Issue 12 - The Goldsmiths Company

Transcription

Technical
Journal
Autumn 2010 / Issue 12
The technology issue
Issue 12 highlights
02The Goldsmiths’ Centre update
06The making of a micro-alloyed
24ct gold jug
08Causes and preventions of
defects in wrought products
16Mark Grimwade – the Metals Man
18Santa Fe Symposium 2010
20BaselWorld 2010
22The Great Debate at International
Jewellery London 2010
24The skills needs of the
jewellery sector
26Masterclass:
Sizing a platinum ring
In this issue our correspondents report on the
2010 International Santa Fe Symposium, the innovations
launched at BaselWorld and the rising interest in
ethical issues debated at this year’s IJL.
28Masterclass: Technical surgery
Editor’s comment
The Goldsmiths’ Company
Technical Journal
Autumn 2010
Issue 12
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.
© 2010 The Worshipful Company
of Goldsmiths
Cover Image
Editor’s comment
Welcome to our newly
redesigned Technical Journal
As a direct result of the feedback you provided to
our questionnaire earlier in the year, the Technical
Bulletin has been given a refresh after eight years.
The main change you will find in our twice-yearly publication is the new title,
which we hope will reflect a little better the content, which will continue to
focus on technical, metallurgical and hallmarking issues relevant to the Craft
and Industry.
Popular features have been preserved but we have added a few more
industry facing topics such as a Masterclass section where technically focused
step-by-step processes will be explained. There is also a new Profile feature
where we will highlight some of the unsung heroes of the trade.
The Journal has also been designed to sit comfortably within the new
Goldsmiths’ Company corporate identity, and to this end, we hope that our
primary purpose, that of supporting the Craft and Industry, comes across loud
and clear.
On page 3, you will find an update on the exciting new development in
Clerkenwell, the Goldsmiths’ Centre, which will house the Goldsmiths’Institute,
construction of which is well underway. We introduce you on page 22 to our
Sector Skills Council, responsible for working with industry to review and
simplify our National Occupational Standards for Jewellery Manufacture.
Finally, there is a revealing Q&A with Mark Grimwade, the Goldsmiths’
Company’s metallurgist for the last 23 years.
We hope you enjoy this cleaner layout and content. Do let us know what you
think – feedback and suggestions are always appreciated. You can contact us at:
[email protected]
Karin Paynter
Editor / Assistant to Director Technology & Training
Editorial team
Contributors
Dr Christopher Corti
Jurgen J. Maerz
Technical Editor/Technical Consultant to
the Goldsmiths’ Company
Mark Grimwade
Metallurgical Consultant to the
Goldsmiths’ Company
Peter Taylor
Contributor/Director Technology & Training
Ashley Slater
Associate Editor
01
News in brief
The Platinum Expert
Peter Oakley
Doctoral Student, UCL
Catherine Large
Director, External Relations – Creative &
Cultural Skills
The Goldsmiths’ Company Technical Journal
Autumn 2010
Issue 12
New Occupational Standards for the Sector
National Occupational
Standards describe the
skills and levels
of competency for
workers within defined
sectors such as jewellery
and form the basis of
all qualifications that
are developed by
awarding bodies.
Peter Taylor explains.
Ask most people in our
industry what National
Occupational Standards
or NOS for short mean to
them and you might be met
by blank look. However,
getting our NOS correct
and making them as up to
date and relevant as possible
is crucial if we are to have
meaningful qualifications
and apprenticeships for
those training and working
in the sector.
The existing NOS were
developed in the late 1990s
and lapse in December
2010. This period has
seen a radical change
in our industry which
has resulted in training
needs that could not have
been imagined when the
NOS were conceived in
1998. Who would have
thought that CAD and
RP would be playing such
a significant role today?
Whilst no one would claim
that manufacturing is
experiencing a renaissance,
some is reportedly
returning to the UK,
especially at the middle
to high end. We also have
the prospect of an ageing
workforce and potential
future skills shortages
to address.
Therefore, we are
delighted that Creative &
Cultural Skills (CCSKILLS)
has decided to work with
the sector in such a positive
way, and as the feature later
in the Journal illustrates,
we now appear to have a
partner that is prepared
to go a little bit further in
trying to support of future
development needs and we
look forward to working
with them to create the
qualifications of the future.
Industry has its say!
Earlier this year, we carried out an extensive
survey of the Craft and Industry to get a better
understanding of our audience, how it uses
our materials and how we might be able to
communicate more effectively in the future.
We also wanted to gain
feedback on some of the
planned initiatives such
as the Goldsmiths’ Centre
and the Institute that will
sit within it. We received an
overwhelming response
and these are some of the
survey findings:
Firstly, we are pleased
to report that when asked
to describe the work of
the T&T Department, there
were very few negative
responses. Given that it is
not unusual for respondents
to take the opportunity
offered by an online survey
to let off steam, this was
welcome news!
There was however, a
lower level of awareness
of the materials produced
by the department than
we expected. However,
their content was seen
to be highly relevant by
the majority of people
who had accessed them.
In response, we have
redeveloped our website to
make our materials more
visible and where possible
downloadable. We will
also be implementing a
marketing strategy over the
coming months to make
sure we keep you better
informed of developments
as the Goldsmiths’ Centre
nears completion.
Training was highest on
the list of what respondents
wanted T&T to provide
and this feedback is
being fed directly into
the development of
the activities within the
Goldsmiths’ Institute.
With regard to
apprenticeships, the main
barriers to taking on
apprentices were felt
to be associated with cost
and the time involved in
training them. The vast
majority of respondents
would consider taking
on an apprentice if they
were financially supported
and if the apprentice
could gain a recognised
qualification.
The Jewellery and
Allied Industries Training
Council and CCSKILLS,
our Sector Skills Council
are working with us to
develop a Government
funded apprenticeship for
the industry. Time will tell
whether direct funding for
employers can be made
available, but it is likely
an apprenticeship will be
available sometime in 2011
(more information about
this on page 22).
These are just some of
the responses so thank you
for the positive contribution
you have given to help us
develop our support for
the future.
www.thegoldsmiths-centre.org
Apprentices make
the grade
We are delighted to be able
to report that the first two
City & Guilds Licentiateship
awards have been made
to ex-apprentices Paul
Savage of Clive Burr Ltd.
and Paul Wilson of C.A.
Trebble. The two Pauls
can be justifiably proud of
being the first Goldsmiths’
Company Apprentices to
achieve the award, which was
presented to them by the
Prime Warden, Mr Michael
Galsworthy. The qualification,
which is unique to our own
scheme, was introduced in
2005 with a requirement for
all our apprentices to take
part. We hope they will be
the first of many apprentices
to achieve a professional
qualification that recognises
the quality and level of
training that they receive.
News and comment
The Goldsmiths’ Centre
– construction is underway
Images
Left page
The piling for the foundations of a brand
new four storey building to the north of
the site, and creation of a new basement
to a depth of 5 metres, has been carried
out without a hitch. (Image courtesy of
the Goldsmiths’ Company)
Right page
Artist’s impression of
The Goldsmiths’ Centre entrance
and public café (Image courtesy
of Johnson Naylor Architects)
News and comment
02/03 The Goldsmiths’ Company Technical Journal
Autumn 2010
Issue 12
Fit for purpose workshops and studios
have been designed to provide a state-ofthe-art teaching and learning space
The Goldsmiths’ Centre is a £17.5 million
ground-breaking development funded by the
Goldsmiths’ Company in support of the Jewellery,
Silversmithing and Allied Trades. The Centre
will be completed in October 2011. It will house
workshops, studios, exhibition and conference
spaces and a café, as well as a state-of-the-art
training facility for young craftsmen, to be known
as the Goldsmiths’ Institute. In this report, Peter
Taylor, Director Designate, describes how its
construction is moving forward.
In April’s issue, I was able to report
that work on the Goldsmiths’ Centre
development would recommence in
May and I am pleased to be able to
confirm that this has proved to be the
case. Since then, as you will see from
the photographs, things have moved
apace and good weather over the
summer has meant that Balfour Beatty,
the Construction Contractor, has been
able to make excellent progress.
The site is made up of two
distinct elements. The piling for the
foundations of a brand new four
storey building to the north of the site,
and creation of a new basement to a
depth of 5 metres, has been carried
out without a hitch. Once the piles
had been completed, a capping beam
of approximately a metre in depth
was run around the perimeter of
the basement and braced with props
before the bulk of the basement
excavation started. Thus far, neither
well preserved Romans nor World War
2 ordinance has been found, a great
relief to all concerned.
The second build element on site,
the existing Victorian grade II listed
board school, has also undergone
some changes over the construction
period, with the demolition of the
existing staircases which used to divide
boys from girls, and the breaking out
of the ground floor. This involved
the use of a radio controlled digger
which was expertly driven around in
the interior space of the building and
made short work of the concrete slab.
The removal of the stairs has made a
huge difference to the overall feeling
of space on site and there is now a
real sense of what the atrium and glass
bridge will look like when complete.
Detailed design work has
developed on the interior of the
Goldsmiths’ Institute which sits at the
heart of the Centre. Fit for purpose
workshops and studios have been
designed to provide a state-of-the-art
teaching and learning spaces. There
will be a fine mounting workshop,
a silversmithing workshop and tool
room areas, all housed on the ground
floor of the Institute. With a prototype
workshop and technology area on
the first floor, the aim will be to make
all facilities available to not only the
Institute’s trainees but also Centre
workshop occupants and others from
the wider Craft and Industry.
As physical construction of the
Centre is well underway, our thoughts
now concentrate on the operational
Key Facts
The new Centre is 40,000 ft² in
area and is five storeys high.
This £17.5M project represents
the Goldsmiths’ Company’s
largest ever direct investment in
support of the craft and industry.
We will train eight pre-apprentices
a year and provide day release and
other courses for those working in
the trade.
Six post-graduate places
will be available and we will
have approximately 20
starter studios.
There are nineteen larger
workshops with the biggest being
750 ft² in area.
www.goldsmiths-centre.org
News and comment
Comment
With the Goldsmiths’
Centre due to open
in spring 2011, we
asked a selection of
industry members and
project workers for
their thoughts on the
development and what
they think it will mean
for the industry.
£17.5m
This £17.5m project
represents the
Company’s largest ever
direct investment in
the industry.
