This slightly lunar-like landscape is a study in grey, black and silver; the meteorite changes as the light catches it in different directions. The customer originally came to me asking me to make a dress ring but in the end decided that she would wear a necklace much more often. This photo shows it on a black rubber necklet, but I also made a special clasp for a silver snake chain that can be worn as an alternative, both work well. 2022.

This nebula necklace is closely linked to the previous one. The recipient came with her husband, apparently for a different reason. He had seen it and wanted a similar piece made for her. She saw the first necklace and immediately admired it, so imagine her surprise when she was handed a box with her one in it for a surprise 50th birthday present – a nice moment. This one is made of silver with my special ‘Nebula’ precious metal scumble, and has a marquise aquamarine set in green gold. 2021

This domed piece is a brooch as well as a pendant. The central section is precious metal ‘nebula’ which made from different colours of gold and silver melted together, then patinated to make this warm nebula-like effect. The large antique diamond is set in green gold. This piece is sometimes worn with a heavy snake chain. 2019

A special birthday present for an American. She saw the picture of the pendant next to this and loved the design but wanted an oval, and silver rather than gold.

This is the pendant featured in the video above. The client brought me her late husband's wedding ring which she wanted making into a pendant, using also her birthstone. The inlaid ebony panel has a satin finish and the surrounding circle is polished. 2017

This is the first piece I made using meteorite and I found it one of the most challenging and fascinating of materials. It is the core of an asteroid and the extraordinary shimmering patterns (Called Widmanstätten patterns) are caused by its exposure to heat and cooling over billions of years. The meteorite is made of iron with impurities that give the patterns, and it must first be polished and then etched to reveal the patterns. 2014

Made for a 60th birthday present, the design is inspired by one I made in the 1980s (see next piece).

This one is made of white gold, inlaid with ebony and etched meteorite panels. A lovely bluey-grey sapphire is inlaid into one of the ebony panels, echoing the colour of the meteorite. I took a series of photographs throughout the making of the piece because the client was interested to see the techniques involved in making her necklace. 2015

Made in the 1980s, this is one of the only pieces I have kept to wear myself. The ebony is inlaid with silver and titanium, which is coloured blue to reflect the blue tints in the moonstones. 1980s

These turquoises were bought by the client in the 1970s. They are all slightly different sizes and most of them not quite round. So for me this was a bit of a challenge. But they were of great sentimental value. To connect the Middle East with Scotland, I decided on a Paisley pattern design. The central stone is set in gold. The clasp is my special design which is much safer than so-called safety catches.

Set with gold and silver mokume gane and a diamond. Made for a 60th birthday present, the diamond was sent on the birthday and the recipient decided what she wanted it made into. 2009

Made to match an engagement ring, this piece now lives in the United States. 2010

Made from the diamonds, gold and platinum from a family ring, the pendants were made for the client's granddaughters. To keep a connection between them, I decided to make them all the same, but adding the birthstone for each of the granddaughters: a deep ruby, a square aquamarine, a square yellow sapphire, and a cabochon emerald. 2015

Made as bridesmaid presents.

Each one was set with a different shape of peridot – one of the wedding colours.

2010

This piece was made in the 1980's, from gold and ivory, inlaid with gold and two cabochon aquamarines. The ivory came from a broken antique piece found in a bric-a-brac shop, and even if it was made from old ivory, I couldn’t make or sell an ivory piece nowadays.

Another early 1980s piece. The ivory came from an old hairbrush which gave it a pleasing curve. It is made of silver, with the ivory part inlaid with silver, titanium and moonstones. The necklace was exhibited at Goldsmiths’ Hall and the American purchaser asked me to lengthen the chain for her.

This is a page from the ‘Loot’ catalogue in the 1970s. ‘Loot’ was and exhibition of affordable designer jewellery that London’s Goldsmiths’ Hall held for many years. These are pieces from my Perspex era and they are set in silver. I used to dye Perspex rods before making it into jewels. The piece on the bottom left ended up in Oxford but was stolen.

This is a page from the Goldsmith’s Hall ‘Loot catalogue in the 1970s. The top one is made from abalone shell and silver; the other two are ivory and silver. In those days I used pieces of ivory from things like old hairbrushes, piano keys, etc. However, even though these were so old that they did not affect the elephant population of today, it became obvious that using any kind of ivory is not acceptable.

