"The Symbolism and Energy of Cut Stones"

Precision cutting: what it is and how it works.

The cut stone market is developing dynamically. Cutting brands are emerging, and leading players are increasingly focusing on cut quality. But what is a high-quality cut, and what advantages does it offer? This discussion explores the growing importance of cut quality as a market trend, new trends in stone cutting, and how high-end cuts are produced, evaluated, and validated.

There are few well-cut stones on the market. Striving to extract as many carats as possible from an irregularly shaped piece of rough, squeezing one of several "classic" designs into this shape using various permitted and prohibited methods, and avoiding (at the expense of symmetry!) noticeable inclusions, the cutter gives the stone a more or less finished look. The cutter's skill is usually assessed by two metrics: speed and loss rate. Ultimately, these metrics boil down to one: the mass of the finished "product" per unit of time, given the mass of the starting rough.

This is a standard production approach. It's normal and nothing special. But if we take a closer look, it gets interesting.

The history of gemstone cutting goes back to ancient times. Even in the ancient world, stones were cut in one way or another before being set in jewelry, and cutting as we know it emerged in the Middle Ages. It has long been known that if the bottom of a stone is faceted to a point at a certain angle, objects behind and around the stone will not interfere with its beauty, as they will simply be invisible. Light will enter the stone and exit, reflected from the lower facets.

It would seem clear: facet the stone at optimal angles, resulting in a result that fully reveals the beauty of its color. Except for one "but"... A properly cut stone weighs less than a "barrel" with a convex pavilion. And since every carat of weight represents real money (let's not forget: an important criterion for a cutter's salary is the yield of a good stone!), cutters and traders turn a blind eye to optical imperfections. As a result, most stones leaving the hands of these cutters have a "window" through which the surroundings are visible. The area around the "window" appears dark because it reflects surrounding objects—due to the excessively steep angle of the side facets. And this approach to cutting, as we can see, has already become the norm. 

An interesting trend is emerging. The cutter's primary goal is no longer to make a stone more beautiful while maintaining its mass, but to make it heavier while maintaining its beauty. But the high cost of gemstones is determined not only by their rarity, but, above all, by their beauty and the durability of that beauty. However, the primary reason for a stone's high price is sacrificed to its own consequence—the price itself—and the commercial component prevails over the aesthetic.

But why? Every company should have quality control that rejects improperly made products. Isn't it possible to impose strict limits on facet angles on cutters? In my opinion, the answer is ambiguous. Firstly, there are no criteria for assessing the "correctness" of a cut. Diamonds are cut, for the most part, using standard designs, where optimal angles and their acceptable tolerances have been determined over many years of practice. For colored stones, however, there is no established standard, and the optimal angles depend on the optical properties of the material. Secondly—and perhaps most importantly—the owners of the rough stones, who set the cutters' targets, are themselves interested in maximizing the weight of the stone—their income directly depends on this.

Now let's briefly leave the cut-stone market and turn our attention to the related jewelry market. Yes, there was a time when a person's status was determined by the weight of gold hanging from their person. Yes, sometimes simple pieces created on automated production lines are still sold by weight. But today, wealthy individuals still strive for sophistication and originality of design, overall harmony and beauty, and impeccable craftsmanship.

Let's go even further and see the same trend in the market for all image-building products: shoes, clothing, accessories, watches, and even hairstyles. Here are a few examples. A haircut at an economy-class barbershop costs 150-200 rubles. The same haircut at a beauty salon costs 500-800 rubles. A hairdresser who trained in France under a well-known brand will cut your hair for 3,000-5,000 rubles, while a world-champion hairdresser will cost at least a thousand dollars in rubles.

Thus, four main price categories are spontaneously grouped on the market:

• Handycrafts
• High quality factory-made products;
• Products from famous brands;
• Author's works of exclusive quality.

Products in each subsequent category are several times more expensive than the previous one, and this difference increases with each category.

