal of doing things differently. To get back to the basics and re-educate me. I’ve come full-circle, in a way.”

Getting Back to Roots

Today he sells his jewelry, polished stone, and other inventory at select shows and by way of the online site of his business, Dancing Raven Stoneworks, LLC at www.dancingravenstoneworks.com. Spending most of life living in the West and Southwest, Smith describes much of his hand-made work as having a contemporary Rocky Mountain Western feel. He has decades of experience in jewelry repair and restoration as well, but it’s not the bulk of what he’s seeking to do in this phase of his creative journey.

“I believe if you pay attention to what is around you and what you look forward to doing, what you do as an artist will tell you where you will go next,” Smith reflected.

There are many themes that could apply to this Tucson-native’s life journey, but that statement above might be most accurate. He’s been paying attention to what is around him since childhood when he was first introduced to rockhounding. As a child, whenever he and his family would travel anywhere that had a rocky terrain, there was an effort to take time to dig for rocks. More than once, the floorboard of the family’s vehicle would be lined with the rocks found by Smith and his siblings.

While discovering the thrill of rockhounding as a child isn’t necessarily unique, for this fourth-generation artist, the years preceding certainly leaned more toward uncommon and, we’d dare say, fascinating.

At the age of 8, Smith participated in his first Tucson Gem and Mineral Show. To be fair, he was a member of a local Tucson Boy Scout troop and their job was to set up the tables for the vendor booths at the show. This was in the early 1960s, about five years into the Show’s operation, and it opened his eyes to the magnitude of the world of minerals, gems, rocks, and lapidary.

Mindful Mentorships

Although early on his focus admittedly was minerals, the opportunity to learn at the bench of an icon opened the door that much further.

“I really started to learn about cutting stones with James Moody when I was around 10,” Smith said, reflecting on time spent with the co-founder of the Tucson Gem & Mineral Show, a friend of Smith’s father. “I learned so much from Jim, and still today my process centers around the stone, as he taught me. I like simple designs, where the stone is the focus and I work from there out.”

The interest in cutting stone and incorporating stone into jewelry began as a hobby for Smith, but in reality, it was a business in the making. Over the years he studied and learned various skills of the jewelry trade from a variety of people, including noted experts such as Merle Stookey and Michael Durkee. Each step in the journey has helped shape his knowledge, appreciation, awareness, and respect for the rock, gem, mineral, and lapidary world and those it attracts.

“Over the years I’ve had some wonderful and interesting mentors and a lot of sound influence,” Smith said. “It really started with my family.”

Artistic Ancestors

As stated earlier, he is a fourth-generation artist, and his lineage aptly reflects

the interesting influence he speaks of. Smith’s great-grandfather and grandmother, who became his adopted mother, were both artists (Samuel L. Camp was a mural, billboard, and landscape artist during the Great Depression, and H. Irene Smith (Camp) was a respected wildlife and landscape painter, among other accomplishments). His step-grandfather, Donavan Smith, who became his adopted father, was a master gas and arc welder, who taught him skills of working with wood and metal to create artistic pieces. Plus, his biological mother and father were skilled in writing, beading, and carpenter, respectively.

The creative and inquisitive spirit passed on from his family remains at the center of Smith’s work today. Part of getting back to the roots of his approach to jewelry-making involved purchasing new-to-him tools and equipment, Smith said. A big part of that has involved exploring new technology and machinery and sharing ideas and opportunities with fellow lapidary jewelry artists.

“There are some really nice machines out there, and people are doing incredible things with those machines,” added Smith, who recalls the early years of working with sanding blocks and sandpaper on stones. “I’ve also learned over the years that business is better when we share our ideas, as well.”

Grateful To the Core

As he continues to create new pieces, discover new material, travel and sell at shows, and remain a student of his craft and life, Smith points to having a grateful heart as key.

“I’ve been fortunate enough to experience many things, meet many wonderful people, and have been blessed in many ways. I keep using what God has given to me to give a little beauty back to others.”

For more information about D. Robert Smith’s work, visit his website, www.dancingravenstoneworks.com.

The post Evolution of A Lapidary: D. Robert Smith first appeared on Rock & Gem Magazine.