Issue 13 - The Goldsmiths Company

Transcription

The Goldsmiths’ Company Technical Journal
Technical
Journal
Spring 2011/ Issue 13
The Goldsmiths
Centre Issue
In this issue, we report on the rapidly developing new
Goldsmiths’ Centre, the new Fairtrade mark, the latest
news on qualifications and BaselWorld 2011.
Spring 2011
Issue 13
Issue 13 highlights
01Royal visit to Goldsmiths’ Hall
01Kate & William –
engagement ring
02The Goldsmiths’ Centre:
Countdown begins
08Assay Office Update
16Profile: Robin Kyte
18BaselWorld 2011
20The 7th Jewellery Technology
Forum, Vicenza
22Technical Qualifications Update
24Apprentices impress at the 2011
Craftsmanship & Design Awards
Editor’s comment
The Goldsmiths’ Company
Technical Journal
Spring 2011
Issue 13
The Goldsmiths’ Company Technical
Journal is produced and distributed
by the Technology & Training Department
of the Goldsmiths’ Company.
The purpose of this publication is
to address technical issues relevant
to the UK Craft and Industry and
increase technical knowledge and
understanding among those working
within the industry.
Articles and submissions
The Goldsmiths’ Company welcomes
feedback and article submissions
for inclusion in future editions. Please
contact the Goldsmiths’ Company
Technology & Training Department.
Telephone
+44 (0) 20 7606 7010
Email
[email protected]
Published by
The Worshipful Company of Goldsmiths
Goldsmiths’ Hall, Foster Lane, London
EC2V 6BN
Telephone
+44 (0) 20 7606 7010
Facsimile
+44 (0) 20 7606 1511
Email
[email protected]
Website
www.thegoldsmiths.co.uk
ISSN 2045-5313 (print)
ISSN 2045-5321 (online)
No part of this work may be reproduced,
stored in a retrieval system or transmitted
in any form or by any means including
copying and recording without written
permission from the copyright owner,
application for which should be
addressed to the Goldsmiths’ Company.
Opinions expressed in the Goldsmiths’
Company Technical Journal are not
necessarily those of the Goldsmiths’
Company. Whilst every effort has
been made to verify statements of
fact by contributors, no responsibility
is accepted for errors or omissions
by them. Prospective users of the
techniques, materials or equipment
described should take specialist advice
on official safety precautions and
regulations which apply to them.
Both may vary from country to country.
© 2011 The Worshipful Company
of Goldsmiths
Cover Image
The Goldsmiths’ Centre under construction
01
News in brief
Editor’s comment
The New Goldsmiths’
Centre Issue
We are really pleased to be able to announce in
this edition, the official launch of the commercial
workspace within the rapidly developing
Goldsmiths’ Centre in Clerkenwell.
Over the course of the next few issues, we will be dedicating significant space
to the Centre to keep you informed. To begin with in this issue, we have
outlined the various aspects of the Goldsmiths’ Centre – what it stands for,
its aims and aspirations and what exactly will take place within its walls and
how you, as a member of the trade, can be a part of it. Make sure you visit the
website if you would like to find out more – see page 2 for more information.
Meanwhile, fresh back from BaselWorld, our technical expert, Christopher
Corti reports on his observations in the Hall of Innovations. We hope you
enjoy this issue and please do let us know what you think – feedback and
suggestions are always appreciated. You can contact us at
[email protected]
HRH The Prince of Wales and HRH The Duchess
of Cornwall meet apprentices and young people
supported by the Goldsmiths’ Company.
The Prince of Wales is known
to have an interest in
apprenticeships, having
previously given his name to a
building crafts apprenticeship
scheme. His youth charity,
The Prince’s Trust, helps
young people develop the
skills they need to move into
work, education or training.
During his visit in February,
His Royal Highness
commented that the
Goldsmiths’ Company did
brilliantly in ensuring that
remarkable skills and
craftsmanship were
continued into the future.
“I have always worried about
the severing of the golden
thread that has linked one
generation to the other, and
the secret is to maintain a
living tradition. I can’t tell you
how much I admire all the
work you do here, let alone
the skill and craftsmanship
of the apprentices and
their masters.”
Their Royal Highnesses
were also shown the new
Diamond Jubilee Hallmark,
Editor
The engagement ring
presented to Kate
Middleton by HRH Prince
William was hallmarked at
the Goldsmiths’ Company
Editorial team
Mark Grimwade
Metallurgical Consultant to the
Goldsmiths’ Company
Peter Taylor
Contributor/Director Technology
& Training
Robin Kyte
Apprenticeship Co-ordinator,
Christopher Lawrence
Silversmith and Designer
which is to be officially
launched in July 2011 in
celebration of HM The
Queen’s Diamond Jubilee
in 2012. His Royal
Highness was then invited
to strike the Leopard’s
Head, the mark of the
Goldsmiths’ Company
Assay Office, onto a small
sterling silver plate bearing
a laser version of the
Diamond Jubilee mark,
in addition to the three
other marks which
comprise the hallmark.
Kate & William – engagement ring
Karin Paynter
Technical Editor/Technical Consultant to
the Goldsmiths’ Company
Spring 2011
Issue 13
Royal visit to Goldsmiths’ Hall
Dr Christopher Corti
Assay Office as is the
tradition for all Royal
pieces. Garrard, which
originally produced the
ring, has long connections
with Goldsmiths’ Hall – its
founder George Wickes
first entered a mark at the
Hall in 1722. The ring is an
oval cluster with a sapphire
centre and a border of 14
diamonds mounted in 18ct
white gold.
Coming soon:
Flat Hammering
Masterclass
with Christopher Lawrence
has recently finished
filming the latest in its
Masterclass series of training
films. This film focuses
on the disappearing art
of tray making.
eligible under the
Christopher Lawrence has
Company’s existing scheme. had an extensive career
Ultimately, it is hoped that in this area and happily for
this ‘Framework’ will be
the Company, agreed to pass
adopted by the Jewellery & on his skills for future
Allied Industries Training
generations. In the film
Council, meaning that this he also shows how to ‘set’
opportunity can be made
a hallmark the correct way
available across the UK.
on a piece of silversmithing.
City & Guilds signs up to develop
Government Apprenticeship Framework
with the Goldsmiths’ Company
We are delighted to report
that on the 8th of March,
the Approvals Board of the
City & Guilds of London
Institute agreed the first
new Level 2 technical
qualifications for jewellery,
silversmithing and allied
trades based upon the new
National Occupational
Standards approved in 2010.
At the same meeting, it was
agreed that they should also
work with the Goldsmiths’
Company to develop a
Government Apprenticeship
Framework that could see
direct funding of apprentice
training in the workplace
for companies that are not
Read More on Page 23
More on this on page 26
News and comment
The Goldsmiths’ Centre:
Countdown begins
News and comment
02/03 The Goldsmiths’ Company Technical Journal
Spring 2011
Issue 13
Opening officially in Spring 2012, the Goldsmiths’
Centre is a visionary new development that will
become a hub for the Jewellery, Silversmithing
and Allied Trades, the local community and the
general public – a unique space in which to work,
learn and relax. Peter Taylor charts its progress.
As we start the countdown towards the opening of this phenomenal
development, it is a good time to start outlining in more detail the
activities that will take place within the Goldsmiths’ Centre and how
you, as a member of the trade, will be able to get involved.
Interesting Facts about the building:
Stone cladding on the outside of
the building is York Stone sourced
from a quarry just
outside Huddersfield
Creation of a bio-diversity roof
for encouraging wildlife
New building exceeds the current
BREAAM excellent rating for its
environmental friendliness
Combines photo-voltaic cells
and air-source heat pumps to
minimise energy usage
Utilises rainwater harvesting for
grey water use
Brass cladding is being hand
patinated by a local company in
Leytonstone, East London
Designed for purpose: double
glazing and acoustic treatment to
interior surfaces minimises noise
both inside and outside the site
The Building
The Goldsmiths’ Centre: creativity,
craftsmanship, community
First a construction project update.
Since the last edition of the Technical
Journal, our construction contractor,
Balfour Beatty has made enormous
progress on site. On the 15th March,
the Topping Out ceremony for the
building took place, attended by the
Prime Warden of the Goldsmiths’
Company, Mr Michael Galsworthy and
the Chairman of Trustees of the
Goldsmiths’ Centre, Mr Martin Drury.
The ceremony marked the completion
of the structural phase of the new
build element of the project and
signals the start of the process of
fitting out the building and renovating
the existing school building. This is an
incredibly exciting point in the project
as one can really begin to see what a
fantastic facility this is going to be.
The Goldsmiths’ Centre has been
designed from the outset to be more
than just a building. Specified in
consultation with the trade and
industry, it will be a venue that lives
and breathes creativity and
craftsmanship, providing facilities
of the highest standard for members
of the Jewellery, Silversmithing and
Allied Trades, the local community
and the general public.
Throughout the autumn and winter
months, the Centre team has been
working hard with the Goldsmiths’
Centre’s Trustees and brand
consultants to define how the Centre
should clearly communicate its
charitable purpose. Formal approval
by the Charity Commission in 2007
allowed the Centre to successfully
register as a charity and it is therefore
essential that the Centre reinforces its
key purpose in everything that takes
place within its buildings as it
becomes operational.
As an educational charity, our aim is
to support all aspects of creativity.
To encourage the development of
creative individuals, businesses and
organisations through the Goldsmiths’
Institute, the education and training
arm of the charity, the programme of
exhibitions and events, and by the
physical environment.
Craftsmanship will be encouraged and
celebrated at the Goldsmiths’ Centre
and taught within the Goldsmiths’
Institute. Those who work or aspire
to a career in the industry will be able
to acquire new skills and improve on
existing ones.
The community that grows up within
and around the Goldsmiths’ Centre
will be essential to the success of the
venture. The general public will be
given opportunities to interact and
gain a better understanding of the
skills that underpin our craft and
young people from the local
community will begin a lifelong
relationship with the industry that
we all love.
News and comment
Legend
News and comment
programme. It builds on a series of
well-received pilot programmes that
have been run over the last three years
by the Technology & Training
Department of the Goldsmiths’
Company. Six successful candidates
will be offered twelve months in which
to develop their creative and design
skills, technical knowledge and
understanding in a purpose-built
studio space. The course will be
free of charge and there will be a
means-tested bursary of up to £10,000
to support them during their year.
Following closely on its heels will be a
Pre-Apprentice Programme, as well as
a Masterclass Series on Silversmithing
from 2012.
Gulley
Existing RWP
Existing RWP
High
Stair 3
Floor
box
Existing RWP
Eagle Court Entrance
14.9m2
600
Existing RWP
folder
250h x 300d x
800w
bench top 1500 -600
polishing motor
1000
1500
Cycle
Entrance
15.0m2
2000
1111
2200
Gulley
tool
bocks
ultra
sonic
cleaner
Log
forge
roller mill
1070x580
x1650h
bench
Existing
Manhole
forge
Fire exit
0
bench 2400 x 600
1525
pickle
bath
bench
600
sink
1500
1000
1400
Floor
box
forge
1000
1400
1400
EG 07
Process
Workshop
32.0m2
1300
1400
1400
Log
Log
E.W white board
1400
Manhole
Floor
box
Existing RWP
1000
EG06
Skills
Workshop
73.8m2
bench
2000x600
300
1195
1800
Existing RWP
EG 09 c
Dry Store
6.7m2
hammer
tool rack
900x300
Floor
box
600
EG 08
Seminar
31.7m2
technician
Silversmithing shop
- EG 06
Log
ultra
sonic
cleaner
Fire exit
45
Members of the craft and industry
interested in offering their skills as
trainers can register by emailing:
[email protected]
bench top
rolling mill
bolted to bench
storage
400x1200
Fire exit
Jewellery shop -EG 08
Draw bench
1400 mm l
Manhole
sink
Disc
sander
700d x
bench top grinder 600w
300h x 300d x
400w
300
large laser
welding
700
pickle
bath
EG 15
Cleaners cpd
4.2m2
891
EG 14
Entrance
8.6m2
fire exit
storage
safe?
