The dial fulfils a number of roles. First, a practical one, in that it must allow the time to be easily read. But it has an aesthetic role, too. As the most visible and decorative element, the dial is the visual hallmark of a watch. In-house mastery of dial creation and production is a major strategic advantage for Rolex and, at its dedicated site in the Chêne-Bourg district of Geneva, some 500 people work exclusively on dial making. From the most time- honoured human craftsmanship to cutting-edge machinery specially developed by Rolex, every operation is perfectly executed, then systematically checked and appraised to always enhance end quality. One of the most significant benefits of manufacturing completely in-house is the collaborative synergy between the designers and engineers involved in dial development. By bringing all those working on this complex process under one roof, Rolex provides space for boundless creative liberty and a strong dynamic for innovation. Ultimately, the brand is able to r egularly surprise and delight customers with new, exquisitelymade watch faces. At once work of art and technical component, a dial is at the confluence of two very different worlds which, together, make every timepiece unique.
The face of excellence
From the cutting of metal blanks to final inspection, every operation is part of a rigorous and meticulously honed process. The dial is the face of the watch and must therefore be nothing short of impeccable – a sizeable challenge. A trained eye is capable of detecting imperfections of a mere tenth of a millimetre, the thickness of a human hair. The quality of a dial is a good indicator of a brand’s commitment to craftsmanship. Rolex pursues excellence in every aspect of its work and leaves nothing to chance.
The dial is such an important element in a timepiece that its creation process is given a special name: art cadranier. Rolex has acquired a vast degree of knowledge and expertise in this art of dial-making over the years and, tirelessly innovating, has constantly pushed back the limits in the field. Today, its many specialists encompass mechanics, gem- setters, electroplaters and dial printers, as well asenamellers , specialized PVD engineers, and operators skilled in the application of decors such as sunray finishes.
An objet d’art
Protected by the watch case and openly displayed under the sapphire crystal, the dial offers the brand’s designers great creative freedom as well as the scope to explore different avenues and try out new variations. Colours, materials, finishes, motifs and decorations, not forgetting dial graphics all offer infinite possibilities. Certain boundaries in the process are nonetheless dictated by the history and identity of a particular model. Beyond pure aesthetics, a dial is a powerful identifier whose appearance, in some cases, has hardly changed over decades. At times, it is so quintessential that, even from a distance away, it can signal the model to which it belongs – prime examples being the dials of the Day-Date and the Explorer. To update such an emblematic design, the designer must blend past and present in such a way that it continues to reflect the model’s character. This is why, in some cases and despite a whole range of creative options, designers must focus on modifying but a few minute details. Such reduced room for manoeuvre significantly increases the complexity of the task.
All importantly for a dial, its beauty also lies in following some of the fundamental principles that guide any work of art: achieving a balance and harmony of shapes, volumes, colours and surfaces. Although perfectly finished, a dial that in any way fails to meet such critera may not resonate with the wearer who may, in turn, tire of their watch. Sometimes, designers must also take particular case elements into consideration when sketching out a dial. The drawing for every new Datejust dial, for example, always includes a fluted bezel, which is such a strong, symbolic feature that it has a direct influence on the dial design itself.
A Centerpiece
The primary function of a dial is to allow the wearer to read the time and sometimes other information in all circumstances. Generally, hour markers, often accompanied by a minute track, are placed around the edge of the dial at five-minute intervals. The various indications are either pad printed – by ink transfer with a silicon stamp – or composed of small three-dimensional elements, always made of 18 ct gold to avoid corrosion. These are secured to the dial one by one, using tiny feet on the back of each, which fit into pre-pierced holes in the dial plate. They exist in various shapes and can be quite ornate, but the simplest have a basic geometrical shape – rectangular, triangular, circular or square. Hours and minutes may also be indic ated by numerals, either Roman – the mostcommonly seen on Rolex watches – or Arabic. Index hour markers and numerals can also be filled with luminescent mater ial so that the time can be read in the dark, or set with diamonds. Hour markers sometimes take the form of baguette- or square-cut precious stones. The Rolex crown at 12 o’clock is also an applique and attached in the same way.
