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<=> <=> <=> <=> E-BENCH <=> <=> <=> <=>
The E-Mail Newsletter for Bench Jewelers
September 2003
Volume 4 Issue 9 circulation
over 2,500
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<=> <=> ABOUT THIS NEWSLETTER <=> <=>
E-BENCH is a FREE monthly newsletter for Retail
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<=> <=> <=> TABLE OF CONTENTS <=> <=> <=>
REVERE’S TIPS FOR JEWELERS
Tips for Jewelers,
Who Do Repairs from Alan Revere
FEATURE ARTICLE
Learn how to make your shop more profitable, a
new technique, or brush up on basic skills.
STEWART'S BENCH TIPS
Bench Tips from
Stewart’s International School for Jewelers
AT THE PLATINUM BENCH
Tips for working on Platinum from
Platinum Guild International
FAVORITE TIPS
Tips and Tricks to make your work on the bench
a little easier and more productive from
Bradney W. Simon CMBJ and E-BENCH Readers.
GERRY’S GEMZ
Stone setting tips from Gemz Diamond Setting
WORKSHOP SAFETY FOR JEWELERS
Tips from Charles Lewton-Brian
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<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
Bench Jewelers Conference & Expo
Coming April 23 - 25 2004 to Chicago IL
Exciting New
Educational Conference and Supplier’s
Expo
Workshops – Seminars - Demonstrations –
Networking Opportunities - Exhibitor Show
All activities during this three day event will
be directed toward the Bench Jeweler,
Making This The One Show In 2004
That You Don’t Want To Miss
Bench Jewelers Conference & Expo presented by
Bench Media publisher of E-BENCH, BENCH
Magazine, and BENCH ROM
For More Information log onto:
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<=> <=> REVERE’S TIPS FOR JEWELERS <=> <=>
Tips for Jewelers Who Do Repairs
from Alan Revere
Revere Academy of Jewelry Arts
FINDING THE CENTER OF A CIRCLE
By Alan Revere
They make fancy and expensive gizmos for
finding the center of circles, but chances are
you already have all you need for that task
sitting on your bench. Grab your dividers and
place one point on the circle. Then adjust the
opening to what you guess is about the distance
to the center. Now scribe a very light arc
onto the metal, with one point fixed on the
circle. Move the fixed point about 1/3 around
the circle and repeat. Then swing the last arc
from a point about 2/3 around the circle from
the first point, so that you now have three
arcs coming close to the center. They overlap
closely, miss each other closely or meet in the
middle. No matter what the outcome, it is now
very easy to find the center of these arcs,
which is the center of the circle.
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<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
A lot of frustrated artist are people who
didn't take the opportunity when it was
presented.
Jimmy Buffett
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<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
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<=> <=> <=> FEATURE ARTICLE <=> <=> <=>
Soldering
By Bradney W. Simon
Soldering is one of the most basic operations
performed by a bench jeweler. Developing other
skills is of little value without the ability
to solder with confidence. The only way to
attain a level of proficiency is by gaining
correct instruction and continually practicing
proper techniques. With this in mind, the
following tips are given for the apprentice to
learn correctly, and the advanced or master
jeweler to review and brush-up on existing
skills.
Always apply solder to one side of the joint,
and then pull the solder through the joint by
heating from the other side. If you apply
solder all around the joint a weak joint may
result from the solder only flowing at the
surface and not completely through the joint.
This is referred to as a “cold solder joint”.
It is particularly important to watch for this
when soldering thicker prices of metal
together, such as heavy men’s ring shanks.
Turn your bench light off while soldering. It
will be easier to see the metal turn dull red
and judge the temperature of the metal.
Make certain the soldering area has been
properly vented. Soldering produces toxic
fumes, and ALL SOLDER STATIONS SHOULD BE
VENTED.
Always make certain you have a tight fit before
soldering. Although solder can fill a gap,
that is not what it is made for. Filling a gap
in a poorly made joint will result in a weak
solder joint. In addition, solder may “pull”
out of the joint when polishing, leaving a line
where the joint is, or pits may show up in the
joint. When practical hold the jewelry up to a
light and see if you can see any light coming
through the joint before you solder. If you
can see any light, cut through the joint with
your saw. By cutting precisely through the
joint the saw blade will trim any high spots
from the sides of the joint.
