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Here is your next issue of E-BENCH. Thanks for subscribing.
<=> <=> <=> <=> E-BENCH <=> <=> <=> <=> The E-Mail Newsletter for Bench Jewelers
September 2003
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<=> <=> ABOUT THIS NEWSLETTER <=> <=>
E-BENCH is a FREE monthly newsletter for Retail Jewelry Store Owners, Shop Managers, Bench Jewelers and Anyone Else That Is Interested.
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E-BENCH is a BENCH MEDIA Publication BENCH MEDIA is a B W Simon Company Bradney W Simon – Publisher Daniel Spirer - Proofreader
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<=> <=> <=> TABLE OF CONTENTS <=> <=> <=>
REVERE’S TIPS FOR JEWELERS Tips for Jewelers, Who Do Repairs from Alan Revere
FEATURE ARTICLE Learn how to make your shop more profitable, a new technique, or brush up on basic skills.
STEWART'S BENCH TIPS Bench Tips from Stewart’s International School for Jewelers
AT THE PLATINUM BENCH Tips for working on Platinum from Platinum Guild International
FAVORITE TIPS Tips and Tricks to make your work on the bench a little easier and more productive from Bradney W. Simon CMBJ and E-BENCH Readers.
GERRY’S GEMZ Stone setting tips from Gemz Diamond Setting
WORKSHOP SAFETY FOR JEWELERS Tips from Charles Lewton-Brian
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<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
Bench Jewelers Conference & Expo
Coming April 23 - 25 2004 to Chicago IL
Exciting New Workshops – Seminars - Demonstrations – Networking Opportunities - Exhibitor Show
All activities during this three day event will be directed toward the Bench Jeweler, Bench Jewelers Conference & Expo presented by Bench Media publisher of E-BENCH, BENCH Magazine, and BENCH ROM
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<=> <=> REVERE’S TIPS FOR JEWELERS <=> <=>
Tips for Jewelers Who Do Repairs from Alan Revere Revere Academy of Jewelry Arts
FINDING THE CENTER OF A CIRCLE By Alan Revere
finding the center of circles, but chances are you already have all you need for that task sitting on your bench. Grab your dividers and place one point on the circle. Then adjust the opening to what you guess is about the distance to the center. Now scribe a very light arc onto the metal, with one point fixed on the circle. Move the fixed point about 1/3 around the circle and repeat. Then swing the last arc from a point about 2/3 around the circle from the first point, so that you now have three arcs coming close to the center. They overlap closely, miss each other closely or meet in the middle. No matter what the outcome, it is now very easy to find the center of these arcs, which is the center of the circle.
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<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
A lot of frustrated artist are people who didn't take the opportunity when it was presented. Jimmy Buffett
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<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
“The Jeweler’s Tool of Choice” Jewelry LaserStar Workstations
Crafford - LaserStar Technologies designs and manufacturers a complete range of Nd: YAG pulse laser systems for retail and manufacturing jewelers. LaserStar Workstations are 50 watt/class 1 systems ranging in power from 85 – 120 joules and are ideal for a wide range of jewelry design, manufacturing, and repair applications in gold, silver, and platinum. Crafford's team of highly trained direct sales and bench jeweler applications specialists are always available to review new applications, share technical expertise, and provide service and technical support from our Providence, RI USA manufacturing facility. All LaserStar Workstations are made in the USA and comply with all FDA (CDRH), CSA, UL, and CE certification guidelines for safety. Four models of the LaserStar Workstation are available to the jewelry marketplace. For more information please reference our web site at www.laserstar.net or www.crafford.com
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<=> <=> <=> FEATURE ARTICLE <=> <=> <=> Soldering By Bradney W. Simon
Soldering is one of the most basic operations performed by a bench jeweler. Developing other skills is of little value without the ability to solder with confidence. The only way to attain a level of proficiency is by gaining correct instruction and continually practicing proper techniques. With this in mind, the following tips are given for the apprentice to learn correctly, and the advanced or master jeweler to review and brush-up on existing skills.
Always apply solder to one side of the joint, and then pull the solder through the joint by heating from the other side. If you apply solder all around the joint a weak joint may result from the solder only flowing at the surface and not completely through the joint. This is referred to as a “cold solder joint”. It is particularly important to watch for this when soldering thicker prices of metal together, such as heavy men’s ring shanks.
Turn your bench light off while soldering. It will be easier to see the metal turn dull red and judge the temperature of the metal.
Make certain the soldering area has been properly vented. Soldering produces toxic fumes, and ALL SOLDER STATIONS SHOULD BE VENTED.