So, let's return to the market for gemstones and ask again: "Why? Why are there no such clearly defined price categories here?" To answer this, let's look at the history of gem cutting. We won't consider the initial stage, when the craftsman processed the stone on a stationary surface, holding the blank in his hand. Let's take as our starting point the use of a rotating abrasive wheel and a blank glued to a stick. A fundamental leap in technology occurred when this stick was no longer simply held in the hand, but inserted with its free end into one of the holes in a special board, thus setting – with greater or lesser accuracy – the required angle of inclination of the facet. The next stage was setting the angle of rotation around the axis of the stick – the second angular coordinate of the facet. And now the stick with the stone (by this time it had turned into a metal holder) is no longer inserted into a board with holes, held by hand during work, but is fixed in a quadrant – a device capable of fixing the angle of rotation of the holder around its axis and tilting it, also fixing the angle. In this form, the gem cutting machine has survived to this day, although many gem cutters – especially in Southeast Asia – still use a board with holes...

Now let's look at the stages involved in cutting a gemstone. First, a preliminary blank is created – the future stone is roughly shaped according to the chosen cut design. This can be done without mounting the stone. Then, the facets need to be cut, and then polished. These two stages are best done with the stone already mounted on a dop stick, so that during polishing it is possible to "catch" the desired facet. How difficult it is to catch it depends on the accuracy of the quadrant. Usually, this is plus or minus two-tenths of a degree. To ensure high accuracy of facet alignment and symmetry, this is far too little. The cutter almost never hits exactly the already cut facet during polishing. But in precision, artistic cutting, not only high accuracy of facet alignment is important, but also the correctness of their pattern. And this, if it is even possible to do on commercial machines, comes at the cost of a huge loss of time. And only in recent decades, with the development of gemstone cutting as a hobby, have machines appeared that allow you to draw the design directly on the stone, setting the facet angles with an accuracy of hundredths of a degree. This high accuracy has made it possible to quickly and with a high probability hit the desired facet during polishing. And this has made it possible to add another stage of facet processing – polishing…

So what exactly is polishing? It's important to understand the difference here, because what I'm describing as polishing is often referred to as grinding. Today, most stones on the market are "polished" with an abrasive with a grain size of 2-3 microns, leaving commensurate marks on the facets. These marks significantly exceed the wavelength of visible light (0.4-0.8 microns), so the facet looks slightly silky after the light reflection leaves its surface. The light is slightly scattered when reflected from the surface. Let's remember that. However, if you use an abrasive with a grain size comparable to the wavelength of light (0.25-0.5 microns) during polishing, the light is not scattered on the facets, and they appear brighter and more contrasting. There is only one caveat: with this type of processing, it is important to precisely position the entire facet flat against the polishing disc, otherwise the processing time increases significantly.

4. To fully reveal a stone's beauty, it's best to cut it correctly from the start—strictly maintaining symmetry, meeting points, and, most importantly, at the correct angles. But what should you do with stones that have already been cut improperly? The answer would seem obvious: recut them with the correct proportions and a higher-quality polish. But it's not that simple. Before deciding to recut, it's important to consider the consequences. Recutting inevitably involves losses, and the magnitude of these losses depends on the type of recut, the color, and the shape of the stone being recut.

Today, four categories of recutting can be distinguished: simple repolishing using existing facets; repolishing with more precise faceting; recutting while maintaining shape; and complete recutting with a shape change. Over the years of working in the market, I have experience with all four types of recutting. With simple repolishing of existing facets, the losses are minimal, if any are to be discussed at all. For example, during the repolishing of an amazing 44-carat Sri Lankan sapphire, the loss was only one hundredth of a carat! This procedure is time-consuming and quite expensive, as it requires "catching" each facet with extreme precision. Therefore, it is primarily effective on large and very expensive stones without serious optical defects. This type of repolishing is only suitable for improving the stone's brightness and, to some extent, color.

Repolishing with more precise faceting typically requires 1-3 percent of the stone's original weight and can improve not only the stone's brilliance but also its overall appearance through the harmony and regularity of the facet pattern. This type of polishing is also beneficial for expensive stones without noticeable optical defects.