This ring was made for a 50th birthday present and has many family connections woven into it. Ruby is the birthstone of the recipient, and this lovely square octagon-cut ruby was chosen for its colour as well as cut. The gold surrounding the ruby was made out of her mother’s engagement ring, and the diamond from this ring was set into the side of the shank along with a cabochon moonstone (just visible here) and an aquamarine. All these stones were the birthstones of other members of her family. This ring, designed to be worn every day, was also inspired by the large square garnet ring made earlier in the year. 2021

This oval ring was inspired by the previous two rings and is made with 18 carat yellow gold with a white gold setting around the stone - a pretty pink natural topaz. Made to celebrate a 50th birthday, the ring is designed to be worn every day. 2021

The client wanted a large stone the colour of red wine so we chose a garnet. But a large square cut garnet is unusual so had this one specially cut for us. It is a particularly good colour with dramatic depth which sets off the classic simplicty of the design. The ring is made in 18 carat yellow gold but the setting is white gold to enhance the colour of the stone. 2021

My client had been given a ruby on a fine chain for a ruby wedding present, but decided that she would prefer a chunky ring. I felt the ruby needed a little protection, so designed this ring with a ridge around it which protects the stone as well as giving a chunky feel without being too heavy. 2019

This was made from diamonds that came from a pair of earrings and a pendant. The diamonds are set into a solid chunk of gold which shows them off to their best advantage. 2019

The engagement ring is set with two triangular cabochon peridots and a princess cut sapphire, set into white gold. The red gold wedding band is inlaid with 18 carat white gold.

2006

This was made using the diamonds from the client's engagement ring, set in red gold to show them off. Rubies were added to add a tiny spark of colour as they are one of her birthstones. The design was inspired by river pebbles and the way that water sparkles over them.

2010

His is a chunky D-shape inlaid with red gold. Hers is red gold inlaid with a strip of mokume gane made from silver and yellow gold. The colour on this ring was enhanced to show off the pattern of the mokume.

2010

I made the original ring from gold/silver mokume gane. Then I was asked to turn it into a wedding ring, with gold bands on the edges and with something blue – in this case lapis lazuli. However, they decided they preferred the ring without the stones. Here is the ring without the stones and again with the lapis placed into the holes as I had originally designed it. The asymmetrical triangles were chosen because it reminded them of a swingbridge in St Petersburg.

2015

A very slim wedding ring made from gold with silver/copper mokume gane.

Although it is not easy to see, this tiny ring has slivvers of gold from family rings and jewellery inlaid into it.

2014

White gold engagement ring set with a sapphire and two diamonds. The diamonds were from a family ring and the unusual asymmetrical sapphire was chosen because it reminded them of the billowing sail of a boat.

2009

Unusually large for an engagement ring, this is made from 9 carat white gold because the client wears a lot of silver jewellery and the colours match well. The colours requested were green and purple, so the centre stone is a tourmaline and the two flanking stones are amethysts, specially cut to go with the tourmaline.

2015

This is a really tiny little ring, made to be worn on the middle toe of a very petite lady. The band is made of silver and copper mokume gane and the stone is a bright blue cabochon sapphire.

2014

White gold ring with a diamond set into a rose gold square, made for a 21st birthday present.

It's almost impossible to photograph diamonds and show their sparkle, but this is a nice one.

Although not made as an engagement ring, it's robust enough to be worn every day.

2014

18 carat white gold inlaid with a stripe of 18 carat rose gold and set with a 3-carat triangular pink sapphire and two tiny diamonds. Matching wedding rings were made with 18 carat white gold inlaid with a stripe of rose gold. Made for my daughter in 2005.

The couple had originally wanted their rings to be inlaid with wood but wood is not a very durable material for a wedding ring, Because he is a rock climber, I suggested an inlay of bloodstone, a rare opaque green stone speckled with red, which comes from the island of Rum. Her ring comes next.

2004

The couple had originally wanted their rings to be inlaid with wood.

Since wood is not a durable substance for a ring, I suggested instead inlaying her ring with Mokume gane (Japanese 'wood-grain' metal).

Because he is a rock climber, I suggested an inlay of bloodstone, a rare opaque green stone speckled with red, which comes from the island of Rum.

2004

The couple had originally wanted their rings to be inlaid with wood but wood is not very durable so I suggested instead inlaying her ring with Mokume gane (Japanese 'wood-grain' metal). They were quite happy to have rings that did not match each other.

2004

This has a moonstone set into an 18 carat red gold mount, and a diamond set into the side of the ring. This was a silver wedding ring, with the two stones representing her two sons.

