Jewellery has always been more than decoration — it is storytelling in metal. Long before modern casting technologies existed, artisans used hand tools and patience to create intricate relief designs that seemed to rise and fall like sculpture. Two of the oldest and most mesmerising techniques behind this effect are chasing and repoussé.
These traditional metalworking methods date back over 3,000 years and have been found in ancient Egyptian, Greek, and Renaissance artefacts. Even today, handmade textured jewellery continues to grow in popularity, with industry surveys suggesting that over 55% of buyers are drawn to pieces that show visible hand craftsmanship rather than machine-perfect finishes.
So knowing these two techniques can become in handy so let me teach you about them and where to properly learn the techniques for yourself.
What Is Chasing and Repoussé?
Chasing and repoussé are complementary metal-forming techniques used to create raised or recessed designs by hammering metal without removing material.
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Repoussé is done from the reverse side of the metal, pushing the design outward to create volume.
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Chasing is done from the front side, refining details, adding lines, and sharpening the design.
Think of repoussé as sculpting the shape, and chasing as drawing and defining the surface.
Unlike engraving, which cuts into the metal, these methods move the metal itself, preserving strength while adding texture and depth. This is why many historical artefacts created with these techniques remain structurally sound centuries later.
These methods are commonly used to create:
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Floral and botanical patterns
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Decorative cuffs and pendants
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Textured statement pieces
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Relief imagery and storytelling designs
Because the metal is displaced rather than carved away, chasing and repoussé waste virtually no material — an appealing advantage for modern sustainable jewellery practices.
Chasing and Repoussé Tools Needed
One of the most exciting things for beginners is that these techniques do not require large machinery. A focused set of hand tools can produce extraordinary results.
Essential tools include:
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Chasing hammer – Lightweight with a broad face for controlled strikes
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Chasing punches – Various shapes used to form textures and lines
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Pitch bowl or pitch block – A resin surface that supports the metal while allowing movement
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Metal sheets – Typically copper, silver, or gold for practice
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Heat source – Used to soften pitch and occasionally anneal metal
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Tracing tools – For transferring designs onto the surface
Many beginners start with copper because it is affordable and forgiving. In fact, workshop data shows students using copper progress 30–40% faster in skill development before transitioning to precious metals.
Unlike casting or stone setting, the emphasis here is on rhythm, patience, and control rather than technical assembly.
How to Do Chasing and Repoussé Step by Step
Although the finished work may look complex, the process follows a logical sequence. Mastering the order of steps is far more important than working quickly.
Step 1: Prepare the Metal
The sheet metal is cleaned and annealed (softened through heating). Soft metal responds more easily to forming and reduces cracking.
Step 2: Secure the Metal in Pitch
The metal is placed into warmed pitch, which holds it firmly while still allowing controlled movement during hammering. Once cooled, the pitch acts like a supportive cushion.
Step 3: Transfer the Design
The design is drawn or traced onto the surface. Beginners are encouraged to start with bold, simple shapes rather than fine detail.
Step 4: Begin Repoussé (Working from the Back)
Using rounded punches, the maker gently pushes areas outward from the reverse side. This establishes the primary form.
This stage is about volume, not detail.
Step 5: Flip the Metal and Begin Chasing
The piece is removed, turned over, and reset in pitch. Now the design is refined from the front using liner and planishing punches.
This stage adds:
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Definition
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Texture
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Edge clarity
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Surface decoration
Step 6: Repeat as Needed
Professional pieces may go through multiple cycles of repoussé and chasing. The dialogue between front and back creates dimensional richness.
Step 7: Clean and Finish
The metal is removed from pitch, cleaned, annealed if necessary, and polished or patinated depending on the desired look.
Interestingly, experienced artisans report that up to 70% of the working time is spent refining rather than forming, highlighting how these techniques reward patience over speed.
Why Beginners Love These Techniques
Chasing and repoussé offer something rare in modern jewellery-making: a direct connection between hand and material.
They allow makers to:
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Develop hammer control and sensitivity
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Understand how metal flows rather than resists
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Create one-of-a-kind surfaces impossible to mass-produce
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Work without expensive casting equipment
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Build foundational skills transferable to many other techniques
Because each hammer strike is intentional, many jewellers describe the process as meditative. Educational studios have even observed improved concentration and reduced error rates when students practise repoussé early in their training.
Where to Properly Learn Chasing and Repoussé
While self-teaching is possible, structured instruction can dramatically accelerate progress. Learning from experienced practitioners helps beginners avoid common mistakes like over-thinning metal or misjudging tool angles.
Some respected places offering jewellery education include:
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Gemological Institute of America – Offers comprehensive jewellery arts education with exposure to historical metalworking techniques.
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Central School of Jewellery – Known for hands-on short courses ideal for beginners exploring traditional craftsmanship.
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Birmingham City University School of Jewellery – One of Europe’s largest dedicated jewellery schools, deeply rooted in heritage techniques.
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The Goldsmiths’ Centre – Provides specialist workshops and professional development in traditional and contemporary methods.
Learning in a studio environment also provides access to proper pitch setups and professional-grade chasing tools, which can significantly improve early results.
Students who take guided workshops often complete their first successful repoussé piece 50% sooner than those learning independently.
Conclusion
Chasing and repoussé are not just techniques — they are traditions passed from artisan to artisan across centuries. They teach you to slow down, listen to the metal, and shape it with intention rather than force.
For beginner jewellery makers, they provide an unmatched foundation in understanding material behaviour, tool control, and artistic expression. While modern technologies offer speed, these methods offer something deeper: connection, craftsmanship, and individuality.
In a world filled with automation, the quiet rhythm of hammer against metal remains one of the most powerful ways to create jewellery that truly feels alive.
FAQ Section
Are chasing and repoussé difficult to learn?
They require patience more than technical complexity. Most beginners can create simple raised designs within their first few sessions.
What metal is best for practising?
Copper is ideal because it is soft, affordable, and easy to move. Many professionals recommend mastering copper before moving to silver or gold.
Do I need expensive tools to start?
No. A small set of punches, a hammer, and a pitch base are enough to begin producing quality work.
Is this technique still used in modern jewellery?
Absolutely. Many contemporary designers incorporate chasing and repoussé to add texture and individuality to their collections.
How long does it take to become skilled?
With consistent practice, beginners often gain confidence within three to six months, though mastery can take years.
Can these techniques be combined with stone setting?
Yes. Many jewellers create repoussé surfaces first and then integrate gemstones to contrast texture with brilliance.