Recutting is a more serious step, necessary if the stone (and most on the market!) has serious symmetry issues, as well as a "window" or "extinction" due to improper proportions. This category is very diverse, and losses can range from 5 to 35 percent of the stone's mass. I recently "closed the window" and improved the symmetry of a three-carat stone, losing only 0.18 carats, or 6 percent of the original mass. In another case, an 8.3-carat stone was transformed into a 5.7-carat stone, significantly improving not only its symmetry and brilliance, but also its color.

Finally, recutting with a change in shape is typically used for large and inexpensive stones, such as quartz or topaz, when the result is not simply a "jewelry setting" but a true art object, in which the cost of the work can significantly exceed the cost of the raw material. In this case, the greatest weight loss will occur, but true masterpieces can be created, in which the artist's inspiration is not limited by strict requirements for material economy. As an example, I can cite the kunzite "Touch of Perfection" from the "Philosopher's Stone" collection, which is on display here at the exhibition. Originally a classic trillion-karat stone weighing approximately 280 carats, it was transformed into a remarkably harmonious lotus flower with a shimmering star within, weighing just over 160 carats. While the original stone may not have inspired much awe, the finished one is so captivating in its harmony that you can't help but hold on to it. In this case, the loss was worth it.

So, the key phrase has been spoken – the losses must be justified. Not only the loss of stone weight, but also the time and money spent on recutting. The cost of the resulting stone, taking into account the recutting costs, must be higher than the cost of the original stone. The higher the cost of the raw material, the smaller the proportion of the finished stone's price attributable to the cutting process. Therefore, there need to be very compelling reasons to completely recut, say, a six-carat ruby. At the same time, one must not forget about the so-called "magic" sizes, where the price per carat of a stone increases sharply. For example, the same ruby ​​weighing 2.97 carats costs significantly less than an identical ruby ​​weighing 3.02 carats. Therefore, even a simple repolishing of a very expensive stone is unlikely to be worthwhile if, as a result, its weight changes from 3+ or 5+ to 3- or 5-. Let's keep that in mind.

How can one predict losses during recutting (option 3 - preserving shape) depending on the stone's initial proportions? Typically, the purpose of such recutting is to eliminate optical defects, most often windows. Let's consider three cases: a) the pavilion is fairly high, but strongly convex (a window in the center and fading at the edges); b) the pavilion is high, but not convex at all (fading throughout the stone); c) the pavilion is non-convex and low (a large window). In the first case, it is sufficient to slightly trim the convexity, adjusting the pavilion angles without touching the girdle. In this case, the losses will be small and, crucially, the stone's dimensions (the "face") will not change. In the second case, it is necessary to trim the tenon and bring the pavilion height to the optimal level - the losses will be even smaller. In the third case, it will most likely be necessary to trim the girdle, causing the most significant losses, and the "face" will also be reduced. Obviously, in the third case, you need to think more than once before making a decision, and be sure to take into account the cost of raw materials.

The color of the stone should also be taken into account when making a decision. More precisely, one of the components of the color, which in GIA terminology is called by the terrible word "lightness". If the stone is dark, a small window in it is not so noticeable, and to avoid significant losses, it can be left as is, limiting oneself to simple repolishing. However, if the stone is light, even a small window immediately catches the eye, and it is better to get rid of it.

5. Now let's return to the place of high-precision cutting in the market. Alas, precision cutting machines are currently the domain of amateurs. Amateurs who unite in clubs and national guilds; hold seminars, master classes, and competitions in cutting accuracy; invent new and optimize existing designs; conduct rather serious research on the optics of a cut stone depending on its orientation and physical properties; improve equipment and consumables – in short, they do everything that the gem-cutting industry doesn't get around to doing. Amateurs who grow into professionals...

