Modern process for making mokume-gane follows two paths. One is the ancient process described. The other is changes made because of technology introduced the use of “torque plates” to compress the stack during laminating process, The traditional process uses either a coal or a gas kiln. Modern uses electric kiln.
After extensive research on this ancient technique, I have developed my own modern method for making mokume-gane using currently available equipment and materials to complete the process. The method I use utilizes both traditional use of gas and modern use of torque plates. The lamination process involves clamping many layers (most often somewhere between 10-30 layers) of selected metals, golds, copper, silver between steel blocks and heating the resulting stack in a kiln I made. With carefully controlled conditions the combination of heat, pressure, and protective atmosphere allow the layers to fuse but not melt. The resulting fused stack of metal, called a billet, is then forged and rolled to reduce its thickness. The unique patterns are created by hand carving down through the layers in the laminated stack and then forging the carved laminate to flatten it out. Mokume-gane resembles wood, but it can be cut and manipulated to show the various layer's colors. The designs are created by gouging, drilling, grinding, hammering, or other methods to create a pattern. The process of carving and rolling is repeated many times to create the finished design.
Each mokume-gane sheet is unique. I can create a variety of visual and textural features. It can be simplistic or complex. The colors of mokume-gane varies according to the metals and the patina. The function of the product can also determine the pattern or design put into the mokume. The patterns formed in this manner are almost like a topographic map, showing the depth of the carving into the original laminate. Mokume-gane means "wood grain" in Japanese, another description of the resulting alloy.
This mokume-gane material is then used to make various jewelry pieces, such as wedding bands, engagement rings, and jewelry for the family or rest of the wedding party. The unique design in the metal will never be reproduced, once the material from the billet is gone the pieces are truly one-of-a kind. My favorite pieces were renewal marriage bands for my grandparents 50th wedding anniversary (photo).
There are many aspects of mokume-gane that I like: the process, the texture and the wide range of patterns you can put in it. Dimension can be created through the color darkness or lightness and through the layers as the artist cuts into the metal. I like the uniqueness of each piece. The color varies each time. The product cannot be exactly replicated. I like the simplistic shapes looking complicated by the texture of the metal. It is more about the metal quality and the metal craft. Jewelry often focuses on the stones, not the metal. To me the metal is where the energy is transferred.
After extensive research on this ancient technique, I have developed my own modern method for making mokume-gane using currently available equipment and materials to complete the process. The method I use utilizes both traditional use of gas and modern use of torque plates. The lamination process involves clamping many layers (most often somewhere between 10-30 layers) of selected metals, golds, copper, silver between steel blocks and heating the resulting stack in a kiln I made. With carefully controlled conditions the combination of heat, pressure, and protective atmosphere allow the layers to fuse but not melt. The resulting fused stack of metal, called a billet, is then forged and rolled to reduce its thickness. The unique patterns are created by hand carving down through the layers in the laminated stack and then forging the carved laminate to flatten it out. Mokume-gane resembles wood, but it can be cut and manipulated to show the various layer's colors. The designs are created by gouging, drilling, grinding, hammering, or other methods to create a pattern. The process of carving and rolling is repeated many times to create the finished design.
Each mokume-gane sheet is unique. I can create a variety of visual and textural features. It can be simplistic or complex. The colors of mokume-gane varies according to the metals and the patina. The function of the product can also determine the pattern or design put into the mokume. The patterns formed in this manner are almost like a topographic map, showing the depth of the carving into the original laminate. Mokume-gane means "wood grain" in Japanese, another description of the resulting alloy.
This mokume-gane material is then used to make various jewelry pieces, such as wedding bands, engagement rings, and jewelry for the family or rest of the wedding party. The unique design in the metal will never be reproduced, once the material from the billet is gone the pieces are truly one-of-a kind. My favorite pieces were renewal marriage bands for my grandparents 50th wedding anniversary (photo).
There are many aspects of mokume-gane that I like: the process, the texture and the wide range of patterns you can put in it. Dimension can be created through the color darkness or lightness and through the layers as the artist cuts into the metal. I like the uniqueness of each piece. The color varies each time. The product cannot be exactly replicated. I like the simplistic shapes looking complicated by the texture of the metal. It is more about the metal quality and the metal craft. Jewelry often focuses on the stones, not the metal. To me the metal is where the energy is transferred.