For technical reasons, some dials can be composed of several parts. The chronograph counters on the Cosmograph Daytona, for example, are made independently from the dial base plate to which they will later be attached. The multi-element construction allows greater creativity by reducing the number of technical constraints in making the dial. In the case of the Sky-Dweller, there are two dials, a large one and a smaller one. And, illustrating yet again the level of quality that Rolex demands, these two separately produced pieces are visually matched by a certified colorimetrist’s eye to ensure that they are exactly the same shade.
Like all watch components, the dial must to be able to stand up to the knocks and stresses of everyday wear. The shock resistance of Rolex dials is tested at the research and development stage as well as by spot checks during production. This is to ensure that all the elements on the surface of the dial stay firmly in place under the conditions of wear expected for the watch. Technical refinements have also been introduced for aesthetic reasons. Previously, dials were made with small feet that screwed onto the movement, but more recently, they have been made in a bell or ‘skirt’ shape. Around the circumference of the back of the dial plate is a vertical lip of hardly more than a millimetre that allows the dial to clip very precisely onto the movement and confers greater shock resistance. The only exceptions are the dials of the Cosmograph Daytona, which are still held in place by feet.
Resistance to ultra violet rays is another important criterion when designing a dial, because prolonged exposure to UV light can alter the colour of a dial and its components. Rolex performs accelerated ageing tests during the research and development phase, in which prototype dials are subjected to long periods of different types of sunlight.
From first idea to finished dial
The fashioning of a dial offers great scope for exploration, both aesthetic and technical. Before a design can be finalized, the original idea will undergo a slow maturation process involving much trial and error. As for all creative endeavours that seek an emotional impact, dial making demands a great deal of thought and revision before the final version is given the seal of approval.
From sketch to blueprint
The genesis of a new dial often emerges unexpectedly following the brief from General Management. In response to the request, the designers will make initial sketches and carry out research, exploring possible new avenues to arrive at the desired goal. Their aim is to invent a dial that will draw the eye, elicit emotion, and sufficiently capture interest that an observer will want to stop and admire it in detail. The designer takes the necessary time to hone the drawing until the new design speaks for itself.
From blueprint to prototype
Drawing up a blueprint for a new dial is only the first step in the process. There follows an intense and productive period of interaction with the dial development team. This department is part of the Research and Development Division and is tasked with turning the designers’ proposals into prototypes. An exciting, albeit delicate, exercise where the aesthetic explorations come face to face with technical possibilities. The engineers have an extensive range of equipment and expertise at their disposal, some of their technology adopted from beyond the strict confines of dial manufacturing. Operations including gem setting, colouring via PVD technology, grand feu enamelling, guillochage and a variety of finishing processes all contribute to bringing the designer’s idea to life. Because they are always on the hunt for fresh inspiration, the R&D engineers work closely with their colleagues from other units in the Division, such as materials experts or those in charge of implementing new technologies. Research projects are often shared. The development of a new dial is therefore an important springboard for innovation, and Rolex has filed dozens of patents in the field, for example, with respect to surface treatments, the manu factureof appliques or the morphology of the dial base plate. And the discussions between designers and engineers are not only one way; the latter often influence the former with suggestions based on their own knowledge and experience.
Every year sees the development of hundreds of dialprot otypes. But only a handful of them will make it into the brand’s catalogue. And those that do will have passed a strict selection protocol based on aesthetic, technical as well as commercial criteria.
From prototype to production
No fewer than 60 operations are required to transform a metal disc into a finished dial ready for assembly in the watch. The production process begins with forming the blanks, small, round plates stamped from a strip of brass or gold. Brass is favoured for its mechanical qualities – it is easily worked – as well as its good conductivity. Gold has good malleability, an important quality for gem-set or enamelled dials. For dials with apertures, the day and date windows are cut out, and then the tiny holes for mounting the appliques are milled. The smallest of these holes measure only 0.2 mm across. Polishing then sandblasting smoothes the surface and removes any remaining marks from the machining.
The brass dials are then dipped into electroplating baths of gold and followed by nickel to create an essential protective layer to prevent oxidization and ensure the even distribution and durability of the dial’s future final colour. Dials that are to have a sunray finish will also pass through a silver-plating bath. Gold dials do not need to undergo these treatments since this precious metal does not oxidize.