Always make certain you have a tight fit before soldering. Although solder can fill a gap, that is not what it is made for. Filling a gap in a poorly made joint will result in a weak solder joint. In addition, solder may “pull” out of the joint when polishing, leaving a line where the joint is, or pits may show up in the joint. When practical hold the jewelry up to a light and see if you can see any light coming through the joint before you solder. If you can see any light, cut through the joint with your saw. By cutting precisely through the joint the saw blade will trim any high spots from the sides of the joint.
There are three forces that pull solder when it is in a liquid state. The greatest of these is heat. When solder melts, it flows most readily to the hottest area. The next force is capillary action. Solder when melted to a liquid state will readily flow through a tight fitting seam. The third force, which has the least effect, is gravity. Solder will flow down through a seam easier than up through a seam. Always have a tight fitting seam, and when possible place the solder on the tip of the seam and pull the solder down through the joint by applying heat to the underside of the joint. Then you will have all three forces working for you.
Always heat the metal to be soldered, not the solder itself. Allow the heat from the metal to flow to the solder to melt it.
Always match the solder to the color and karat of the metal you are soldering. Do not use low karat “repair” solder or solders of lower karat then the metal as the solder may tarnish, causing the jewelry to look dark around the solder joint. This is particularly important when attaching crowns to rings. If low karat solder is used the ring may turn un-slightly dark around the base of the crown. The only remedy to this problem is to remove the crown and clean away the old solder. Then solder a new crown to the ring using the correct solder and reset the stone.
Never quench white gold. Always allow it to cool to the point that you can pick it up with your fingers before soaking.
Always anneal metal that is work hardened before soldering. This will prevent the metal from shifting when heated.
When annealing white gold, use a bushy flame and heat the gold to a red color. Then, hold the metal at this temperature for several minutes by playing the flame across the metal. Heating the metal for too short of a time will not completely anneal the metal. Refiners anneal white gold in ovens and hold the metal at annealing temperatures for a half hour. Always allow the gold to air cool slowly. NEVER quench white gold, as this will cause it to become brittle.
When soldering gold and platinum together, anneal both parts thoroughly before soldering. These metals expand at different rates when heated. If not thoroughly annealed stress tears may develop as the metal cools. In addition, allow the metal to cool slowly after soldering. Do not quench the hot metals as rapid cooling increases the stress in the metals.
When making multiple solder joints in a piece of jewelry do not pickle between soldering. The chemicals in the pickle are absorbed into the metal causing problems in the solder flow in subsequent joints. If you must pickle the jewelry, thoroughly clean the jewelry in the ultra-sonic before soldering the remaining joints.
If the solder does not flow properly, it is generally because you do not have a tight fit or the joint is dirty. Allow the jewelry to cool and clean in the ultra-sonic. Then cut through the joint with your saw. This will clean out the seam as well as fitting the metal together better. Then re-coat the jewelry with boric acid and alcohol and retry soldering. Do not be tempted to force the solder to flow by smearing it over the seam with a solder pick (nudging the solder into place is acceptable). Smearing the solder across a seam will result in a weak solder joint. The solder will only flow over the surface and the dirt prohibiting proper solder flow will be forced down into the joint. In addition, do not be tempted to force the solder flow by overheating. This will only result in pitting the solder and melting the jewelry.
Always coat the jewelry with boric acid by dipping it in a solution of boric acid and alcohol and burning off the alcohol. When heated the boric acid will turn glassy, forming a barrier keeping the metal from oxidation. Boric acid also acts as a flux. Often this is all the flux you will need in order to solder; however, occasionally additional flux will need to be added.
If enough flux is not used, the metal will oxidize and the solder will not be able to flow properly; however, you can also use too much flux. If too much flux is used the glassy coating of the flux will hold the solder away from the metal not allowing it to flow into the seam. If this is a problem, use your solder pick to scrape away excess flux and then continue your soldering.
Do not try to move metal when heated to temperatures at which the solder will flow. This may cause the metal to crack. Instead, allow the metal to cool, then re-align and complete the soldering.
When soldering a butt joint on thin metal it is better to cut the joint on a bevel. This will give you more surface area to solder and will make a stronger joint.
When soldering several small pieces together place the parts half way into soft wax. Then, pour casting investment over the parts. When the investment hardens remove the wax and solder. The investment will withstand the temperatures of soldering and hold the small parts in place.