Industry comment
Shaun Leane
Jewellery Designer
and Maker
Patrick Fuller
Joint Chairman,
Weston Beamor Ltd
Autumn 2010
Issue 12
Elliot –
Fitzpatrick Ltd
Silver and Gold
Manufacturers
I love the jewellery industry, it is a lovely
trade and this initiative by the Goldsmiths’
Company is a really exciting and much
needed one. If this space goes some way
towards educating graduates that becoming
a designer maker is not the only career in
this industry, then brilliant!
Barrie Legg
Interior Design
Consultant –
Johnson Naylor
We see the Goldsmiths’ Centre as the future
of our company and others alike with
limitless possibilities for all involved. This is
a fantastic opportunity for the Goldsmiths’
Company to show its continued support
during the current climate and beyond.
We believe it is a positive statement from the
Goldsmiths’ Company that will continue to
support the constant training, mentoring
and experience which is invaluable to us
and for craftsmen of the future.
Liz Olver
Design Director,
Annoushka Ltd
I feel the Goldsmiths’ Centre is going to
be a hub of creativity, with workshops
and gallery spaces combined. It will be a
central point for the jewellery trade and the
public. In what has been a difficult time
for the industry, I feel the centre will inject
positivity and I very much look forward to
the opening.
Brian Hill
Course Leader,
UCE Rochester
Image
Prime Warden,
Mr Michael Galsworthy
surveying the site
(Image courtesy of the
Goldsmiths’ Company)
aspects of running the charitable
Centre. A great deal of work has
been done already in planning the
launch of the building in 2011-12.
The branding and visual identity of
the Goldsmiths’ Centre Charity is now
complete and the new website will be
online by the end of 2010. This will
allow individuals and businesses to
register interest in workshop space
and for the courses which will run
within the Institute. There will also be
an opportunity for those interested to
put themselves forward as potential
lecturers and trainers within the
facility. The positive reaction that we
have received to our plans to deliver
some good old fashioned skills-based
training for both new entrants to the
trade and those who want to improve
their skills has been great.
I look forward to updating you
further in the next issue of the new
look Technical Journal in April, but
in the meantime the latest images and
information about the project can be
found at www.goldsmiths-centre.org
As the selected interior designers for the
Centre, Johnson Naylor is happy to be
working closely with the Goldsmiths’
Company and the team to help create a
centre where all people associated with
silversmithing will be able to come together,
to learn, to teach, to inspire, to share and
to socialise and be in a place of shared
passion for the art, the craft, the profession
and the future of the silversmith.
The Goldsmiths’ Centre is a breath of fresh
air when opportunities to nurture or hone
craft skills are few and far between. We as
an industry are extraordinarily lucky to
have the resources offered by the Goldsmiths’
Company with exhibitions, fairs, collections
and library as well as the Technology &
Training facility. The Goldsmiths’ Centre
promises to be an initiative that will
support, preserve and revive our industry
in a positive and practical way.
David Marshall
Luxury Jeweller
Rachel Gallery
Designer Jeweller
The Goldsmiths’ Centre will create and
provide what I have always believed in
and feel passionate about: promoting and
establishing a culture and community of
activity in support of excellence through
demonstration, practice and engagement in
our craft. All will welcome this with open
arms and rejoice in the opportunities the
Centre will provide for the countless people
that will benefit from its existence and
operation. A brilliant project, resource and
world leader for us to use, appreciate, enjoy
and raise the bar; it must be Christmas!
I feel the timing could not have been
better! As someone who takes great pride
in fine craftsmanship and is an employer
of amazing craftsmen and women, I am
now experiencing a shortfall of new fine
craftsmen coming though. This is due to
the training from many institutes changing
so much over the last decade and it will be
a breath of fresh air to have the Goldsmiths’
Centre pick up this training and promotion
of excellence so that me and many others
will be able to find our next generation of
amazing talent.
The Goldsmiths’ Centre will be an incredibly
creative and inspiring place for both
new designers and those who are already
established in the industry. It will offer an
extension of the fantastic opportunities
that the Goldsmiths’ Company already offer
through their courses and events and bring
a new lease of life to the whole area.
Innovation and technology
Innovation and technology
The making of a micro
alloyed 24ct gold jug
In May 2010, Silversmith Martyn Pugh and Research Fellow
Dr Ann-Marie Carey from Birmingham City University presented
a paper at the International Santa Fe Symposium on Jewellery
Manufacturing Technology held in Albuquerque, New Mexico,
USA. Partially funded by the Goldsmiths’ Company and
Birmingham City University, their paper was met with a very
enthusiastic response. Entitled ‘The Changing Demands on
the Creative Process as a Consequence of New Technologies’, the
project encompassed every aspect of manufacture, from
metallurgical and technical challenges alongside the
use of traditional and ‘high-tech’ silversmithing skills.
In the paper, Martyn Pugh and
Ann-Marie Cary documented the
realisation of a micro alloyed gold
claret jug. This project encapsulated
all aspects of creativity, from
initial design and research, to the
innovation and skill of the British
crafts people involved that turned the
impossible into reality.
To get the project off the
ground, Pugh, who enjoys pushing
technical boundaries, consulted a
number of leading specialists, and
brought together a skilled team,
willing to impart their knowledge
and share the challenges of such a
project. It involved a wide spectrum
of knowledge, the convergence of
new and old techniques, and the
reassessment of workshop practice
in respect to the characteristics of an
unfamiliar material.
The original request for a pure
gold claret jug 10 years before had
been initially dismissed by Pugh
as being impractical – pure gold
being too soft. A couple of years
later, an off-hand comment to Pugh
initiated a serious investigation of the
current metallurgical developments
in hardenable high carat gold
alloys, tangible
evidence to take the
project forward. Upon
further investigation
and discussion with
metallurgists, including
our own Dr Christopher
Corti, Pugh identified a
list of potential hardenable
‘pure’ gold alloys. How would
a hardenable ‘pure’ gold
alloy perform under workshop
conditions? How would it respond
to the fabrication techniques
required to produce a claret jug on
this scale (360mm in height)?
With the help of many
knowledgeable individuals and much
experimentation Pugh completed the
claret jug, ‘an everlasting investment’,
in the spring of 2009, nearly 10 years
after the comment of ‘I’d like one of
those in 24K’.
The full paper can be accessed via the Santa Fe
Symposium at:
www.santafesymposium.org
Or through the Technology and Training department
of the Goldsmiths’ Company via email at:
[email protected]
Autumn 2010
Issue 12
This project encapsulated all aspects of
creativity, from initial design and research,
to the innovation and skill of the many
British crafts people involved
Close up, laser spot welding experiment –
generation of blue oxide on weld
Filing back and emery finish –
no noticeable color difference
Key Facts
The jug weighs 2.1 kilos and
stands 360mm high
The jug was constructed using
spinning, laser welding, casting
and traditional silversmithing
and fabrication techniques by
Pugh and a team of skilled British
craftsmen.
It was polished by hand.
It took over 500 hours to design
and make.
It is the largest object ever
made in 990 ‘pure’ gold.
Designed and made by
Martyn Pugh
In collaboration with
Dr Ann-Marie Carey
Stephan Coe
Dr Christopher Corti
Hean Studio
Plataurum
Metallurgy and materials
Autumn 2010
Issue 12
Causes and prevention of
defects in wrought products
In this seventh article in the series on basic
metallurgical principles, Mark Grimwade
discusses the common causes of defects in
wrought products and what needs to be
considered in minimising their occurrence.
The previous article in Issue 11 dealt with the changes that occur
when metals and alloys are worked and annealed to produce what
are often referred to as ‘wrought products’. Also, we have discussed
solidification and casting and causes of defects in castings in Issues
9 and 10. It seems logical, therefore, to discuss the causes and
prevention of defects that can occur in wrought products, be they
semi-fabricated items such as sheet, rod, wire, etc., stampings and
pressings or hand-crafted items made at the workbench.
Defects arising from
the original cast ingot
It is important to recognise that some
defects that show up in wrought
products may have their origin in
the cast ingot or even continuously
cast stock.
Figure 1: An example of splitting in a
wrought 14ct yellow gold ring shank.
Magnification 50x
working and recycled as scrap of
known quality. Any internal shrinkage
porosity should weld up and
disappear provided the inner surfaces
are clean and free from oxide.
B. Blistering and hydrogen
embrittlement
Blisters and exfoliation forming
on the surface of sheet and strip
A. Piping and shrinkage porosity after annealing may be caused by
gas porosity trapped in the cast
A pipe is the funnel-like depression
stock. During rolling, the porosity is
at the top of a cast ingot that results
flattened and will not be observed in
from shrinkage during solidification.
the as-rolled material. On annealing
When the ingot is subsequently
at elevated temperatures, the gas
worked, say by rolling or forging, a
pressure increases and, at the same
centre-line defect will develop along
and within the product, particularly if time, the surrounding thin metal
the pipe surface is oxidised, because it becomes weaker. Consequently, the
has been exposed to the atmosphere. metal tends to blow up like a balloon
This can lead to splitting of sheet, rod forming blisters on the surface
and wire during subsequent working. (Figure 2).
Figure 1 shows an example of splitting A related defect is due to the fact
that gold and silver alloys contain
in a wrought 14ct yellow gold ring
copper and gas pick-up when
shank.
melting and casting can lead to the
The region containing the pipe
internal formation of copper oxide
should be cropped off prior to
Figure 2: Polished and annealed surface, 18ct yellow gold. Magnification 200x
particles. Annealing in hydrogencontaining reducing atmospheres,
such as cracked ammonia, can then
cause embrittlement or blistering
and exfoliation on the surface. This
arises because hydrogen can readily
diffuse into the metal where it reacts
with copper oxide to form steam
which cannot then diffuse back out.
The steam pockets expand causing
cracking along grain boundaries.
The remedies are to use oxygenfree copper and silver and clean
oxide-free scrap for alloying, melting
under conditions to avoid gas pick-up,
e.g. electric heating and/or use of a
suitable flux, annealing in a neutral
atmosphere such as nitrogen or
argon.
C. Inclusions
Inclusions are insoluble particles,
such as oxides and silicides. These
can lead to cracking during working
or the formation of hard spots that
can then affect the quality of a final
polished surface (comet-tail effects).
They may be pieces of crucible or
furnace lining that have fallen into
the melt or they may be formed by
chemical reaction between absorbed
gas and an alloy constituent. Regular
inspection of crucibles, furnace
linings, cleanliness of working
surroundings and a consideration
of possible reactions are important
if inclusions are to be kept to a
minimum.