We have now arrived at a very important moment. Before our eyes, a new category of professional gem cutters is emerging. As a rule, these are fairly (or at least relatively) wealthy people. Typically, they do not live in traditional centers of mining, processing, and trading of gemstones. As a rule, they are so passionate about gem cutting that it has taken one of the leading places in their hierarchy of values, being the main means of creative self-expression. They can no longer not cut stones. They cannot cut stones poorly. Finally, they will not do what doesn't interest them. Such a master is unlikely to undertake the task of cutting 400 standard round cubic zirconia of the same size. Their lot is creativity. Uniqueness and the pursuit of perfection in that uniqueness.

On the other hand, players are beginning to emerge in the market who understand that there are many paths to evolution, but only one direction. And they are beginning to cut stones with increasingly higher quality, using the quality of the cut as a competitive advantage. And now names like Nomad, Yavorsky, Leopard Gems, and others are emerging from Asia. In Europe, the masters from Idar-Oberstein traditionally set the tone, and in the new world, the baton is being picked up by a brilliant constellation of masters, including John Dyer, Jeff White, Tomohiro Karino… That is, we can now talk about gemstone cutting brands that prioritize the quality of the cut over the mass of the resulting stone. And completely separate are a few true artists of gemstone cutting who create genuine works of art, practically never repeating themselves – Tom Munsteiner, Stephen Kotlovski, Michael Dyber, Dalan Hargrave… I have heard reproaches that one should not demean the stone by seeing it merely as material for creativity. But it is unlikely that Phidias or Michelangelo treated marble contemptuously, since they saw in the unprocessed piece a future perfect creation.

I've heard a different opinion. If a stone is perfectly precise, perfectly symmetrical, perfectly flawless – it becomes impersonal. The argument is that there must be some small defects to give the stone the charm of uniqueness, emphasizing the merits of handcrafted work. I think that the uniqueness of a stone is given by the combination of material, color, clarity, size, cut design, and optical characteristics. But – certainly not defects. We would hardly call a face with a crooked eye or a drooping nose charming and unique. These are just excuses from those who don't want (or can't) make high-quality stones, or those who find it convenient to use what's available on the market.

But look – how high-quality many jewelry pieces are made now! Craftsmen set stones, apply enamel, and polish surfaces under a microscope. It would seem, why bother so much if it's not visible to the naked eye? However, our eye is a very precise optical instrument. It sees more than the brain consciously registers, which discards what it considers unnecessary. But this "discarded" information still influences perception at a subconscious level, creating an overall impression. Jewelers understand this and use it; gem cutters, however, do not yet. The discrepancy between the quality of the metalwork and the cutting of the stones is simply glaring. I once asked in a boutique of a well-known brand: "Why do your products have such poor quality colored stones?" They replied: "We are well-known, people will buy from us anyway!" Such reasoning is a path to nowhere. They'll buy today, but tomorrow they'll go to more flexible competitors. To those who understand that evolution – once again! – takes different paths, but, as a rule, in one direction.

Evolution is relentless. No matter how convenient it is for dealers and jewelers to work according to old standards, no matter how much they try to justify poor cutting by emphasizing the individuality of the stone, people are already emerging who are not afraid to ask a higher price for high-quality cutting, and, most importantly, there are already buyers willing to pay it. Let's emphasize once again what exactly they are willing to pay more for. What specifically constitutes high-quality cutting, beyond the abstract general beauty of the stone?

Firstly, good cutting involves perfectly flat facet surfaces, which enhances the stone's brilliance due to the virtual prisms formed by the facets. I have often observed excellent brilliance with distinct multicolored flashes even in samples with a low dispersion index, provided the cut is good. And yet, such brilliance is one of the main advantages of a cut stone. The second advantage, directly related to the first, is the sharpness of the edges between the facets. When the edges, like a knife blade, do not reflect light, the stone appears wet – each facet reflects light in its own way, but the luminous "mesh" of the edges does not distract attention when the light glint moves from facet to facet. Thirdly, strict symmetry (if provided for in the cutting design) makes the stone more harmonious; it is simply pleasant to look at. One stone enthusiast expressed this well: "I buy beautiful stones to admire them, so that they bring me joy. But when my eye constantly catches on inaccuracies, instead of a joyful connection with the stone, an intrusive thought arises: what kind of careless worker could have spoiled this beauty so much?" Fourthly, in the absence of a window in the stone, the main color is more clearly visible; the background behind the stone does not interfere with the perception. And finally, fifth (which, along with the fourth, can affect the gemological characteristics) – the absence of a gray component in the color, which arises from the scattering of light on surface defects.

