An Interview with Soubie Pizzuti

The art of intaglio gemstone carving is an ancient one used by many civilizations going back more than 3,000 years. Soubie Pizzuti, a sculptor by training, first encountered this technique by accident when a client of CustomMade requested her help with a specific gemstone carving project. Finding only a single video on YouTube that explained the process, Soubie learned the craft largely by trial and error. 

Hoping to share the art of intaglio carving and painting with the next generation of artists, she created the site Intaglio Arts where she currently offers four separate courses. In addition to these classes, Soubie has partnered with Ganoksin to create a series of instructional videos that allow anyone, regardless of their skill level, to complete an intaglio carving of a pansy. 

Soubie spoke to me about the deep tradition of intaglio, the techniques she uses - both modern and ancient - and her desire to share the craft with others. This interview has been edited for length and clarity.

Thank you so much for speaking with me today! If you had to describe yourself in just a few words, what would you say?

I would say that I am an artist who also teaches. 

What is your current primary artistic focus?

Right now, it's pretty much only intaglio work.  It's a bit of a shift for me because my background is mainly in sculpting, particularly with clay. I've also had some of my clay pieces bronzed, which was an exciting process, but these days, I'm really immersed in intaglio. 

Intaglio carving is not something that most people are familiar with, even within the gems and jewelry world. How would you describe it?

Relief carving on gemstones. There are two main techniques I use: intaglio carving and reverse intaglio. Intaglio is the traditional method, where you carve directly into the surface of the stone. Reverse intaglio, on the other hand, is a bit more unusual—it involves carving backward into the stone. I work with both techniques

How is it that you transitioned from molding clay to gemstone carving?

Around Christmas 2017 I was working with CustomMade and someone saw my clay sculptures and reached out to me with a request. They said, "Hey, I've been trying to get this piece made for my wife, but I can't find an artist willing to do it. Do you think you could?" At first, all I could picture was shards of gemstone flying everywhere. But I thought, Why not give it a shot? So I said, "I don't know, but I'll try." I did it and I loved it! And I have been doing it ever since. Funnily enough, the man who commissioned the piece said to me, "I think you have a new career with this."

I guess he was right! 

Yes. I had been doing miniatures, sculpting and carving. And intaglio work brought all of that together. 

I love doing them because they are always a challenge. They are different every time. And they last. People keep them, they are going to pass them down. They will always have them. 

Did you seek out any special training to complete this first intaglio project?

There was not any additional training out there. I found one video on YouTube of a guy carving a replica of an ancient Greek carving, but that was it. So I kind of had to figure it out as I went. 

It sounds like you have taken great personal initiative to master this craft. 

Yeah, definitely. I've spent a lot of time on it, but I genuinely enjoy it. It's challenging in the best way possible. There's always this sense of, Can I do this? Can I push myself to pull that off? And when you succeed, it's incredibly rewarding. That constant challenge is what keeps me hooked—it's never boring, and there's always something new to figure out or improve on.

Are there any gemstones in particular that are easiest to carve?

You really have to work with a stone that has a Mohs hardness of 6 or higher. You can carve ones that are softer, like fluorite, but they won't hold up. Of the gems that are suitable, I think the only one that I haven't carved yet is emerald.  

Quartz cabochons are good to start out with. But you can use any translucent gemstone as long as it is a light color. I've used morganite, amethyst, blue topaz. Anything translucent works. 

About how long does it take you to complete a carving?

I did a lighthouse once, which was relatively simple compared to some of my other work. That one took me about two hours to carve and paint. But typically, I'll spend at least six hours on a piece, sometimes much longer—it really depends on how complex the design is. The more intricate the details, the more time it takes to get everything just right.

What is the range of sizes for your intaglio work?

The smallest one I've done was a face carved into aquamarine. It was about 3mm—tiny! The largest piece I've worked on was a green onyx, about 3cm in size

Do you know how people wear your work? Are they, for example, setting the carvings in necklaces or rings?

