Diamond education
Twelve short chapters, in the order we would walk you through them at the studio. No jargon without an explanation, and no pressure at the end.
Twelve short chapters, in the order we would walk you through them at the studio. No jargon without an explanation, and no pressure at the end.
Chapter 1
Most people begin with carat and colour because those are the numbers on the price tag. We suggest the opposite. Decide the things you will see every day first, then let the budget settle the grades.
The one factor that decides whether a diamond is alive or dull. Non-negotiable; everything else can flex.
Round, oval, elongated cushion, emerald. This is personality and how the ring reads on the hand.
Millimetres, not carats. Elongated shapes and a slim band make the same stone look larger.
Same beauty, different origin and price. The choice is about meaning and budget, not quality.
Enough that the diamond is bright and eye-clean. Beyond that you are paying for what only a loupe can see.
How it feels, how it wears, and how it will pair with a band for the next few decades.
Chapter 2
Carat tells you how much a diamond weighs. Colour and clarity describe how pure it is. Cut is the only grade that describes how it performs. It governs how light enters the stone, travels through it and returns to your eye, and that return is the sparkle people notice from across a room.
A well-cut diamond sends light back up through the top. Cut too deep, light leaks out of the bottom and the stone looks dark at the centre. Cut too shallow, light escapes through the sides and the stone looks glassy. Both can carry impressive colour and clarity grades and still look lifeless.
Light return: how bright the diamond is face-up under normal light, not just under jewellery-store spotlights. Symmetry: facets that meet where they should, so the pattern is crisp rather than smudged. Proportions: table, depth and crown angle in the ranges that make light behave. For ovals, marquise and pears we also check the bow-tie, a dark band across the middle that most elongated stones show to some degree; we select stones where it is faint.
The diamondboi standard
We select every centre diamond for cut performance first and reject stones that grade well on paper but sit dark in the hand. A diamond chosen this way can look larger and brighter than a heavier stone cut to save weight.
Chapter 3
Shape is a matter of taste, but each one has habits worth knowing before you choose. Every shape below is available across our engagement ring designs.
The brightest shape by design and the benchmark for sparkle. Costs the most per carat because cutting it wastes the most rough. Timeless on any hand.
Round's sparkle in an elongated outline that lengthens the finger and looks larger per carat. Look for a faint bow-tie and a ratio around 1.35 to 1.45 for a balanced oval.
Pillow-soft corners with a longer silhouette. Crushed-ice cuts sparkle everywhere; chunky cuts show bold, larger flashes. We can show you both.
The same soft corners in a near-square outline. Romantic and substantial, and a natural match for halos.
Cropped corners and brilliant faceting in a rectangular outline. Very lively, hides inclusions well, and the corners make it durable.
Long step facets that flash rather than sparkle, like a hall of mirrors. Shows colour and inclusions more readily, which is why we hold these to higher clarity.
The square step cut: an emerald cut's calm with a mesmerising windmill pattern seen from above. Art-deco by nature.
The longest look per carat, pointed at both ends. Elegant and finger-lengthening; the points are protected by prongs.
Half oval, half marquise. Worn point-up or point-down. A good pear has gently rounded shoulders and a faint bow-tie.
Cut the way diamonds were before electricity: a small table, high crown and broad, soft flashes that glow in candlelight rather than glitter. Each one is a little different, and that is the point.
An elongated diamond outline with four pointed corners and step facets. Rare, geometric and quietly unusual.
Sentimental and technically demanding. The cleft should be sharp and the lobes symmetrical; it is a shape to see in person.
Chapter 4
A carat is a unit of weight, one fifth of a gram. What you see on the hand is the face-up measurement in millimetres, and two diamonds of the same weight can differ visibly in size depending on shape and how deep they are cut. A well-proportioned stone spreads its weight where you can see it.
