Perhaps, it is the defiant way he uses award-winning stones from such outstanding craftsmen as Glenn Lehrer, Bernd Munsteiner, or Arthur Lee Anderson to design his strictly one-of-a-kind pieces. Perhaps, it is his extreme use of gold and platinum, allowing these precious metals to assume a more "in-your-face" roll when it comes to displaying these precious gems. Or, perhaps it is simply Aatlo's uncanny ability to push the envelope in both of these ways, along with his "years and years of experience," that gives his award-winning work such energy and excitement.

It's easy to become awestruck by the crisp angular shapes, bold unassuming textures, or undeniably forthright violation of the traditional that every Gordon Aatlo piece affords. Because when it comes to breaking rules, he even breaks his own. "I don't know if I have any rules, any more," he muses. "It's the end result that counts. People either like it or they don't."

Be it the stone or the metal, Aatlo plays with each material until it takes on a life of its own. "I try to create contrast between platinum and gold that really works to set off the stones," he explains. "I like to sandblast the platinum to a dull satin finish, or even a dull grey granite color, and leave the gold polished. People ask me all the time where my ideas come from, and I have to tell them that I honestly don't know. Years and years of experience and trying different things have given me a feeling of what works and what doesn't."

"In general," he continues, "it's usually a question of balancing the metalwork and the gemstone, coming up with a design that is pleasing and will enhance the stone. In other words, it's the total package. I try to create my own look, but not stay with any one style or design. I go for a very clean look with sharp, crisp angles." The exception to this is his approach to designing settings, or, as Aatlo refers to them "frames," for Glenn Lehrer stones. "For his pieces I use a more rounded and flowing design."

Having spent his entire life in this business (his father and grandfather were jewelers), Aatlo made his first piece of jewelry over fifty years ago in his father's San Francisco trade jewelry shop. Today, at an age when most people would be thinking of retiring, this amazing artist feels like he is just hitting his stride. Together with his wife, Norma, and family members Christine Thoresen and Kelly Allen, Gordon Aatlo has a thriving business called Gordon Aatlo Designs, which comprises a gallery selling his original designs as well as a studio for custom jewelry, repairs, appraisals, jewelry re-design and restoration, platinum repair, and, of course, his original designs. "People look in the cases and ask how many designers we represent,• he smiles. "When they find out that it is just one-me-they are always surprised." And it's no wonder. Be it a Bernd Munsteiner fantasy cut aquamarine, an Arthur Lee Anderson Blossom Cut citrine, or an amazing agate carved by Dieter Lorenz, each finished piece is strikingly different, both in its approach and in the use of the metals that surround it.

"I like to design in small groups or series," Aatlo explains. "That way I can do a few variations on a theme to see what works. But after that, I get impatient and want to move onto something new." He starts by placing the stone on a piece of white paper and tracing its outline, as well as its under-bezel. Using a mechanical pencil, he then roughs out a design. It is always asymmetrical, and frequently features sharp angles and extreme curves. "I do this several times, changing the angles and shapes until I see something that looks like it will work. I sometimes also make a three-dimensional model out of sheet wax. If that looks good, I'll start fabricating or casting." The result is a modernistic, yet accessible look that is different for every piece.

"Because I am, in a certain way, collaborating with the stone designer, there are special challenges in creating jewelry around a special gem," Aatlo points out. "What I try to do is to give the stone a frame that will add interest, but not overwhelm. Some stones, such as those from Munsteiner and Anderson, lend themselves to more embellishments. Glenn Lehrer's are so complete, that they don't need more than a clean simple frame."

But whether Gordon Aatlo's approach is complex or plain, there is nothing simple about this amazing artist's ability to create the spectacular. He is, without question, re-defining "unique." (www.gordonaatlo.com, T: 650.593.1135) (Photo credit: Lee-Carraher Photography.)