AJ TUSCANY
Designed to last:
Find out why
our jewels
are different
IDEA
To create our jewels we are inspired by natural, architectural and artistic elements present in the wonderful region of central Italy: Tuscany!
IDEA
To create our jewels we are inspired by natural, architectural and artistic elements present in the wonderful region of central Italy: Tuscany!
We prepare sketches, drawings of how a collection can be developed.The size, the weight, the materials as well as the finishes, stones and a first idea of the steps to be taken are defined.
PROJECT
PROJECT
We prepare sketches, drawings of how a collection can be developed.The size, the weight, the materials as well as the finishes, stones and a first idea of the steps to be taken are defined.
MODEL
Lucio creates a model in wax, following what was defined in the design phase.A great advantage of processing jewelry with this technique is that you immediately have a tangible idea of what the volumes and shapes of the finished jewel will be.This step requires great skill, it involves making a real sculpture, but with very small dimensions and with all the precautions of the design and functionality of the jewel.
MODEL
Lucio creates a model in wax, following what was defined in the design phase.A great advantage of processing jewelry with this technique is that you immediately have a tangible idea of what the volumes and shapes of the finished jewel will be.This step requires great skill, it involves making a real sculpture, but with very small dimensions and with all the precautions of the design and functionality of the jewel.
The lost wax technique is used to transform the model from wax to precious metal. It is an ancient technique used by the Etruscans and Romans but even earlier by the Egyptian civilization millennia ago.Today, more modern materials and tools are used, but the procedure is still the same. Several wax models are attached to a wax “trunk” forming what is called a tree.The wax model tree is placed in a metal cylinder and very fine plaster is poured to cover all the models. Everything is put in an oven at about 600 ° C and this temperature causes the plaster to harden and the wax to melt.At this point the cylinder is overturned and the liquid wax is poured, leaving voids in the plaster that have the same shape as the models that were in wax, which is why it is called “lost wax casting”.At this point the precious metal is melted at temperatures around 1000 ° C and poured into the cylinder to occupy the empty spaces of what was previously in wax.This process is carried out in highly specialized laboratories in southern Tuscany.
CASTING
CASTING
The lost wax technique is used to transform the model from wax to precious metal. It is an ancient technique used by the Etruscans and Romans but even earlier by the Egyptian civilization millennia ago.Today, more modern materials and tools are used, but the procedure is still the same. Several wax models are attached to a wax “trunk” forming what is called a tree.The wax model tree is placed in a metal cylinder and very fine plaster is poured to cover all the models. Everything is put in an oven at about 600 ° C and this temperature causes the plaster to harden and the wax to melt.At this point the cylinder is overturned and the liquid wax is poured, leaving voids in the plaster that have the same shape as the models that were in wax, which is why it is called “lost wax casting”.At this point the precious metal is melted at temperatures around 1000 ° C and poured into the cylinder to occupy the empty spaces of what was previously in wax.This process is carried out in highly specialized laboratories in southern Tuscany.
ASSEMBLY
The metal models are cut off the tree, then the channels are removed and checked one by one to make sure there are no imperfections. Later the models are brushed and polished with various brushes.
ASSEMBLY
The metal models are cut off the tree, then the channels are removed and checked one by one to make sure there are no imperfections. Later the models are brushed and polished with various brushes.
The coating process (galvanic) of the jewels is carried out only on silver or bronze jewels and it’s used to give a more vivid color to the jewels and to protect them from oxidation, a natural process to which metals are subject.Most of the coatings are carried out in a specialized laboratory in the province of Arezzo and begins with the preparation of the jewel by cleaning it from any grease and elements that could prevent the uniform coating.Once the jewels have been cleaned, electric induction is used, giving a negative charge to the jewel and a positive charge to the metal that have to stick to the model evenly and proceed with a first layer of metal that will act as a base and then an additional covering layer of rhodium, or palladium or pure gold (yellow or pink) according to the desired result.This technique is called galvanic. Finally, the jewels receive a further transparent treatment that ensures that the covering metal doesn’t wear off. This ensures the jewel a much longer life, it also makes it resistant to corrosive elements, such as perfumes or sea water, even if the advice is always to avoid contact with these elements for a longer duration.Other types of finishing are carried out directly by Lucio in his workshop, for example the oxidation which gives an antique look to the jewels.Some jewels, even in silver, don’t receive any type of coating and you can see the actual color of the metal, these jewels can be cleaned with regular silver cloths and detergent to always keep it shiny.