2009

Inlaid with ebony and a triangular citrine which glows like 'a wee drop of some sweet whisky liqueur' when it catches the sun.

2009

With a grey star sapphire set in red gold. The client wanted something very special but not too sparkly. A star sapphire only gives its beautiful burst of light when there is bright light.

2009

This brooch can also be worn as a pendant by threading a chain through the brooch pin. The central section is made from what I call ‘precious metal scumble’. This is precious metal dust and pieces of different colours of gold and silver melted together, then patinated to make this warm nebula-like effect. The large antique diamond is set in green gold.

2019

A really difficult thing to photograph, this piece demonstrates the fascination of meteorite whose shifting light changes constantly. The client is fascinated by outer space so meteorite was an obvious choice. The blue stone was to be the ice-cold of outer space and the five rays of 18 carat green gold represent the five strands of her family. Another 60th birthday celebration. 2015

18 carat white and yellow gold inlaid with hand made mokume gane (layers of different coloured precious metals formed to make a swirling pattern). The mokume represents the pebbles on the river bottom seen through swirling peaty water. The client commissioned this as a golden wedding present for his wife who is an expert salmon fisher and he did not want anything too abstract. 2003

18 carat gold and ivory brooch set with a with 3 carat ruby. The brooch was commissioned for a ruby wedding anniversary, and the star shape was specially requested. The ivory came from an old teething ring blank.

Set with five cabochon lapis lazuli. Commissioned to commemorate an achievement. The brief was to make it large, and to use blue stones. The design indicates a ladder and also Chinese characters, as the recipient was greatly involved with Chinese culture. 2013

Measuring 6cm x 4cm, this silver brooch is set with inlaid ebony and a large amethyst which the client brought back from South America in the 1990s. Matching earrings with smaller amethysts were made to go with the brooch.

It was recently brought back to me to check the catch (it was fine), and it was good to see the piece again; a favourite of mine.

18 carat gold inlaid with ebony. I made a whole series of these in the 1990s.

These earrings are in fact almost flat; the illusion of billowing sails comes from the shape of the inlaid red gold and a slight shaping at the edge. Made for a special birthday for a special sister.

Made from silver, inlaid with mokume gane made of silver and copper. The swirling of the mokume represents the effect you get when water is gently lapping at sunset. Made for someone with copper-red hair who loved sailing.

Silver, inlaid with patinated mokume gane and set with a square-cut ruby.

The kilt pin was made for a ruby wedding.

The couple have a lifelong love of sailing and the swirling pattern of mokume reflects a golden sky reflected in swirling water.

2016

Silver, lapis lazuli, gold and garnets. Commissioned for the Russian artist Eduard Bersudsky, who refused to wear conventional jewellery. His love of the female body is acknowledged, as is his love of eccentric things. A visit to his website at www.sharmanka.co.uk where you can see his extraordinary kinetic sculptures will explain these crazy cufflinks. Or go to the Royal Scottish Museum in Edinburgh and marvel at the Millennium Clock.

2003

This bracelet was made for a 60th birthday. Each bead has special significance. He brought the meteorite for the central bead (see closeup on next slide) from Russia and it is inlaid with red gold from a medal belonging to his father. On either side are beads made of mammoth ivory, also brought from Russia (NB it is legal to make things from mammoth ivory as they are already extinct). The whiter beads are made of red deer antler, and the tiny bead is made of narwhale tusk given by his girlfriend. 2018

Close up of the meteorite bead in the centre of the Shamballa bracelet, showing the amazing properties of meteorite which shimmers as it moves.

Silver set with garnets. May be worn with either side more visible.

2006

For male or female clothing. These cufflinks offer two different designs depending on which way up they are inserted.

2006

Double-ended; silver inlaid with ebony.

18 carat gold inlaid with recycled ivory. 1990s

Kilt pin commissioned as a wedding present by a bride for her bridegroom. Silver, inlaid ebony and square cut smoky quartz.

2005

Made to replace the previous one after it was stolen. The stone is a particularly fine smoky quartz, set into silver inlaid with ebony.

2010

Made from silver with 18 carat green and red gold details. The panels of mokume gane are made from 18 carat gold, silver and copper, patinated to enhance the colours. The stone is a beautiful oval smoky quartz. He also wears it as a lapel pin.