Price does not rise evenly with weight. It steps up at the popular marks, 1.00, 1.50, 2.00 carats, so a 1.90 carat diamond can cost noticeably less than a 2.00 carat stone that looks identical on the finger. With lab-grown diamonds the next size up is often within reach, which is why many of our clients choose a larger stone and put the difference toward the setting or the band.
How to choose carat
Decide on the look you want in millimetres, on your own hand. Elongated shapes and a slim 1.5 mm band both make a stone read larger. At a consultation we can show you different sizes on your own hand, which settles the question faster than any chart.
| Carat | Round | Oval | Elongated cushion |
|---|---|---|---|
| 1.00 ct | 6.4–6.5 mm | 7.5 × 5.5 mm | 7.0 × 5.5 mm |
| 1.50 ct | 7.3–7.4 mm | 8.5 × 6.3 mm | 8.0 × 6.0 mm |
| 2.00 ct | 8.0–8.2 mm | 9.5 × 7.0 mm | 9.0 × 6.8 mm |
| 3.00 ct | 9.2–9.4 mm | 11.0 × 8.0 mm | 10.0 × 7.8 mm |
Typical face-up measurements for well-proportioned stones. Individual diamonds vary.
Chapter 5
These two grades drive price steeply, yet past a certain point the differences exist only under magnification. Our standards sit at that point.
Graded from D (colourless) down the alphabet as faint warmth appears. D, E and F are colourless; G to J are near-colourless and look white once set. Warmth shows more in large stones, step cuts and white metal, and less in yellow or rose gold.
Describes the natural marks inside and on the surface of the stone. From Flawless through VVS, VS and SI to Included. The practical threshold is "eye-clean": nothing visible without a loupe. Step cuts such as emerald and asscher show marks more readily and deserve a higher grade.
Why we do not go lower
Because every diamondboi engagement ring is made to order, we are not clearing inventory. Every lab-grown centre diamond we set is D to E colour and VVS2 clarity or better; every natural centre diamond is F to G colour and VS2 or better. The grade is printed on the report that comes with the ring.
Chapter 6
Both are diamonds: the same carbon crystal, the same hardness, the same fire and brilliance. A natural diamond formed in the earth over millions of years and was mined. A lab-grown diamond was grown over weeks from a diamond seed using heat and pressure or carbon vapour. No instrument a jeweller keeps on the bench can tell them apart; a gem lab can, which is why every stone carries an inscription and a report.
The difference that matters to most people is price: for the same size and grade a lab-grown diamond costs a fraction of a natural one. The difference that matters to others is rarity and story. Neither is the wrong answer.
| Lab-grown | Natural | |
|---|---|---|
| What it is | Real diamond, grown in weeks | Real diamond, formed over millions of years |
| Looks, hardness, sparkle | Identical | Identical |
| Can anyone tell by eye? | No. Only a laboratory can, and only with specialised equipment. | |
| Price for the same size and grade | Considerably lower | Higher, and rising with size |
| Our centre-stone standard | D–E colour, VVS2 or better, IGI report | E–F colour, VS2 or better, GIA report |
| Rarity and resale | Not rare; resale value is low and falling as supply grows | Finite; holds value better, though diamonds are not investments |
| Choose it if | You want the largest, brightest stone your budget allows | Origin and rarity are part of the meaning for you |
Our view
We make both, in the same studio, to the same standard, with the same lifetime guarantee and trade-up. Our job is to show you each in person and let you decide without pressure.
Chapter 7
Every diamondboi engagement ring includes an independent laboratory report for its centre diamond: IGI for lab-grown, GIA for natural.
Shape and measurements, carat weight, colour and clarity grades, cut or polish and symmetry grades, fluorescence, and a plotted diagram of any inclusions. For lab-grown stones it also states the growth method.
The report number is laser-inscribed on the girdle, the thin edge of the diamond, invisible without magnification. It ties your specific stone to its report for life.
Insurers and appraisers work from it, and it is what you will show if you ever use our lifetime trade-up. Keep it with your important papers.