TIG welding area
1300x450
forge
800
linish
600d x
600w
1450mm low level block work partition
1300
700
EG 09 a
Fridge
4.7m2
1132
EG 09
Kitchen
51.1m2
EG 17
Corridor
15.3m2
Fire exit
EG 09 b
Cleaners cpd
4.0m2
1200
Existing RWP
Existing RWP
Applications for courses can be found
at www.goldsmiths-centre.org
Approx location of existing
street lamp fixed to building
at high level
7180
7055
Gulley
750
EG 16
Landing
45.3m2
Floor
box
bandsaw
1800h x
700d x
600w
1200
1000
box storage & coats
650x1500
EG 04
Reception
17.0m2
Low
1310
spin lathe
1500 x 800
Size TBC
Floor
box
Low
1000
bench
2000x900
1330
free standing
pedestal drill
1460h x 700
x 960
Gulley
Institute Reception EG 04&05
Reception &
Security - EG 13
Back Yard
(Service area)
36.9m2
hydraulic press 686h x 203d x
432w
roller mill
1070x580
x1650h
Existing RWP
EG 13
Reception
35.5m2
Machine Shop
Treadle guillotine
1100 x 800 x 1100
engineers lathe
1500 x 800x 1250
EG 05
Office
17.8m2
Floor
box
1200
Low
Fire exit
bench top grinder
300h x 300d x
400w
5155
1058
bench top 710x310 polishing
motor
1450
10494
7085
Existing RWP
hood to
be
added
in this
area
3435
7190
Room with
acoustic walls
7030.4
Approx location of
existing Lamp Post
01 Ground Floor - East Wing
Plan
1:50 @ A1
Post-Graduate Studios
JOHNSON NAYLOR
Revision notes.
13. Britton Street. London. EC1M 5SX
Client. Project
GOLDSMITHS
PROJECT
Date Created. 01.11.2010
Status. TENDER
Drafted By. KH
Drawing. Title
GA -Ground Floor- East Wing
Checked By. BL
sink
EG 05
Office
17.8m2 Copyright JOHNSON NAYLOR. Do Not Scale. All Dimensions to be Checked on Site by Contractor.
Drawing No.
Rev.
1860-08-DRG-100a
T 01
2300
590
Student Common Room
Fire exit
916
3600
1500
Fire exit
Common Room
800
1375
750
1200
1400
590
Disc
sander
700d x
600w
bandsaw
1800h x
700d x
600w
Cycle Entrance
15.0m2
2300
1248
Bobbin
sander
360x360
Graduate
Creative Studio
wood dust
extract
700x400?
linish
600d x
600w
sink
750
1020
18
1680
400
1:50 @ A1
700
1640
Post-Graduate Directors office, course
presentation - Studio & tutorial room
Plan
Flat bench
300
1161
00
750
colour plotter
01 First Floor - East Wing
2200
ultra
sonic
5250
600
600
technician
CAD
workstations
x2
650
600
Eagle Court Entrance
14.9m2
Experimenting
Workshop
700
500
900
650
600
300 Wine
cooler
300
fridge
colour
laser
printer
0
2 drawer
filing
cabinet
forge
2 drawer
filing
cabinet
pickle
bath
2190
500
1800
file
Experimental
Technology &
Technologist
Office
2660
900
1200
Interest in the workspace is strong
and we have already begun to show
interested parties around the site.
If you are interested in space or would
like the opportunity to visit then
please contact us on:
[email protected]
1200
600
1860-08-DRG-304
650x650
cupboard?
500x500sink
90
The marketing of the workshops has
now been formally launched.
Applications from companies and
individuals that feel that they have
something to contribute to the work
of the Charity will be welcomed.
In exchange, those who are successful
will benefit from a state-of-the-art
facility that is safe, secure, energy
efficient and accessible. For companies
taking larger areas within the new
building, a lease will be offered for a
five-year period. Companies will be
responsible for the fit-out of their own
spaces, which will come equipped
with a full range of services including
single- and three- phase electricity
spurs, gas, water and extraction.
Licensed areas including the starter
studios will come fully equipped with
hearth, benching, etc. and be available
to those beginning their careers within
the industry for a maximum three
year period and in some cases
subsidised rent.
Scale. 1:100@A1
01.02.2011 - T00
02.02.2011 - T01- New window opening and glazed door in Institute Reception.
550
The workshops within the Goldsmiths’
Centre are being purpose built for the
industry to provide the optimal
workspace environment and facilities
for both larger workshops and
individual studios. As with the rest of
the Centre, the ethos of the workshops
is to create a community environment
in both practical and spiritual terms
that enhances professionalism and
networking opportunities. By taking
workshop space, residents will be
directly supporting the Centre and its
charitable activities.
Cycle store
1860-08-DRG-100a
The Workshops: workspace that works
Back Yard
93.0m2
t. 020 7490 8885 f. 020 7490 0038 www.johnsonnaylor.co.uk
Activities will be introduced over a one
to five year time span; beginning with
the launch of a one year Post-Graduate
Professional Design Programme in
late 2011. This is the culmination of
many years of research and
development by Dr SL Devlin,
who will be the first Director of the
Spring 2011
Issue 13
Apprentice Workshops
The Goldsmiths’ Institute:
fulfilling professional potential
The creation of the Goldsmiths’
Institute is central to the Goldsmiths’
Centre’s charitable aims. The
Goldsmiths’ Company has been
training young people for over 700
years through its world-renowned
Apprentice Scheme and recognises
the importance of investing in the
skills of the future. The Institute will
combine world class, state-of-the-art
facilities with industry relevant
learning and training opportunities. It
will also develop opportunities
through partnership, networks,
alumni and industry links to promote
a community and ethos geared around
self-improvement, giving back and
learning from others.
Areas with no JN intervention
Envisiontec
rapid prototype
machines
1350 h x 480 d
x 730 w
SolidScape
rapid prototype
machines
401 h x 490 d
x 550 w
Bench +
Storage
Bench +
Storage
bench top
bench top
pedestal drill
grinder
400 x 500 x850 300h x 300d x
400w
Fire exit
News and comment
News and comment
The Exhibition Spaces: inspire the next
Within the Goldsmiths’ Centre,
a beautiful space for exhibitions is
being created. With oak floors, double
height ceilings, and world-class
facilities, this space will provide a
unique venue and focus for the
promotion of jewellery, silversmithing
and allied trades.
A programme of exhibitions and
events is being planned that will
provide creative stimulus, inspire
through new technical learning, fire
the imagination and encourage
people to explore new thoughts
and ideas.
To go onto our mailing list and to receive
more information about this aspect of the
project as it develops please do send an
email containing your personal details to:
[email protected]
The Conference Centre:
intimacy on a grand scale
Also within the Centre will be a
specialist, state-of-art, purpose-built
conference facility with an emphasis
on flexibility, seamless technology
and onsite catering for up to 350
people. This will provide professional,
quality facilities for both external
organisations and industry
specific events.
The aim in providing both exhibitions
and events at the Centre is to
raise awareness of our industry and
generate new audiences for it.
The resource being created will
provide secure meeting and event
facilities for both tenants and the
wider industry. The fourth floor
meeting facility is a particularly
exciting space that has the capacity to
host product launches, meetings and
dinners and has an outdoor space with
views over Central London.
The conference facilities will be let on
a commercial basis and as with all our
other activities within the Centre, the
proceeds will be recycled back into
our education and training activities.
So anyone using the space is tangibly
contributing to the future of the craft
and industry. Bookings for events
within the space will be taken from
November 2011.
For further details or to register interest:
[email protected]
The Café: where minds meet
The Goldsmiths’ Centre Café has
been designed to fuel and sustain the
vibrant community that will become
The Goldsmiths’ Centre. It will
provide an informal environment
where minds can meet, allowing
customers, patrons, partners,
collaborators and craftsmen
to rub shoulders.
We are very pleased to announce the
appointment of Ampersand as the
catering partner for the venue.
Ampersand will be managing the café
and also have the exclusive catering
rights for events held at the site. With
an impressive track record of
delivering a high quality food offer at
a range of venues including RIBA and
Buckingham Palace, we know they will
provide the kind of service that means
whether you are grabbing a quick
sandwich during the day or something
more substantial with a client, you will
be delighted with the result.
By the time that you read the September issue of the
Journal, we hope that we will be nearing practical
completion of the building and we look forward to
welcoming you to the Goldsmiths’ Centre and
Institute, whether you are there on business, as a
tenant or a trainee
Spring 2011
Issue 13
News and comment
Assay Office Update
News and comment
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START DESIGNING NOW!
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New online packet tracking and registration services announced
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GUARANTEEING THE
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GUA RAN
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At the Goldsmiths’ Company Assay Office we are always looking at ways to improve the
service we provide to our customers. Our most recent improvements include a newly
designed website, and we have introduced some new features to facilitate customer online
packet tracking and payment.
We are the first UK assay office
to provide both the facility for
customers to track their work, from
the moment it is received to the
moment it leaves the office, as well as
being able to make payments online
and order sundry items such as
Hallnotes and Dealers’ Notices.
It is incredibly easy to use.
Obtain your secure login details by
emailing your assay office account
number and postcode to:
[email protected].
Another recent investment in
web-based services is our online
registration system. This system
allows new and prospective
customers to register and order
their own sponsor’s mark online.
The programme determines the
required initials and automatically
filters the available shield designs.
This automation of the regular paper
application greatly streamlines the
internal system and speeds up the
entire process. With the ultimate
result being that new customers
can get items hallmarked sooner.
Both these systems not only improve
our customer experience and help
increase our productivity they also
reduce our carbon footprint.
To find out more about our website and
online services visit:
www.assayofficelondon.co.uk
Assay Office strikes first ever Fairtrade mark
The world’s first Fairtrade and
Fairmined gold went on sale recently
in a groundbreaking effort to secure
a fair deal for gold miners and their
communities.
The world’s oldest jeweller, Garrard,
luxury bespoke jeweller Harriet Kelsall
and pioneer ethical jeweller CRED are
among the first 20 companies to launch.
More are set to follow as more mines
reach certification.
To tip the balance more in favour
of artisanal miners and their
communities, the Fairtrade minimum
price for pure gold is set at 95% of the
London Bullion Market Association’s
(LBMA) fix – significantly higher than
in the mainstream.
Certified miners must also use safe and
responsible practices for management
of toxic chemicals in gold recovery.
Chemicals have to be reduced to a
minimum and where possible
eliminated over an agreed time period.
Miners can also earn an additional
premium of 5% of the LBMA fix when
they recover gold through gravity only,
without the use of mercury or cyanide.
A new report by the Fairtrade Foundation
and the Alliance for Responsible Mining
(ARM) published to coincide with the
launch of Fairtrade and Fairmined gold
on Valentine’s Day revealed that many
of the estimated 15 million people
working in the artisanal and small-scale
mining (ASM) sector risk disease,
serious injury and death. ASM miners
are also often taken advantage of by
unscrupulous middlemen. Products
created from Fairtrade and Fairmined
certified gold can now be struck with
the dual Fairtrade Fairmined mark.