2011

Commissioned by an elderly lady who wanted a lapel brooch for her coat, but when she died she wanted it to serve as a kilt pin for her nephew. The stone is Amazonite. 2003

The agate was cut from a stone which the client found in her garden and the pin was designed around it as a Christening present for her grandson.

1980s

This little boat-shaped box is 7cm (2¾ in) long and is completely sealed. The main body is made of 18 carat yellow gold and its domed top is made of ebony inlaid with red gold, and a stunning mandarin garnet set in white gold. The box contains two wedding rings, one nestling inside the other, seated on a tiny turned wooden ring holder. The zigzag inlay on the lid spells out a set of initials: MW, and the garnet is so beautifully cut that it appears as though there is a light underneath it. Because of the amount of gold in it, the box is fairly heavy and sits comfortably in the hand.

This sealed box contains two wedding rings, one nestling inside the other, seated on a tiny turned wooden ring holder. Because of the amount of gold in it, the box is fairly heavy and sits comfortably in the hand. 2¾ in. 2018

This piece is 180cm (7 in) high and it started with the huge amethyst bought by my American clients. Too large to be worn as jewellery, they decided they would like a ‘house jewel’; essentially a small sculpture which is loosely based on a thistle to reflect their great love o Scotland. The video shows more detail of how it was designed. 2018

Commissioned by Chivas Regal whisky for their 200th anniversary tins. The brief was to use teh colours of silver and whisky, and to have no function. It is made from silver inlaid with two panels of mokume gane and a large piece of amber. The mokume is made from gold, silver and copper, patinated with heat. It has rockers underneath so the amber sparkles. It was shown at Goldsmiths’ Hall in 2001 in an exhibition of celebratory pieces.

2000

Made of silver and laminated wood from the prop shaft of a Second World War fighter plane, this was commissioned in memory of Sholto Dougllas, Lord Douglas of Kirtleside. The front of the trophy shows the front of the bi-plane Douglas flew and the silver propellers can be turned and arranged as desired. When spread out they look like the propellers in early films.

2005

Two pieces made for an exhibition about the Way of Tea (Japanese tea ceremony) in Glasgow. The tea kettle was designed in collaboration with Tim Chalk who sculpted and cast the main body of the kettle. I hand raised the lid from bronze and made a silver handle; the hammer marks reflecting teh swirling pattern of water. The square lid rest is made from patinated copper with brass rivets it reflects Charles Rennie Mackintosh and the rivets of Govan shipbuilders.

These spoons are made of solid silver and the handles are inlaid with red gold. Made for a wedding present.

This tiny silver box is made of silver. The lid is made from an old piano key inlaid with blue resin. The box is tiny - 2.5 cm (1 in) in diameter - and is lined with suede so the tooth makes no noise. When the child grows up it can be used for cufflinks or a ring. 2017

Hexagonal box with an ebony lid inlaid with silver, made for a christening present.

1980s

The lid of this box is inlaid with triangular pieces of lapis lazuli. Also commissioned for a christening present.

The original sceptre is in Edinburgh Castle and forms part of the Scottish Crown Jewels which date back to the 15th and 16th centuries. This gold-plated replica, with a real crystal ball, was made for part of the exhibition which tells the extraordinary story of how the Crown Jewels, missing since the time of Cromwell’s raids, were tracked down by Sir Walter Scott. Well worth a visit.

The original sceptre is in Edinburgh Castle and forms part of the Scottish Crown Jewels which date back to the 15th and 16th centuries. This gold-plated replica, with a real crystal ball, was made for a part of the exhibition which tells the extraordinary story of how the Crown Jewels, missing since the time of Cromwell’s raids, were tracked down by Sir Walter Scott. Well worth a visit. From time to time I have to go and repair it. 1999

Made of copper, silver and parcel gilt with a large smoky quartz stone. Commissioned for a small museum about St Fillan because the Museum of Scotland in Edinburgh was reluctant to relinquish the original piece. In order to make this, I was allowed to examine and handle the original 11th - 12th century crozier in the museum; a humbling experience. 1995

The cutlery was cast in bronze and the thick silver elements were inlaid afterwards. Two sets were commissioned by Kelvingrove Art Gallery in Glasgow for a dining room setting furnished by contemporary Scottish designer makers. The cutlery was designed to sit on a table made by wood artist Tim Stead. 1990s

Commissioned for the Angus Pictush Museum. My replica is made of silver plated copper with dark red enamel but the original of this massive collar is solid silver and can be seen in the Royal Museum of Edinburgh. 1999