There are three forces that pull solder when it
is in a liquid state. The greatest of these is
heat. When solder melts, it flows most readily
to the hottest area. The next force is
capillary action. Solder when melted to a
liquid state will readily flow through a tight
fitting seam. The third force, which has the
least effect, is gravity. Solder will flow
down through a seam easier than up through a
seam. Always have a tight fitting seam, and
when possible place the solder on the tip of
the seam and pull the solder down through the
joint by applying heat to the underside of the
joint. Then you will have all three forces
working for you.
Always heat the metal to be soldered, not the
solder itself. Allow the heat from the metal
to flow to the solder to melt it.
Always match the solder to the color and karat
of the metal you are soldering. Do not use low
karat “repair” solder or solders of lower karat
then the metal as the solder may tarnish,
causing the jewelry to look dark around the
solder joint. This is particularly important
when attaching crowns to rings. If low karat
solder is used the ring may turn un-slightly
dark around the base of the crown. The only
remedy to this problem is to remove the crown
and clean away the old solder. Then solder a
new crown to the ring using the correct solder
and reset the stone.
Never quench white gold. Always allow it to
cool to the point that you can pick it up with
your fingers before soaking.
Always anneal metal that is work hardened
before soldering. This will prevent the metal
from shifting when heated.
When annealing white gold, use a bushy flame
and heat the gold to a red color. Then, hold
the metal at this temperature for several
minutes by playing the flame across the metal.
Heating the metal for too short of a time will
not completely anneal the metal. Refiners
anneal white gold in ovens and hold the metal
at annealing temperatures for a half hour.
Always allow the gold to air cool slowly.
NEVER quench white gold, as this will cause it
to become brittle.
When soldering gold and platinum together,
anneal both parts thoroughly before soldering.
These metals expand at different rates when
heated. If not thoroughly annealed stress
tears may develop as the metal cools. In
addition, allow the metal to cool slowly after
soldering. Do not quench the hot metals as
rapid cooling increases the stress in the
metals.
When making multiple solder joints in a piece
of jewelry do not pickle between soldering.
The chemicals in the pickle are absorbed into
the metal causing problems in the solder flow
in subsequent joints. If you must pickle the
jewelry, thoroughly clean the jewelry in the
ultra-sonic before soldering the remaining
joints.
If the solder does not flow properly, it is
generally because you do not have a tight fit
or the joint is dirty. Allow the jewelry to
cool and clean in the ultra-sonic. Then cut
through the joint with your saw. This will
clean out the seam as well as fitting the metal
together better. Then re-coat the jewelry with
boric acid and alcohol and retry soldering. Do
not be tempted to force the solder to flow by
smearing it over the seam with a solder pick
(nudging the solder into place is acceptable).
Smearing the solder across a seam will result
in a weak solder joint. The solder will only
flow over the surface and the dirt prohibiting
proper solder flow will be forced down into the
joint. In addition, do not be tempted to force
the solder flow by overheating. This will only
result in pitting the solder and melting the
jewelry.
Always coat the jewelry with boric acid by
dipping it in a solution of boric acid and
alcohol and burning off the alcohol. When
heated the boric acid will turn glassy, forming
a barrier keeping the metal from oxidation.
Boric acid also acts as a flux. Often this is
all the flux you will need in order to solder;
however, occasionally additional flux will need
to be added.
If enough flux is not used, the metal will
oxidize and the solder will not be able to flow
properly; however, you can also use too much
flux. If too much flux is used the glassy
coating of the flux will hold the solder away
from the metal not allowing it to flow into the
seam. If this is a problem, use your solder
pick to scrape away excess flux and then
continue your soldering.
Do not try to move metal when heated to
temperatures at which the solder will flow.
This may cause the metal to crack. Instead,
allow the metal to cool, then re-align and
complete the soldering.
When soldering a butt joint on thin metal it is
better to cut the joint on a bevel. This will
give you more surface area to solder and will
make a stronger joint.
When soldering several small pieces together
place the parts half way into soft wax. Then,
pour casting investment over the parts. When
the investment hardens remove the wax and
solder. The investment will withstand the
temperatures of soldering and hold the small
parts in place.
To keep solder from flowing to certain parts,
paint them with liquid paper before soldering.
It is inexpensive, and with a brush in the cap,
it is easy to use. The small bottle liquid
paper comes in makes it convenient to store on
your bench and there is no mixing required.
When finished soldering, it cleans up easily in
the ultrasonic cleaner. Most importantly, it
works well at stopping the flow of solder.
While it is toxic, it is no more toxic than the
solder you are melting. Soldering produces
toxic fumes, and ALL SOLDER STATIONS SHOULD BE
VENTED.
Another method to keep solder from flowing is
to not coat those areas with boric acid or any
other flux. The oxidation on the metal from
the heat of the torch will keep the solder from
flowing to those areas.