To keep solder from flowing to certain parts, paint them with liquid paper before soldering. It is inexpensive, and with a brush in the cap, it is easy to use. The small bottle liquid paper comes in makes it convenient to store on your bench and there is no mixing required. When finished soldering, it cleans up easily in the ultrasonic cleaner. Most importantly, it works well at stopping the flow of solder. While it is toxic, it is no more toxic than the solder you are melting. Soldering produces toxic fumes, and ALL SOLDER STATIONS SHOULD BE VENTED.
Another method to keep solder from flowing is to not coat those areas with boric acid or any other flux. The oxidation on the metal from the heat of the torch will keep the solder from flowing to those areas.
When soldering a jump ring to a flat piece of metal, file a flat side on the jump ring across its seam. This will provide sufficient surface area to create a proper solder joint.
When soldering wire to a sheet (such as soldering a post onto an earring) coat both pieces with boric acid and alcohol. Then, melt a small piece of solder onto the end of the wire. Next, hold the wire with locking tweezers above the sheet to keep it warm as you heat the sheet to soldering temperatures. Then, lower the wire into position as you play the torch over the joint until the solder flows. This method will help keep you from over heating and melting the wire.
Using a yellow highlight marker, color the label on yellow gold paste solders. Then, while working it will be easy to distinguish between the tubes of yellow and white paste solder.
When soldering on a hollow object, always drill a small hole in the object. This will allow air to escape as the piece is heated and the air expands, and to re-enter it as it cools and contracts.
Make certain the surfaces you are soldering together are smooth, even, free of burs, and fit tightly together. This will insure a strong bond, resulting in a neat joint requiring less finishing work, and a higher quality look.
Do not point your torch directly on fine chains or other thin metal, as they melt easily. Instead, place the chain, wire, or other metal on a ceramic pad. Then direct the torch on the pad next to the metal and let the reflected heat melt the solder.
When soldering items of different thickness, always direct more heat to the heaviest item. Ideally, both pieces should reach the temperature to flow the solder at the same time. Do not be fooled by items that look massive, but are in reality quite thin. Directing too much heat on them may cause improper solder flow. In addition, you may actually melt a hole through the object.
Once the solder has flowed, remove the heat. Continual heating will only cause overheating resulting in pits in the solder and possibly melting the jewelry.
Do not use too much solder. Roll sheets of solder through a rolling mill making the sheets thinner before cutting into pallions. Then it will be easier to cut into usable pallions and they will be easier to see and to place into position than the tiny pieces it is necessary to cut from the thicker sheets.
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<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
Nothing is particularly hard if you divide it into small jobs. Henry Ford
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<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
SIMON SEZ SEMINARS
Bradney W. Simon is a JA Certified Master Bench Jeweler with over 26 years experience on the bench. He is the Editor and Publisher of E-BENCH, BENCH Magazine, and BENCH ROM, and is an accomplished platform speaker, providing Keynote Speeches, and Educational Seminars.
Topics include: Shop Management Bench Tips Jewelry Demonstrations
For information on having him speak for your organization, log onto; http://www.BWSimon.com/SimonSez Seminars
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<=> <=> STEWART'S BENCH TIPS <=> <=>
Bench Tips from Stewart’s International School for Jewelers http://www.stewartsintlschool.com/
KEEPING A BUR FROM FORMING WHILE SAWING By Jim Stewart
To prevent a bur from developing on the piece of ring sizing stock from sawing, change to a sawblade that has more teeth per inch (TPI). Example: a 2/0 sawblade has 62 TPI; a 3/0 sawblade has 66 TPI. Lubricate the back of the sawblade with bees wax and lighten up on your touch; let the sawblade do the work.
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<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
Plans fail for lack of counsel, but with many advisers they succeed. Proverbs 15: 22
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<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
Books from
MJSA/AJM Press: The Platinum Bench by Jurgen J. Maerz and At
the Bench by Gregg Todd and Greg Gilman, feature a wealth of time-saving tips, and illustrated, easy-to-follow instructions on the repair and fabrication of gold, silver, and platinum jewelry. Based on the popular At the Bench section in AJM, both books feature hundreds of photographs on everything from simplified pave setting to easy 18k inlay in platinum.
To download sample chapters, go to http://www.mjsainc.com/info_press.php. For more information, call 1-800-444-6572, ext. 3038.