The mark is applied to certified
products by the UK Assay Offices.
The first item of jewellery made from
Fairtrade Fairmined gold to be struck
in the United Kingdom with the dual
mark was a man’s wedding band made
by Jos Skeates of ECOne. The ring was
marked by Samantha Love, Hand
Marker at the Goldsmiths’ Company
Assay Office.
For further information visit:
www.fairtrade.org.uk/gold
Spring 2011
Issue 13
London Jewellery Week
and the Assay Office

THE
As a supporter of trade and industry,
the Goldsmiths’ Company Assay Office
will be active throughout London
Jewellery Week to offer advice to both
trade and consumers. Events will include
a Jewellery Fakes and Forgeries seminar
and marking demonstrations.
Jubilee Mark
For more information see Calendar
of Events on page 34.
Coming soon – The Diamond
Jubilee Hallmark. Celebrating the
Queen’s Diamond Jubilee
Vision Hawk Optical
Measuring Microscope
introduced for assay
tool inspection
The year 2012 is The Diamond Jubilee
of Queen Elizabeth II. The Jubilee
coincides with the London Olympics
and the two occasions combined
make 2012 an unprecedented year of
opportunity for the UK jewellery and The measurement of features on
hallmarks and hallmarking punches
giftware industry.
and tools require considerable accuracy.
The Queen is only the second British In particular, measurement of finish
and depth are particularly important
Monarch to serve for 60 years and
to ensure that the relevant information
major celebrations are anticipated.
can be correctly determined.
A special commemorative hallmark
Such measurement is essential to
has been approved, which will be an
maintain the renowned quality of the
optional mark available from all four
London hallmark.
UK assay offices in combination with a
With this in mind, the Goldsmiths’
statutory hallmark. The chosen mark
Company Assay Office has recently
depicts a young Queen Elizabeth
acquired a Hawk Optical Measuring
wearing an oversized crown in a
diamond shaped surround. The mark Microscope. The 3-axis measuring
can be struck on gold, silver, platinum capability of this instrument provides
not only visual confirmation of the
or palladium from 1 July 2011 until
quality of finish and form, but also
1 October 2012 and will be officially
dimensional data, including widths,
launched in July 2011.
geometric calculations for radius and
Date letters will be maintained as usual angle and also critically depths, all
– i.e. ‘m’ until 31 December 2011 and to within microns. High resolution
‘n’ throughout 2012. However, trade
colour image data can be recorded,
samples bearing the letter ‘n’ plus the with the addition of a digital
Jubilee Hallmark will be permissible
microscope camera.
from July 2011 although they will
The Hawk has been supplied by
not be able to be sold by retailers
Optimax Imaging Inspection and
until 2012. The minimum size punch
Measurement Ltd who specialise in
available for a Jubilee mark will be
providing optical inspection and non
.75mm; the additional cost for the
contact measurement solutions into
mark will be 60p. Laser marks may
industry for quality control and research
incur a premium.
and development purposes.
Point of sale material and consumer
information will be available from the four
UK Assay Offices from 1 June 2011.
www.optimaxonline.com
The Goldsmiths’ Company Assay Office has three offices
in London – Goldsmiths’ Hall, Greville Street in
Hatton Garden and at Heathrow.
[email protected]
020 7606 8971
Metallurgy and materials
The mechanical properties of
metals and alloys – part 1
In this eighth article in the series on basic metallurgical principles, Mark
Grimwade discusses why artist/designers and manufacturers of jewellery
and silverware should have an understanding of the meaning and
importance of the mechanical properties of the materials they use to make
the objects they wish to sell.
The mechanical properties of a
particular metal or alloy give valuable
information on how it will behave
not only during manufacture to a
semi-finished product, such as sheet,
strip, wire, etc., or to fabrication to a
finished item of jewellery, silverware,
or to an engineering component, but
also on how that item will perform
in service after sale to a consumer.
In over twenty years of looking at
consumer complaints I have seen
examples of where designers and
makers have concentrated on the ease
of fabrication or aesthetic appeal of
a product with little consideration
as to whether it is fit for its intended
purpose. Reference has been made
in a previous article (Ref.1) to recent
problems with platinum rings, mainly
imported from SE Asia and the Far
East, which can be severely scratched,
dented or distorted shortly after
sale. These are manufactured using
950 standard platinum-palladium, –
iridium or – gold alloys that are easy
to cast and work but lack the strength
and hardness to cope with everyday
wear by the consumer (Figure 1).
Similarly, ultra-thin ring shanks and
chains, hollow bangles and earrings
may look aesthetically pleasing but
also may lack strength for purpose.
The mechanical properties include
those that will be familiar to everyone,
namely, strength, hardness, toughness
and ductility (malleability).
Others will be less familiar, such as
elasticity, rigidity, impact strength and
fracture toughness, creep, fatigue, wear
resistance and sheet metal formability.
Some of these can be considered
to be fundamental properties of
materials that can be directly
measured by tests performed under
standard conditions. Examples are
tensile strength, yield strength, and
elongation to failure, which is a measure
of ductility. Other properties may be
measured in tests that simulate
conditions that may be met in service.
These do not give an absolute
measurement but rather a
comparative measurement as Corti
has pointed out in a paper entitled
The Role of Hardness in Jewellery
Alloys (Ref. 2).
Spring 2011
Issue 13
The objective of this article is to
attempt to explain the importance of
some of the properties that have a
particular relevance to the production
of jewellery and decorative metalware.
The methods of testing have been
described elsewhere, for example in
Introduction to Precious Metals –
Metallurgy for Jewellers and Silversmiths
(Ref.3), and will not be dealt with
here. However, a brief description of
these properties will be given before
discussing their significance to
designers and makers.
Figure 1. Ring damaged due to
inappropriate use of Pt-590 alloy.
Credit: Johnson Matthey
Strength
Strength is the capacity of a material
to resist either permanent distortion
or fracture when a force is applied
to it. The force may be tensile in
nature, i.e. a pulling force, or it may
be compressive where pressure is
applied to the material. Generally, it is
the tensile strength that is measured
in a tensile testing machine (Figure
2) as compression testing tends to be
confined to brittle materials. When
a force is applied to a piece of metal,
it starts to deform or change its
shape. At first, this change is elastic
in nature, i.e. if the force is removed
the piece returns to its original
dimensions rather like stretching
and releasing an elastic band. As
the applied force is increased, the
point is reached where the change
in shape becomes permanent and it
increases as the force is increased.
We know from a previous article on
working and annealing (Ref. 4) that
the metal work hardens and will
eventually fracture when the applied
force is high enough. However, it will
be obvious that the force required
to permanently deform or break
the metal will depend on its size
(dimensions), for example, a thick
bar will require a much larger force
to deform it compared to a thin wire.
To get round this problem, strength
is defined in terms of a stress, which
is the applied force divided by the
original cross-sectional area of the
piece of metal so that we can measure
its strength independent of its size
and regard this as a fundamental
property of the metal or alloy.
This is usually given as the 0.2% proof
stress for reasons that need not be
discussed here (see Ref.2). Secondly,
the Tensile Strength (TS) is the stress
defined by the maximum force Pmax
divided by Ao that can be applied
prior to fracture.
Stress = Force = P Nmm-2
Area Ao
where force P is measured in units
of newtons and area is in square
millimetres.
A standard test is done to establish
these properties, in this case using
a tensile test machine with test
specimens of known cross-sectional
area. In practice, two measures of
strength will normally be recorded.
First, the yield strength is the applied
stress at which the metal will start to
deform permanently, i.e. the change
from elastic to plastic deformation.
Figure 2. Tensile test on a gold chain
Credit: G. Raykhtsaum and D.P. Agarwal
Ductility
Hardness
The ductility of a material is an
indication of its ability to deform
plastically and, therefore, a high
value of ductility is associated with
good formability or malleability.
Two assessments of ductility can be
obtained from a standard tensile test.
The hardness of a material is
measured by determining its resistance
to penetration by an indenter
of standard specified shape and
dimensions applied using a specified
force. It is a useful property to know
as it gives some indication of the
resistance to damage by scratching,
dent formation and wear. It is related
a)Elongation to failure is the
also to the strength of a material and
extension (L1-Lo) of a fixed gauge
may give an approximate indication
length Lo on the test specimen
of its behaviour during a working
expressed as a percentage of the
operation. High hardness values are
original length Lo and L1 is the
associated with greater strength and
length at the point of fracture, i.e. in many cases they contribute to
improved wear resistance.
Elongation % = L1-Lo x 100
There are a number of different
Lo
types of hardness test but the best
The gauge length of the test specimen for general purpose and certainly
should always be recorded as the
for measuring the hardness of the
elongation value and will vary with the
precious metals and their alloys is
value of Lo because precious metals
the Vickers Hardness Test (described in
are costly, tensile tests are usually done detail in Ref. 2) where the hardness
on wire samples and elongation is
is expressed as a number HV. Strictly
measured on a gauge length of
speaking, this value does have units
two inches.
of applied force (kgf) divided by the
surface area of the test indentation
but for our purposes the HV number
b) Reduction in area is defined as:
tells us all we need to know.
RA % = Ao-Af x 100
Af
where Af is the cross-sectional
area at the site of the fracture.
For theoretical reasons, the RA value
is a better measure of malleability of
a metal. For example, the RA value
of pure gold is almost 100% whereas
the elongation to failure values of
annealed gold and mild steel are
somewhat similar at 40-45%. This is
consistent with the knowledge that
steel cannot be beaten into thin sheet
and leaf in the way that is possible
with gold. However, it is not so easy to
measure RA values, particularly if the
metal being tested is very ductile, and
they are not always included in tensile
test data.
Toughness
It is a mistake to assume that good
toughness means the same as high
strength or high ductility. Toughness
may be defined as the ability of a
material to absorb energy during
plastic deformation up to the point
of fracture. This sounds somewhat
grandiose. It means that it is possible
to have a material that displays high
strength but which will eventually
fracture with very little ductility, i.e.
it is brittle and a good example is an
alloy such as a ‘white cast iron’.
Conversely, pure gold and lead both
have very high malleability but low
strength and again would not be
regarded as being tough metals.
Toughness is linked to a combination
of reasonably good strength and
ductility. It is possible to approximately
measure a value for toughness from
tensile test data but it is not common
practice. It is true that some precious
metal alloys are tougher than others
and also when compared with the
corresponding pure metals. If their
elongation to failure values are similar,
then strength will be the
dominant factor.
High hardness values are associated with greater
strength and in many cases they contribute to
improved wear resistance
This article is concentrating on the
mechanical properties of metals and
alloys but it is worth mentioning that
the hardness of minerals, notably
gemstones, is assessed on the Mohs
scale. This compares the scratch
resistance of a mineral against ten
substances ranging from diamond
(10 on the scale) down to talc (1)
where the hardness of a test sample
lies between that of a standard
substance that will just be scratched by
the sample and one that will not. The
Mohs scale does not provide useful
information for engineering purposes.
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The effect of alloying on mechanical properties
It is well known that some
alloys are stronger and have
a higher hardness than
others even if they are gold
alloys of the same caratage
or 950 standard platinum.
This is illustrated by
examples cited in Table 1.
As expected, the effect of
cold working, i.e. work
hardening, can be seen to
increase the strength and
hardness with an associated
decrease in ductility for
both the pure metals and
the alloys. It can be seen
also that copper has a
greater strengthening effect
than silver when the
rose-pink and pale yellow
18ct gold alloys are
compared. The nickel-white
18ct gold is considerably
harder and stronger than
the palladium-white gold
although they both display
good ductility in the
annealed condition.