Rings are much more popular than necklaces. I do set some of my work. Maybe 30%. But, generally, I do a carving for an individual then they take that to their jeweler to have it set. 

Also, most of my pieces are worn by women. Maybe that's because my designs are more feminine. I do lots of flowers and birds. 

Where do you sell your work?

I have a website with all of my work and I also offer some courses on another site. I don't have much for sale right now, but I did just list some pieces on the Intaglio Arts website, so there are a few for sale there. 

With relatively low awareness, would you say that the market for intaglio carvings is a niche market?

 It's a very niche market. I'd say awareness around intaglio is split—maybe 20% of people know what it is, and the other 80% have never seen or heard of it before. A lot of people are completely unfamiliar with the technique. The last time I think intaglio was really popular was back in the mid-1800s, with Essex crystal designs. Those were these stunning pieces that often featured hunting scenes with dogs, and they were highly sought after at the time. 

 It's not a mass-production type of work—it's incredibly time-intensive. Each piece requires a lot of focus, precision, and patience. You can't rush it. That's part of what makes it so special, though. Every carving is one-of-a-kind, and there's a real sense of craftsmanship that goes into it. It's not something you can just replicate on a large scale, and I think that's part of its charm.

Can you talk a little bit about the history of intaglio?

That was something that I had to research. I realized there was so much history behind it that I didn't know about. I ended up diving deep into research, and it was incredible to see how widespread intaglio has been across different cultures and time periods. There are examples from Ancient Egypt, Mesopotamia, Persian cultures, Greek and Roman art, Byzantine art, and even Islamic art. It was literally all over the place! It's amazing to think that this technique has been used for thousands of years. 

What sorts of items did these ancient cultures decorate with intaglio?

Seals were a big one—they were incredibly common. People used them to sign documents or mark ownership, almost like a signature. They'd press the carved design into wax or clay to leave an impression. Signet rings were also really popular. These were rings with an intaglio-carved gemstone set into them, and they served a similar purpose. You'd press the ring into wax to seal a letter or document, and it would leave behind your unique mark. It's fascinating to think about how functional and symbolic these pieces were, beyond just being decorative. They were part of everyday life in a way that we don't really see today.

Have there been any changes in terms of techniques, materials, or tools used to create carvings?

Back in the day, everything was done entirely by hand, which is incredible when you think about the level of detail they achieved. These days, I use a rotary tool for most of my work. It's just faster and allows for more precision in certain areas. That said, there are still some parts of the process where I work by hand—especially when it comes to fine details or finishing touches.  

It sounds like you only need a few things to start doing intaglio work. 

Yes, definitely. In fact, that's exactly what I covered in the Ganoksin tutorial I did. It's a very straightforward set of tools to use. Basically, all you need is a stone, a rotary tool, an inexpensive set of diamond bits, and some polishing powder. The entry cost is really low, which makes it easy for people to give it a try without a huge upfront investment. 

I'd suggest starting with clear quartz. It's affordable, so if you make a mistake, you're not losing a lot of money. You could even get a larger piece of quartz or another inexpensive stone just to practice on. You don't need to start with something you plan to set into jewelry right away. The goal at first is just to get comfortable with the carving process—how the tools feel, how the stone responds, and how to control the details.  

This seems to be a very approachable craft for people to try.

Absolutely. Intaglio is incredibly versatile when it comes to design. You can start with something really simple, like a basic flower or a geometric pattern, and then gradually move on to more complex designs as you gain confidence and skill.  If you're just starting out, a simple design is a great way to get a feel for the tools and the material. But as you progress, you can tackle more intricate themes or detailed scenes.

I noticed that some of the reverse intaglio work on your Instagram account and Intaglio Arts website are painted. When did people first start painting reverse intaglio pieces?

From what I've seen, Essex crystal pieces were often much shallower in terms of carving depth. They were also typically painted on the back to enhance the design, which added a lot of their visual appeal. I've never come across an Essex crystal that wasn't painted—it seems to have been a key part of the style.