D. Contamination
Contamination of the melt can cause
embrittlement and catastrophic
cracking on working. The most
notable example is the presence of
very small traces of lead (<0.02% or
200 ppm) in carat gold alloys. The
lead has usually been accidentally
introduced as soft solder traces in
recycled scrap. It has been reported
that it can also occur if gold sheet is
worked and shaped on a lead former
without any intervening piece of
tissue to prevent lead pick-up. The
cracking is caused by the formation of
Blisters and exfoliation
forming on the surface
of sheet and strip after
annealing may be
caused by gas porosity
trapped in the cast stock
Figure 5: Minimising roll bending using a 4 high mill
Figure 3: Defects due to misalignment of the rolls
TOP ROLL
TOP ROLL
Rolling direction
Thick strips
curving towards
narrow side
TOP ROLL
BOTTOM ROLL
Thin strips with
wavy edge on
narrow side
Non-parallel gap
Misaligned rolls
Figure 4:
Defects due to roll bending
TOP ROLL
Wavy edges on both sides
due to excessive roll bending
a gold-lead intermetallic compound
in the grain boundaries. Other
embrittling agents in precious metals
can be silicon, selenium, tellurium
and bismuth. The obvious remedy is
to avoid using recycled scrap of
unknown origin.
Cracking in working operations
that is due to inclusions and
contamination may be referred to as
cold shortness and lead contamination
is a prime example. Hot shortness
may occur if the metal contains a
contaminant that gives a low-melting
point compound causing incipient
melting in the grain boundaries
on hot working or annealing. An
example of this type of embrittlement
occurs when platinum is heated in
contact with a silica-based refractory
and a hydrogen reducing atmosphere.
Reduction of the silica (silicon
dioxide) leads to the formation of
silicon monoxide vapour that reacts
with platinum to give the low-melting
point platinum silicide.
prior to working as it is more difficult
and costly to remove oxide scale after
it has been ground into the surface
of sheet or rod. Excessive amounts
of mould dressing can leave large
depressions in the ingot surface. A
thin continuous film of oil applied to
the mould wall is recommended and
excess flux should be skimmed off
before pouring the melt. Splashes,
slivers and spills, caused by metal
splashing and solidifying with an
oxide film, form before being covered
as the melt fills the mould. These
can separate and peel away at the
oxide interface during working giving
an uneven surface. Inspect ingot
surfaces so that they may be trimmed
and filed where necessary to smooth
out depressions, remove splashes
and spills and gouge out particles
embedded into the surface.
Defects arising as a result
of the working process
E. Surface quality
This may depend on the surface
Providing that care has been taken
quality of the initial cast stock.
to ensure that the cast ingot stock is
Remove surface oxide by acid pickling of good quality, then it is probably
The harder the material being rolled, the
greater the rolling force required and, hence,
the greater the amount of roll bending
2 – High Mill
true to say that the most common
cause of cracking in wrought material
is ‘overworking’, i.e. insufficient
interstage annealing during the
working process. Workers hand
crafting at the bench or using rolling
mills and wire drawing equipment
in a small workshop have to rely on
experience to tell them when to
anneal the particular alloy being
worked. In larger scale operations,
such as in the manufacture of semifabricated products, it is necessary
to establish working and annealing
schedules, including reductions in
thickness and area per pass, if quality
control is to be maintained.
However, it is worth drawing
attention to defects that may occur
in the major working processes that
are in part due to overworking and in
part due to poor practice.
Rolling of flat products –
sheet strip and foil
A. Finishing rolling
Poor surface quality can arise
from the use of poor quality
rolls with scratched or damaged
surfaces. Finish rolling should be
done, where possible, using small
diameter rolls with highly polished
or chromium plated surfaces to
achieve a mirror-bright finish. Roll
surfaces should be continuously
wiped to keep dust and other
particles from scoring or marking
4 – High Mill
the rolls or being rolled into the
sheet or strip surface. Cover the
rolling mill when not in use to
protect roll surfaces.
B. Misalignment of the rolls
This leads either to curvature of
the strip to one side as it comes
out of the roll gap, if it is relatively
thick, or to a wavy edge on one
side if it is thin strip (Figure 3).
The obvious remedy is to adjust
the roll screws to give a parallel
roll gap.
C. Roll bending
Roll bending under the action
of the rolling force required to
reduce sheet or strip thickness can
lead to uneven thickness across
the width or to wavy edges on both
sides (Figure 4). The harder the
material being rolled, the greater
the rolling force required and,
hence, the greater the amount
of roll bending. Either decrease
the reduction per pass, together
with more frequent interstage
annealing, to reduce the rolling
force or, preferably, use a four-high
rolling mill where small diameter
work rolls are backed by larger
rolls to prevent the work rolls
bending under load (Figure 5).
Autumn 2010
Issue 12
Figure 6: Edge cracking
Figure 7: Formation of fins and laps
Top roll
12/13 The Goldsmiths’ Company
Technical Journal
Autumn 2010
Issue 12
Figure 9: Cuppy wire
Die
FIN
TOP ROLL
Bottom roll
FIN
die semi-angle α
Fins caused by
overfilling the roll groove
Laps caused by
rolling fins into the rod
cuppy wire
fracture
Cupping and fracture in wire drawing
Edge cracking in rolled strip
D. Edge cracking
Edge cracking is commonly caused
by overworking between anneals.
It is important to trim edges at the
time it occurs as further rolling will
increase the danger of some cracks
suddenly running into the centre
of the strip and turning through
right angles, greatly increasing the
amount which has to be scrapped
(Figure 6).
Figure 8: Example of ‘Alligorating’ (splitting)
of the gold alloy rod during first rolling pass
(courtesy Engelherd-CLAL, U.K.).
Rod rolling
A. Fins and laps
Fins are caused by trying to push
too much metal into the rolling
groove, i.e. attempting too large
a reduction, so that the rolls are
forced apart and the excess metal
is squeezed sideways (Figure 7).
If the fins are subsequently rolled
into the rod, they become laps
that form planes of weakness
and they can open up at a later
stage, particularly under torsion
or a twisting motion. Such defects
can be prevented by avoiding
excessively large reductions and
by rotating the rod through 90º
between each successive pass.
E. Gauge (thickness) control
Modern large mills usually have
sophisticated automatic gauge
control systems but for the small
jewellery workshop this will not
be possible. Care should be taken
to ensure uniform thickness both
along the strip length and across its
B. Crocodiling (Alligatoring)
width. Variations in thickness will
Crocodiling can happen at early
give variations in the forces required
stages of rolling slab and rod
in subsequent sheet metal forming
ingots. As the name suggests,
operations and this may lead to
the leading edge opens up as it
higher rejects rates and risk of
exits the rolls to produce a crack
increased tool wear and breakage.
with serrated edges (Figure 8).
If the rolled product is sold to a
It can happen without warning
specified maximum thickness,
but sometimes a small crack will
any additional thickness over
appear in the centre of the leading
specification has to be paid for by
edge. In this case, rolling must not
the manufacturer and for precious
proceed until the leading edge has
metals this will be expensive. Finish
been cropped off to remove the
rolling with light reductions as
crack, or it may propagate on the
sizing passes before final annealing
next pass to produce the major
will help to control gauge.
defect. The causes are due to
two factors:
1. The centre of the stock is still
relatively unworked and, therefore,
is weaker.
2. Because the deformation on rolling
is not homogeneous through the
section, there is a ‘fishtail’ effect
produced at the leading edge. This
in turn produces internal stresses
that are tensile in nature along the
centre. The effect is to increase the
tendency to form and propagate a
crack along the centre line.
The remedy is to give larger
reductions per pass, if possible, at early
stages of rolling to induce a greater
penetration of deformation through
to the centre of the stock.
dependent on the die semi-angle
lower this significantly. For large
diameter wires, the reduction
may be 25-45% depending on
the workability of the particular
alloy but, as the diameter is
decreased, the reductions may be
down to 15-20%.
4. A breakdown in lubrication gives
an increase in friction and this
lowers the reduction that can
be given.
Sheet metal forming
The occurrence of defects in sheet
metal forming by stamping, deep
drawing and press forming is a
complex subject. It is not surprising
Drawing
that fracture will take place at the
weakest or thinnest point in the part
Cuppy wire
being formed. This is most likely to
The most common defect in drawing
be where the sheet has been bent
is breakage or necking down as the
under tension round an angle, as
wire emerges from the die or draw
extra thinning will occur there. There
plate (Figure 9). There are four
is a maximum or limiting size of
possible causes.
blank that can be successively formed
1. The wire is overworked and
without failure occurring at this point.
requires annealing.
2. The presence of inclusions can give It may be necessary to partly form in
one punch-die set and then further
weak spots in the wire.
form in other punch-die sets.
3. Too large a reduction per draw is
A good example of this is in
being attempted. It can be shown
forming pen barrels. The Erichsen
that the maximum theoretical
reduction in area is 63%. However, cupping test assesses sheet metal
formability for certain types of
friction between the wire and die
pressings but the results must be
surfaces together with a factor
used with caution.
known as redundant work that is
Finish rolling should
be done, where
possible, using small
diameter rolls with
highly polished or
chromium plated
surfaces to achieve a
mirror-bright finish
News and comment
Assay Office update
New Hallmarking
Guidance Notes
Specialist Fakes and
Forgeries Seminars
The UK Assay Offices have recently
published a new set of Hallmarking
Guidance Notes. The brochure
is available from any of our Assay
Office counters or for download
from the website. It includes a full
list of standards that are available
for hallmarking, examples of the
marks (including the latest palladium
Convention Mark), information on
hallmarking of mixed metals and the
latest exemptions.
A special jewellery focussed Fakes
and Forgeries Seminar was held in
Goldsmiths’ Hall as part of London
Jewellery Week. This was the first
themed Fakes and Forgeries seminar
we have held. The event was extremely
well attended and included talks on
hallmarking by Dr Robert Organ,
the Deputy Warden, Identifying
Jewellery Fakes by Dr Jack Ogden,
Chief Executive, Gemmological
Association of Great Britain, Fighting
the Counterfeiting of Swiss Watches
by Michel Arnoux, Head of the
Anticounterfeiting Department,
Federation of the Swiss Watch Industry
and The Psychology of Fakes and Faking
by Mr Geoffrey Munn, BBC Antiques
Roadshow and Managing Director,
Wartski Limited.
