Once upon a short time ago, all faceted and cabochon cut gemstones displayed a
traditional disciplined shape. Faceted stones featured a round brilliant cut or one of
its variations, and cabochons routinely were cut in rounded or domed geometric
patterns such as ovals, squares and circles.
Along came some enterprising lapidaries and they started mixing the two
disciplines. Not only did they start cutting facetable crystals using cabochon
techniques and vice versa, but they also began adding peculiar channels, tunnels,
dish effects, plateaus, and step conceits. These innovation quickly caught the
gemcutting world--and the world of Fantasy cutting has been flying ever since.
A German gemcutter named Bernd Munsteiner really got Fantasy--or
Sculptured - lapidary started.
The lapidary world was slow in accepting his unique, geometric designs but once
started they took off . . . largely because they were so visually pleasing--and easy to cut.
How do you cut those well-known, severely geometric appearing Munsteiner
or Fantasy cuts?
Well, it's actually easier than traditional faceting or cabochon cutting. Select
a piece of gem material (it's better to cut softer materials because many of the
intricate patterns that make up fancy cutting can be difficult to prepolish and
polish) and shape it by hand on a coarse wheel or lap (coarse is NEVER less than
180 grit!).
First, (A) the gemstones you see above (left) were shaped, one by hand or the
other while mounted on a stick. Once the basic shape was achieved, a silicon
carbide wheel's edges (B) were trued with a diamond dresser tool to assure sharp
right angles (vital for cutting channels and other optical conceits). Following these two
initial steps, the sequence followed by experienced Fantasy cutters (C) ) imparts artistic
elements over the surface - top and bottom - of the stone.
The final step (D) consists in applying a fine finish on all the cut edges (EXCEPT in
those cases where it's decided to offer a surface contrast such as leaving some surface
"frosted" i.e., unpolished, to make them stand out against the more
reflective surfaces (a technique that is achieved best only with quartz which frosts easily).
These conceits or embellishments range from "V" shaped channels cut
singularly or in series along with convex and concave curves, flat areas or
"plateaus," stepped flats (also called "rice paddies"), round and circular optical
indentions called (by famed New England gem sculptor Michael Dyber) "Optical
Dishes" (as shown below) or the folding and flowing curtain-like patterns of
Texas gemcutter Larry Woods.
It goes without saying that most of these artistic effects are cut on the sharp
or uniquely dressed edges of the silicon carbide wheel. Diamond wheels are superb
for fast roughing and finishing, but they're near useless for channeling and plateauing
imply because they can't be dressed - and most diamond wheels have no side edges to work
with. In short, the embellishments consist of whatever the sculptor or carver can think up.
Behind this apparent indifference to traditional optics theory lies the desire to maximize the
enhancement of surface reflections, scintillation (also called "twinkle"), texture properties,
surface light play, visual interest in new and different shape configurations. The final step
in this 1-2-3-4 sequence is #4 polishing.
The shift in emphasis from internal to external dramatization is not without benefit.
Brilliance, the term used to describe the return of internal white light whose impact varies
inversely with distance, virtually disappears when a gem is viewed from more than two feet.
Visual recognition of shape and light variation, though, is possible up to 10 feet and it's around
this unavoidable truth that the sculptor hangs his visually pleasing contributions. You can see and
appreciate an oddly sculpted Munsteiner from a much greater distance than the brilliance of a
traditionally faceted gemstone.
Once the broad flat facets and lines of the shape have been cut in - and before the
exquisite channeling and other lapidary devices are employed - many gemcutters
proceed directly to prepolish and then polish.
Such a half-way step gives one an attractive finished stone appearance albeit it may appear
somewhat plain. The interesting geometric shapes and channels on a Munsteiner cut are (C)
usually cut strictly on the edge of a dressed silicon carbide wheel. Refining, prepolishing and
polishing are often carried out (D) with small wheels, sanders, polish bearing sticks, etc.
This intersection is where the carver-sculptor begins applying his or her true
creative skills. Often, cutting and/or channeling on the squared, dressed edge of a
silicon carbide wheel (diamond wheels aren't so good because they don't cut on the
side, too) the carver - using a single motion - inflicts a deep channel with 45 degree
sides. The channel is cut in one moving, continuous motion. Were s/he to cut the
channel in a series of addresses to the wheel, it would introduce "planing" and
this is virtually impossible to polish later.
The above display of imaginative gem cutting displays vividly the range and
sweep and the random creativity - that can be accomplished by combining cabbing
with faceting methods.
More could be said on the techniques of this style of gemcutting, but it's not
necessary. You simply cut a shape, apply your own personal conceits to the surface, polishing
the whole thing - and you have a finished, professional level Fantasy cut. Likely as not, the stone
never leaves the lapidary's hands. With considerable justification, many gemcutter contend
that no great need exists for dopping (gluing a stone to a stick so you can hold it more securely) and
the cost of equipment is minimal.
Most of the lapidary activity is conducted in a hand held mode because the fingertips give
much greater and more precise control of the stone. It's easier, too, to refine and shape the stone
with small diamond abrasive tools, wheels, etc. Indeed some gifted carvers, use an inexpensive lathe
and make their own cutting tools out of wood, plastic, buttons, metal dowels, etc. What happens when
a transparent or translucent gemstone crystal is covered with random and artistically flat surfaces is a
transformation of the stone--usually--into a geometric appearance. This occurs especially when
channels are introduced because they are often cut in a parallel series.
Keep in mind that Munsteiner-Fantasy cutting is an extension of advanced cabochon cutting
and carving or sculpturing represents a completely different discipline. May excellent carvers
or sculptors turn out magnificent gemstone creations, often using lapidary optical tactics - but their
ideas are not Fantasy cutting.
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