Chapter 8
Our rings are made in 18 karat gold or platinum, and many designs are also offered in 14 karat. The choice is partly colour, partly how you live.
The classic warm tone; 75% pure gold alloyed for strength. Flatters every skin tone, softens the appearance of faint colour in a diamond, and ages gracefully.
Gold alloyed with white metals and finished with a bright rhodium plating. The plating wears softly with time and is simply renewed when the ring comes in for cleaning.
Gold warmed with copper for a blush tone. The hardest-wearing of the golds and needs no plating; the colour is all the way through.
Naturally white and never plated, denser and heavier in the hand, and hypoallergenic. It develops a soft satin patina with wear that many people love; it can be polished back to bright at any time.
14k is slightly harder and a touch paler in yellow; 18k is richer in colour and the standard for fine jewellery. For a ring worn daily, either will last a lifetime with ordinary care.
Many of our rings pair a white gold or platinum head with a yellow or rose band so the diamond reads whiter while the ring stays warm. A matching band can mirror the mix.
Chapter 9
A glossary of the designs on this site, so the names mean something before you compare them. Tap any ring in the collection and you will find these words in its title.
The small claws that hold your diamond. We use four on most shapes, six on rounds when a client wants extra security, and three on pears with one at the point. Fewer prongs show more diamond; more prongs put more metal over it. Every prong is hand-finished and checked under 50x magnification before the ring leaves the bench.
See it: 6-prong round · 3-prong pear
One centre diamond on a plain band. The purest frame; the stone does all the talking. Most of ours sit on a 1.50mm tube shank.
See it: Oval 1.50mm tube solitaire
A ring of small diamonds set under the centre stone instead of around it. From the top you see a clean solitaire; from the side, and through the diamond itself, you see the extra light. It is the detail people notice second and remember first, and the most requested thing in the studio.
See it: Emerald cut, reverse halo
A reverse halo lifted slightly off the band, leaving open space beneath the stone. Light gets in from underneath, which is where most rings block it. The lift is small enough that the ring still sits low on the hand.
See it: Oval, floating reverse halo
The small diamonds follow the full outline of the centre stone from underneath, a complete ring of light tracing the shape of the diamond. Nothing climbs the sides of the head, so from the top it is still a clean solitaire. Tilt the hand and the whole outline lights up; on ovals and cushions the stone reads a touch larger because of it.
See it: Oval, wrap-around reverse halo
A tight row of diamonds set right against the centre stone. We set ours with no gap, so halo and centre read as one surface and the ring looks a size bigger than the diamond alone. The most effective way to add visual size without paying for carats.
See it: Oval, classic halo
A halo with a scalloped edge: the metal is shaped around each small diamond instead of running in a straight line, so the outline curves like a row of petals. It softens the shape of the centre stone and gives the ring the character of something from the 1920s. It takes longer to make, which is why fewer people do it.
See it: Oval, vintage halo · Emerald cut, vintage halo
The centre diamond sits flush with the halo around it, with no prongs in between, so the whole top reads as one smooth surface of diamond. Cleaner to look at and it does not catch on sweaters.
See it: Oval, seamless halo
The prongs themselves carry diamonds: small stones set into metal that would otherwise be plain, so the points holding your diamond sparkle with it. Quiet from arm's length, obvious up close. Set by hand; there is no shortcut for it.
See it: Oval, diamond-encrusted prongs
Most square and emerald cuts are held at the four corners. Rotated prongs move them to twelve, three, six and nine, on the straight edges, so the corners are left open and the full outline of the stone shows. It makes an emerald cut look longer and cleaner. We check the corners carefully at setting, since the prongs no longer cover them.
See it: Radiant, rotated claws · Elongated old mine, rotated prongs
Prongs that cross over each other as they reach the diamond, holding it from two directions at once. More metal in the head, more structure to look at from the side, and a secure hold on larger stones.