Based on the success of the above,
a further specialised seminar will be
held on 22 November 2010, again in
the Hall. The theme will be the police
case relating to Ashley-Russell, the
infamous faker of spoons. It is hoped
that the actual items will be available
to view. The keynote lecturer will be
Alastair Dickenson of the Antiques
Roadshow. The usual hands-on table
sessions examining items from the
Assay Office Fake’s Collection will also
take place.
Future Events
Friday 5 November 2010
Valuation Day,
Goldsmiths’ Hall
Monday 22 November 2010
Fakes and Forgeries Seminar
– The Ashley-Russell case,
Goldsmiths’ Hall
Hallmarking Guidance Notes
download at:
www.assayofficelondon.co.uk
News and comment
Autumn 2010
Issue 12
Profile
Profile:
Mark Grimwade –
the Metals Man
Career Profile:
Mark Grimwade, BSc., MTech., MIM, CEng,
FCGI, has been involved in lecturing on
metallurgy and manufacturing technology
to jewellers and silversmiths for many
years. Mark has been a consultant to the
Goldsmiths’ Company since 1987 and to
the World Gold Council. He provides vital
technical expertise on metallurgical and
manufacturing matters relating to the
precious metals and is widely regarded
as an expert in his field. He has lectured
regularly at the Santa Fe Symposium in
Albuquerque, New Mexico and has recently
published his second book Introduction to
Precious Metals – Metallurgy for Jewellers
and Silversmiths.
Further reading:
Introduction to Precious Metals
– Metallurgy for Jewellers and
Silversmiths, ISBN 978-007136-8758-3
published by A&C Black Ltd 2009
Mark has published various papers in
Gold Technology published by the
World Gold Council
www.gold.org
Santa Fe Symposium
Profile
Autumn 2010
Issue
Issue24
1
“I believe that the Goldsmiths’ Centre is an
exciting project that will be of great value to
the jewellery industry”
QHow would you describe
metallurgy and why is it
important to the jewellery and
silversmithing industry?
AMetallurgy is a study of the science
of metals and alloys. Because it has
elements of physics, chemistry and
engineering it can be considered
a cross-disciplinary science and
also an important branch of
materials science. A knowledge
of basic metallurgical principles
should be of importance to all
jewellers and silversmiths so that
they have a better understanding
of the properties and working
characteristics of the metals and
alloys with which they are familiar.
That is not to deny the importance
of practical experience possibly
built up over many years. It can
be summed up by the following
statement that I saw displayed on
a wall in a School of Jewellery in
Southern India a few years ago.
“Theory without practice is
fruitless but practice without
theory is rootless”
Q What made you interested in
metallurgy as a career?
AI wanted a scientific career and
got a job at the GEC Research
Laboratories in Wembley when
I left school at the age of 17 with
science A’ Levels. By chance, the
vacancy was in the Metallurgy
Department. Higher education
involved part-time study; first a
General Science Degree followed
by the professional examinations
of the then Institution of
Metallurgists and later a
Masters degree in Metallurgical
Quality Control.
QHow did you get involved with the
Goldsmiths’ Company?
AIn 1970, I was a Senior Lecturer in
the Department of Metallurgy at the
then City of London Polytechnic.
Peter Gainsbury, former Director
of Design and Technology at the
Goldsmiths’ Company, asked me to
give an evening course of lectures
to jewellers and silversmiths in the
London area on the grounds that
they didn’t know enough about the
properties of the precious metals
and alloys. This eventually led to
a greater involvement with the
Company during the 1980’s.
QYou have assisted the Company
with consumer complaints for
the last 23 years, providing an
impartial opinion on problems
with manufacture. What has been
the most frequent problem during
this time?
AThe most frequent problem
encountered in disputes between
manufacturers, retailers and
consumers in the early years was
stress corrosion cracking in 9 carat
gold jewellery and there were
some fascinating examples. This is
in part due to incorrect working
and annealing treatments during
manufacture and repairs, e.g.,
resizing rings. This type of defect
is rarely seen nowadays suggesting
that industry has learnt the lesson.
A common problem in recent times
has been distortion and damage to
platinum rings. It can be argued
that this is damage and abuse by
the consumer but in my opinion,
is largely due to the incorrect
950 platinum alloy being used in
manufacture, particularly if they
have been imported from S. E. Asia
and the Far East.
QWhat appears to be the biggest
issue facing industry today?
AThe biggest issue for the jewellery
industry remains the lack of
technical knowledge particularly
with craft jewellers, designer
makers and retailers. Too often
I see failed items that lack the
strength and other properties to
stand up to the stresses imposed
naturally during normal wear.
Unfortunately there is reluctance
for some artist/designers to learn
basic scientific and engineering
principles and, in part, this stems
from a lack of college training.
QWhat do you regard as having been
your greatest achievement?
AI have been very pleased to
have been associated with the
Goldsmiths’ Company for so many
years and the experience I have
gained during that time has been
invaluable. This has culminated
in the production of a book
Introduction to Precious Metals
– Metallurgy for Jewellers and
Silversmiths intended specifically
for the jewellery industry.
QWhat do you do to relax outside
of work?
AI have been a member of a Rotary
Club for 32 years and, therefore,
involved with service to the
community. I play golf with mixed
results and enjoy time with my wife,
two sons and daughters-in-law and
four grandchildren.
QWhat role would you like to see for
metallurgy and material science
within the Goldsmiths’ Centre?
AI believe that the Goldsmiths’
Centre is an exciting project
that will be of great value to the
jewellery industry. There will be the
opportunity to offer short courses
in metallurgy and material science
deliberately aimed at assisting
jewellers and silversmiths.
Report and review
Report:
Santa Fe Symposium 2010
Gold
Making the choice of which carat
gold alloy to use for a particular
process route and/or end properties
is not easy, with a myriad of alloys
on the market. Mauro Di Sauro and
his colleagues at ProGold Srl, Italy
have undertaken a project on the
Characterisation of 9, 10, 14 and 18
carat gold alloys. He reported on
the initial results on 18ct gold-silvercopper-zinc coloured alloys and
gold-nickel-zinc-copper white alloys
with various additions of grain refiners
and/or deoxidisers, measuring
melting range, colour (CIELab),
density, tensile properties and deep
drawing ability as well as hardness and
nickel release rate. This is good basic
data that should enable better alloy
choices to be made.
Chris Corti reports on the 24th annual
Santa Fe Symposium on Jewellery Manufacturing
Technology on the 16th-19th May.
Attendance at this excellent technology symposium for jewellery
manufacturers was up to near record levels this year, indicating
a more optimistic outlook by the jewellery industry and in stark
contrast to 2009. The Symposium had a strong programme
of presentations covering a wide range of topics. There was
something of interest to all attendees and there was a noticeable
‘buzz’ in atmosphere. A great feature of these symposia is the
networking and the ability to interact with speakers and others to
share experiences, discuss problems and exchange information.
Firescale
Sage rings compared: Two sterling silver cast rings after
polishing. Left ring is untreated and shows firescale; right
ring has been pre-treated by immersion in activated
charcoal for 2 hrs at 745°C prior to polishing. There is no
sign of firescale, which has been removed by the charcoal
heat treatment.
The formation of copper oxide subsurface is a long-standing problem
and was the topic addressed by
Patrick Sage, Rio Grande, USA in his
presentation, Firescale Prevention and
Removal. He reviewed the cause, its
prevention and its removal by acids.
He also highlighted the possible use
of carbon monoxide as an agent to
reduce copper oxide firescale – a
method not yet in use in our industry.
Tarnishing
Silver technology is
enjoying a renaissance at
this symposium and 2010
confirmed this trend.
Another perennial problem, tarnishing,
is a topic reviewed previously. Andrea
Basso, Legor Srl, Italy gave an excellent
overview of the problem in The
Tarnishing of Silver Alloys: Causes and
Possibilities. He showed that tarnishing
is a complex phenomenon depending
on environment and alloy metallurgy,
which is why specific laboratory tests
are not always a good guide to real
behaviour. Basso then went on to detail
the tarnishing behaviour of a range
of sterling silver alloys, using several
tarnishing test methods and aimed at
developing improved tarnish-resistant
alloys. Both germanium and silicon
additions can confer good resistance,
for example.
Report and review
Platinum Casting Research
Another approach to tarnishing
prevention is to use a protective
coating and Nora Isomäki, Beneq Oy,
Finland, in her presentation, Thin
Film Anti Tarnish Method for Silver,
demonstrated how putting down a very
thin transparent oxide coating (nSilver)
by Atomic Layer Deposition (ALD),
can result in excellent resistance to
tarnishing and white spot formation
compared to other coating techniques
including anti-tarnish chemical
solutions. Samples of coated silver on
display attracted much interest too.
Investment casting of silver
Jörg Fisher-Bühner, Legor Srl, Italy
updated the audience’s knowledge
in his presentation, Silver Casting
Revisited: the Alloy Perspective. This
focussed on the search for new
improved sterling casting alloys. He
detailed new research on casting of a
range of silver alloys, with particular
focus on silicon additions, and their
subsequent properties and porosity
levels. He noted that all alloys have
their strengths and weaknesses, but they
could be sub-divided into three groups:
high silicon, low-medium silicon and
silicon-free. Choice of alloy depends on
customer need, and a compromise on
desired properties may have to be made.
Technical Journal
showed few but large pores whilst
950Pt-Ru often showed scattered pores.
(ii) form-filling was a critical issue for
filigree items. 950 Pt-Co was superior
to 950 Pt-Ru alloy and (iii) investment
reactions were observed for the 950
Pt- Co alloy, independent of casting
atmosphere and resulted in a blue layer
Example of cross-sectioning by the FIB.
A thin layer of Pt is deposited before ion milling
of cobalt silicate. In contrast, 950 Pt-Ru
did not show any investment reaction
despite its higher casting temperature.
This work has shown that casting of
platinum alloys is a complex process
and that careful selection of casting
conditions is important if acceptable
castings are to result.
The technology of investment casting
of platinum alloys has not been
studied as deeply as gold and silver.
