The Girlfriend's Guide to Jewellery

Before you read this, let me remind you that the information in this blog is specific to ‘fine jewellery’ not costume or ‘fashion jewellery’.

There are a number of ‘professional’ cleaning products and devices available on the market designed specifically for cleaning jewellery. Not all gems and metals are compatible with all of the products available. If you do choose to use them, be sure to read and follow the directions carefully. If you are unsure how to proceed, stop! You may do irreparable damage. Your jeweller will always be happy to clean a piece for you. You will both be distressed if you choose to ‘do it yourself’ and make a mistake. In my opinion, ultrasonic cleaners should be left to the professionals.

Part of owning anything you value is the responsibility of caring for it and maintaining it. Simple maintenance can significantly extend the life and enjoyment of your jewellery.

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Hi! I’m back after taking some personal time. As much as I love jewellery… wearing it, looking at it, talking about it… some times I can be sidetracked.

Most recently I have been completely smitten and preoccupied by our first grandchild! Of course he is the most beautiful child I have ever seen and, instead of spending my spare time with all of you, I have been working on making him a welcome gift! 

AS it happens, it was a good spot to take a break. We have looked at some basic jewellery language, terms and definitions. You have waded through some pretty dry discussions of the differences among density, size and weight; the difference between carat and karat and the difference between hardness and durability.

Now that we are all speaking the same language we can move on to actually talking about jewellery!

First we’ll look at the care, cleaning and maintenance of fine jewellery. From there we’ll move on to look at some of the ‘accepted’ short cuts in jewellery making and how those shortcuts they can effect your satisfaction in the pieces you choose not just their pricing and quality.

We will contrast shortcut methods with more traditional methods of jewellery making. When you start to see the range of possibilities you will be able to decide quite quickly for yourself where your comfort level sits.

While we all celebrate in our own special way, some with long practiced traditions, some with a new adventure each year, some in the company of our near and dear, some far from loved ones and those old familiar traditions, it is the intangible spirit of the season that can truly transport us.

The Christmas spirit is a lot like a special piece of treasured jewellery.
It is not the value or size of the celebration that touches us, not the grand location or the storybook atmosphere of the celebration that is important, it is the warmth that glows and grows from within that is priceless. And just like that treasured piece of jewellery, what brings that special feeling is unique for each one of us.

Whatever brings you that special joy we hope it finds you again this year.

Best wishes one and all for a very Happy Christmas!

Hi everyone! Here I am back again after a l o n g break! Lately, with a mad combination of personal and professional demands, being in touch weekly has proven to be too ambitious for me. My 'new' schedule will be a monthly contribution, which should be doable, if all goes to plan.
When last we 'spoke' I started to discuss the setting process.

There is of course a wide range of quality possible in both the work and the materials used in the various techniques of gem setting. Skimping on metal, time spent setting or finishing or not taking care in matching the size of the setting used with the size of the stone to be set will all affect the quality and reliability of the finished product. Don't be shy to have a good look at the settings when choosing a piece of jewellery. The choice of setting style used should be in harmony with the design as well as functional in terms of wear

Claw Set

In this type of setting, the group of claws that hold a stone is called the 'head'. As few as two claws may be used but more often there are three, four, six or eight claws in a single head. When there are more than six claws in a single head it is called a multi-claw head. The use of multi-claw settings is usually more a design feature than a necessity.
When a stone is set a small notch is cut into the inside face of each claw. The shape of the notch corresponds to the shape and size of the stone to be set. The depth of the notch cut into the claw should not compromise its strength. This notch is called the 'seat' because it is literally where the stone will sit in the setting.
When the seat has been correctly cut, the girdle of the stone is fitted into the notches. There should be a point of contact between the pavilion of the stone and the bottom of the seat cut into each claw. The excess length of each claw is then trimmed and 'beaded' down over the stone. This will form a point of contact between the crown of the stone and the bead of each claw.
The claws will all work together to hold the stone securely in the head.

Bezel

A bezel setting is a continuous 'collar' of metal that follows the shape of the stone. The stone actually sits on a continuous ledge of metal matching its shape. The collar of metal is folded down over the girdle and around the edge of the crown. The 'collar' is then trimmed and polished. It should fit tightly over the stone.

Semi-bezel

This is the same method and style of setting as a bezel setting only the collar is in two separate crescent shapes usually at opposite sides or ends of the stone.

This is an ancient casting method that is still widely used to this day. To start, a model is sculpted in wax, finished and polished in every detail.

The wax is carved or sculpted by a specialist who will translate your dream into a one of a kind special design. It is a process that may be used to create one single piece or it may be used to create the master copy for a design destined to be reproduced many times. The wax is placed in a casting vial and the vial is then carefully filled with plaster of Paris. Vents may be added from the wax model to the surface of the plaster of Paris to allow gases to escape. The canister then goes into a casting furnace to literally burn out the wax model. This leaves an exact 3-D impression of the wax in the now solid plaster. A carefully weighed amount of molten metal of choice is poured down the vent hole into the cavity left by the melted wax model. After the metal solidifies and cools the plaster is broken away from the rough casting inside revealing a reproduction faithful in every detail to the original wax carving.