See it: Round, criss-cross prongs
The diamond is cupped in shaped metal that opens like the petals of a flower, with or without a reverse halo underneath. Softer than a plain basket, and it gives a yellow or rose gold ring something to show off from the side.
See it: Elongated cushion, petal prongs
A thin rim of metal around the whole diamond. The most secure way to hold a stone and the most practical for someone who works with their hands. We cut ours thin, so you see diamond, not metal.
See it: Bezel oval
A bezel lifted off the band so light reaches the diamond from below, which is where a traditional bezel loses some of its brightness. Same security, more light.
See it: Oval, floating bezel
The band rises on both sides to meet the head, like arches. It lifts the diamond and gives the ring a taller profile from the side. The trade-off is that some wedding bands will not sit flush against it, which is something we look at together before you decide. Rings marked non-cathedral keep the band straight and the head low.
The gallery is the space under the diamond. We keep ours open so light comes in from below and so you can actually clean behind the stone. A closed back looks fine on day one and dull after a year of soap and hand cream.
See it: any ring, from the side view
Round in cross-section, like a fine wire, and what we use on most solitaires. At 1.50mm it looks delicate and is not; the round profile has no thin edge to wear down. Also made at 1.80, 2.00 and 2.50mm when the hand or the diamond calls for more presence.
See it: Oval, 1.50mm tube
The band comes to a soft ridge along the top instead of being rounded. The two faces catch light differently, so the band looks slimmer and brighter than a tube of the same width. Made at 1.80 and 2.00mm.
See it: Oval, knife edge
A flat shank is squared off, with a flat top and sides: more surface, cleaner lines, and it sits very flat against a wedding band. We offer it at 2.00, 2.50 and 3.00mm. A cigar band is the same idea, wider and slightly rounded at the edges, for a ring meant to be worn on its own.
See it: Round, 2mm cigar band
A band that is wider at the top and tapers toward the back of the finger, so the ring has presence where you see it and comfort where you do not.
Going from a 1.50mm band to a 2.00mm band changes the ring more than it changes the number. The diamond looks a little smaller because there is more metal next to it, the ring feels more substantial, and it holds up better on a larger hand. There is no right answer, only the right one for the hand it is going on, and that is a ten-minute conversation in the studio.
The band divides into two as it approaches the centre stone, framing it from below and adding width without adding weight. Wide split shanks carry diamonds on both arms.
See it: Marquise, split shank · Oval, wide 4.50mm split
The band is paved with small diamonds held by tiny beads of gold. The Italian method sets the stones close and the beads small, so you see a line of light with almost no metal. Our side stones are 1.30 to 1.70mm, matched for colour and clarity, and set one at a time under magnification.
See it: Oval, Italian pavé
A half-eternity band has diamonds across the top half and plain gold underneath, which means it can be resized later. A full eternity runs diamonds all the way around; it is beautiful and it cannot be sized, so we get the size right the first time. We will tell you honestly which one makes sense for you.
See it: Half eternity · Full eternity
Diamonds placed so tightly together that they read as one larger surface. On a shank it gives you the width and sparkle of a bigger stone line without the cost of bigger stones; done with matching shapes, an emerald-cut illusion shank looks like a row of emerald cuts twice their size.
Individual diamonds spaced along the band with gold between them, instead of a continuous line. We do them with straight baguettes, marquise, rounds and emeralds, and in mixed patterns. A way to put real character into the band without covering it.
See it: Round, baguette and round station · Elongated cushion, marquise and round station
Diamonds on the top of the band and on both sides. It sparkles from any angle, including when your hand is resting, and it is the most diamond a band can carry while staying comfortable.
See it: Round, three-sided pavé
A white gold head on a yellow or rose gold band is not only a look. White metal around a diamond keeps the stone reading bright, while the warm band gives the ring its colour. Most people who ask for yellow gold end up here once they see it next to the all-yellow version.