A similar situation is
seen in comparing the
platinum-5% palladium
and platinum-5% cobalt
alloys and this highlights
the previous assertion that
the 5% palladium alloy is
too soft for ring shanks,
although it may be suitable
for other types of jewellery
that are not subjected
to potentially damaging
situations in service.
It is not always appreciated
that certain alloy
compositions will allow
additional strengthening
by specified heat treatments
using furnaces and
temperature control. This
is illustrated in Table 1
where it is shown that 18ct
rich yellow and rose-pink
alloys, and also sterling
silver in the solution treated
and aged conditions are
much harder and stronger
and, therefore, are more
resistant to wear than
the same alloys in the
annealed and quenched
condition. It is true that this
is accompanied by a loss
in ductility but provided
the ageing is done after
fabrication and as a final
stage before finishing and
polishing, this is unlikely
to be a problem and it will
confer additional strength
and wear resistance to
the product. Space does
not permit a detailed
explanation of ageing
treatments in this article
and the subject will be dealt
with at a later date.
Spring 2011
Issue 13
It should be evident that the yield
stress must be exceeded whenever a
piece of metal is being worked to a
particular shape because it has to be
plastically (permanently) deformed
but exceeding the tensile strength
will lead to fracture and, in effect the
metal will be overworked. Equally,
a) the yield strength and b) tensile
strength (TS) must not be exceeded
after sale, i.e. in service, as the item
will distort in the first case and
fracture in the second. It is not easy
to translate tensile test data to the
practical situation of predicting the
forces required in fabrication and
the applied forces likely to be met
in service. Experience is the most
valuable tool that a maker has at his/
her disposal and I can only reiterate
that higher strength will usually lead
to a better performance.
It is for this reason, that I suggest
that knowledge of the hardness of
a given material is advisable, as it
is a good indicator of strength and
it is relatively easy for suppliers to
measure and report. Some suppliers,
but not all, do give hardness (HV)
data for their alloys in the annealed
condition and it is this that users need
to consider, in conjunction with other
factors, e.g. design, colour, caratage,
processing, etc. At least, hardness
gives an indication of the strength of
the alloy and whether it is likely to
have fitness for purpose.
The second difficulty for the designer
is in knowing, that even if the alloy
has a reasonable annealed hardness,
whether or not an item of jewellery
or silverware will be strong enough to
withstand the applied forces (stresses)
in normal wear and tear.
As mentioned earlier, the dimensions,
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Table 1
treatment as a final operation prior to
finishing and polishing.
The next article will consider a few
other mechanical properties that may
be relevant to design and fabrication.
Metal
or Alloy
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Knowledge of the hardness of a given
material is advisable, as it is a good indicator
of strength and it is relatively easy for
suppliers to measure and report
0.2%
P.S.
N mm -2
Tensile
Strength
N mm -2
Elongation
to failure
%
Composition
%
Condition
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HV
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such as cross-sectional thickness, will
have an important bearing on the
performance in service. A Pt-5% Pd
ring shank is more likely to be
scratched, dented and distorted than
one made from Pt-5% Co, but even
the latter will distort if the ring shank
is too thin to be able to withstand
the type of pressure exerted when
gripping a hard or heavy object.
A commonly used rich yellow 18ct
gold alloy is a perfectly adequate
alloy for the manufacture of chain
bracelets and necklaces but if they
are made from very thin chain they
may break when say a baby grabs the
chain from its mother’s neck or arm.
Obviously, the designer wishes to
make the item aesthetically pleasing
to a potential customer. I am simply
saying that is not the only criterion to
be considered as attention must be
given also to fitness for purpose.
So far, nothing has been said about
ductility values apart from defining
them earlier. Fortunately, the alloys
used for jewellery, silverware and
other types of decorative metal ware
have good ductility and malleability
in the annealed condition, although
it should be mentioned that they
may work harden at different
rates depending on actual alloy
composition. This means that some
alloys may have to be annealed more
frequently than others if overworking
is to be avoided. However, there
are applications where higher
strength, hardness and springiness
are required, e.g. spring clips, hinge
pins, etc. This can be achieved by
cold working or by an ageing heat
Spring
Spring 2011
2011
Issue
Issue 13
Mechanical properties of gold, silver, platinum and some of their alloys
What does this mean for the designer/maker?
The problems facing the designer/
maker are many. First, they are not
usually in a position to test and assess
the properties of the materials they
wish to use for a particular project.
Consequently, they have to rely on
the metal suppliers giving sufficient
information about their alloys for a
judgement to be made. The terms
general purpose alloy, casting alloy and
hard alloy are alright up to a point,
but do not give the whole picture
and do not allow comparisons to be
made between alloys from different
suppliers. I accept that it is not
reasonable for suppliers to release
a lot of data, such as seen in Table
1, in their catalogues even though
they should be routinely testing their
products to ensure control of quality
and hence consistent performance.
Technical
Journal
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References
Correction
1.M Grimwade, Choosing the Correct Platinum Alloy, Technical Bulletin, p10, Issue 1,
Publ. The Goldsmiths’ Company, 2005
2.C W Corti, The Role of Hardness in Jewellery Alloys, Proc. Santa Fe Symp. on
Jewelry Manufacturing Technology, p 103, 2008
3.M Grimwade, Introduction to Precious Metals – Metallurgy for Jewelers and
Silversmith”, Ch. 2, Publ. by Brynmorgen Press, USA and A & C Black, London
2009, ISBN 978-0-7136-8758-3
4.M Grimwade, “Working and Annealing”, Technical Bulletin, p20, Issue 11,
Publ. The Goldsmiths’ Company, 2010
In the article in the previous Issue 12 on Causes and Prevention of Defects in Wrought
Products, Figure 3 dealing with misalignment of rolls wrongly implied that with thick
strip, it curved towards the narrow edge as the strip emerged from the rolls whereas
the reverse is true. The thinner edge will have been extended more and, hence, the
strip will curve towards the thicker edge that hasn’t extended as much. I am grateful
to the reader who pointed out the error in the Figure.
Mark Grimwade
Profile
Profile
Technical
Journal
Profile: Robin Kyte
than try and ‘bake the cake’ with
cheaper ingredients, we need to look
at alternatives such as partnerships with
industry. Further Education (FE) is the
only sector that can provide the hours
required to teach technical skills to the
levels we once enjoyed. However, there
is a great determination in our industry
to proliferate our skills to young people
and the new Goldsmiths’ Centre will
be a great opportunity to move forward
with this.
QQ: You won the Jacques Cartier Award
in 1995 as well as having completed
a string of high profile commissions,
could you tell us a bit more
about these?
A
I have always enjoyed a challenge
Robin Kyte has been the Apprenticeship Co-ordinator for the
and taking on those challenging
Goldsmiths’ Company since 2005 and is responsible for the Senior
commissions was probably the quickest
Award Qualification, which is part of the Apprenticeship Scheme the
way I gained skills, not only in a
practical sense but also in coordinating
Goldsmiths’ Company has been running for over 700 years.
various processes and situations. So I
will just say that I am on another self
set challenge, a silver 1/9-scale model
of a motorbike that has pushed me
progress whilst on a small supporting
QHow did you get involved with the
further still.
salary. After a 3 -5 year apprenticeship
Goldsmiths’ Company?
QAs Chairman of the Goldsmiths’ Craft
they will have a recognised senior
AIn the early 1990s, as a lecturer at
& Design Council, how do you see
qualification and the Freedom of the
Sir John Cass, I was asked to organise
the role of the Council developing
Goldsmiths’ Company.
the facilities for the National
for the future?
QIf you had any advice for a young
Skills competition, which was the
A This is the centenary of the
person looking for an apprenticeship,
preliminary selection for the Skill
Goldsmiths’ Craft & Design Awards.
what would it be?
Olympics. The sponsors were the
The Awards were originally set up
AYoung people seeking a career, which
Goldsmiths’ Company.
to stimulate, promote and reward
involves the skills and coordination
Q What is your favourite aspect of
excellence in craftsmanship and
of mind, hand and eye, should be
your job as Apprenticeship
design, and that is still their role today.
encouraged to try a variety of creative
Co-ordinator?
The Council has to adapt to changes
skills. Being able to show results usually
A I see the inherent ability of
and challenges but not lose sight of
speaks louder than words, and those
the apprentice and watch as they
this fundamental role. We are moving
demonstrating creative skills could
develop their emerging skills
to becoming a Community Interest
be given an opportunity to explore
and fulfil their potential. Watching
Company, which will give us
different areas of the craft.
them demonstrate their skills at
an opportunity to restructure and
QOver your 35 of years in the industry
competitions such as WorldSkills
realign the work of the Council for the
training young people, what appears
is a delight.
future. It could see an award aimed
to be the biggest issue facing
QWhat in your view makes
solely at graduating students’ pieces
industry today?
apprenticeships so special as a
with a separate award ceremony.
A I have seen many changes since starting
form of training?
We are also restructuring our website
my own training in 1968, and with
AApprenticeships used to be the
to allow online applications, an award
strong competition from abroad we
traditional route into our industry,
winners’ gallery, and eventually a
have
often
been
slow
to
respond
and
but over my lifetime, their perceived
linked network. Our trade is built on a
invest in new technology. Fortunately,
value has been eroded. The word
foundation of quality in both making
things are changing and it is vital
apprenticeship has become high on
and design. The Goldsmiths’ Craft
training also keeps pace.
the political agenda again recently and
& Design Council is concerned
Q
There
are
well-documented
changes
it also has the advantage of being ‘on
that these high standards are
happening in education – do you have
the job’ training, with no huge loan
recognised and maintained.
any thoughts around these and what
to pay off. An apprentice entering
the future holds?
the Goldsmiths’ Company Scheme
AI fear that training as I remember it,
will have a structured training with
For more information about the Goldsmiths’ Company
is a thing of the past. The funding
broadening elements such as day
apprenticeship scheme visit:
does not exist any longer. So, rather
release, workshop visits, reviews of
Robin Kyte F.I.P.G. started his business partnership in the early
1970’s, manufacturing both his own designs and working for trade
and retail outlets. Robin became a visiting lecturer at Sir John Cass,
which led on to a full-time senior lecturer post that he held until quite
recently. His mounting skills evolved into those of a smallworker and
model maker, and he won the Jacques Cartier Award for his silver
motorbike model. His experience has led him to be UK Jewellery
Training Manager for UKSkills, and Chief Expert at the WorldSkills
competitions from 1996 – 2005, and he is still involved with the
competition today. His focus is still on his own work but he is also a
consultant for the Goldsmiths’ Company and deeply concerned with
training and education in the trade.
“There is a great
determination in our
industry to proliferate
our skills to young people
and the new Goldsmiths’
Centre will be a great
opportunity to move
forward with this”
Spring
Spring 2011
2011
Issue
Issue 13
Report and review
Report: BaselWorld 2011
Castaldo Inc
USA – www.castaldo.com
The Hall of Innovations at BaselWorld, was full of new
technology to dazzle the jewellery manufacturer.
Chris Corti reports.
Visiting the Hall of Innovations at BaselWorld is like putting a young child
in a chocolate factory, it is difficult to decide what to look at first. Every
year, there are more and more machines of all sizes and price points, with
ever more features.