6. Now that we have established that precision cutting has already justified its presence on the market, it is necessary to understand what criteria should be used to assess the quality of the cut. Today, there are fairly (or, rather, relatively) strict systems for evaluating the quality of diamond cuts. The most well-known and widespread system is the GIA system, which consists of three criteria – proportions, symmetry, and finish; other systems, in one way or another, reproduce or supplement it. However, this system (at least two of its three criteria) is focused on several standard cutting designs and identifying deviations from these standards. But why an elongated oval or a widened "pear" shape is bad – neither the authors of the methodology nor its users can answer this question. This system is applicable to colored stones, with their enormous variety of shapes and cutting designs, only with great difficulty. There is a whole direction in artistic cutting – "Harmony of Chaos" – with an absolutely arbitrary shape and complete asymmetry of facets. What should be done in this case?

The answer to this question was developed in the amateur gem-cutting guilds, which I have already mentioned. Such guilds (Australia, USA, England, etc.) hold gem-cutting competitions where participants' stones are judged according to certain criteria. Having some experience participating in, winning, and preparing winners for such competitions, I once tried to adapt the judging rules of these competitions to market conditions, unifying them as much as possible and moving away from specific requirements for the size and proportions of the stone. A review of the resulting methodology for evaluating the quality of gem cutting is beyond the scope of this article; I will only briefly touch on a few points.

The methodology assesses the precision of the cut, the quality of the polishing, and the absence (or presence) of undesirable optical effects. During the assessment, the number of design elements (facet, edge, vertex) with cutting defects according to the proposed classification is counted. The resulting score is expressed numerically and standardized. Depending on the result, the stone is assigned to one of three quality classes (Commercial, Quality, and Elite), which, in turn, are divided into subclasses. While the subclasses of the first two are designated by numbers – Commercial-II or Quality-I – the subclasses of the third have their own names: Elite Premium, Elite Extra, and Elite Ideal. Thus, an Elite class cut represents the level of today's gem cutting competitions, which is far above the average market level. And the Elite Ideal cut level is sometimes unattainable even for the winners of such competitions.

I wouldn't hesitate to suggest that the Elite class of cut will certainly be confirmed by special reports and certificates. Other exotic methods may also be used, such as marking made directly on the stone. This could be laser engraving (most often on the girdle, since the laser disrupts the integrity of the facet surface, which could be considered a polishing defect), or it could be a more advanced technology – plasma implantation. Such a mark is applied in a highly ionized plasma environment, which is activated by a laser beam. As a result, ions are implanted into the body of the stone through a special mask-stencil and contribute to a local change in the stone's reflection coefficient. This mark is not visible in transmitted light; it is only noticeable in the reflection of a light beam. In addition to its use in stone certification, this mark can be used by master cutters to mark their work – as proof of authenticity. I, for example, put my logo and signature directly on the table facet of particularly important stones – at the customer's request, of course.

7. What remains to be said in conclusion? Evolution is relentless. We can ignore its laws, we can even try to go against it – but we are unlikely to last long in the face of fierce competition in a developing market. But a far-sighted player takes these laws into account, predicting future market trends. We live in a unique time when both objective and subjective prerequisites have matured for a qualitative leap in the development of gemstone cutting. Today, there are few well-cut stones on the market. Exclusive stones, of the Elite Extra and Elite Ideal class, are practically non-existent. For now, there are few. And for now, there are none. Tomorrow, however, both will firmly occupy their niche in the market for cut gemstones. And those brave souls who are the first, both in cutting and in evaluating its quality – I dare say – will go down in world history.