See it: choose 18KT Two-Tone on any ring in lab-grown engagement rings
Nothing here is set into wax to save time. Every diamond is set directly into gold by hand, under 50x magnification, using the most secure method for that setting. It is slower. It is also why a ring from this studio looks the same on day ten thousand as it did on day one.
Side diamonds are calibrated to within 0.01mm and matched for colour and clarity before they go anywhere near the ring. If one does not match, it is replaced. You will never notice this, and that is the point.
Your ring does not exist until you order it. That is not a delay; it is the reason it fits the way it does: your size, your metal, your diamond, built once. Usually four to six weeks, then you collect it in the studio or it ships insured.
See it: how the custom process works
Chapter 10
A ring is bought once and worn for decades. These are the things we put behind it.
Every piece is guaranteed for life against defects in materials and workmanship. If something we made fails, we repair or remake it.
When you are ready for a larger or different centre diamond, your original counts toward the new one. The ring can grow with your life.
One sizing and one professional cleaning are included with every ring. Eternity bands, with diamonds all the way around, cannot be resized, which is why we take extra care with their size before casting.
Our rings are cast, set and polished in our Toronto studio rather than assembled from mass-produced parts, so prongs, shanks and settings are proportioned to the stone they hold.
Loss, theft and damage from impact or everyday wear are what insurance is for. We recommend insuring the ring from the day it arrives; the grading report and our invoice are all an insurer needs.
Every engagement ring is designed with a wedding band in mind. When the time comes, we make the band to sit against your ring exactly.
Chapter 11
Diamonds are the hardest natural material, but the metal holding them is not. A few habits keep a ring looking new.
Warm water, a drop of mild dish soap, a soft toothbrush behind the stone, rinse, pat dry. Skin oils and lotion dull a diamond faster than anything. Our foam cleaner does the same job in seconds.
Gym, swimming, gardening, heavy cleaning products and sleep. Prongs loosen from knocks, not from ordinary wear.
A diamond will scratch anything, including other jewellery. Keep it in its own pouch or slot.
A quick look at the prongs and a professional clean once a year catches small things before they become lost stones.
A stone that moves, a prong that catches fabric, a click when you tap it: stop wearing it and reach us. Early fixes are quick ones.
Rhodium plating softens over a few years. Re-plating at a routine cleaning brings it back to bright white.
Chapter 12
No. Not by eye, not with a loupe, and not with a jeweller's thermal tester. Only a gem laboratory with specialised equipment can distinguish them, which is exactly why every stone is inscribed and reported.
Honestly, no. Lab-grown prices have fallen as supply has grown, and resale value is low. Natural diamonds hold value better but are not investments either. Buy the diamond you want to look at every day; the trade-up allowance is there if your taste or circumstances change.
A ring of small diamonds set under the centre stone instead of around it. From the top the ring reads as a clean solitaire; from the side, and through the diamond itself, you see the extra light. It is the detail most of our clients ask for, and it comes in a few forms: a floating version lifted off the band, a wrap-around version that traces the full outline of the stone, and a hidden halo tucked just under the edge. The full set of terms is in Chapter 9.
That is what the lifetime trade-up is for. Your centre diamond counts toward a new one, and we can re-set an existing stone into a new design in the studio.
A diamond cannot wear out. What dulls it is a film of oils and soap on the underside, which is why a weekly clean matters more than anything. Cleaned, a twenty-year-old diamond looks like a new one.
Collection rings are made to order in our Toronto studio in four to six weeks. Fully custom designs start with a consultation and take longer, depending on the design.
Yes. Private consultations at the studio are complimentary and are the best way to compare shapes, sizes and lab versus natural side by side on your own hand. Book a consultation.
Borrow a ring she wears on that finger and use our ring size guide, or order the most likely size; one complimentary sizing is included.
Book a complimentary consultation at the studio and compare shapes, sizes, lab-grown and natural on your own hand, with no pressure to decide that day.