When soldering a jump ring to a flat piece of
metal, file a flat side on the jump ring across
its seam. This will provide sufficient surface
area to create a proper solder joint.
When soldering wire to a sheet (such as
soldering a post onto an earring) coat both
pieces with boric acid and alcohol. Then, melt
a small piece of solder onto the end of the
wire. Next, hold the wire with locking
tweezers above the sheet to keep it warm as you
heat the sheet to soldering temperatures.
Then, lower the wire into position as you play
the torch over the joint until the solder
flows. This method will help keep you from
over heating and melting the wire.
Using a yellow highlight marker, color the
label on yellow gold paste solders. Then,
while working it will be easy to distinguish
between the tubes of yellow and white paste
solder.
When soldering on a hollow object, always drill
a small hole in the object. This will allow
air to escape as the piece is heated and the
air expands, and to re-enter it as it cools and
contracts.
Make certain the surfaces you are soldering
together are smooth, even, free of burs, and
fit tightly together. This will insure a
strong bond, resulting in a neat joint
requiring less finishing work, and a higher
quality look.
Do not point your torch directly on fine chains
or other thin metal, as they melt easily.
Instead, place the chain, wire, or other metal
on a ceramic pad. Then direct the torch on the
pad next to the metal and let the reflected
heat melt the solder.
When soldering items of different thickness,
always direct more heat to the heaviest item.
Ideally, both pieces should reach the
temperature to flow the solder at the same
time. Do not be fooled by items that look
massive, but are in reality quite thin.
Directing too much heat on them may cause
improper solder flow. In addition, you may
actually melt a hole through the object.
Once the solder has flowed, remove the heat.
Continual heating will only cause overheating
resulting in pits in the solder and possibly
melting the jewelry.
Do not use too much solder. Roll sheets of
solder through a rolling mill making the sheets
thinner before cutting into pallions. Then it
will be easier to cut into usable pallions and
they will be easier to see and to place into
position than the tiny pieces it is necessary
to cut from the thicker sheets.
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<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
Nothing is particularly hard if you divide it
into small jobs.
Henry Ford
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<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
SIMON SEZ SEMINARS
Bradney W. Simon is a JA Certified Master Bench
Jeweler with over 26 years experience on the
bench. He is the Editor and Publisher of
E-BENCH, BENCH Magazine, and BENCH ROM, and is
an accomplished platform speaker, providing
Keynote Speeches, and Educational Seminars.
Topics include:
Shop Management
Bench Tips
Jewelry Demonstrations
For information on having him speak for your
organization, log onto;
http://www.BWSimon.com/SimonSez Seminars
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<=> <=> STEWART'S BENCH TIPS <=> <=>
Bench Tips from Stewart’s International School
for Jewelers
http://www.stewartsintlschool.com/
KEEPING A BUR FROM FORMING WHILE SAWING
By Jim Stewart
To prevent a bur from developing on the piece
of ring sizing stock from sawing, change to a
sawblade that has more teeth per inch (TPI).
Example: a 2/0 sawblade has 62 TPI; a 3/0
sawblade has 66 TPI. Lubricate the back of the
sawblade with bees wax and lighten up on your
touch; let the sawblade do the work.
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<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
Plans fail for lack of counsel, but with many
advisers they succeed.
Proverbs 15: 22
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<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
Books from
MJSA/AJM Press:
At the Bench and The
Platinum Bench
Simplify your bench work!
The two award-winning books of MJSA/AJM Press,
The Platinum Bench by Jurgen J. Maerz and At
the Bench by Gregg Todd and Greg Gilman,
feature a wealth of time-saving tips, and
illustrated, easy-to-follow instructions on the
repair and fabrication of gold, silver, and
platinum jewelry. Based on the popular At the
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hundreds of photographs on everything from
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To download sample chapters, go to
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For more information, call 1-800-444-6572, ext.
3038.
((((((((((((((((((()))))))))))))))))))
<=> <=> AT THE PLATINUM BENCH <=> <=>
Tips for working on Platinum from
Jurgen J. Maerz CMBJ,
Director of Technical Education
for Platinum Guild International
http://www.pgi-platinum-tech.com
FTC GUIDE FOR MARKING PLATINUM JEWELRY
The FTC Platinum Guide for marking jewelry made
wholly or in part of platinum provides that
items consisting of 950 parts or more per
thousand of pure platinum can be marked
"Platinum" without the use of any qualifying
statements; 850 to 950 parts per thousand can
be marked in accordance with international
standards of "950 Plat." or "950 Pt.," "900
Plat." or "900 Pt.," "850 Plat." or "850 Pt."