Rapid prototyping
Solidscape Inc
USA – www.solid-scape.com
Two new generation RP
machines were displayed
on Solidscape’s stand, the
T66 Plus and the larger
T76 Plus, both with new
SCP™ (Smooth Curvature
Printing) technology which
enhances surface quality.
EnvisionTEC GmbH
GERMANY – www.envisiontec.com
Envisiontec showed its
new generation Perfactory
Mini XL RP machine with
significant improvement
in performance: very
high accuracy/resolution
coupled with a large build
envelope at high speed – 80
ring patterns take only four
hours. Also its new EC500
resin for direct casting
of patterns, for both the
Aureus and Perfactory
machines which gives
30% faster build time and
improved casting quality
whilst maintaining a high
resolution and 0%
ash content.
Schultheiss GmbH
GERMANY – www.schultheiss-gmbh.de
A newcomer to the RP
scene was displayed on
the Schultheiss stand
among its range of vacuum
casting machines. The new
Rapidshape RP machine
(www.rapidshape.de) is
available in three models
and can use several resins:
two for making rubber
moulds and two for casting
patterns directly. It is
claimed it operates five
to seven times faster than
other similar machines.
The basic model retails
from around €50,000.
Laser technologies
I counted at least eight
companies exhibiting
laser welders: Sisma Srl,
Evo (on Orotig stand),
Elettrolaser, LaserStar
(Opdel stand), ArtSupport
GmbH, Sirolasertec and
Rofin. Most had a range
of improved laser welders
on display and several had
laser marking/engraving
machines, either for digital
pictures or for decorative
patterns or simply to apply
identity marks.
Rofin-Baasel UK
technology – despite having
two new chain machines,
the SB/R and SMR models
for crimped ball chains and
chains with varying link sizes
from wire, respectively.
Interestingly, as well as laser
welders, Sisma showcased a
new CNC milling machine,
the FRX 300 that has six
tool positions.
Orotig Srl
Concept Laser GmbH
Goldstar Plc
GERMANY – www.concept-laser.de
UK – www.goldstarpowders.com
A new Conceptlaser laser
melting machine for
building parts direct from
metal powders was one of
the highlights for me. Parts
made in various metals
were on show including
an 18ct gold ring, claimed
to be 99.8% dense with a
good surface, which took
2.5 hours to make.
Goldstar gave prominence
to new offerings in UKsourced injection waxes
and silicone rubbers. There
are two grades of wax, one
general purpose and the
other for filigree work, and
three new rubbers – Value,
Stretch Flex and a low
vulcanising temperature
grade, Silicone 22.
Investment and
continuous casting
Indutherm GmbH
UK – www.rofin.co.uk
Rofin showed a laser
engraver for flat and ring
products. The Easy Jewel
has a 20W fibre laser which
increases engraving speed
12-20 times compared to a
diode laser.
GERMANY – www.indutherm.de
Sisma Srl
ITALY – www.sisma.com
Sisma’s stand was noticeable
for having no chain machines
on display – its core machine
Indutherm’s semi-automatic
bench-top investment
casting machine, the
MC20V is much the same as
its MC15+ machine reported
last year (see Technical
Journal 12), but with
vibration added and a
higher three bars pressure
capability, along with storage
of twenty casting
programmes and retails at
around €11,900.
Report and review
ITALY – www.orotig.com
A new automatic benchtop casting machine, the
Titec F400MJ, for casting
of titanium was displayed,
emphasising the growing
interest in nonprecious jewellery.
Maxmatic
A new two-part liquid
system, Liqua Fast ICE
was on display, aimed
specifically for CAD/
CAM/RP patterns. This
transparent product does
not stick to resin patterns,
has 0% shrinkage and
a short cure time of 30120mins. The company has
also altered the size and
shape of its silicone mould
rubbers (now sheets of 30
x 30 cm) in response to
customer demand and, as
a consequence, sells them
10% cheaper than before.
It also has a new black
ruthenium plating solution
that is deposited under
neutral Ph conditions,
unlike other solutions. This
means it can be deposited
directly on bronze or
nickel without the need
for a palladium or gold
undercoat, saving cost.
Electroplating &
electropolishing
Aliprandini
There were several
companies exhibiting
plating solutions and
small bench-top plating
equipments.
Aliprandini promoted
its cadmium-free yellow
electroforming solutions
for depositing gold in the
range 18-22ct and its hard
gold plating with a hardness
in the range 140 -160HV.
This French company
introduced a new generation
model, the Maxmatic
4000. Available in three
colours, this injector has
an improved sprung
mould table and clamping
design, a toggle joystick
for navigating the menu of
programmes (moulds can be
microchipped, if desired) and
a six litre wax tank that can be
placed under vacuum to clean
out any accumulated gas.
Retailing at around €4,900
for the basic model and up to
€6,325 with the new clamp set.
GERMANY – www.umicore-galvano.com
Umicore is a specialist in
precious metal plating and
its big new promotion was a
new rhodium alloy plating
solution, marketed as The
White Queen and called
Rhoduna Alloy. Intended
as a cheaper version of
rhodium, this solution
deposits an alloy of 75%
rhodium-25% ruthenium
giving a 20% cost saving
and improved wear
resistance. It is as white
as pure rhodium and as
corrosion resistant.
Otec has added to its range
of mechanical polishing
equipment, a new EPAG
electropolishing system for
silver that can polish direct
from the cast condition
and claimed to be good
for prongs. With a capacity
of polishing around
100 pieces at a time, it
can also store up to 100
programmes for different
sized pieces. It retails from
around €24,000.
This manufacturer of fine
polishing compounds has
been in existence since
1888 but has recently
re-entered the jewellery
market. It markets a range
of compounds from prepolish to super finish.
Bertoncello has a range of
both vertical and horizontal
casters and at Basel, a small
horizontal continuous
caster for gold and silver
was on display from the
Logic series.
SWITZERLAND – www.aliprandini.ch
Heimerle & Meule
GmbH
GERMANY – www.heimerle-meule.com
Electroplating and
electropolishing can now
be performed in a multifunctional plating unit,
called PGGM, aimed at
stainless steel and titanium
pieces. H&M also displayed
its Vari or bimetallic tube
stock for ring manufacture.
These concentric layers in
14 and 18ct gold in three
colours (white, yellow, red)
are machined to reveal
patterns in various colours.
of hollow products and
alloy S925PTA is a new
grain-refined sterling silver
that can be recycled.
GERMANY – www.otec.de
GERMANY – www.menzerna.com
ITALY – www.gb-bertoncello.com
FRANCE – www.maxmatic.fr
Otec GmbH
Menzerna GmbH & Co
GB F Lli
Bertoncello Srl
Umicore
Galvanotechnik GmbH
Finishing
Spring 2011
Issue 13
Baselworld 2011
Facts and Figures
Total number of exhibitors:
1892
Number of countries that
exhibited at Basel: 45
Number of visitors up
by 7% from 2010 with a
total of 100,700 industry
professionals
Baselworld app now
available for iPhone
and BlackBerry
BaselWorld launched a free
mobile show guide this
year. The BaselWorld App is
available for iPhone, iPad,
BlackBerry and other smart
phones. The App contains
information about the
exhibitors, an interactive 3D
map, index of products and
daily news abstracts.
www.baselworld.com
Alloys
ProGold SpA
ITALY – www.progold.com
This Italian master alloy
producer has a new
tarnish-resistant silver
called Xsilver.
Legor Group Srl
ITALY – www.legor.com
Three new master alloys
were being marketed
under Legor’s Xgrain
banner: Alloy OR134C
is a new red 18ct gold
for casting with good
oxidation resistance and
melt fluidity. Alloy WH80D
is a high nickel white
gold with good whiteness
(standard colour grade)
and fluidity, claimed to
be good for stone-in-place
casting. Alloy Y143T2 is a
new grain-refined yellow
gold composition for
general purpose working
18ct gold ring produced with Mlab
cusing machine
Credit: Concept Laser Gmbtl
Maxmatic Wax Injector
Credit: Maxmatic
Report and review
Report: The 7th Jewellery Technology
Forum, Vicenza
This technical conference is regarded as a mini Santa Fe Symposium and
the only annual technical conference of note held in Europe.
Chris Corti reports.
Report and review
as are many manufacturers who are
cutting their energy use, reducing
waste and pollution as well as their
carbon footprint and improving
working conditions. Whilst use of
recycled metal is greener than use
of newly mined metal, this is not an
option for all manufacturers. There is
only a finite amount of scrap available
on the market; newly mined metal is
essential too.
The issue of tarnishing of silver is well
known and recent alloy developments
show improved tarnish resistance can
be achieved. An alternative approach
was discussed by Nora Isomäki, Beneq
Oy, Finland in her presentation, Thin
Film Anti-Tarnish Method for Silver.
This involves depositing a very thin
transparent oxide coating on the
surface by Atomic Layer Deposition
techniques. This yields a very good,
durable surface that does not tarnish.
This was an updated version of Nora’s
Santa Fe Symposium paper, with new
test results. For major manufacturers of
silver, this approach has a lot of promise
for a very small additional cost.
This is the first comprehensive review
of platinum metallography and the
quality of his metallographs (pictures
of microstructures) are excellent.
Tiziana Drago, FEM, Germany
covered investment casting, this time
reporting on the first major study
into the casting of platinum alloys in
her presentation, The Role of Process
Parameters in Platinum Casting. This is
essential reading for platinum casters
and is the same presentation as that
presented at the Santa Fe Symposium
by her colleague, Dr Klotz (see report,
Technical Journal 12).
Laser cutting for Jewellers was presented
by Guglielmo Cavalcabò, Sisma
Srl, Italy. He described the two
mechanisms of cutting metal by laser
and showed how it can be used in
jewellery manufacture, particularly
in decorative cutting to produce
patterns and in cutting sheet metals
into intricate shapes. His presentation
was amply illustrated with examples of
the art. This is an example of the use
of lasers in the jewellery sector that is,
perhaps, an underrated application.
Spring 2011
Issue 13
laboratory and it will be interesting to
see its practical application to our sector
in due course.
Again, this was a varied programme
of high relevance to the jewellery
manufacturing sector, covering many
materials and process technologies.
It was certainly value for money –
entry is free. I would urge more
manufacturers to take advantage
of attending and keep up-to-date
with the latest innovations. The
machine exhibition runs alongside
the conference, so it is an excellent
opportunity to keep abreast of the latest
advances. The chance to discuss these
technologies with the experts is surely
an invaluable opportunity.
The presentations are available from the JTF
organisers on a CD at: www.jtf.it, [email protected]
I would urge more manufacturers to take advantage of attending
and keep up-to-date with the latest innovations
This year’s JTF conference, under
the title of The Gold Industry through
Technology and Innovation is, perhaps
misnamed, as it covered all the
precious metals, not just gold.
The increased attendance appeared
to be a reflection of the optimism
apparent in the jewellery industry,
including the trade stands in the
machine exhibition, at the Vicenza
First jewellery fair. Once again
restricted to a one-day conference,
the nine presentations were of good
quality and relevant to the changing
needs of the manufacturing industry.
Several of the presentations were
based on those presented at the 2010
Santa Fe Symposium (see Technical
Journal Issue 12).
The JTF conference commenced with
a presentation on the innovative use
of strong 990 gold to make a 24ct gold
claret jug by Ann-Marie Carey, JIIC,
Birmingham City University,
The Changing Demands on the Creative
Process as a Consequence of New
Technologies. Ann-Marie showed how
the challenge to utilise a new high
strength 24ct gold alloy created other
technical challenges that needed to
be conquered to achieve a successful
outcome. This is an interesting
account that many will relate to (read
article on the manufacture of this jug
in Issue 12).