Dr Ulrich Klotz, FEM, Germany,
described a major research project
carried out with several industrial
Sustainability
partners and funded by Platinum
Guild International. Entitled, The Role
of Process Parameters in Platinum Casting, Production of jewellery from
sustainable materials, ethically
Klotz looked at the behaviour of two
produced, has become of increasing
importance to the consumer. However,
as Mark Danks, Johnson Matthey plc,
New York, discussed in his illuminating
presentation, Who’s Responsible? How
Manufacturers can Become Responsible
Suppliers in the Green-Conscious World,
there is a basic problem in the
definition of terms. What do we mean
by sustainable, green, eco-friendly,
ethically sourced and so on? Danks
gave an excellent presentation looking
Micrograph of an as-cast cross-section of a platinum –
at the principles of sustainability and
5% gold alloy. Hardness is 150 HV.
covering aspects such as the Kimberley
Process for diamonds, dirty gold and
casting alloys – 950 Pt-Ru and 950
what the industry is doing to meet
Pt-Co. Casting trials were conducted
expectations. He addressed some of
in a centrifugal casting machine with
induction heating, atmosphere control the difficulties in the use of such terms
in other industries. A sound point
and temperature measurement. Four
that responsible jewellery production
types of investment powder were
does not end with sourcing of the
investigated and casting trials were
carried out to analyse the influence of raw materials was discussed; the
casting parameters: melt temperature, whole manufacturing and retail
process is important too. Danks
flask temperature, atmosphere, alloy
discussed corporate responsibility
and investment.
and the principles of sustainability
From these trials, it was found
and finished with the platinum
that (i) shrinkage porosity was the
industry and what companies like
main issue for heavy items and for
Johnson Matthey and Anglo Platinum
lightweight filigree pieces. 950 Pt-Co
Autumn 2010
Issue 12
are doing in terms of safety and
sustainable development. This was a
very important contribution to the
jewellery industry and to the debate
on sustainability and responsible
manufacture.
Mokume Gane
The Japanese technique of Mokume
Gane was discussed by two speakers.
Chris Ploof, Pawtucket, R I, USA
spoke on, Mokume Gane Firing Methods
and Their Effects on Appearances and
Bond Strengths in which he looked at
two bonding methods – liquid phase
and solid phase, to bond the layers of
metals to produce the initial billet. He
found liquid phase bonding to be faster
and easier but a little inconsistent.
Cold hand forging of such billets was
preferable to hydraulic forging.
In the second presentation, Jim
Binnion, Bellingham, Washington,
USA, discussed Mokume Gane Firing
Methods and Their Effects on Appearances
and Bond Strengths. This was a
systematic study and he showed that
the higher the bonding temperature,
the more deformation the billet
would withstand before delamination
occurred. He also noted that grainrefined alloys performed better at the
lower bonding temperatures than non
grain-refined alloys.
Concluding remarks
Once again, attendees had another
great technology symposium to help
improve manufacturing quality and
to innovate. Two UK newcomers to
the Symposium, Martyn Pugh and
Ann-Marie Carey went home elated,
having got so much out of attending
and from talking to others; they are
determined to come again (their
paper is detailed on page 7). The
Santa Fe Symposium is, no doubt,
the premier technology event for
jewellers in the world and it goes
from strength to strength. Next year
is its 25th anniversary.
Further information:
The Santa Fe Symposium proceedings are published as
a book and the papers and PowerPoint presentations are
available on CD from the organisers
Reference copies are also available in the Goldsmiths’
Company Library
The 25th Santa Fe Symposium will be held in
Albuquerque on 15 -18 May 2011
Report and review
Report: BaselWorld 2010
All the companies listed in this article can be found on
the Goldsmiths’ Company Technical Portal at:
www.thegoldsmiths.co.uk/technology-training/
technical-portal
Yasui & Co
JAPAN - www.yasui-world.com
Galloni Srl
New bench-top casting machines
aimed at small-scale producers were a
major feature on several stands. These
are not basic machines anymore, but
up-to-the-minute designs with the
latest technology features.
Galloni Srl showcased its tilting
machine at €9,900, Pressovac Max that
can cope with all four precious metals
(800g gold) too. This is supported by
its G-Mix investment mixer and the
G-Therm burn-out oven.
Schultheiss GmbH
GERMANY - www. schultheiss-gmbh.de
ITALY - www.galloni-aseg.com
Large scale investment
casting machines
Schultheiss GmbH had a major launch
Topcast Srl
of its new vacuum & pressure static
mini-caster, the VPC 040 model,
ITALY - www.topcast.it
which it claims is capable of casting
gold (300g), silver, palladium and
Topcast Srl had its TVC machine on
platinum.
show plus a new modular wax injector,
the RiaceWax, fully controlled and
programmable from Riacetech Srl.
Profi-Cast GmbH
GERMANY - www. vetter-technik.de
Profi-Cast GmbH also had a 400 gram
machine (Minicast) and a system
of burn-out furnace (MiniBurn),
investment mixer (MiniMix) and
sandblaster (MiniJet) in support.
BaselWorld: www.baselworld.com
large static vacuum machine (3.6kg
gold), the VC650; which has been
upgraded with new generator &
process technology, including
sweeping vibration. Its newish VTC450
tilting casting machine has also been
upgraded and is more affordable. For
diffusion bonding of rings, its SU450
machine has new sensor technology
which monitors and controls vertical
movement, giving better consistency.
Bench top investment
casting machines
Indutherm GmbH
GERMANY - www.indutherm.de
Indutherm GmbH had its range
of machines, large and small on
display, many of which with upgraded
technology. This included a new
Autumn 2010
Issue 12
Chris Corti reports on the latest technology on
display in the Hall of Innovations, at BaselWorld,
Switzerland, the International Watch and
Jewellery Fair.
Once again, I travelled in eager
anticipation to explore the Hall
of Innovations at BaselWorld.
Yet again, I found interesting
new technology to help
manufacturers with product
quality, productivity or simply
replacing worn-out equipment.
The range available gets ever
wider as machine manufacturers
try to produce models that
fit all needs, capacities and
purses in a more difficult, more
competitive market.
Report and review
Its new wax injector, the ICIS model,
has digital control and achieves high
quality waxes. This is programmable
and uses microchip tags in each
rubber mould to enable injection
parameters to be set and controlled.
Maxmatic, France
Gold Star Powders Ltd
Rofin-Baasel UK
UK - www. goldstarpowders.com
UK - www.rofin.co.uk
Gold Star Powders Ltd highlighted
its high grade Silicone Rubber, both
products for rubber moulding.
Laser welding systems.
Castaldo
USA - www.castaldo.com
Lasers and Welding
Again, many of the well-known
companies were exhibiting their latest
welding and marking models.
Orotig Srl
Among its range of wax injectors,
Maxmatic showed its new two axis
injector, the computerised 2500
model, and its range of injection
waxes, including a new one, Bio Wax
18 Green with good properties – high
fluidity and low shrinkage.
Outilor
www.elettrolaser.com
FRANCE - www.outilor.fr
ITALY - www.orotig.com
XX5 EVO range of laser welders –
the 100 model retails at €14,000.
ElettroLaser
Easy 50 welder and Lux1064
marking system.
Outilor showed a range of jewellery
equipment including a new microlathe for metal and wax turning.
Sisma Srl
SRS Ltd
Marking and welding lasers were
on show.
UK – www.srs-ltd.co.uk
SRS Ltd showed its new Natural
Vulcanising Rubber with higher tear
strength.
The major companies in this sector
demonstrated their latest machines.
GERMANY – www. siro-lasertec.de
Laser marking, welding and
cutting systems.
GERMANY – www.wieland-electric.com
Bumotech SA
United Precious Metals
SWITZERLAND - www. bumotec.ch
USA - www.unitedpmr.com
Bumotech SA showed its new S-191V
machining centre.
New Alloys and
Coatings
At the other end of the spectrum,
United Precious Metals highlighted
its low silver content coloured silver
alloys, its range of sterling silvers
including the Sterlium tarnishresistant alloy and a new 18ct
premium white gold, Zing.
Several well-known companies were
exhibiting their product ranges, be
they alloys or electroplating solutions.
Karlsruhe Institute of
Technology
ITALY - www.dyamach.com
Heimerle & Meule GmbH
www. heimerle-meule.com
Dyamach Srl showed its new five-axis
CNC machine, the DT2 with nine tool
magazines.
Dyamach Srl
ITALY – www.sisma.com
Siro-Lasertech
Wieland GmbH
On show was a new white 18ct gold
alloy, WILA 751 which is nickel,
cobalt and manganese-free but has
high hardness of 170HV, making
it suitable for parts with high wear.
The company also showed its new
black gold electroplating solution,
Neropal, a new innovation for those
wanting a deep black colour effect,
and its new palladium 950 alloys,
WILA950 RUP and WILA950 NPB
which have improved hardness over
its standard 950 palladium alloy - good
ductility and good strength and wear
resistance.
Castaldo, USA, had a cascade of
Carl Benziger GmbH
mould products on the stand such as
its Rapido quick vulcanising silicone
GERMANY – www.benzinger.de
moulding rubber and its Quick-Sil
RTV rubber aimed at short production Carl Benziger GmbH offered its new
range of precision machining centres,
run application.
the Go Future B1 to B3 models.
FRANCE - www. maxmatic.fr
Machining centres
good machining properties, are easy
to polish and have a grey colour. The
950 alloy has an annealed hardness of
160HV. H&M also showed its platinum
versions – Pt952WRu and Pt600WRu
alloys.
New palladium alloys were shown
containing tungsten and ruthenium
alloying metals at 950, 585 (14ct) and
500 (12ct) finesses. These alloys are
hard, fine-grained and ductile, with
GERMANY - www.kit.edu
An anti-reflective coating, NanoAR was showcased by the Karlsruhe
Institute of Technology.
Report and review
Education and skills
Technical Journal
Autumn 2010
Issue 12
The Great Debate at
International Jewellery
London 2010
Technical Handbooks on gold
now available on-line
The Great Debate took place over four days at IJL this year,
and included presentations by Fairtrade, the Responsible Jewellery
Council and other representatives across different parts of the
trade. We asked Peter Oakley to report on the event.
The series of Handbooks and Technical Manual
on gold jewellery manufacturing technology
produced by World Gold Council are now
available on-line (English & Italian editions)
and can be downloaded free from its website at:
www.utilisegold.com/jewellery_technology/technical_publications
On the first day of International
Jewellery London, Fairtrade took the
opportunity to describe its campaign,
including the anticipated public
launch of Fairtrade Gold next February
to coincide with Valentine’s Day.
Anyone wanting to become a Fairtrade
licence holder, which would entitle
them to describe their products as
Fairtrade and use the well-known logo,
was encouraged to contact Victoria
Waugh by email on:
[email protected].
