Guilloché (Guilloche) is a decorative engraving technique in which a very precise intricate repetitive pattern or design is mechanically engraved into an underlying material with fine detail. Specifically, it involves a technique of engine turning, called guilloché in French after the French engineer “Guillot”, who invented a machine “that could scratch fine patterns and designs on metallic surfaces”. The machine improved upon the more time-consuming practice of making similar designs by hand, allowing for greater delicacy, precision, and closeness of the line, as well as greater speed.
Another account gives the credit of inventing this method to Hans Schwanhardt (- 1621) and the spreading of it, to his son-in-law Jacob Heppner (1645).
Yet another account is that it derives from the French word for an engraving tool, not the engine turning machine.
A guilloche is a repetitive architectural pattern used in classical Greece and Rome, and neo-classical architecture as well as medieval Cosmatesque stone inlay work, of two ribbons winding around a series of regular central points. These central points are often blank, but may contain a figure, such as a rose. Guilloche is a back-formation from guilloché, so called because the architectural motif resembles the designs produced by Guilloche techniques.
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Engine turning machines were first used in the 1500–1600s on soft materials like ivory and wood and in the 18th century it was adopted for metal such as gold and silver. [1] [2]
The last machines were manufactured around 1948–1949.[3]
In the 1920s and '30s, automobile parts such as valve covers, which are right on top of the engine, were also engine-turned. Similarly, dashboards or the instrument panel of the same were often engine-turned. Customizers also would decorate their vehicles with engine-turning panels similarly.
Guilloche describes a narrow instance of guilloche: a design, frequently architectural, using two curved bands that interlace in a pattern around a central space. Some dictionaries give only this definition of guilloche, although others include the broader meaning associated with guilloché as a second meaning. Note that in the original sense, even a straight line can be guilloché, and persons using the French spelling and pronunciation generally intend the broader, original meaning.[4][5][6] Translucent enamel was applied over guilloché metal by Peter Carl Fabergé on the Faberge eggs and other pieces from the 1880s.[7]
In consequence of the nature of the design, which is usually a series of lines that are, or look very much like they are interwoven into one another, any design engraved on metal, printed, or otherwise erected on surfaces such as wood or stone, that go in a similar style of constant wriggling that interlock - or look like they are interlocking - with one another, is referred to as guilloché.
Some of the more common ones are the following:
The engine turning machine characteristic of Guilloché is called by other names in specific uses:
The different types of the machines refer to different models and different times during the development of the engine-turning machine.