At this point the casting is a one of a kind creation. It may be the desired final product or the casting may be the master for ongoing mass reproduction. As the latter, the master is cleaned, polished and weighed.

Every detail is crucial as it will be present in every copy made. The master is then moulded in a special rubber compound. The rubber mould of our master can then be injected with molten wax creating an unlimited series of reproductions each to be cast in its turn using the lost wax process. The cost of creating the original model becomes almost negligible as it is spread out over 10’s, 100’s or even 1,000’s of copies. Not so with the one-of-a-kind model where all the costs are concentrated in the one piece.

When intended for mass production, the finished weight of the master is of primary concern. The final casting may be in sterling silver, 10 karat gold or 22 karat. Whatever the choice, the weight of the casting metal will be the greatest part of the cost of the reproduction.

Using the lost wax process for custom design provides the advantage of being able to actually see and try on the piece before proceeding to the casting phase. We can place the stones into the wax model to ensure they will be featured the way we see them in our imagination. This is the time to ensure that you and your designer are on the same ‘wave length’ and you both see the design the same way. The wax may be modified or may have to be completely replaced before proceeding to the much more expensive and final step of casting in precious metals.

Having a one of a kind custom designed piece of jewellery made for you is the most personal and most expensive way to create a piece of jewellery. In a sense, it could be regarded as the choice of last resort. If you can’t find anything to your liking or if you have particular stones you want set, the option of having a custom made piece may be your only answer. The process may begin with a rough sketch. From there, as your ideas firm up, a more finished rendering may be next or perhaps next, a wax model. Basically what you are having made will follow a very similar path as making a master for commercial reproduction only in your case there will be no copies made. As your project advances, because is it a custom piece, you must be aware that almost anything is possible. When you ask to change details, add stones or choose larger stones, choose a heavier version of your original idea or upgrade the karat of the piece your designer will rarely say ‘no’. But remember, as you make these changes, each change or addition can have a major impact on the price. It is best to set a budget at the outset and make your limits clear to your designer. It will save you both a lot of time, help prevent misunderstandings and help keep your project on budget....

First, let me appologize for the lack postings of my blog over the last couple of weeks. Here is the reason....a new Puppy!
Meet Odin :)

Methods of Manufacture

Labour

The labour factor in a piece of jewellery can be a major part of the overall cost. Broadly speaking more time and finer hand craftsmanship result in higher production costs. Labour costs have two basic components: skill and time. The greater the level of skill of the hands doing the work, the higher the cost per hour of the labour will be. As labour is sold by the hour, the more time spent making the piece, the more expensive it will be. It is the combination of skilled hands and an artistic spirit to interpret a design with an understanding of the function of the piece that will result in the creation of a sensational piece of jewellery. Remove or skimp on any one of these elements and it will show in the finished piece.

All of these elements are present in the making of a one of a kind custom piece. It is the rare client who can have a hand made, custom designed, 'one of a kind' item of jewellery created. More often this level of skill, talent, time and expense is reserved for a 'master model' created for a jewellery-manufacturing firm. From the master model hundreds or even thousands of copies will be made. Every detail of design, finish and weight in the original master will be reproduced in every copy. In this process the considerable costs of crafting the master are spread out over a vast number of copies. The fixed costs of producing each copy are the cost and weight of the precious metal used and the time required for the finishing each unit.

The last C in the group of 'Four C's' is the carat weight. As we have seen there are 100 points in a carat and one carat equals one fifth of a gram. All gemstones are weighed by the carat, not just diamonds. All other grades being equal, the bigger a diamond is, the more expensive it will be.
Round diamonds of similar weight will have very similar size when cut in accordance with the defined 'ideal proportions' for round brilliant cut diamonds.
Gone are the days when round brilliant cut diamonds were cut to any of a wide range of proportions making 'spread' stones look large for their weight. A spread stone has ...

Clarity is the next of the 'Four C's'. It often requires magnification to determine clarity. Diamonds are graded at a 10X or 10 power magnification.
The little spots and flaws we see inside a diamond are called inclusions.
Some types of inclusions are more noticeable than others. The number, location and nature of the inclusion or inclusions determine the clarity grade of each diamond. The parameters of each clarity grade are very clearly defined. The GIA clarity grading system works under the following definitions.

Clarity grading starts at Flawless. There are no tolerances within the Flawless category. It is very simple: if there is ANY inclusion in a diamond it is not Flawless. Next we have IF or Internally Flawless. This means that the diamond is internally flawless but can have some minor...