On Monday, the Responsible
Jewellery Council outlined its
accreditation scheme. Anna
Leach, its Administrative Manager,
explained each stage, from initial
self-assessment through to external
audit and full accreditation. Further
details, including the underpinning
Principles and Code of Practice, and
examples of the assessment forms,
are available on the RJC website: www.
responsiblejewellery.com. Anna also
described the RJC’s ongoing ‘chain-ofcustody’ consultation. It is anticipated
that constructing a voluntary chainof-custody system will help the RJC’s
members strengthen the integrity of
their supply chains. Anyone interested
in finding out more about either the
consultation or accreditation was
invited to contact Anna via email at
[email protected].
Jonathan Lambert from Ethically
Precious, David Hargreaves from
Fairtrade Gemstones, and the jeweller
Ute Decker described how they had
incorporated ethical practices into
their business approach and issues
they had encountered on Wednesday.
Michael Allchin from Birmingham
Assay Office chaired the panel.
Jonathan explained that Ethically
Precious had decided to go down the
route of using 100% recycled scrap
in its products. He felt this to be the
only realistic approach for a large-scale
ethical manufacturer at the current
time, due to the difficulties in sourcing
sufficient amounts of alternative types
of ethical metal. David identified a
close relationship with sourcing mines
as crucial for an ethical gem supplier.
This was what enabled Fairtrade
Gemstones to vouch that mining
practices and working conditions
met ethical standards. When Ute first
started out as a professional jeweller
her biggest barrier had been finding
information on ethical sourcing and
small-scale manufacturing. To help
others in the same situation she has
set up an ethical jewellery resources
repository on her website
www.utedecker.com.
Michael concluded this year’s
Great Debate events by stating that
although people were using different
routes to achieve more ethical
practices, he felt they were all moving
in a positive direction. With the rollout of the RJC’s accreditation scheme,
the imminent arrival of Fairtrade
Gold in the shops and the launch of
new ethical brands and ranges at IJL,
it looks like the ethical debate will
continue over the coming year.
Peter Oakley is currently reading for a
PhD at University College London. His
project, funded by the Arts and Humanities
Research Council, focuses on how the
identity of gold influences the perceptions,
activities and technological choices of
professional practitioners working with the
material. Institutions that have supported
his research include the Goldsmiths’
Company, the Birmingham Assay Office,
the the Goldsmiths’ Company Assay
Office, the British Jewellers’ Association,
the British Museum, the Portable
Antiquities Scheme, Tate Britain and the
Fairtrade Foundation.
useful information:
Selected podcasts from the exhibition
are available on IJL’s website at:
www.jewellerylondon.com
The Fairtrade Foundation
www.fairtrade.org.uk
Responsible Jewellery Council
www.responsiblejewellery.com
These publications are the only comprehensive, modern technical Handbooks
of note available and have been translated into several languages since their
original publication. As printed copies of some versions have become out-ofprint and unavailable, World Gold Council has decided to put them online.
The series consists of:
4. Finishing Handbook
1. Technical Manual for Gold
By Valerio Faccenda.
Jewellery – A practical guide to gold
Published March 1999.
jewellery manufacturing technology.
By John C.Wright. Published 1996.
5. Handbook on Soldering
By Mark F.Grimwade.
2. The Assaying and Refining
Published January 2002.
of Gold – A guide for the gold
jewellery producer.
By Peter Raw. Published 1997.
6. Handbook on Investing Casting
Reprinted 2001.
By Valerio Faccenda. Published 2003.
3. Handbook on Casting and
Other Defects in Gold
Jewellery Manufacture
By Dieter Ott. Published March 1998.
Reprinted 2001.
All the articles in the series of Gold Technology journal are also available
on-line on the Gold technology archive on this website and can also be
downloaded free:
www.utilisegold.com/resources/gold_technology_magazine/
The website also hosts a suppliers directory.
WORLD GOLD COUNCIL
HANDBOOK ON
INVESTMENT CASTING
THE LOST WAX CASTING PROCESS FOR
CARAT GOLD JEWELLERY MANUFACTURE
WORLD GOLD COUNCIL
HANDBOOK ON
SOLDERING AND OTHER
JOINING TECHNIQUES
IN GOLD JEWELLERY MANUFACTURE
The skills needs of
the jewellery sector
Catherine Large
Director, External
Relations
10 September 2010
The result will
be a meaningful
set of relevant
and up-to-date
qualifications
across a range
of occupations
within the
jewellery sector
The creative and cultural industries are growth industries. Now
representing over 74,000 businesses and making up over 650,000
jobs, the sector in 2010 has grown at twice the rate of the national
economy for the last twenty years. It is now larger than the car
manufacturing industry in employment terms, and the financial
services sector, nuclear, pharmaceuticals or the oil and gas
industries in economic terms. As the Sector Skills Council for the
creative and cultural industries, Creative & Cultural Skills aims
to increase productivity through skills. We are currently working
closely with The Goldsmiths’ Company and the Jewellery and
Allied Industries Training Council (JAITC) to look at the skills
needs of the jewellery sector and to ensure the right training and
qualifications are in place to enable it to meet its potential.
A starting point in this is to work
with employers to provide nationally
recognised standards in skills and
knowledge that can be used as a
benchmarking guide, known as
National Occupational Standards.
They provide a clear description
of what you need to know and
what you need to be able to do to
perform a job successfully and can
help with recruitment, performance
monitoring, and training. Creative
& Cultural Skills was tasked with
reviewing and simplifying the
NOS for Jewellery Manufacture in
June 2009.
This was no small task due to
the broad range of trades and
competencies that exist in the
sector, from CAD prototypes and
jewellery manufacture, to wax
casting and soldering. The process
involved a working group of industry
representatives and extensive
consultation with employers and
practitioners, whose input and
expertise was invaluable. Those
involved ranged from The Royal Mint
in Cardiff through to sole trader
Mark Gartrell. The challenging
task was made considerably easier
because of the input from engaged
and passionate practitioners who
were committed to getting the
occupational standards right. The
result is a brand new suite of Jewellery,
Silversmithing and Allied Trades
National Occupational Standards for
use across the industry.
The next stage is to develop new
qualifications at levels 2, 3 and 4.
This work started on 1st September
and the level 2 qualification should
be available for a first cohort of
learners from December 2010. The
level 3 and level 4 qualifications
should be available from April 2010,
so we’re making good progress. The
result will be a meaningful set of
relevant and up-to-date qualifications
across a range occupations within
the jewellery sector, which should
support the sector in ensuring
it gets the right set of skills and
competencies it needs to thrive in the
future. We are also working with the
Goldsmiths’ Company to develop a
new Apprenticeship, which, working
with the National Skills Academy
should mean that the sector is able
to benefit from the Government’s
current investment in skills training. It
is challenging to bring these initiatives
together, but absolutely worth doing
so if we are able to see the industry
grow as a result.
Autumn 2010
Issue 12
We are working with the Goldsmiths’ Company
to develop a new Apprenticeship, which, working
with the National Skills Academy should mean that
the sector is able to benefit from the Government’s
current investment in skills training
Masterclass
Masterclass
Autumn 2010
Issue 12
Masterclass: Jurgen Maerz
Jurgen J. Maerz
The Platinum
Expert Consulting
Jurgen was Director of Technical Education
for Platinum Guild International USA
for 13 years. He holds credentials as
an instructor and has taught for the
Gemological Institute of America. For
over four years, he was in charge of the
Jewellery Manufacturing Arts Extension
department and has taught jewellery
techniques in cities throughout the United
States. He was also responsible for the
creation of the platinum educational
program GIA is offering to this day.
Born and raised in Germany, Jurgen
learned the trade of bench jeweller
at a very young age through a formal
apprenticeship. After emigrating to the
US, he worked in all phases of jewellery
making, ranging from production manager
to his own studio. His love for platinum
brought him to PGI in 1997, where he has
become a recognized expert in working
with platinum.
Jurgen has lectured in South Africa,
taught at the University of Central England
in Birmingham, UK and has presented
seminars in Vicenza, Italy. His articles have
been published in major trade magazines
throughout the world in several languages.
He is the author of The Platinum Bench
and Adventures at the Bench and has
written a selection of ‘how to’ articles in
AJM Magazine.
Jurgen Maerz is a JA Certified Master
Bench Jeweler, the fourth one in the US
to receive this designation. Trade articles,
seminars, hands-on workshops and
factory visits are among his duties. Jurgen
has presented and published several
papers through the Santa Fe Symposium
and is a popular speaker at many trade
shows throughout the world.
Among the range of initiatives the Goldsmiths’
Company offers the Craft and Industry, our
Masterclasses are perhaps the most well known.
For the last 30 years, we have invited recognised
experts in a particular field of silversmithing or
jewellery to demonstrate their skills to a trade
audience. We have recently expanded this
resource into film and over the coming issues of
the Technical Journal will be inviting recognised
craftsmen to share their tips and tricks with you.
In the first in this series, we invited Jurgen Maerz
to demonstrate how to size a platinum ring.
Jurgen is former Director of Technical Education
for Platinum Guild International USA and now
provides technical support for PGI worldwide as
well as industry in general.
Stage 1
Stage 2
Stage 3
Stage 4
To size this platinum ring down, begin
with determining how much metal needs
to be removed. 1 size is represented by
approximately 1.2mm.
Bend the two shank ends together with a
pair of inside shank pliers.
Using a hammer, flatten the piece cut
from the ring and insert it into the seam.
This will be the filler needed to weld the
Using a three square needle file, create a
chamfer (groove) along the seam. This will seam. As the piece is from the same ring,
help create a strong weld as the metal will there will be no colour or alloy difference.
fill the groove when melted.
Ensure you are wearing protective eye
wear. With a sharp hot oxidising flame, the
piece is melted from the top. This should
take less than 10 seconds. If it takes
longer, the flame is too small and the
ring will get too hot because of the long
exposure to heating.
Stage 5
Stage 6
Stage 7
Stage 8
Continue to weld the ring all the way
around until the seam is completed.
Using the half round file, remove excess
metal from the seam on the inside of the
ring. This is important so that the ring can
be rounded on the mandrel.
Round the ring using a mallet. When the
ring is round it should be the proper size.
Sometimes a ring can be made a size
too small and then hammered to fit. This
will work harden the shank and make
polishing easier.
Using a file, file the top and the sides of
the ring are to match the contour and
make the sizing invisible.
Using a divider, mark the area and then
cut the shank twice to remove this piece.