The world of green and ethically
sourced jewellery is becoming
increasingly important for the
industry. In his presentation,
Responsible Manufacturing: being Green
and Ethical in the Jewellery Sector, Chris
Corti, Coregold Technology, UK
discussed some of the issues involved.
It is not just about sourcing of ethical
raw materials (diamonds, gold,
gemstones, etc), but also involves
taking corporate social responsibility
in manufacturing and retailing.
The answers to green and ethical
questions are not simply black and
white, but rather more complex. The
big mining companies, for example,
are making great strides in becoming
more green and socially responsible,
At any technical conference, a
presentation on investment casting is
almost guaranteed. This year, Ilaria
Fiorno, Turin Polytechnic, Italy spoke
about Precision Casting: Innovations and
Challenges in the Traditional Process. She
focused on casting of sterling silver
and showed through a combination
of computer simulation and practical
casting trials, the influence of
changing various parameters on
casting quality. Factors studied
included the effect of increasing
casting temperatures on porosity, the
wax pattern spacing on the tree on
thermal stresses which can result in
poor yields and the use of re-cycled
metal in the metal charge on quality.
This was a study that has significant
practical implications for casters of
silver. It is well worth reading.
Paolo Battaini, 8853 Spa, Italy
focussed on The Metallography of
Platinum and Platinum Alloys and
showed that the different alloys have
different microstructures that impact
properties and end-user performance.
The choice of carat gold alloys
available on the market is very large
and the difference between them is
not always easy to recognise. As part
of a project to form a data bank of
alloys and characteristics, Mauro Di
Siro, Pro-gold, Italy presented the first
set of findings in his presentation,
Characterisation of 9,10,14 and 18
Carat Golds. This presented the
characteristics and properties of over
50 compositions of 18ct coloured
and white gold alloys. This is
impressive work and serves as a good
base for alloy selection.
Lastly, Enrico Miorin and Silvia Maria
Deambrosis, IENI-CNR, Padua, Italy
gave an interesting presentation on
Tribological and Scratch Tests, a Useful
Tool in Jewellery and Fashion.
This described some high technology
testing equipment and its application
to the jewellery sector, for example
on coatings and measuring wear
and scratch resistance in benign and
corrosive environments. This is a
modern technique for the research
Education and skills
Spring 2011
Issue 13
Technical
Qualifications Update
Since the last edition of the Technical Journal
a great deal of progress has been made in the
development of a Government Apprenticeship
Framework for the sector. Peter Taylor explains
how this is developing and explores the
opportunities this will present to industry.
After Creative & Cultural Skills, the
jewellery industry’s Sector Skills Agency
successfully placed the new National
Occupational Standards for the
industry on the funding framework
(QCF), two new diplomas have been
developed by the University of the Arts
London (UAL) and Open College
Network awarding organisations. The
UAL Diploma is currently being
delivered by Holts Jewellery Academy
and hopefully over the coming months
we should see more delivery partners
coming on board with this.
Apprentice Adam Claridge works on a UK
Skills Competition Piece
Now that these diplomas are available it
means that work can begin in earnest on
an industry Apprentice Framework.
A reinvigorated Jewellery & Allied
Industries Training Council (JAITC) is
rising to this challenge and I am also
delighted to report that City & Guilds is
willing to work with the Goldsmiths’
Company to develop the qualifications
that will underpin the new framework.
The Goldsmiths’ Company’s aspiration
remains to create a scheme which
supports the employer with a grant
towards the costs of training their
apprentice while they work towards the
Level 2 Apprenticeship. The majority of
training will take place on the job with
assessment undertaken through a series
of external visits and a workbook or
log. This would signal a departure
from the unsuccessful government
apprenticeships of the past that required
the employer to carry the burden of all
the costs associated with employing and
training a young person.
At Level 2 the Apprenticeship will
emphasise a broad introduction to
the sector with specialisation being
introduced at Level 3 and we hope
Level 4. Some day-release for short
courses will be required to cover those
elements of the Level 2 that cannot be
delivered in-house but the cost of this
will not be borne by the employer.
We hope that if successful this will
ultimately lead to the creation of
funding opportunities for employers
who want to take on apprentices to
support their training costs. In the
next issue of the Technical Journal
we hope we will be in a position to
announce that the Framework has
been launched.
For further reading on Creative &
Cultural Skills and its role in our industry,
please read the profile in issue 12 of the
Technical Journal. Also available at :
www.thegoldsmiths.co.uk/technologyandtraining
Creative & Cultural Skills:
www.ccskills.org.uk
Jewellery and Allied Industries
Training Council (JAITC):
www.jaitc.org.uk
City & Gullds:
www.cityandguilds.com
National Occupational Standards:
www.ukstandards.org.uk
Apprentices
impress at the 2011
Craftsmanship &
Design Awards
Silver Gothic Cross Pendant by
Michael Thompson of SVS Designs
This Dragonfly Brooch by Ryan Nelson of
David Lawes won The Junior Award as well
as Gold in the Diamond Mounting section
at the Craft & Design Awards.
At the awards evening Stephen
Webster, the Master of Ceremonies
was welcomed back by Robin Kyte.
Stephen has an exceptionally busy
schedule as his retail stores continue
to open in major capital cities
around the world but made time to
come to Goldsmiths’ Hall. Stephen,
who has been a member of the
Council in the past, has a passion for
creativity, quality of craftsmanship
and is a huge supporter of young
skilled people coming into our trade.
He read out the winners in Oscar
style order, dramatising the build-up
from the contenders of the major
awards then inviting the winner to
the stage to receive their award from
Goldsmiths’ Company Warden
Hector Miller.
Adam Claridge of Spectrum Fine
Jewellery, made free recently, won
Joint Silver for his Palladium Bow
Brooch. Michael Thompson of SVS
Designs Ltd, won Joint Silver with
his Silver Gothic Cross Pendant.
Michael was a former apprentice
to Stan Somerford and recently
made free.
Once again, Goldsmiths’ Company Apprentices
have impressed the judges at the latest
Craftsmanship & Design Awards and collected
a string of prestigious awards.
At a packed Goldsmiths’ Hall, Robin Kyte,
Chairman of the Goldsmiths’ Craft & Design
Council praised the skill and craftsmanship of
those who had entered the competition.
The Podolsky Award is given
to a young designer or craftsman
in education or the industry who
shows outstanding potential in
silversmithing, jewellery or the allied
crafts up to the age of thirty. This
year’s winner was again, Michael
Thompson for his Silver Gothic
Cross Pendant.
Silver and enamel Birth of Venus vase
by Fred Rich, that won The Goldsmiths’
Company Award
Ivonna Poplanska won gold and the
QVC Award for the Shadow Dress
Body Adornment
Ryan Nelson, apprenticed to David
Lawes Ltd won Gold in the Diamond
Mounting section then went on to
receive his Freedom in February
for his Dragonfly Brooch. He was also
awarded the Junior Award which is
given at the discretion of the
Council for a piece or range of work
that is judged to have achieved the
highest standards of craftsmanship
and/or design.
As well as apprentices, Ivonna
Poplanska, who has been through
the Goldsmiths’ Company’s Getting
Started and Post-Graduate courses,
received a Gold Award and the
QVC Award for Fashion Jewellery
Design for her Shadow Dress
Body Adornment. Since graduating
from these courses, Ivonna has gone
on to set up her own fashion
jewellery label.
The Lifetime Achievement Award
Spring 2011
Issue 13
Medal produced by Thomas Fattorini
Ltd, is given by the Goldsmiths’
Craft & Design Council in
recognition of the recipient’s
outstanding contribution and
commitment to the craft and
industry of Silversmithing, Jewellery
and the Allied Crafts. This year the
award was given to Alex Styles.
Alex has a distinguished career as a
designer. He became the staff
designer at renowned silversmithing
company Wakely and Wheeler,
before moving on to Garrard as
principal designer when the two
companies amalgamated in 1952.
In 1953, he was responsible for a fine
bowl with lion and unicorn handles
to commemorate the Coronation.
Over the next few decades he was to
design numerous pieces of regalia,
including maces and mayoral badges
that are still in use all over the world.
In 1987 there was a major
retrospective of his work at
Goldsmiths’ Hall.
Alex Styles remained with Garrard
for forty years. He was a very
influential designer, especially in the
1960s and 1970s, distinguished
not only for his renowned domestic
silver, but also impressive
ceremonial pieces.
Finally, the Goldsmiths’ Company
Award was given to Fred Rich for his
outstanding silver and enamel Birth
of Venus vase.
Further information about the
competition and the award can be found
at: www.craftanddesigncouncil.org.uk
The Lifetime Acheivement Award was given to Alex Styles
for an outstanding contribution and commitment
to the craft and industry.
Masterclass
Masterclass
Masterclass: How to set a
hallmark – Christopher Lawrence
Among the range of initiatives the Goldsmiths’
Company offers the Craft and Industry, our
Masterclasses are perhaps the most well known.
Stage 1
Stage 2
Stage 3
After assaying, a hallmark has been
applied by the Goldsmiths’ Company
Assay Office to the unfinished tray.
Unless otherwise stated, the Assay
Office will apply five standard marks
– the Sponsor’s Mark, the Traditional
Fineness Mark, the Millesimal Fineness
Mark, the Assay Office Mark (in this
case, the leopard) and finally the Date
Letter Mark.
Whenever a hand-struck hallmark is
applied to an object, there will always
be a degree of deformation on the
reverse of the hallmark. This is known
as the witness mark.
Rest the surface of the piece on a
suitable stake that will allow the
hallmark to lie flat against it with the
struck hallmark against the stake and
the witness mark facing you. For the
purposes of this tray, Chris has chosen
a small flat stake.
Stage 4
Stage 5
Stage 6
To set back the hallmark, Chris
chooses his flatware hammer but
you could equally use a standard
planishing hammer.
Planish gently around all the high
points that form the witness mark
until you are happy the surface is
flat again. Take care not to hammer
too heavily or you could run the risk
of losing some of the detail of the
hallmark on the underside.
Once this has been done, Chris
sometimes runs a piece of Water of
Ayr Stone over the area to check there
are no low points remaining.
Stage 7
Stage 8
Stage 9
If these low points remain after
stoning there is every likelihood that
they will become more apparent once
the piece is polished and finished.
Once he is satisfied with the back of
the hallmark, Chris stones a little bit
round the struck side of the hallmark.
Always avoid using excessive
stoning over the hallmark as you run
the danger of taking out some of
the detail.
The hallmark is now prepared
for polishing along with the rest
of the piece.
For 30 years, we have invited recognised experts in a particular field of
silversmithing or jewellery to demonstrate their skills to a trade audience.
This is the second in a series of short Masterclasses in print format.
To coincide with the imminent release of our Flat Hammering DVD,
we have asked acclaimed silversmith, Christopher Lawrence, who was
filmed demonstrating this highly skilled technique to demonstrate also
the often-overlooked art of setting back a hallmark into a piece of silver.
Setting back a hallmark
A hallmark is not only a mark depicting the standard of a precious metal,
a hand-stamped hallmark is also perceived as a mark of beauty by both
consumer and maker alike. Treated well, a hallmark can last for hundreds of
years and while the depth of the initial mark largely dictates its longevity, how
it is finished and polished is of equal importance. In this Masterclass, Chris
will show how to ‘set back’ a hallmark.
Spring 2011
Issue 13
Masterclass
Technical surgery
Do you have a manufacturing problem?
