H i g h l i g h t s
Jewelry Manufacturing Methods and Techniques
November 5, 1997 Issue #2
~ Dr. E Aspler <@Service>
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^^^^^^^^^^^^^^^^^^^^^^^^^^^^From: Peter Rowe PWRowe@ix.netcom.com
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…IN THIS EDITION…
// – N-E-W – //
~ Edwin Ward email@example.com
“Defining size of a trilliant cut stone”
~ Peter.Asenbauer@uibk.ac.at (Peter Asenbauer)
~ Lucky Texan firstname.lastname@example.org
~ John Christensen email@example.com
~ “Richard O. Martin” R-Orion@postoffice.worldnet.att.net
~ “N B WIDMER” firstname.lastname@example.org
~ Edwin Ward email@example.com
“Jewelry Rubbing Off Black on clothes”
~ Nancy Taylor ntaylor@InfoAve.Net
~ firstname.lastname@example.org (Regalite2)
~ email@example.com (JoyReside)
“ANN: Opal Society Opal show Nov 8 and 9”
~ “Carol J. Bova” firstname.lastname@example.org
// – C-O-N-T-I-N-U-I-N-G – //
“Babul granulation followup”
~ email@example.com (SabuK)
// – H-E-L-P --//
Orchid - rec.crafts.jewelry Highlights
// – N-E-W – //
I was wondering if anyone has had good luck with diamond or ruby
tipped Dremel tool bits. I would like to try some, mostly on
garnet and quartz type stones (Mohs Scale 6 to 7 type stone) - how
long do these bits last compared to the silicon carbide bits?
From: Edwin Ward firstname.lastname@example.org
I have used the Dremel corundom bits on Quartz The corundom bits
will grind down in use unless used with generous amounts of a
cooling and lubricating agent (Dia-cut or type 4800 lubricant.)
The cohesiveness of the stones is just not that great. I get much
longer life out of diamond burrs even the cheaper ones. Ed Ward
Ward’s Stone Creation
Defining size of a trilliant cut stone
From: Peter.Asenbauer@uibk.ac.at (Peter Asenbauer)
Hi, I’m sure you’ll be able to provide some advice.
I’m out for trilliant cut white CZ (which seem to be
unobtainable in Austria). All I’m offered is triangle step-cut
stones. Sigh. Once again I’ll have to order by mail. No problem.
I’ll just have to tell their size on the phone or fax.
But: What exactly is 6 mm long in a "6 mm trilliant cut"
stone? Is it the distance from one corner to the next? Or is it
the distance from one corner to the opposite side of the stone?
BTW: I’ll be happy about any advice as to sources of white
trilliant cut CZ sizes between 4 and 10 mm. Please direct answers
to this question (on the sources) directly to my mail address.
Thank you all
From: 1 Lucky Texan email@example.com
Howdy Peter, If there is a ‘standard’ trilliant cut I’m sure it
came from the diamond cutting industry and someone could tell you
its precise dimensions.However,as a faceter of stones other than
diamonds I can also assure you that there are thousands of what we
term ‘cushion triangle’ shaped designs. Most of these have an
outline that is close to a precise ‘cycloidal’ shape.(like the
rotor in a Wankel engine) and one of the characteristics of this
shape is (drum roll please) the height and width dimensions are
the SAME! (just offset from center). So if you order a 6mm
trilliant (or trillion or cushion triangle) the 'tip-to-tip’
dimension and the ‘height’ dimension will likely be the same. My
wife has been very pleased with the Kay El company in Dallas Texas
1-800-231-7475 or 214-490-3021 but I’d be shocked (SHOCKED!) if
you coud not find a local supplier. Carl
From: John Christensen firstname.lastname@example.org
The measurement of triangles seems to vary from each source.
When they measure the stone & give 2 dimensions, that would mean
the masurement of the shortest side- point to point, and at 90
degrees to that- from the center of the short side to the point.
Some will say 6 x 6 x 6, & that would be point to point. At the
very least, it gets confusing to even ask about it when you call a
supplier, so you’re not the first to ask this
From: “Richard O. Martin” R-Orion@postoffice.worldnet.att.net
Every supplier I deal with defines the size of triangular-shaped
stones as the distance from one corner to the opposite side of the
Peter also said he couldn’t find trilliant-cut CZ’s in Austria. I
think I remember reading somewhere that “trilliant” is a patented
diamond cut but I see the term used generically in ads. Henry
Meyer Diamond Co. Inc., New York, claims it “perfected” the cut in
the early 1970s. It differs from a trillion, having straight
sides and sharp points. Trillions generally have curved sides and
rounded points. I’m not sure of the trilliant cutting plan but I
think the name tries to convey that it’s a triangular form of a
brilliant. And I’ve recently seen a cut called a “trillian,” no
The “Trielle” is a patented trillion style that was “perfected” by
Leon Finker in 1973 from Trillion Diamond Co. Inc., New York.