It is recommended to make the second
cut not all the way through, but use pliers
to break it off. This prevents the piece
from flying off and eliminates the need to
search for it on the floor.
Sizing a platinum ring down
using the torch
Further reading:
The Platinum Bench – An Illustrated
Guide to Easy Platinum Repairs and
Fabrication by Jurgen J. Maerz. MJSA/
AJM Press. ISBN 0-9713495-0-9
Tools needed:
– Jeweller’s saw with 3/0 blade
– Dividers
– Chain nose pliers
– Shank pliers
– Chasing hammer
– Bench block
– Three square needle file
– Half round file
– Torch with either natural gas/
oxy or propane /oxy (do not use
Acetylene)
– Eye protection (#5 lens)
– Ring mandrel
– Mallet
– Sanding stick
– Flex shaft with assorted abrasive and
polishing wheels
– Tungsten burnisher
– Polishing buff and felts
– Pt polishing compound
All these tools and consumables
can be found through the various
suppliers listed in the Goldsmiths’
Company Technical Portal
www.thegoldsmiths.co.uk/technologytraining/technical-portal
The Platinum Guild online technical manual:
www.jmny.com/technical/
platinumtechmanual
Goldsmiths’ Company Technical Portal:
www.thegoldsmiths.co.uk/technologytraining/technical-portal
The Platinum Expert:
www.platinumexpert.com
Stage 9
Stage 10
Stage 11
Using an abrasive wheel and then sand
paper, remove all file marks from the ring
inside and out.
The inside of the ring is being polished.
The final touch is done by burnishing the
seam. Gently sand the top and polish it to
the final gloss.
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 your castings or
difficulty adjusting the colour of your solder to
match an item? This is your opportunity to ask
the experts. Email your questions to:
[email protected]
QI have two questions.
(i) If I have a stock of ring wire that
is palladium with an 18k yellow gold
twist running through it, what solder
should I use to solder the seam for any
band rings I make from the wire stock?
My guess would be 18ct white gold
solder (white to match the palladium),
but due to the heat difference between
soldering temperatures of 18ct gold
and palladium I am unsure if the 18ct
white gold solder would form a strong
enough bond or not.
(ii) How to oxidise and or anodise 18ct
yellow to blacken it.
A(i) Soldering with an 18ct white
gold solder should be fine for
this job. Such solders are among
those recommended for soldering
palladium jewellery. It should
certainly form a strong bond. The
principle of soldering is that only
the solder metal melts, not the
pieces being joined.
(ii) The methods of forming
a black surface on carat golds
have been discussed in previous
Technical Surgery columns. Simply
annealing it in air to form a black
copper oxide is not adequate, as
it will spall off. The best solution
is to (selectively) plate the yellow
gold with a black rhodium or black
ruthenium electroplate. (Note:
the term anodising only applies to
aluminium items).
QWe are seeking a solution to a technical
problem that we have which involves
the soldering of small silver parts to
hardened stainless steel. This product
will not be hallmarked or called silver
so there are no hallmarking regulation
issues. The problem we are encountering
is that to solder the sterling silver
pieces to the stainless steel pieces we are
using a solder which requires heating
to some 740 degrees which does the job
but creates an orange peel effect on the
stainless steel which we believe is due to
the heat applied. Is there another solder
available such as a low melting solder
that will do the job (which, perhaps,
normally could not be used to conform
to hallmarking regulations)?
AI am a little surprised you have an
orange peel problem at 740°C in
the stainless steel and wonder if
To get a deep gold colour on 18ct gold,
you need to remove some alloying metals from
the surface to give a gold-rich colour
the stainless has a large grain size
to start with that you reveal when
soldering. If so, altering the solder
won’t solve the problem! You ought
to be able to polish it off, in any
case. If you are torch annealing,
you may be overheating the metal
significantly and that is why you
see an orange peel effect. Furnace
soldering may give you better
control. I cannot give you the exact
advice that you need but I suggest
you contact your solder supplier
and tell him of your problem. He
should be able to advise you.
Masterclass
QHow can I get 18ct gold with a
QI am aware that some jewellery contains
bright deep yellow colour (looking like
bismuth and antimony, primarily in
24ct gold)?
fashion jewellery in very small levels.
ATo get a deep gold colour on 18ct
Why are they used? Are they considered
gold, you need to remove some
to be hazardous substances to the end
alloying metals (copper, silver &
consumer and in the manufacture of
zinc) from the surface to give a goldjewellery? Are there any sensible limits?
rich colour. This has traditionally
It is known that use of cadmium and
been done by the ‘bombing’
lead cause problems but are there any
technique which is hazardous and no
reports of effects associated with bismuth
longer recommended. Commercial
and antimony in precious metal and
pickling-type solutions do exist for
fashion jewellery alloys?
this purpose, but I am not familiar
AIn recent times the use of cadmium
with them, so cannot recommend
and lead has been limited in the
any particular one. I know they are
manufacture of jewellery by high
available in Italy, for example. Talk to
street retailers because of health
your alloy suppliers for advice.
concerns and legislation that
restricts their use.
QI have a big project and need to
purchase TIG welding equipment, acid
tanks, rhodium plating baths, etc, but
need advice on what to purchase.
A(i) TIG welding equipment: a good
contact for this would be the TWI
in Cambridge (www.twi.co.uk )
which is the expert in welding of
all types.
(ii) Polishing: contact good
reputable finishing equipment
companies such as Otec GmbH
which can advise on the most
suitable type & size of equipment
for your needs. Other companies
include Manfred Dreher GmbH
I am not aware that bismuth and
(www.dreher-finish.com ) and
antimony are used in precious
Metalfinishing Srl in Italy. If you
metal jewellery alloys and solders.
want some background to modern
However, they may be present
finishing technologies, see the
as impurities, e.g. in solders. In
Handbook of Finishing published
searching through my books, I can
by World Gold Council which you
find no mention of antimony (Sb)
can now download free from its
either as a deliberate addition or
website: www.utilisegold.com/
impurity in gold or silver alloys.
jewellery_technology/technical_
Dieter Ott has written about
publications/
impurities and minor alloying
(iii) Rhodium plating equipment
metals in gold alloys, for example
& salts: there are several companies
and he states that it is doubtful that
that make and sell good rhodium
bismuth (Bi) will be found in gold
plating equipment and salts; Try
alloys. If it was, it would probably be
companies such as W C Heraeus
an embrittling impurity (as is lead).
GmbH (Germany), Legor Srl
With regard to costume jewellery,
(Italy), Ali Prandini (Switzerland),
these alloys are base metal,
Umicore Electroplating
typically copper-, tin- or zinc-based.
Germany). You should also look
Bismuth and antimony may be
at the Technology Portal on
added in small amounts to such
the Goldsmiths website (www.
alloys to improve machineability
thegoldsmiths.co.uk/technologyor castability, or may be simply
training/technical-portal) which
present as significant impurities.
has a directory of companies
There is one paper on White Metal
and also the World Gold Council
Casting and Finishing that is of
website, www.utilisegold.com which
interest. The term white metal
also has a directory of suppliers.
is used for white coloured alloys
of relatively low melting point
containing elements such as lead,
The term white metal
is used for white
coloured alloys of
relatively low melting
point containing
elements such as lead,
tin, antimony, bismuth,
zinc and cadmium
Autumn 2010
Issue 12
tin, antimony, bismuth, zinc and
cadmium and used for costume
jewellery castings that may be
subsequently plated. Nowadays,
lead and cadmium should not
be used, as noted above. The
paper has a short section on
alloy selection. These alloys are
based on tin with additions of
antimony at levels ranging from
1.5 to 8.0%. The author briefly
mentions toxicity which suggests
that bismuth may have some effects
on kidney, liver and skin but I
suspect that this may be more due
to bismuth fume during melting
rather than when it is tied up
within the alloy. He only quotes
one alloy out of a list of eleven
that contains 2% Bi. There is no
mention of toxicity problems with
antimony. Untracht mentions 92%
tin-8% antimony as a costume
jewellery alloy.
I am not aware that such small
quantities are toxic or hazardous to
health, but this can be checked out
with the HSE (www.hse.gov.uk) and
other agencies. All suppliers should
provide a Materials Safety Data
Sheet upon request that should list
any hazardous ingredients.
QI would like to know if there is a black
silver plating (similar to black rhodium
plating) which could be applied to a
silver chess set.
AThank you for your enquiry. I
am not aware that there is such
a system as black silver. Probably
because it would not be chemically
stable. I would suggest you use
black rhodium or black ruthenium
plating to accomplish your aim
for a black finish. All the big
plating manufacturers supply such
products. An alternative process
would be to produce the dark
pieces of the chess set in ‘oxidised’
silver, that is, treatment to produce
a sulphide coating which is blackish
purple on the surface of the silver.
One issue with this could be the
wear ability of the coating.
Education and training
Industry training opportunities
An up-to-date
list of industry
opportunities
and further
professional
development.
The Sir John Cass
Department of Art, Media
and Design Short Course
Programme
The Cass (The Sir John Cass Department
of Art, Media and Design) 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.
Silversmithing & jewellery
summer short courses
For the summer its range of Masterclasses
builds on the Sir John Cass tradition of
encouraging and nurturing talent through
mentoring and teaching by masters in
the field of silversmithing and jewellery.
Each master teaches their own specialist
subject in a series of courses designed
to enhance the learning experience for
students already proficient in basic skills.
Alongside the Masterclasses there are
classes for beginners and intermediate
students wanting to learn and build on
their craft skills perhaps as a continuation
of the evening and day classes running
through term time.
Further details:
Telephone
020 7133 3721
Email
[email protected]
Website
www.londonmet.ac.uk/jcamd/courses/
short-courses
Birmingham Institute of
Art & Design (BIAD)
Silversmithing & jewellery
daytime and part-time
skills courses
The School of Jewellery offers a variety
of courses including creative self
development classes and specialist
training options for people seeking to
These take place one day a week over 10
further their professional development.
weeks, running over Autumn, Spring, and
Day and evening classes run during term
Summer terms. This initiative replaces City time and include:
& Guilds.
The aim of these courses is to enable both
aspiring and existing makers to develop
their work through a flexible workshop
programme. This can address specific
skills such as setting or can take a more
general approach to subject area. These
practical ‘hands-on’ workshops enhance
making skills and assist in developing
existing studio practice.
Enamelling
This course is ideal if you are interested
in vitreous enamel, whether at a beginner
or a more advanced level. Beginners
will be introduced to the properties and
techniques of enamel through a range of
set projects. If you have experience, you
are encouraged to develop your skills to a
professional standard.