(The revised guide permits the use of a two or
four letter abbreviation for platinum.) Copies
of the Platinum Guide Federal Register notice
and the entire Jewelry Guides are available
from the FTC's web site at http://www.ftc.gov
and also from the FTC's Public reference
Branch, Room 130, 6th Street and Pennsylvania
Avenue, N.W. Washington D.C. 20580; (202) 326-
2222
((((((((((((((((((()))))))))))))))))))
<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
Nothing ever comes to one, that is worth
having, except as a result of hard work.
Booker T. Washington
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<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
Jewelry Dealers World Trade Network
http://www.JewelryDealersNetwork.com
<=> Bench Jeweler Discussion Channel <=> >
Ask questions, share tips, and take part in the
on going discussions, or just read and take in
all the advice from many Excellent Jewelers
from around the world.
Membership includes: Topical Discussion
Channels, including
Bench Work, CAD-CAM, Stone Setting, and many
more. You may buy, sell and trade on the
Buy/Sell Channels, Plus Much More.
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<=> <=> <=> FAVORITE TIPS <=> <=> <=>
To smooth the channel walls on small
channel
settings, make a roller from an old
millgrain
wheel.
Carefully grind away the metal ridges
that form the beads, leaving a smooth
channel
around the outside of the wheel. Then polish
to a high shine. Place this modified wheel in
its handle and roll it over the top of
the
channel wall in the same manner you
would use
to millgrain an edge. The result is a smooth
edge of metal burnished tight against
the
stones. This modified millgrain wheel works
equally well on bezel set stones.
< < < < < <> > > > > >
When channel setting always undercut
the same
side of the channel on each stone. Alternating
the undercut side may cause the stones
to set
unevenly when finished. Before cutting the
seats mark one of the walls of the
channel with
a felt tip maker. Then you will be certain
to
always undercut the same side of the
channel.
This is particularly important if you
are
interrupted while cutting the seats.
< < < < < <> > > > > >
Before beginning to set any stone
remove all
tools from your lap tray. Even a diamond can
be chipped it if hits a hard steel tool
when
dropped.
< < < < < <> > > > > >
Before repairing a chain,
look over the chain
to ascertain how the links
are assembled. In
order to re-assemble the
chain where it is
broken you must know how
the links were
originally assembled.
< < < < < <> > > > > >
To repair a coin pendant with a
stripped screw,
clean the threads from the pendant with
a
Krause bur then fit a wire in the hole
and
rivet it closed.
Do not solder the wire in but rivet the
ends
down.
The tubes are soldered to the frame and
will move or come off easily if you try
to
solder the wire in place. In addition, if the
customer ever wants to change the coin
you can
drill the rivet out and replace it.
< < < < < <> > > > > >
To separate rings soldered
together, saw them
apart with a fine (6/0) saw
blade. Do not heat
them and try to pull them
apart. The shank may
come apart if sized,
especially if sized up
with one piece through the
two rings.
< < < < < <> > > > > >
If you have a tip you would like to share with
our readers send it in an e-mail to
((((((((((((((((((()))))))))))))))))))
<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
If I were a school teacher, I would put lazy
pupils to studying bees and ants. They would
soon learn to be diligent.
Thomas Edison
((((((((((((((((((()))))))))))))))))))
<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
BENCH ROM
The Multi-Media Magazine for Bench Jewelers
BENCH ROM is an affordable alternative to
learning new skills and developing your career.
Discover New Techniques
Learn New Tips to Improve Your Work
See New Products and Technologies Demonstrated
All right from your home or shop without having
to travel to a seminar or trade show.
“Bench Rom is great,” says jeweler Bill Scores
“It’s like being in the shop of a Master
Jeweler and watching over his shoulder.”
Log onto www.BWSimon.com/BenchRom for more
information or to subscribe
((((((((((((((((((()))))))))))))))))))
<=> <=> <=> GERRY’S GEMZ <=> <=> <=>
Stone setting tips from Gemz Diamond Setting
http://www.gemzdiamondsetting.com/index.html
by Gerald N. Lewy
Flush Set Stones
To flush set stones, first secure the ring
solidly into your ring clamp. Then use a round
bur 80% the size of the stone and cut the hole
to this size. The remaining 20% is the metal
for securing the diamond. Next, use an under-
cutting bur and proceed to make a seat for the
girdle of the stone, remembering that the
diamond must be flush with the surrounding
metal once the stone is set. Under cut a seat
all around the hole, check with a 10x loupe
making sure that the seat is at the same level.