With my work, though, I try to push the depth as much as possible. So the carving itself creates the visual impact.

Can you talk a little about your artistic inspiration? Does that mean that you are carving what you like? Do you take commissions?

I do commissions, but most items are my design. I see a stone and I get an idea of what to do with it. The stones kind of tell you what you should do. 

That is so interesting! Was it Michaelangelo who said that he just released the form that was already trapped within a stone?

I heard that many years ago when I was learning how to sculpt and I thought, "Well, that's so arrogant. Of course, HE can do that!" But now, I feel like he's right. He said, "The sculpture is already complete within the marble block before I start my work. It is already there, I just have to chisel away the superfluous material."  And he's right, that's exactly what you do. Just take away everything that's not part of it. 

Since it is the stone that at least partly influences the theme that you will carve, have you noticed if particular gemstone species lend themselves to any specific type of image?

I would say that, with the clear quartz, it is more that I get an idea of what I want to do before I carve it. But, with the gemstones, the stone will already be something. Or want to be something. 

This is a good point to pivot and discuss your teaching. How long have you been teaching intaglio?

I've been teaching for about a year now. On my website, I have a PDF guide that people can purchase and download if they want to try carving on their own. That's more suited for someone who already has some experience and doesn't need the step-by-step videos. For those who prefer a more guided approach, I offer three instructor-led online video classes: a beginner class, an intermediate class, and an advanced class. Each one builds on the skills from the previous level, so there's something for everyone, no matter where they're starting from.

I also offer self-paced courses for beginners and intermediates, which allow people to learn at their own speed. And I'm currently working on a self-paced portrait class. Portraits are a bit more complex, so I'm excited to help people tackle that challenge once they've built up their foundational skills. 

I see that there is also an instructor-led class for reverse intaglio painting. How do you paint on such a small scale and teach that?

I use Zoom. It's not hard to learn, it's just a process. 

For the really fine details, I use a single-thread paintbrush. It's incredibly precise, which is essential when working on such a small scale. But over the years, I've had to get creative with tools. I've made my own paintbrushes using all sorts of materials - a single hair, splinters of wood, even metal. You kind of have to improvise when you're working at this level of detail.

The details are where the real challenge lies. Sometimes, I'll paint a section, let it dry, and then carve off a tiny bit of the paint to refine the design and make it even smaller or more precise. It's a bit like sculpting on a microscopic level. You have to be really patient and methodical because the scale is so small.

Are those tools traditional or did you invent them yourself?

I have not been able to find a lot of information on historical tools. But, I imagine that they used some of the same tools that I do now. 

Are you the sole instructor for these courses?

Yes, it is just me. 

Do you plan to have any in-person courses in the future?

I really want to do some in-person classes, and I've actually had quite a few people express interest in taking one. It's something I'm excited about, but I haven't quite gotten it organized yet. There's a lot to figure out—like finding the right space, materials, and timing. But it's definitely a goal of mine, and I'm hoping to make it happen this year.

Let's talk about your video series with Ganoksin. What content do they have?

Yes, I did a set of six videos for Ganoksin. In the series, I take people step-by-step through the process of carving an amethyst into a pansy design. I chose a pansy because it's a relatively simple carving, so I'm hoping that anyone who follows along will be able to complete it successfully. The goal was to make the process approachable for beginners. I hope it inspires more people to give it a try.

 So they show one project from start to finish?

Yes. I think that is the best way to learn the different skills. The carving as a whole took me about six hours to do. I think that anybody who watches the videos should be able to do the project themselves. That was the goal. 

Will students be able to contact you should they have any additional questions?

Yes. If anyone has any questions they can contact me. I am more than happy to help. 

What would you say to people who are considering trying intaglio gemstone carving?  

I'd say don't be scared to try it! I was very apprehensive the first time I tried it too. I remember thinking, What shards of gemstone fly through the air? What if I ruin the stone?  But once you actually give it a go, you realize it's nothing to be worried about. Just dive in and see where it takes you.