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<=> <=> AT THE PLATINUM BENCH <=> <=>
Tips for working on Platinum from Jurgen J. Maerz CMBJ, Director of Technical Education for Platinum Guild International http://www.pgi-platinum-tech.com
FTC GUIDE FOR MARKING PLATINUM JEWELRY
The FTC Platinum Guide for marking jewelry made wholly or in part of platinum provides that items consisting of 950 parts or more per thousand of pure platinum can be marked "Platinum" without the use of any qualifying statements; 850 to 950 parts per thousand can be marked in accordance with international standards of "950 Plat." or "950 Pt.," "900 Plat." or "900 Pt.," "850 Plat." or "850 Pt." (The revised guide permits the use of a two or four letter abbreviation for platinum.) Copies of the Platinum Guide Federal Register notice and the entire Jewelry Guides are available from the FTC's web site at http://www.ftc.gov and also from the FTC's Public reference Branch, Room 130, 6th Street and Pennsylvania Avenue, N.W. Washington D.C. 20580; (202) 326- 2222
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<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
Nothing ever comes to one, that is worth having, except as a result of hard work. Booker T. Washington
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<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
Jewelry Dealers World Trade Network http://www.JewelryDealersNetwork.com
<=> Bench Jeweler Discussion Channel <=> >
Ask questions, share tips, and take part in the on going discussions, or just read and take in all the advice from many Excellent Jewelers from around the world.
Membership includes: Topical Discussion Channels, including Bench Work, CAD-CAM, Stone Setting, and many more. You may buy, sell and trade on the Buy/Sell Channels, Plus Much More.
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<=> <=> <=> FAVORITE TIPS <=> <=> <=>
To smooth the channel walls on small
channel
settings, make a roller from an old
millgrain
wheel. Carefully grind away the metal ridges
that form the beads, leaving a smooth
channel
around the outside of the wheel. Then polish
to a high shine. Place this modified wheel in
its handle and roll it over the top of
the
channel wall in the same manner you
would use
to millgrain an edge. The result is a smooth
edge of metal burnished tight against
the
stones. This modified millgrain wheel works
equally well on bezel set stones.
< < < < < <> > > > > >
When channel setting always undercut
the same
side of the channel on each stone. Alternating
the undercut side may cause the stones
to set
unevenly when finished. Before cutting the
seats mark one of the walls of the
channel with
a felt tip maker. Then you will be certain
to
always undercut the same side of the
channel.
This is particularly important if you
are
interrupted while cutting the seats.
< < < < < <> > > > > >
Before beginning to set any stone
remove all
tools from your lap tray. Even a diamond can
be chipped it if hits a hard steel tool
when
dropped.
< < < < < <> > > > > >
Before repairing a chain,
look over the chain
to ascertain how the links
are assembled. In
order to re-assemble the
chain where it is
broken you must know how
the links were
originally assembled.
< < < < < <> > > > > >
To repair a coin pendant with a
stripped screw,
clean the threads from the pendant with
a
Krause bur then fit a wire in the hole
and
rivet it closed.
Do not solder the wire in but rivet the
ends
down. The tubes are soldered to the frame and
will move or come off easily if you try
to
solder the wire in place. In addition, if the
customer ever wants to change the coin
you can
drill the rivet out and replace it.
< < < < < <> > > > > >
To separate rings soldered
together, saw them
apart with a fine (6/0) saw
blade. Do not heat
them and try to pull them
apart. The shank may
come apart if sized,
especially if sized up
with one piece through the
two rings.
< < < < < <> > > > > >
If you have a tip you would like to share with our readers send it in an e-mail to
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<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
If I were a school teacher, I would put lazy pupils to studying bees and ants. They would soon learn to be diligent. Thomas Edison
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BENCH ROM The Multi-Media Magazine for Bench Jewelers
BENCH ROM is an affordable alternative to learning new skills and developing your career. Discover New Techniques Learn New Tips to Improve Your Work See New Products and Technologies Demonstrated All right from your home or shop without having to travel to a seminar or trade show.
“Bench Rom is great,” says jeweler Bill Scores “It’s like being in the shop of a Master Jeweler and watching over his shoulder.”
Log onto www.BWSimon.com/BenchRom for more information or to subscribe
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<=> <=> <=> GERRY’S GEMZ <=> <=> <=>
Stone setting tips from Gemz Diamond Setting http://www.gemzdiamondsetting.com/index.html by Gerald N. Lewy
Flush Set Stones
To flush set stones, first secure the ring solidly into your ring clamp. Then use a round bur 80% the size of the stone and cut the hole to this size. The remaining 20% is the metal for securing the diamond. Next, use an under- cutting bur and proceed to make a seat for the girdle of the stone, remembering that the diamond must be flush with the surrounding metal once the stone is set. Under cut a seat all around the hole, check with a 10x loupe making sure that the seat is at the same level. Do not over drill into the wall; you must only insert the drill until you cannot see the rotating teeth any more. Once you are satisfied that the procedure is accomplished and to your expectations, ‘snap’ in the stone. Do not snap it straight in; it isn’t going to work this way. Place the stone on an angle and slide it in side to side. You will notice now that the diamond appears to be lower than the surrounding metal, but don’t worry.