Decoration
Some dials are adorned with a particular finish or motif. In other cases, such as lacquered dials, it is the material used to colour the dial that confers the final appearance. Rolex employs a wide range of finishes to decorate its dials. The most traditional of these is undoubtedly sunray finishing, an effect obtained by brushing a dial covered in a slightly abrasive solution to create almost imperceptible fine lines radiating out from the centre. Fine satin finishing is another option, carried out by sandblasting which createsa uniform matt surface. Traditional dial decoration methods are also employed – techniques such as guillochage or champlevé grand feu enamelling. More contemporary procedures include laser technology to create structured finishes, such as grenage or graining.
Over time Rolex has gained esteem among watchmaking connoisseurs for the quality of its dials made from natural materials, including opal, onyx, falcon’s eye, turquoise, green aventurine, carnelian and eisenkiesel, as well as mother-of-pearl and meteorite to name but a few. Unique in colour and appearance, these materials are selected and then sourced around the globe by the teams at Rolex, who go as far as to visit the mines and production sites. The producers deliver discs of material ready to be fitted onto the brass dial plates. Each disc is meticulously selected by specially trained experts, who check that it is perfectly smooth and flawless in structure with harmonious colours and patterns. These materials enhance the brand’s catalogue with their infinite variety of structures and hues, offering precious dials that are always unique.
The dials of some of the elegant watches are partially set or fully paved with diamonds. For these timepieces, hundreds of gems are individually hand set onto an 18 ct gold base plate. Sometimes only the hour markers are graced with diamonds or made from a single precious stone.
Into the realm of colour
Three different methods are used to colour the dials: lacquering, electroplating and PVD Physical Vapour Deposition.
Lacquering is used predominantly to create deep or intense colours such as black and white, as well as pink, turquoise blue and green. Fine layers of lacquer are applied by airbrushing in a clean room, to eliminate dust particles. Once the lacquering is completed, the dial is covered with a coat of transparent varnish, which is then polished to a deep shine.
All the metallic shades – such as silver, gold, and rosé – are obtained by electroplating, an electrochemical process whereby the dials are coloured by immersing them in electrolytic baths. There, an electric current attracts metal ions suspended in the liquid and deposits them in thin layers on the dial. Rolex also uses a PVD (Physical Vapour Deposition) treatment to colour its dials. There are several variants of this technique, which works by covering the dial’s base plate with an ultrathin coating of metal oxides alloys or nitrides – a layer of atoms less than a micron thick. Rolex played a pioneering role in developing and harnessing this technology, which can be used to create a multitude of colours. The equipment required for the PVD process is extremely complex and also highly sensitive. To avoid any dust contamination of the dial’s immaculate surface during the process, the engineers work in the strictly controlled atmosphere of a clean room and wear full protective suits at all times.
Today, thanks to this range of colouring techniques, the Rolex palette includes dozens of exclusive shades and nuances and is continually enriched with new hues. The dials that have been coated via electroplating or PVD are covered with a transparent finishing varnish – known as zapon – which gives added depth, a glossy shine or a matt appearance, while also protecting the surface of the dial.
At the end of this process, the various inscriptions and sometimes also the hour markers are transferred by pad printing – or tampography – a technique used to print the desired text and symbols on the dial. The same technique is sometimes also used to create decorations, such as the ‘Celebration’ motif, available on some dials in the Oyster Perpetual range. Different-coloured bubbles fringed with black are pad printed on a turquoise blue background, and a transparent varnish is then applied before the dial is given a final polish. This vibrant motif belies a complexity of execution rarely present in a lacquer dial, since each bubble colour must be printed with extreme precision to avoid any gaps or overlapping. Tampography also makes it possible to print three-dimensional inscriptions by repeating the operation several times. Here again, precision of execution is critical to achieving a high-quality result.
The art of transformation
Turning ideas into dials requires rare expertise. It involves reconciling two different worlds: art and aesthetic sensibility on the one hand, and scientific knowledge and technical know-how on the other. David Riboli, in charge of the watch prototype department at Rolex, drives the process of transforming designers’ sketches into dial prototypes.
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