For example, are you having trouble finding
a suitable alloy for a particular application,
problems preventing porosity in castings or
difficulty adjusting the colour of your solder
to match an item? Email your questions to an
expert: [email protected]
Q: We are trying to track down a source of
black metal for two wedding rings.
I am sure there is a dark gold alloy but
the only thing we can find is some kind
of plating or patina.
A: U
nusual colours of gold are very
popular questions to this column.
If you want a brown/black/blue
gold finish to gold jewellery, I can
assure you that there are no gold
alloys with these intrinsic colours
(there are special intermetallic
alloys with purple or light blue
colours but these cannot be
fabricated).
All the brown/black/dark or deep
blue colours are surface effects,
obtained by either;
(i) oxidation of surface of certain
carat gold alloys (often containing
cobalt, for example).
(ii) plating with electroplating
solutions (black/blue rhodium
or ruthenium solutions or – very
new – black gold solution (Neropal
from Weiland in Germany).
(iii) putting on a black hard
carbon coating by PVD techniques
(expensive).
(iv) putting on a patina using
patina solutions.
There is commercial gold jewellery
with blue or black colours on the
market (manufactured in Japan/
Israel/Italy). These are made by
oxidation treatments.
If you want a bit more info – see
the World Gold Council website:
www.utilisegold.com/jewellery_
technology/colours/special_colours.
The black rhodium or ruthenium
plating solutions are available from
several suppliers in Europe and
there are commercial platers who
offer a service; the new black gold
plating is available from Wieland
GmbH in Germany.
Q: A supplier of items of silver jewellery
has seen that there is a tendency for the
surfaces to blacken within a relatively
short time of wrapping in tissue paper
and placing in boxes and wanted to
know what was causing the problem.
A: This is the age-old problem of
tarnishing. Tarnish films on silver
are caused mainly by a reaction
between silver and sulphur
leading to the formation of silver
sulphide. In the case of sterling
silver the tarnish film will also
contain copper sulphide. The
sulphur exists in some form in
the environment to which the
silver is exposed and in this case
it almost certainly is present in
the packaging materials. First,
ordinary white tissue paper has
been bleached and the bleaching
agent can release sulphur thereby
causing the reaction. The items
should be wrapped in anti-tarnish
tissue paper that contains agents
that combine with the sulphur to
prevent tarnishing. Another way is
to enclose the items in cellophane
or polythene packets. Secondly, the
boxes may also contain substances
that release sulphur vapour, e.g.
glue used in making the box, and
care should be taken to ensure
avoidance of undesirable materials
in the construction of the boxes.
For more industry supplier information
visit our Tecnical Portal at:
www.goldsmiths.co.uk/technicalportal
Masterclass
Technical
Journal
Spring
Spring 2011
2011
Issue
Issue 13
Health & Safety Factsheet:
Lost Wax Investment Casting Powders
This is the first of a series of articles
that will discuss the hazards to health
that may arise when using
materials and chemical substances
commonly used in jewellery and
silverware production.
Gypsum-bonded and phosphatebonded silica powders are used to
make the investment plaster moulds
for the lost wax casting process.
The hazard is that fine silica (silicon
dioxide SiO2) can float in the
atmosphere as dust clouds. Powder
particle sizes of less than 10 microns
are invisible to the naked eye but are
respirable, i.e. easily breathed into
the deepest recesses of the lungs and
can cause the lung disease known as
hours a day, 40 hours a week without
adverse health effects. In 2006, the
HSE set the Workplace Exposure
Limit (WEL) at 0.1 mg/m3 of air in
the workplace. Details may be found
in the HSE Document Silica Dust
Guidance on Risk and Enforcement
(Ref. 3). The problem is that
jewellery manufacturers do not have
a ready means for measuring the
levels in their casting shop.
Furthermore, there is a tendency for
the levels to be lowered as more
information is gathered on
hazardous effects.
Procedures of particular concern are
when dry powders are handled when
weighing out and mixing with water
There should be a ventilation and exhaust system
that is efficient so that dust clouds and fumes are
drawn away from the face of the worker
silicosis, which is ultimately disabling
and life threatening. Smoking
increases the likelihood of
contracting the disease by as much as
50-75 times versus non-smokers, so
smoking should not be permitted in
areas where investment powders are
handled (Ref.1). Pulmonary function
tests where a person breathes into a
machine that measures lung capacity
are cheap and easy to perform and
should be given to workers on an
annual basis. Normal lung capacity
decreases at a rate of 28ml per year.
A faster rate indicates that lung
efficiency is being impaired long
before a chest x-ray would show
damage (Ref.2).
and quenching hot moulds to break
out the casting and should be done
in a room separated from the casting
area to minimise the spread of dust.
The presence of water in the quench
was assumed to prevent the escape
of silica particles to the surrounding
air but it has been shown that steam
and dust clouds produced above the
quench tank have very high
exposure levels.
Ideally, these operations should be
done in cabinets with restricted
openings and exhaust to the outside
of the building. There should be
efficient ventilation and exhaust
systems to ensure dust clouds and
fumes are drawn away from the face
The silica used in investment powders of the worker (Ref.4). This can be
checked by a velometer or a smoke
exists in two forms, namely, quartz
and cristobalite. For many decades it test. The latter is easier to perform by
placing a tray of dry ice and hot water
was thought the latter was more
in the vicinity of the worker and
dangerous, however, recent Health
ensuring the ‘smoke’ is drawn into
and Safety Executive (HSE)
the exhaust system in a straight
guidelines state that the two are
unwavering line. Provided the
comparable in their effects.
exhaust to the outside is not sucked
Environmental criteria or standards
into an adjacent building via air
do exist for chemicals that are
intakes, the silica dust is rapidly
intended to suggest levels at which
diluted in the atmosphere and is not
workers may be exposed for 8-10
an environmental hazard.
Although completely enclosed
quench tanks have been designed
(Ref.2), this may be too sophisticated
for casting shops. In these
circumstances, it is advisable to have
a lid to cover the quench tank with a
restricted opening to minimise the
release of the dust cloud to the
surrounding air.
Personal protective equipment
includes face masks and should be
mandatory for workers when there is
no adequate ventilation and exhaust
system. Ensure the mask fits properly
and air cannot be drawn in between
the side of the mask and the face.
Basic requirements for masks can be
found on the HSE website (Ref.3).
Finally, good housekeeping means
keeping the investment powder and
casting areas clean by preventing
build up of dust on work surfaces and
equipment. Do not use brooms, air
jets and ordinary vacuum cleaners for
this purpose as this merely spreads
the dust around. Wet mopping and
wash techniques are more effective.
References
1.
P Pryor, “Silica Hazards in the Handling of
Investment”, Proc. 3rd Santa Fe Symposium,
p257, 1989
2.
D Schneller, Appendix to Ref.1
3.
Health and Safety Executive, www.hse.gov.uk
4.
P Pryor, “Personal Protective equipment versus
Engineering/Ventilation Controls”, p187, Proc. 4th
Santa Fe Symposium
Education and training
Industry Training
An up-to-date
list of industry
opportunities
and further
professional
development.
The Sir John Cass
Metropolitan Works
Department of Art, Media Creative Industries
and Design Short Course Centre
Metropolitan Works is London’s
Programme
The CASS has a reputation as a
provider of short and part-time
courses for the creative industries
in London stretching back more
than 100 years. Located in the City
fringe of East London, an area with
the largest concentration of artists
and designers in Europe, the Sir John
Cass Department continues to offer
an exciting range of creative courses
which include this summer:
Mokume Gane
Tutor: Alistair McCallum
Duration: 4 Days
Fee: £360
Skill Level: Intermediate / Advanced
Mokume-gane is a mixed-metal
laminate with distinctive layered
patterns. Translated as ‘wood-grain
metal’, the name was borrowed from
one type of pattern created in
the forging of swords and other
edged weapons.
leading Creative Industries Centre,
helping jewellers, architects, designers
and manufacturers develop ideas
and bring new products to the
marketplace through access to
digital manufacturing, workshops,
advice, courses and exhibitions.
Its Digital Manufacturing Centre,
houses a range of new technology for
prototyping, manufacture, research and
experimentation. Metropolitan Works
is committed to bringing creative talent
and London and UK manufacturers
together, providing the tools for creative
minds to innovate.
Digital Works Digital
Design and Manufacture
Programme
Mastering new technologies and
approaches is essential in keeping pace
with business needs in a fast changing,
competitive world. As part of its ERDFfunded digital design and manufacture
project, Metropolitan Works launches
Digital Works, a new programme for
2011 following on from the ever-popular
Introduction to Technology series.
Enamelling
Digital Works offers small and medium
Tutor: Penny Davies
sized London based businesses
Duration: 3 Days
the opportunity to attain hands-on
experience with the technology offered
Fee: £270
Skill Level: Beginners / Intermediate at Metropolitan Works.
• Laser and Waterjet Cutting
This practical three day workshop will
•
be of interest to students who already
have some metalworking skills and who •
wish to introduce some colour into their
•
work through the medium of enamel.
Jewellery, Intermediate
and Advanced
CNC Routing (3-axis)
Rapid Prototyping
Discover business benefits
offered by digital manufacturing
technology
•
Introduce efficient technologies
to your design process
Fine jewellery and granulation with
Linda Lewin.
•
Learn about file preparation
and materials
Tutor: Linda Lewin
•
Experience with machinery for
better insight and design process
•
Workshops, inclusive of lunch, are
free and only 2 or 3 days long
Duration: 3 Days
Fee: £270
Skill Level: Intermediate / Advanced
Further details:
Telephone
020 7133 3721
Email
[email protected]
Website
www.londonmet.ac.uk/jcamd/courses/
short-courses
Further details:
Telephone
020 7320 2832 (events and training)
020 7320 1878
Website
www.metropolianworks.org
School of Jewellery,
Birmingham
3D Scanning: From Object
to Computer to Model
The School of Jewellery offers a variety
of courses including creative selfdevelopment classes and specialist
training options for people seeking to
further their professional development.
Day and evening classes run during
term time and include:
This course is an ideal opportunity for
you to obtain hands-on experience of
exciting new 3D technology. During
this course you will be shown how to
scan and manipulate real-world objects
and collect data on their shapes using
laser technology to replicate single
components. Your data can then be
used to construct a computer 3D
model suitable for a wide variety of
applications such as sculpture or
models etc. You will also learn how to
successfully reduce or increase the
scale using Computer Aided Design to
produce a computer file suitable for
building a model for casting.
New Summer Short Course
Programme
The School of Jewellery is pleased to
announce the launch of its prestigious
summer programme which
includes several new inspirational
master classes.
The Summer School beginning at
the end of June, offers a wide range
of inspirational specially designed
courses to develop the professional
skills of experienced makers or to assist
beginners learn new skills. In keeping
with its reputation, the School of
Jewellery has once again engaged some
of the very best tutors from industry
and academia, including for 2011;
International experts; Cynthia Eid for
Argentium and Arline Fisch for Textile
Techniques in Metal.
During the course you will also gain
practical knowledge about Roland
LPX600 and Cimcore Infinite Arm
scanning systems. 3D Scanning is
not an entirely suitable system for
reproducing a complete item of
jewellery but it is an extremely useful
tool for replicating a variety of single
component items across various
creative or manufacturing industries.
Student numbers are limited to four. No
previous knowledge of CAD is required.
The School of Jewellery, located
on Vittoria Street in the heart of
Birmingham’s famous Jewellery
Quarter since 1890, has numerous
industry suppliers and specialists for
tools, materials and services nearby
making it an ideal location to study and
make useful industry contacts.