Now proceed to use your brass pusher, push over the metal into 4 equal sections around the stone. You should not compress the metal, but only push to tighten the stone. Once the gold is sitting evenly on the stone use a pumice wheel to clean up all of the marks left by the push rod. Do not use a tapered pumice wheel but only a flat edged wheel. Now for the final stage of clean-up, use a #39 flat graver and bright-cut around the inner wall of the bezel until you achieve a nice uniform cut.
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<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
Successful is the person who has lived well, laughed often and loved much, who has gained the respect of children, who leaves the world better than they found it, who has never lacked appreciation for the earth's beauty, who never fails to look for the best in others or give the best of themselves. Anonymous
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<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
The Ganoksin Project
www.ganoksin.com
The Gem and Jewelry Pre-Eminent Online Resources. Open to the
public
Free of Charge.
A substantial library of articles, publications, reports, and technical data on gem and jewelry related topics; as well as a sizable collection of art and jewelry galleries, for both the casual visitor and the professional, also host the popular Orchid online forums for jewelers.
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<=> <=> WORKSHOP SAFETY FOR JEWELERS <=> <=>
Workshop Safety Tips
From Charles Lewton-Brian
LIGHTING
How you light your shop, illuminate your working area, experience the reflection from surfaces and the paint you choose for the walls all have an effect on your ability to work in your studio. Poor lighting can strain the eyes, contribute to accidents, and make working uncomfortable.
Use lots of good lighting around such as nice diffuse lighting overhead and local lights (like desk lamps) in other places where you need light. In our teaching studio we have desk lamps mounted on the wall every six feet or so, as well as over fixed tools like vises, drill press etc. On my own bench I have two, one on each side, so that I can position good localized light anywhere on the bench surface and can also light an object on my bench pin from two sides at once, thus eliminating shadows. I like daylight spectrum fluorescents overhead. You should use diffuse light generally in the workshop as glare and reflections are less likely. It also tends to reduce sharp shadows from objects and surfaces being worked which can cause mistakes and other problems. Diffuse light, please note, can still be quite bright.
There has been a lot of research into appropriate lighting levels for different tasks. In general, the lighting levels required for fine bench work, measuring and the other activities that are standard for the jewelry shop are about twice as high as for other fields such as woodworking, fibers, other crafts, or tasks such as working in a chemical laboratory. Some general tips include: keep the light sources themselves out of your field of vision, use matte rather than shiny surfaces for bench tops, tools etc., and have a contrast ratio of 10:3:1 for a given job.
What this ratio means is that you have ten units of light for the task, 3 units for the local area and 1 unit of light for the background lighting. To rephrase that, the strongest lighting should be right on the spot where you are actually touching and looking closely at your object (this light level should be ten times brighter than the light in the background of the room). The lighting on the workbench, the local area where you are working, should be about three times brighter than the background lighting in the room. This means that the background lighting is dim compared to the light on the work surface and particularly with the lighting on the actual object you are working on. This forces the eyes to continually shift their receptivity to light as one glances into darker areas from the glare of the actual working spot and back again. I have heard from Professor Eickhorst (a lighting expert I respect) that this helps the eyes to avoid fatigue. It helps if the strong lighting on the work area is diffuse, such as from a daylight spectrum fluorescent lamp. These are available at all strengths and price ranges.
For more information on Workshop safety from
Charles Lewton-Brian log onto: http://www.ganoksin.com/borisat/safety.htm
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<=> <=> Thank You for Reading <=> <=>
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Visit often, as we will be making changes to our site, adding additional useful information for bench jewelers.
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< < < < < <> > > > > >
Information provided in this document is provided ‘As Is’ without warranty of any kind, either expressed or implied. This publication is designed to provide accurate and authoritative information concerning the subject matter covered. It is provided with the understanding that the author or publisher is not engaged in rendering legal, accounting, or other professional services. If legal advice or other expert assistance is required, the services of a competent professional person should be sought.
< < < < < <> > > > > >
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Copyrighted, 2003, BENCH MEDIA. All rights reserved.
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