COATING
COATING
The coating process (galvanic) of the jewels is carried out only on silver or bronze jewels and it’s used to give a more vivid color to the jewels and to protect them from oxidation, a natural process to which metals are subject.Most of the coatings are carried out in a specialized laboratory in the province of Arezzo and begins with the preparation of the jewel by cleaning it from any grease and elements that could prevent the uniform coating.Once the jewels have been cleaned, electric induction is used, giving a negative charge to the jewel and a positive charge to the metal that have to stick to the model evenly and proceed with a first layer of metal that will act as a base and then an additional covering layer of rhodium, or palladium or pure gold (yellow or pink) according to the desired result.This technique is called galvanic. Finally, the jewels receive a further transparent treatment that ensures that the covering metal doesn’t wear off. This ensures the jewel a much longer life, it also makes it resistant to corrosive elements, such as perfumes or sea water, even if the advice is always to avoid contact with these elements for a longer duration.Other types of finishing are carried out directly by Lucio in his workshop, for example the oxidation which gives an antique look to the jewels.Some jewels, even in silver, don’t receive any type of coating and you can see the actual color of the metal, these jewels can be cleaned with regular silver cloths and detergent to always keep it shiny.
SETTING
Jewels with precious or semiprecious stones, always natural, require the expert hand of a stone setter. Our artisan stone setter, Roberto, from the province of Arezzo is also a gemologist, he manages to offer support and advice on the best type of setting suitable for the selected stone.The work of the setter is very complex and requires a lot of experience, especially if you want to obtain a result that is always close to perfection.
SETTING
Jewels with precious or semiprecious stones, always natural, require the expert hand of a stone setter. Our artisan stone setter, Roberto, from the province of Arezzo is also a gemologist, he manages to offer support and advice on the best type of setting suitable for the selected stone.The work of the setter is very complex and requires a lot of experience, especially if you want to obtain a result that is always close to perfection.
According to the Italian rules for the protection of the consumer who must have a clear idea of what he is buying, all precious metal jewels (silver, gold, etc.) must have two hallmarks engraved on the jewel itself.The first is a number that specifies the amount in thousandths of pure precious metal used in the alloy, for example 925 means pure silver for at least 925 thousandths while 750 means 18kt gold.The second punch is issued only upon registration with the local chamber of commerce as producers or artisans of jewelery items and following checks by the police headquarters on the applicant. This second engraving is composed of a star, a number that identifies exactly the punching company and two letters that represent the province in which the hallmark was issued. On our jewels the hallmark ends in SI (province of Siena) or AR (province of Arezzo).The two engravings unequivocally declare to the customer what metal it is and who guarantees the exact alloy of the precious object.
HALLMARK
HALLMARK
According to the Italian rules for the protection of the consumer who must have a clear idea of what he is buying, all precious metal jewels (silver, gold, etc.) must have two hallmarks engraved on the jewel itself.The first is a number that specifies the amount in thousandths of pure precious metal used in the alloy, for example 925 means pure silver for at least 925 thousandths while 750 means 18kt gold.The second punch is issued only upon registration with the local chamber of commerce as producers or artisans of jewelery items and following checks by the police headquarters on the applicant. This second engraving is composed of a star, a number that identifies exactly the punching company and two letters that represent the province in which the hallmark was issued. On our jewels the hallmark ends in SI (province of Siena) or AR (province of Arezzo).The two engravings unequivocally declare to the customer what metal it is and who guarantees the exact alloy of the precious object.
AT THE END OF EVERY PRODUCTION STEP THERE IS A VERY METICULOUS QUALITY CONTROL IN OUR HEADQUARTERS
ONLY AT THIS POINT THE JEWEL IS READY TO BE DISPLAYED
* UNIQUE JEWELS AND ONGOING COLLECTIONS
Some jewels are unique pieces, certified by us as a unique jewel that will never be reproduced. It is not just a promise but actually, from a practical point of view, it will never be possible to reproduce the same because the wax no longer exists. While trying to make another similar model, being a handmade sculpture, it will not be possible to copy it 100%. Other jewels, on the other hand, are part of ongoing collections that are always available. To do this, once the metal model has come out of the casting, a rubber kind material is used to make a cast of the model. This can later be used to reproduce other waxes to be re-melted.
Following the European regulations in no jewel it is allowed to use, in the fusion or in the electroplating, harmful elements such as Nickel, Cadmium or Lead and all our collaborators and suppliers follow the rules as foreseen.