In order of importance, the next of the 'Four C's' is colour. Just as we can perceive brilliance in a diamond we can also perceive its colour with the naked eye. It is easier to see the presence of colour than it is to 'see' the lack of colour. When we speak of the 'colour' of a diamond we are referring to its natural body colour. The colour grade should not be confused with the display of dispersion or fire from the diamond. 

The sparkle of a diamond can be visually very distracting. For this reason the body colour of the stone is graded through its pavillion while lying face down on a plain white surface using a method of contrast and comparison using 'master stones' of known colour grades. Most diamonds have some body colour and yellow is the most common. Other more common body colours include brown, green and grey. Rare diamond colours include blue, pink, orange, red and ...

Whatever the clarity or colour of a diamond it is the cut that brings a diamond to life! Most people don't need a microscope to appreciate the brilliance of a diamond or to notice its lack of brilliance. Either way, it is the cut that can give a diamond the fire and sparkle we all love. The temptation to retain greater finished weight from the rough crystal can cause a cutter to deviate from the ideal proportions when cutting a diamond thus diminishing the fire and brilliance of the finished stone.

The cut grade of a diamond has three components: proportions, symmetry and finish. An ideal grade in all three categories is the finest possible of cut grades. It is a grade very rarely achieved and requiring a great deal of time and the skill on part of a master cutter.

What we know today as the round brilliant cut has been developed over centuries in an ongoing search for the form to release the maximum brilliance and dispersion from rough ...

Diamonds are described in terms of what we refer to as the 4 C’s: cut, colour, clarity and carats weight. These days, now that Canada is the world’ s third largest producer of diamonds, by weight, some us want to say we need 'Five C’s': cut, colour, clarity, carat weight and of course, Canadian! For now we’ll settle on those original four C’s as they are listed on grading charts. We will look at them in their order of impact on a diamond’s beauty and the language used to describe and quantify them. 

There are two primary diamond-grading systems used and recognized around the world. One system has been developed by the American Gem Society (A.G.S.) and the other by the Gemmological Institute of America (G.I.A.). Each of these grading systems assigns a cut, colour and clarity grade to a diamond and verifies the weight of the loose stone. It should be noted that grading reports or ‘certs’ as they are known do not assign dollar values to stones; they are grading reports only. Grading reports or certificates from both the AGS and the GIA are very highly regarded and are ...

In the trade we refer to gemstones that are cut to conventional shapes and sizes as 'calibrated stones'. Calibrated gemstones are cut in a range of consistent proportions and dimensions calculated to fit into a host of independently designed and manufactured mounts which have in turn been designed and manufactured to match the size and shapes of a range of calibrated gemstones. Imagine if each gemstone were cut into an individual shape and size; every stone would require a dedicated hand made setting!
Matching the size and shape of the gemstones to the mounts is an enormous cost saver. You can see that cutting the gemstones and designing the settings to accommodate them in a vast selection of ring, pendant, earring, bracelet or brooch styles and then casting these designs in various metals makes the possible combinations almost endless and at the same time reduces costs significantly.

Rare, expensive and rough gem material of exceptional quality is still often cut by hand. The gem cutters' goal is always a balance between maximum weight retention and revealing the maximum beauty of the finished gem. This often results in a finished gemstone that does not have of 'calibrated' dimensions. Since these stones are rare and precious they 'deserve' their custom designed one of a kind hand made designs and settings.

When a stone has an overall polished dome shape we call it a cabochon cut.
A cabochon may be any of the shapes we have mentioned as well as a myriad of fancy or free form shapes. All cabochons have a smooth polished domed topside and either a flat or slightly domed underside. The underside is usually but not always polished.

A well cut cabochon has smooth all over even polish with no flat surfaces on the polished dome of the stone. The outer edge of a cabochon is called the girdle of the stone. It defines the outline of the stone's shape. An irregular girdle will give a stone an irregular and uneven shape. It is around or on the girdle that the setting will rest to secure the stone in the mount.

A cabochon cut is usually reserved for opaque or translucent gem material but transparent material can also be very beautiful when cut 'en cabochon'.

Freeform

Freeform stones are often whimsical expressions of the cutters' art. They can be beautiful, precious small-scale sculptures, amazing works of art unto themselves and are often a hybrid combining elements of faceting and cabochon style polishing. Both transparent and opaque gem material are fashioned in this manner. Stones cut in the style are most often set in hand-made custom designed settings as they do not conform to traditional settings.

Typically, transparent gem quality material is polished and facetted. Faceting should leave the stone symmetrical, evenly proportioned and with good polish or finish. Revealing the beauty of the gem material is the goal of the cutter, that and maintaining maximum weight from the original rough material. Some material is still cut by hand. Exceptional gem material is cut by a master-hand.

There are various patterns of faceting and most facetted gemstones have a crown, a girdle and a pavilion.

The 'girdle' separates the 'crown' from the 'pavilion' and can have the appearance of a fine to thick 'whitish' line. Often the 'girdle' is left unpolished though it is becoming a style to facet the ...