Credor Golden Feather: A culmination of engraving techniques that emphasize three-dimensionality

The Cal. 68 series, a masterpiece movement, is also known for its unique engraving technique. The sharp engraving on a thin movement has been a Credor specialty for many years. In 2023, this technique was further refined with the Gold Feather movement, which now features a three-dimensional effect that is unusual for a thin movement.

Credor "Gold Feather UTD"

　The ultra-thin hand-wound Cal. 68 series, whose basic design dates back to 1969, is a classic masterpiece. There are only a handful of other mechanical movements available today that have been in production for such a long time.

　Seiko began to emphasize the unique beauty of this masterpiece by adding engraving. At the same time, they evolved their own engraving techniques to suit thin movements. The sharp, well-defined engraving is now completely different from Swiss engraving techniques.

　The new Gold Feather, which is equipped with the 68 series, also features the signature engraving. However, the limited edition of the "Gold Feather UTD" incorporates not only sharp engraving but also plenty of three-dimensional effect. Tomohiro Asayama, who was in charge of planning the Gold Feather, said, "I wanted to emphasize the contrast between the delicate engraving of the movement and the feathers of the decorative plate."

　However, it is quite difficult to add three-dimensional engraving to the thin 68 series. Therefore, Seiko created a new case from scratch for the engraved model. Specifically, a decorative plate integrated with the center frame was placed between the movement and the case back, and three-dimensional engraving was added to it. Models with cases made specifically for the purpose of engraving are rare.

　Planning began in August 2021. The idea of ​​using a medallion on the case back to represent the feathers eventually led to the creation of a three-dimensional engraving on a decorative plaque. The engraving on the plaque was handled by engraver Hisashi Ogawa. The first prototype was cut out with a jigsaw, with a recess in the center. However, it was difficult to achieve a three-dimensional effect. So Ogawa added jagged edges to the outer edges of the feathers with a jigsaw, and then cut the sides at an angle by hand. The inspiration for the design came from a real bird feather he found in a park. The engraving on the top of the feather was matte, expressing the feather's softness. The base of the feather was given a three-dimensional mirror finish, creating an engraving that emphasized the contrast. However, adding a three-dimensional effect to a 0.6mm-thick decorative plaque was a painstaking process. "The more delicately the sharp-angled sides of the feathers are finished, the more atmospheric they become. But it also reduces their strength," says Ogawa.

　Wada Miho, who was in charge of design, said, "I wanted the feather design to express the concept of Gold Feather. It was light and soft, airy, modern and dignified. So I wanted to get as close as possible to the delicate expression of the feathers." After listening to Wada's opinion, Ogawa carved the feathers until the gap between the shaft and the feather was less than 0.1 mm. "There was a risk that the blade would hit the shaft, so we made many prototypes, aiming for the limit," says Ogawa. The carving method was also devised. Specifically, the carving direction was changed to give the feathers more expression. "After carving one line from the shaft side, the next line is carved from the outside of the feather. I also changed the width of the lines to make them look more like feathers."

　This ambitious attempt at three-dimensional engraving has also led to advances in the engraving of the movement. The sharp engraving remains the same as before. However, to emphasize the feather-like character, a completely new technique was incorporated. Ryoto Kanesaki, who was in charge of the engraving, explains, "The first sample was too delicate, so the designer asked me to strengthen the feather's contours. So, I divided the feather engraving into two sections: 0.25mm and 0.1mm." While he explains it simply, 0.25mm is only half the thickness of a mechanical pencil lead. Furthermore, when engraving the feather shaft, he tried a technique called "encircled engraving." This technique involves tilting two adjacent engravings toward the center. Ogawa took on this difficult technique, saying, "Dynamic encircled engraving is unprecedented," in order to emphasize the feather-like character.

"We extended the shaft to its limit and used a hollow engraving technique. Since it is not possible to enlarge the center with one engraving, it is necessary to engrave four to five times on each surface," says Kanesaki. In addition, a combination of grained and mirror finishes is used to give movement to the shape of the blades.

　Kanesaki said that the "dots" on the mount are just as time-consuming as the engraving itself. They are made by hammering a chisel shaped into a regular hexagon into the mount. There are over 500 of them, and the direction of the "dots" is changed to create gradations so that they glow in different ways. Indeed, the base, which shows different expressions depending on the light, adds an ingenious three-dimensional feel to this piece.

　The highlight of the Gold Feather UTD is not limited to the engraving. The dial features a spiral pattern reminiscent of a feather flying in the air. This is not stamped or electroformed, but is carved by scanning a master plate five times the diameter of the dial with a blade that is slightly vibrated and placed against the dial to carve the pattern. The technique is similar to guilloching, but the pattern is wider than regular guilloching. The machine originally used to manufacture master plates for dials has been deliberately repurposed for processing the dial.

　The Gold Feather UTD has further enhanced the three-dimensional effect of the engraving technique. Its unique finish demonstrates the maturity of Credor, which has been in existence for 30 years since the founding of its engraving workshop.

　The Gold Feather, equipped with the thin, hand-wound Caliber 68 series, was designed not just as a thin watch, but as a watch for everyday use. The crystal does not deform even under considerable pressure, and the hour and minute hands are extended to the limit of how far they can be turned with torque. And the case has just the right thickness. These merits are further emphasized by the two regular models with stainless steel cases. There are probably no other current thin, hand-wound watches with bracelets.

　The Caliber 68 series, released in 1969, was joined in 95 by the Caliber 6898, a round movement with a seconds hand. Both had different specifications to accommodate engraving and skeletonization, but the Caliber 6898 with its small seconds hand was also suitable for practical watches. Credor subsequently added practical models with seconds hands, and this tradition was carried on by the Gold Feather.

　What catches the eye about this watch is its three-dimensionality, which is unusual for a thin watch. In order to deeply carve the small seconds, an unusual thick brass plate was used for the dial. Instead of pressing a thin plate, the plate was hollowed out, giving the small seconds a sheer shape.

　The bracelet is also a rare attempt for Credor. The seven-link bracelet is moderately tapered, like a dress watch. By intentionally leaving gaps between the links, it adds a soft feel to the wearer. In addition, the weight is well balanced with the watch itself, so it fits very comfortably on the wrist.

　The stainless steel Gold Feather is a watch for connoisseurs, but also for everyone. The see-through case back means that this historic masterpiece can be admired at any time, which is good news for watch enthusiasts.