Do not over drill into the wall; you must only
insert the drill until you cannot see the
rotating teeth any more. Once you are
satisfied that the procedure is accomplished
and to your expectations, ‘snap’ in the stone.
Do not snap it straight in; it isn’t going to
work this way. Place the stone on an angle and
slide it in side to side. You will notice now
that the diamond appears to be lower than the
surrounding metal, but don’t worry.
Now proceed to use your brass pusher, push over
the metal into 4 equal sections around the
stone. You should not compress the metal, but
only push to tighten the stone. Once the gold
is sitting evenly on the stone use a pumice
wheel to clean up all of the marks left by the
push rod. Do not use a tapered pumice wheel
but only a flat edged wheel. Now for the final
stage of clean-up, use a #39 flat graver and
bright-cut around the inner wall of the bezel
until you achieve a nice uniform cut.
((((((((((((((((((()))))))))))))))))))
<=> <=> QUOTE WORTH RE-QUOTING <=> <=>
Successful is the person who has lived well,
laughed often and loved much, who has gained
the respect of children, who leaves the world
better than they found it, who has never lacked
appreciation for the earth's beauty, who never
fails to look for the best in others or give
the best of themselves.
Anonymous
((((((((((((((((((()))))))))))))))))))
<=> <=> <=> E-BENCH SPONSOR <=> <=> <=>
The Ganoksin Project
www.ganoksin.com
The Gem and Jewelry Pre-Eminent Online
Resources. Open to the
public
Free of Charge.
A substantial library of articles,
publications, reports, and technical data on
gem and jewelry related topics; as well as a
sizable collection of art and jewelry
galleries, for both the casual visitor and the
professional, also host the popular Orchid
online forums for jewelers.
((((((((((((((((((()))))))))))))))))))
<=> <=> WORKSHOP SAFETY FOR JEWELERS <=> <=>
Workshop Safety Tips
From Charles Lewton-Brian
LIGHTING
How you light your shop, illuminate your
working area, experience the reflection from
surfaces and the paint you choose for the walls
all have an effect on your ability to work in
your studio. Poor lighting can strain the
eyes, contribute to accidents, and make working
uncomfortable.
Use lots of good lighting around such as
nice diffuse lighting overhead and local lights
(like desk lamps) in other places where you
need light. In our teaching studio we have
desk lamps mounted on the wall every six feet
or so, as well as over fixed tools like vises,
drill press etc. On my own bench I have two,
one on each side, so that I can position good
localized light anywhere on the bench surface
and can also light an object on my bench pin
from two sides at once, thus eliminating
shadows. I like daylight spectrum fluorescents
overhead. You should use diffuse light
generally in the workshop as glare and
reflections are less likely. It also tends to
reduce sharp shadows from objects and surfaces
being worked which can cause mistakes and other
problems. Diffuse light, please note, can
still be quite bright.
There has been a lot of research into
appropriate lighting levels for different
tasks. In general, the lighting levels
required for fine bench work, measuring and the
other activities that are standard for the
jewelry shop are about twice as high as for
other fields such as woodworking, fibers, other
crafts, or tasks such as working in a chemical
laboratory. Some general tips include: keep
the light sources themselves out of your field
of vision, use matte rather than shiny surfaces
for bench tops, tools etc., and have a contrast
ratio of 10:3:1 for a given job.
What this ratio means is that you have ten
units of light for the task, 3 units for the
local area and 1 unit of light for the
background lighting. To rephrase that, the
strongest lighting should be right on the spot
where you are actually touching and looking
closely at your object (this light level should
be ten times brighter than the light in the
background of the room). The lighting on the
workbench, the local area where you are
working, should be about three times brighter
than the background lighting in the room. This
means that the background lighting is dim
compared to the light on the work surface and
particularly with the lighting on the actual
object you are working on. This forces the
eyes to continually shift their receptivity to
light as one glances into darker areas from the
glare of the actual working spot and back
again. I have heard from Professor Eickhorst
(a lighting expert I respect) that this helps
the eyes to avoid fatigue. It helps if the
strong lighting on the work area is diffuse,
such as from a daylight spectrum fluorescent
lamp. These are available at all strengths and
price ranges.
For more information on Workshop safety from
Charles Lewton-Brian log onto:
http://www.ganoksin.com/borisat/safety.htm
((((((((((((((((((()))))))))))))))))))
<=> <=> Thank You for Reading <=> <=>
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