Meanwhile, I can find lots of trillion-shaped CZs but nary a
trilliant cut, at least by that name. Stuller sells
straight-sided triangular-shaped CZ’s that appear from the
illustration to have brilliant-cut crowns in both pointed and
This terminology question is interesting and I’m afraid I’ve
only muddied the water further. Is the truth out there?
From: “N B WIDMER” email@example.com
Help, help, help. I’m having problems polishing silver and
brass, using red rouge, Fab, Zam, white diamond, bobbing, tripoli
(not all on same piece), using Balloon cloth buffs from Rio.
Between each grit I clean in warm Mr. Clean solution in small
sonic cleaner the rinse under running water and dry. I check
closely to make sure no residue from previous grit still remains
and sonic clean again, if necessary. Until a few months ago the
results of my work were excellent - a smooth mirror finish with NO
scratches at all.
Current PROBLEM: fine scratches on face and back of piece which
would appear to be result of contamination from coarser grit.
I’ve tried felt, chamois, muslin, and flannel buffs to no avail.
I’ve cleaned the machine and replaced the filters. I’ve even
moved the second buffer to another room (using first room for
coarse grits and second room for rouge or Zam). For more than
four years I have been using the same process with minor
improvements and always gotten good results. I don’t know what’s
wrong, but I’m sure it isn’t contamination. Please help!!
Sign me, Perplexed and Frustrated. I live in Houston - could it
be the humidity???
From: Edwin Ward firstname.lastname@example.org
Have you checked the cleanliness of the storage drawers. If you
are reusing containers they can become contaninated with grit from
the environment. Also check the filters on the air conditioning
units. Is there a blast of air that could be adding airborne
particulates. Have you moved storage cabinents or rearranged where
things are being placed. If you have changed all the buffs, and
cleaned the equipment then it has to be taking place away from it.
Do you use tumbling media? That can get contaminated with silica
very easily and then cause all kinds of problem. Are the scratches
random (tumbling media caused) oriented (buffing contaminants) Do
they just occur on certain parts ring shanks but not on pendants.
Have you examined them with a high power loupe 16X to 20X or
looked at them under a microscope sometimes the nature of the
scratches can give you a clue as to how they are happening?
Humidity in itself won’t cause a problem unless the condensation
allows silica particles to settle on your fittings.
Is there new constuction going on. Road dust used to be a
problem when we lived in Florida. You can try going to a positive
pressure air ventilation system where clean air (filtered and
humidity adjusted) is always fed in to your work area. This means
no windows air vents are always pushing air in to the room and are
never shut off. Double doors with with air being sucked out of the
space in between. Grates on the floor to remove mud and sand from
being carried into the work area. A coco mat to scrub you shoes on
outside of the work area. Those are some of the ideas I have. What
changed from what you where doing. Then look for solutions.
Cleaning the work area is a good start but also clean the storage
area and look at the air conditioning filters. Ed Ward
Jewelry Rubbing Off Black on clothes
From: Nancy Taylor ntaylor@InfoAve.Net
I have a couple of nice 18-inch necklaces, one 14K gold and the
other sterling from a good designer. Both are fairly expensive
pieces, and I wear them frequently. I use a jeweler’s cloth to
polish them occasionally even though they are always shiny,
never discolored. The cloth always turns black where I’ve rubbed
the necklaces, no matter how long I clean them.
Almost from the beginning, these two necklaces have left a
blackish stain on my blouses, sweaters, etc., where they touched.
They do not discolor my skin, only my clothing. They
particularly love silk.
I’ve asked many people about this, and no one has an answer.