Further details:
Bespoke CAD
Introductory Day
Telephone
0121 248 4584
Email
[email protected]
Website
www.bcu.ac.uk
For those who would like to investigate
the possibilities of using CAD / Rapid
Prototyping for their work. A one day
session with a CAD specialist in the
following software options are available;
Artcam Jewelsmith, Jewelcad, Rhino
and Solidworks. These one day sessions
can be arranged at any time subject to
tutor availability, please contact us if
you would like a quotation for this type
of course.
Bespoke Training Sessions
Ideal for those requiring intensive
professional training in a specialist
industry skill, such as; Electroforming,
Stone Setting, Polishing, Anodising
and Colouring Aluminium, Enamelling,
CAD/Rapid Prototyping and others,
all subject to tutor availability. Please
contact us for further details or if
you would like a quotation for this type
of course.
The School of Jewellery in Birmingham
Spring 2011
Issue 13
The Hand Engravers Association
is dedicated to all practitioners of
this craft on metal and precious and
semi-precious stones and runs short
engraving courses for all levels.
Search our free online
trade directory to
find links to a wealth
of industry resources
and related services
for the jewellery and
silversmithing trade.
Hand Engraving Six Week
Short Course
Start Date: June 2011
This is a six week course taking place
one Wednesday per week from 6-9pm
(other dates or times can be discussed
if necessary)
For beginners, the aims are to develop a
sound basic understanding of the tools,
techniques and materials used in hand
engraving, on which to progressively
build skills and knowledge. For
improvers and professionals, the
objective will be to develop your skills
under the guidance of an experienced
tutor, with the aim of honing those areas
that you think you need improving, and
adding new skills to your repertoire.
Holts Academy of
Jewellery
West Dean College, with its large
country house style in the South
East, offers a creative educational
environment allowing you to escape the
pressures of daily life and learn in an
informal, relaxed atmosphere. Courses
range from beginner to those with more
experience and include:
Short Course Programme
Hammer making and stake
The new, 2011 short course programme making for jewellers and
runs over weekends, evenings and
silversmiths
during the day to allow maximum
August 12–14
accessibility and available from
£224
beginner to advanced. It consists of a
variety of subjects:
Suitable for all
• Jewellery Design
Learn how to form and fabricate mild
•
Telephone
07500 462910 (Tamara Gomez,
Administrator)
Email
[email protected]
Website
www.handengravers.co.uk
Manufacture
Computer Aided Design
Digital Photography
Beading and Gemstone courses
steel to make hammers and stakes to
your own design. Hand techniques are
taught and you learn how to use the
power hammer to great effect on larger
cross sections of steel.
Further details:
Jewellery Manufacture
Diploma
Telephone
The Academy workshops boast stateof-the-art equipment where people who
want to gain a qualification can enrol
onto the new Jewellery Manufacture
Diploma Level 2. This governmentfunded course is now in partnership
with the University of the Arts London.
It not only trains people in silver
jewellery production, wax carving,
casting, hand engraving, stone
setting and enamelling; but now
offers computer aided design and
manufacture which will keep learners
ahead in technology which
is increasingly becoming the future
of the jewellery industry.
Email
Further details:
Telephone
020 7405 0197 (Daniella Sapia)
Email
[email protected]
Website
www.holtsacademy.com
Materials
Equipment Suppliers
– Bullion
– Stones
– Packaging
– Machinery
– Tools
– Software
Trade Services
General Trade
Resources
– Casting
– Setting
– Model making
– Laser welding
– Repairs and restoration
01243 811301
[email protected]
Website
www.westdean.org.uk
– Technical information
– Business support
– Trade events
Training
– Professional short courses
– Degree
West Dean College
Located in the heart of the UK
jewellery industry with over ten
years experience delivering jewellery
courses, Holts Academy has a
reputation for delivering enjoyable
courses that are both stimulating
and fulfilling:
If you are interested in attending any •
of our courses or would like to find
•
out more, feel free to contact us.
•
Further details:
Spring 2011
Issue 13
The Goldsmiths’ Company technology portal
The Hand Engravers
Association of Great
Britain
As part of our continuing remit to
encourage professional engravers to
share their skill and experience, the
Hand Engravers Association is holding
a series of evening courses. This unique
initiative is aimed at all skill levels,
from complete novices, to improvers,
to practiced metalsmiths wishing to
hone a particular engraving skill. In
this hands-on, practical course you will
learn from highly skilled professionals
in a workshop environment. With a
maximum quota of five students,
classes are highly individualised.
The Goldsmiths’ Company resources
FREE: List your business on the Portal
If you would like your company or service
to be included on this site, or would like
to recommend someone, please email:
[email protected]
Website
www.thegoldsmiths.co.uk/
technicalportal
The Goldsmiths’ Company resources
Assay Office
Technology
& Training
The Goldsmiths’ Company Assay Office
prides itself on the quality of its marking,
and is renowned for its traditional
handmarking skills. It has also embraced
modern technology and regularly tests
items using non-destructive x-ray
fluorescence spectrometry and can also
apply the world famous Leopard’s Head
Hallmark using any one of its 11 bespoke
made lasers.
The Technology & Training Department
exists to support the Craft & Industry
through a range of activities that make
us a unique resource for those people
to those working or studying to become
members of the trade.
Techniques of sampling, assaying
and marking may have changed over
the centuries, but the principle of
providing an independent guarantee
for manufacturers, importers, retailers,
and the eventual purchaser, remains
the same. It is one of the oldest forms
of consumer protection and many of
the most famous names in jewellery
and silverware worldwide trust The
Goldsmiths’ Company Assay Office to
test and apply the globally respected
London Hallmark to their products.
We offer the following services:
– Hallmarking
– Valuations
– Laboratory Services
– The Antique Plate Committee
– Educational and Training Seminars
– Trading Standards Liaison
– Trial of the Pyx
– Student Hallmarking Packages
Email
[email protected]
Website
The Library
The Goldsmiths’ Company Library’s
collections include over 8,000 books
and 15,000+ images, magazines
and journals, films, special research
collections and subject files on a wide
range of topics. The Library is also
responsible for the Company’s archives,
We draw upon our national and
which date back to the 14th century.
international network of experts to
provide an unrivalled range of resources It welcomes all researchers, from
students and academics to professional
to support you. We provide technical
gold and silversmiths and the
advice and training opportunities
relating to the design and manufacture general public.
of precious metalwork. We encourage
If you would like to visit the Library,
and develop academic, trade and
please telephone or email to make
industrial partnerships with the aim of
an appointment. To help you get the
fostering an ethos of mutual support
most out of your visit, staff can discuss
and collaboration. We strive to promote your research with you in advance and
excellence in craftsmanship, design
provide relevant material when
and technical innovation through our
you arrive.
partnerships to help the Industry
The Library is open between 10 am and
continue to compete in the
4.45pm, Monday to Friday.
global marketplace.
Email
Email
[email protected]
Website
www.goldsmiths.co.uk/
technologyandtraining
[email protected]
Website
www.thegoldsmiths.co.uk/library
Exhibitions
& Promotion
Showcasing and promoting the skills
and talents of the UK’s designermakers in the fields of contemporary
jewellery, silver and art medals is
the main focus of the Company’s
Promotions Department. With exhibitions and events such as the
annual Goldsmiths’ Fair and through
the Company’s websites, including
www.whoswhoingoldandsilver.com,
the Promotions Department brings the
work of these talented crafts people to
a national and international audience.
Exhibitions take place twice a
year. A spring exhibition (January
to February), is held in the downstairs
foyer of Goldsmiths’ Hall, with a much
larger exhibition in the summer (May to
July). The summer exhibition takes over
a number of the principal rooms on the
first floor. A major exhibition is held
every five years. The exhibitions are
varied and usually based on a theme
or focus on a particular craftsman or
group of craftsmen.
Email
[email protected]
Website
www.thegoldsmiths.co.uk/promotion
Spring 2011
Issue 13
Diary of Company and trade events
MAY – SEPTEMBER
An up-to-date
list of events
and exhibitions
hosted by the
Goldsmiths’
Company can
be found on the
website under
the What’s
On section.
The Corieltavi Silver Bowl
Goldsmiths’ Hall, London
Days of Knowledge Events
3 May – 16 July
8 – 9 June
Admission Free
Featuring informative seminars from
Joanna Hardy, jewellery expert; Carol
Woolton, Vogue Jewellery Editor; and
iconic jewellers Stephen Webster and
Theo Fennell among others.
A beautiful 2,000-year-old Iron Age
silver bowl is the highlight of this
enlightening and fascinating exhibition.
For full details visit
Summer Exhibition:
Mindful of Silver
27 May – 16 July
Mindful of Silver is an exciting
and stimulating exhibition, which
challenges our perceptions of the
modern day silversmith and illustrates
the intellectual and practical design
process involved in the making
of innovative, design-led
contemporary silver.
27th May 16th July 2011
Mon - Sat
10am - 5pm
Vladimir Böhm David Clarke Rebecca de Quin Sarah Denny
Grant McCaig Alistair McCallum Hector Miller Peter Musson
Theresa Nguyen Michael Rowe Toby Russell Lucian Taylor
FREE EXHIBITION
The Goldsmiths’ Company, Goldsmiths’ Hall, Foster Lane, London EC2V 6BN
www.londonjewelleryweek.co.uk
The Goldsmiths’ Pavilion
at Treasure
Victoria House,
Southampton Row
9 – 12 June
Contemporary jewellery selling
exhibition that will showcase the work
from some of the UK’s best
fine jewellers.
www.treasureuk.com
London Jewellery Week
Assay Office Jewellery
Fakes and Forgeries
Seminar
6 – 12 June
10 June
JUNE
Mindful
of Silver
JULY
MAY
London Jewellery Week is a Citywide
celebration of London’s world-class
jewellery scene. An incredible range of
events and activities is being planned
in venues across London including
collection launches, exhibitions,
seminars and demonstrations,
workshops, receptions, jewellery
fashion shows, walking tours
and more. For full details visit
Marking Demonstration
at Hatton Garden Festival
Hatton Garden, EC1
11 June
The Goldsmiths’ Company Assay Office
will be demonstrating assaying and
marking at this annual celebration in
London’s traditional jewellery district.
6 June
12 – 13 July
The 6th International Conference
on Additive Manufacturing (AM)
focuses on the research into and
application of additive manufacturing
as a technological approach for the
production of end-use parts.
www.am-conference.com
SEPTEMBER
International Jewellery
London 2011
Earls Court 2
4 – 7 September
www.jewellerylondon.com
Autumn Fair International
NEC Birmingham
4 – 7 September
www.autumnfair.com
VicenzaOro Choice
This unique event is a must for jewellery Vicenza, Italy
collectors, dealers, auction houses,
11 – 14 September
retailers and anyone interested in the
world of jewellery and watches.
www.vicenzaoro.org
Assay Office Hallmarking
Workshop
A hands-on introduction to hallmarking
for consumers by the Goldsmiths’
Company Assay Office.
International Conference
on Additive Manufacturing
Loughborough University
Goldsmiths’ Fair 2011
26 Sept – 2 Oct (Week One)
4 Oct – 9 Oct (Week Two)
The world famous selling event for
professional UK-based silversmiths and
jewellers working in precious metals.
Admission by catalogue.
TCT Live 2011
NEC Birmingham
27 – 29 September
TCT Live is the one of the world’s
most important events for
product development and additive
manufacturing technologies.
www.tctshow.com

Issue 13 - The Goldsmiths Company

Transcription

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