Hand Engraving
This course aims to teach the skills of hand
engraving currently used in the jewellery
and silversmithing industry. This will
include lettering, ornamental engraving,
heraldry and other aspects of surface
decoration.
Jewellery
The course aims to provide you with specific
education through the acquisition of skill,
knowledge and understanding, whether you
already work, or are aiming to work in the
jewellery industry and allied trades.
Stone Setting
Metropolitan Works
Holts Academy
These classes will teach you the stone
setting techniques currently used in the
jewellery industry, such as claw, grain
and pavé settings, channel, tension and
burnished settings.
Metropolitan Works is London’s 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
With over 12 years experience, Holts
Academy of Jewellery continues as the
country’s only specialist training provider
offering vocational qualifications,
helping people gain employment
within the jewellery industry. Locating
funding specifically for those wishing
to pursue a career in the industry, Holts
Academy has supported many people
since the start up of its NVQ Jewellery
Manufacture qualification.
Silversmithing
The course is ideal if you are interested
in metalworking whether at a beginner
or a more advanced level. You will be
introduced to hand production techniques
such as forming, planishing, filing
and soldering.
Rhino 3D CAD for
Design Makers
Practical Prototyping in
CAD Week
The course is intended for students and
designer makers who wish to acquire a
5-day supported CAD workshop
solid foundation in the practical application 29 November – 3 December
of computer aided design.
9.30am – 5.30pm
FREE
Gemmology
Evening classes are available which lead to
the Gemmological Association’s Diploma
and Diamond Diploma qualification.
Further details:
Telephone
0121 331 5940 (Ruth O’Neill)
Email
ruth.o’[email protected]
Website
www.schoolofjewellery.co.uk
This practical prototyping CAD week is
specifically designed for designers that
have completed a beginners CAD course
or already have some knowledge in CAD
software. This is an intensive tutored week
to realise and develop a project in CAD
using facilities and software that may be
prohibitive to purchase.
Rhino Level 1
2-day course
6 – 7 December
6pm – 8pm
£480.00 including VAT at 17.5%
Stephen Webb, now working with jeweller
Shaun Leane, said “the NVQ provided me
with the skills and knowledge I needed
to apply for an apprenticeship. With very
few available now, I was able to prove my
abilities by having the qualification.”
Opening doors for the next generation of
UK talent, Holts Academy aims to build on
its success in coming years. Scott Millar,
assessor for the qualification, comments
“the only way to be a success is to realise
that high quality traditional training is
key. We are breaking the mould by going
back to the traditions that the UK is
known and respected for. Because of this,
opportunities are now available to people
that were previously difficult to find.”
Further details:
Telephone
020 7405 0197
Website
www.holtsacademy.com
This comprehensive two-day class is
aimed at those new to Rhino. Learn how to
create and edit accurate 3D models and
explore Rhino’s functionality, including
advanced surfacing commands.
Rhino Taster
1-hour sessions
8 December
FREE
During a one-to-one session with a certified
trainer you will cover the basic modelling
functions of this versatile 3D CAD software
used in jewellery design among others. This
is your chance to discover if a course in the
software is for you.
Further details:
Telephone
0207 320 2832 (events and training)
0207 320 1878 (bureau)
Website
www.metropolitanworks.org
Metropolitan
Works is London’s
leading Creative
Industries Centre,
helping jewellers,
architects,
designers and
manufacturers
Metropolitan Works’ state of the art learning facility designed by Cartwright Pickard Architects.
(Image courtesy of Metropolitan Works)
Autumn 2010
Issue 12
Health and safety issues
in the workshop
The Goldsmiths’ Company resources
Over the forthcoming issues of the Technical
Journal, we will be introducing a section that
deals with matters affecting health and safety in
the jewellery and silversmithing workplace.
metal alloys, particularly in solder
alloys, neurotoxic effects arising from
use of solvents and precautions to
be taken when using acids and other
chemical substances. Where possible,
suggestions of safer alternatives will be
given together with their advantages
and disadvantages.
The aim is to produce a series
of factsheets on specific chemicals
and processes that will also be
downloadable from our website.
If there are any specific issues you
would like to see covered, please
email the editor at:
[email protected]
Autumn 2010
Issue 12
The Goldsmiths’ Company technology portal
Search our free online
trade directory to
find links to a wealth
of industry resources
and related services
for the jewellery and
silversmithing trade.
These articles will include accounts
of dealing with health and safety
in a ‘live’ workshop, such as use of
equipment and materials, workshop
layout and relevant government
legislation. Mark Grimwade will
discuss the hazards to health that
may arise when using materials and
chemical substances commonly used
in jewellery and silverware production.
These will include safe use of lost
wax investment casting powders and
removal of investment after casting,
use of cyanides in electroplating and
associated processes, dangers of using
cadmium as an addition to precious
Materials
Equipment Suppliers
– Bullion
– Stones
– Packaging
– Machinery
– Tools
– Software
Trade Services
General Trade
Resources
– Casting
– Setting
– Modelmaking
– Laser welding
– Repairs and restoration
– Technical information
– Business support
– Trade events
Training
– Professional short courses
– Degree
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
Health & Safety Executive
www.hse.gov.uk
Control of Substances Hazardous
to Health (COSHH)
www.hse.gov.uk/coshh
The Jewellery Workshop
Safety Report
Charles Lewton Brain
ISBN 0-9698510-4-9 Brain Press
The Goldsmiths’ Company resources
The Goldsmiths’
Company Assay
Office
Technology
& Training
The Library
Exhibitions
& Promotion
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.
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, which date back
to the 14th century. It welcomes all
researchers, from students and academics
to professional gold and silversmiths and
the general public.
Showcasing and promoting the skills and
talents of the UK’s designer-makers 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.
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
www.assayofficelondon.co.uk
We draw upon our national and
international network of experts to
provide an unrivalled range of resources
to support you. We provide technical
advice and training opportunities relating
to the design and manufacture of
precious metalwork. We encourage and
develop academic, trade and industrial
partnerships with the aim of fostering an
ethos of mutual support and collaboration.
We strive to promote excellence in
craftsmanship, design and technical
innovation through our partnerships to
help the Industry continue to compete in
the global marketplace.
Email
[email protected]
Website
www.goldsmiths.co.uk/
technologyandtraining
If you would like to visit the Library,
please telephone or email to make an
appointment. To help you get the most
out of your visit, staff can discuss your
research with you in advance and provide
relevant material when you arrive. The
Library is open between 10 am and
4.45pm, Monday to Friday.
Email
[email protected]
Website
www.thegoldsmiths.co.uk/library
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
thegoldsmiths.co.uk/promotion
The Goldsmiths’ Company Technical Journal
Autumn 2010
Issue 12
Diary of Company and trade events
NOVEMBER – APRIL
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.
NOVEMBER 2010
FEBRUARY 2011
Valuation Day
Goldsmiths’ Hall
Inhorgenta
New Munich Trade Fair Centre,
Munich
Friday 5 November 2010
25-28 February
Fakes and Forgeries
Seminar – The AshleyRussell Case,
Goldsmiths’ Hall
The internationally renowned industry
forum will open its doors for the 38th time.
On 66,000 square meters of exhibit space
inhorgenta offers the most comprehensive
overview of current and future
developments in the world of jewellery and
watches.
Monday 22 November 2010
DECEMBER 2010
Euromold
Frankfurt Main, Germany
1 - 4 December
World fair for mould making and tooling,
design and application development. A
unique fair concept that closes the gap
between industrial designers, product
developers, producers, suppliers, and
end-users.
For full details visit
www.euromold.com
JANUARY 2011
VicenzaOro First & T-Gold
Fiera di Vicenza Spa, Italy
www.inhorgenta.com
Spring Fair International
Birmingham NEC
6 - 10 February
The UK’s largest home & gift trade show.
www.springfair.com
MARCH 2011
Exhibition of Goldsmiths
Craftsmanship & Design
Council Awards 2011
Goldsmiths’ Hall
1-4 March
Admission Free
An exhibition of the best entries from the
2011 Goldsmiths Craftsmanship & Design
Competition provides a revealing and
15-20 January
fascinating insight into the highly skilled
Includes T-Gold, a specialist exhibition
art and working techniques of today’s
dedicated to machinery and equipment for
leading jewellers and silversmiths
the manufacturing of precious metals.
www.vicenzaoro.org
Dialogues in Gold –
The Jewellery of
Jacqueline Mina
Goldsmiths’ Hall
31 January – 26 February
Admission Free
Jacqueline Mina’s highly original fused
and textured gold and platinum jewellery
is the subject of this fascinating exhibition
at Goldsmiths’ Hall. One of the country’s
foremost artist jewellers, Jacqueline
Mina has long enjoyed a reputation for
her technical brilliance and unorthodox
approach to traditional goldsmithing
techniques, resulting in her thoroughly
modern, sophisticated, classic jewellery.
Studio Silver Today
Kedleston Hall, Derbyshire
5 March – 29 October
Studio Silver Today is a pioneering
Goldsmiths’ Company exhibition in
collaboration with the National Trust to
broaden awareness of today’s modern
silver movement. The exhibition tells the
story of the Company and the career of
silversmith Theresa Nguyen.
BaselWorld
Messe Basel, Switzerland
24-31 March
Each spring, some 2000 companies from
the watch, jewellery and precious-stone
industries, together with related sectors,
showcase their latest developments and
innovations at BaselWorld, the world watch
and jewellery fair.
www.baselworld.com
APRIL 2011
The Santa Fe Symposium
Albuquerque, New Mexico
Save the date – 15-18 May
The Santa Fe Symposium is a noncommercial event and brings the best
minds in the jewellery industry together
to discuss the latest thinking, ideas and
advancements in jewellery manufacturing.
Speakers from around the world present
their research and share their experience
and expertise.
Image to follow –
Exhibition poster

Issue 12 - The Goldsmiths Company

Transcription

Similar documents

Diamonfire - Gerry Browne Jewellers

Berklee School of Music Conference: Perspectives on Music

Exhibition flyer

JEWELLERY THEATRE OPENS PUERTO BANUS BOUTIQUE

marketing development fine jewellery and design de luxe

12 months

Joyalukkas Group - The World`s Greatest Brands

Télécharger le pdf Buccellati History - 1.01 MB

pdf - Betony Vernon