Someone recently suggested that my body chemistry may be acidic
and that might be causing it. Does anyone out there know anything
about this? It’s a shame to own such lovely pieces of jewelry and
not be able to wear them without planning clothes that won’t touch
Thank you very much for any help you can give. Nancy C. Taylor
From: email@example.com (Regalite2)
This phenomenon is usually referred to as “gold” smudge". Simply
put, it takes a few things to happen. 1). some sort of cosmetic
.2) perspiration. The chemical reaction of the above causes the
black staining. Have the items cleaned by a jeweler - i,e,
ultrasonic & steam. This will cure it. Rob
Ringold’s Jewelers Since 1908
9865 Bustleton Ave. Phila. PA USA
From: firstname.lastname@example.org (JoyReside)
Even though you feel you have “Polished” your necklaces "clean"
what you have done is left tiny particles of the black polish
embedded in your cloth on you necklaces. If you have a good
jewelry store in your area, it would be advantagous to take them
for a good ultrasonic cleaning to remove any particles that are
stuck within the chain. This is why you always have black on
clothes. Do not wear them again until you have them ultrasonic
cleaned. Then, after that if they are not tarnished, do not polish
them. If you do polish them, wash them in a sudsy ammonia to
remove any leftover polish from your cloth. Hope this helps.
ANN: Opal Society Opal show Nov 8 and 9
From: “Carol J. Bova” email@example.com
Reminder to all Opal Lovers! The annual show of the American
Opal Society will be held in Anaheim on Nov. 8 & 9 at the Quality
Hotel 616 Convention Way, Anaheim, California
We’re expecting 25 vendors with opal from around the world!
There’ll be demonstrations, exhibits and free gemstone
By popular demand, the very well liked symposia were divided
over both days this year to allow more time to visit the show.
Scheduled symposia are $5 each or $20 for all: Barbara McCondra @
11am Saturday (Yowah opal) Walt Johnson 1pm Saturday (casting and
carving) Walter Skinner 3pm Saturday Tim Thomas 9am Sunday David
Burton 1pm Sunday (Mining in Australia).
Anyone joining the American Opal Society at the show will have the
one time signup fee waived and will receive a copy of Paul
Downing’s book, “Opal Cutting Made Easy.”
// – C-O-N-T-I-N-U-I-N-G – //
Babul granulation followup
From: firstname.lastname@example.org (SabuK)
This is the text from the book. Does anyone know what kind of
molds Untracht is referring to here? I see there is alot of work
going on in granulation (re: the other granulation thread).
From “Traditional Jewelry of India” by Oppi Untracht, Abrams, 1997
Babul or Kikar Work: Delhii
A unique, ancient form of jewelry decoration-mainly of gold but
some times using silver-formerly done in Delhi and the Punjab but
extinct since the early twentieth century, took its name from its
resemblance to the yellow ball-shaped flower found on the acacia
tree (H: babul; Acacia arabica) of the mimosa family. From this
comes its designation babul kam, or kikar kam, meaning “acacia
work.” The sweet scented flowers of this tree grow in bunches;
each blossom is round and covered with fine filament pistils that
project outward in all directions to form the ball. Babul work
imitates the flower’s convex form and projecting filaments.
In this technique, a semicircular, oval, or tear-shaped dome, or a
hollow spherical ball, is first made from a gold or silver alloy
of lower quality than the points will be. The entire surface of
the form is covered with minute, perpendicularly projecting,
attenuated cone-shaped forms of a high-karat gold (or high quality
silver), made by hammering uniform, short lengths of wire into a
mold that has depressions of a corresponding form.
The process of joining the miniature cones to the base resembles
the heat-fusion granulation technique in which no solder is used.
Prior to their placement, the forms are dipped into a mixture of
organic glue, flux, and a powdered substance containing copper
oxide, then positioned apex up, base down, as closely together as
possible to completely cover the substrate surface. When the
object is heated, the glue in the compound carbonizes, and the
metal on the dome or base starts to melt. The higher quality
points, which withstand the heat because of their higher melting
point, become fused in place, whereupon the flame is instantly
withdrawn. The result is boiled in an acid solution that produces
a “bloom” or matte surface on the gold or silver, which
contributes to its resemblance to the acacia flower.
The technique was especially used to decorate traditional Indian
earrings of one, two, or three balls. It was noticed and
appreciated by resident foreigners for whom goldsmiths used the
process to create and decorate brooches, earrings, and bracelets,
or to make a border around a central stone or a miniature portrait
painting set in a frame. The same treatment was used for units in
a necklace. In a bolder form, in which the points are larger in
scale, this style or work was galled gokhur kam, meaning “thorn
work,” and was used on earrings worn by Punjabi Jat men.
End of rec.crafts.jewelry Highlights Digest
// – H-E-L-P – //