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JAA Technical Guide

This document is intended to set standards, and to give guidance to the industry on technical and other jewellery and

related products.

This Guide will also represent a reference document for the JAA Industry Code of Conduct.

Acknowledgements

American Gem Traders Association

Anthony Smallwood

Big Bead Little Bead Company (USA)

CIBJO Blue Pearl Book

Federation of the Swiss Watch Industry FH

Gemmological Institute of America (GIA)

Gemselect.com

Japan Watch and Clock Association

Ken Anania

Mark McAskill

Nash Pearls

Najo

Oblo Jewellery

Opals Australia

Opals Down Under

Paspaley

Peter Keep

Peter Sherman

Ronnie Bauer

Correct at time of publishing: 6 June 2016 (final draft version 1)

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Index 1. Materials

a. Precious Metal

i. Gold

ii. Silver

iii. Platinum

iv. Rolled Gold

v. Care of Gold and Silver Jewellery

vi. Rhodium

vii. Palladium

b. Gemstones

i. Gemstone Colour Groupings

ii. Mohs Scale of Hardness

iii. Diamonds

1. The Four C’s

2. Common Diamond Cuts

3. Synthetic, Man Made and Treated Diamonds

4. Laboratory Reports

iv. Other Gemstones

1. Glass Filled Corundum’s and Other Treatments

2. Pearls

3. Opals

2. Jewellery and Watch Product Knowledge

a. Types of Jewellery and Components

b. Jewellery Production Methods

c. CAD/CAM

d. Parts of a Ring

e. Types of Settings

f. Types of Shanks

g. Types of Chains

h. Platings and Coatings

i. Watches

3. Information for Jewellery Retailers

a. Gemstone Specifications and Care Chart

b. How to Use a Jewellers Loupe

c. Finger Size Comparison Chart

d. Repair Take in Procedure

e. Refunds and Returns

f. Lay By and Special Order Procedures

g. Special Care Guide

4. Other Information

a. Specific Gravity Chart

b. Birthstones

c. Anniversary stones

d. Valuations and Insurance

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1. MATERIALS

a. Precious metals

There are five metals in the precious metal group:

1. Gold: a yellow metal with chemical symbol Au

2. Silver: a white metal with chemical symbol Ag

3. Platinum: a bright white metal with chemical symbol Pt

4. Rhodium: a white metal with chemical symbol Rh

5. Palladium: a silver grey metal with chemical symbol Pd

Note: Palladium, Rhodium and platinum are all part of a group of metals known as the Platinum Group (PMG)

The group of five are also referred to as noble metals because of their ability to withstand chemical attack (corrosion and

decolourisation).

i. Gold

Since ancient times gold has been highly valued as a metal for jewellery production due to its density and the fact that it is

malleable (able to be easily beaten into a shape or flat sheet which is so thin that it becomes transparent) and ductile (able

to be easily drawn into a long strand).

Fine gold is resistant to corrosion and discolouration by all single acids but does dissolve in a mixture of nitric and

hydrochloric acid called aqua regia.

Fine gold is refined to a purity of 999.9 and in the carat system this purity is called 24 carat. Commonly used alloys of gold

in Australia are 9ct and 18ct gold.

18 carat means that the alloy contains a ratio 18 fine gold to 6 parts of other metal. I.e. 18/24 gold and current

production is stamped 750 (3/4=18/24) and means that the item will contain 750 parts out of a thousand of fine gold.

750 is called the standards mark.

9 carat contains 9 parts of fine gold out of 24 which is equivalent to 375 parts per thousand fine gold and 675 parts alloy.

375 is called the standards mark.

Note: All fine gold is yellow but we can change the colour of a gold alloy by varying the alloy metals we add to the mix.

We have learned that 18 carat must have 750 parts of fine gold. If an equal amount of silver and copper is used to make

up the 250 parts of the alloy component the resultant 18 carat gold will have a yellow colour. Similarly if the proportion of

the alloy material is rich in copper we will get a pink gold, sometimes referred to as a rose gold.

18 carat white gold alloys usually contain a percentage of palladium as well as silver.

The 18 carat metal must have 750 parts fine gold, the addition of palladium (also a costly precious metal) results in an 18

carat white alloy that is more expensive than the yellow.

As the amount of gold is lowered in the mixture, so the resultant alloy becomes more prone to discolouration.

White gold jewellery products are often rhodium plated and it is important to advise customers that over time this will wear

away and the item will need to be replated.

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Lower Caratage gold alloys contain more metals that are oxidisable. Silver for example reacts to Sulphur and copper with

ammonia. These oxidising substances are contained in sweat and in certain skin creams, soaps, perfumes and fabrics.

Caratage International symbol (parts per 1000)

Parts of fine gold Other metals

24

22

18

14

9

1000

916

750

585

375

24

22

18

14

9

Nil

2 parts of alloy

6 parts of alloy

10 parts of alloy

15 parts of alloy

Gold plating is an electro galvanic process whereby ions of metal in a solution are deposited on the item being plated. The

item to be coated is suspended in the solution at the cathode and a gold anode is suspended in the solution. The anode is

depleted as it transfers metal through the solution to the article being plated. By controlling the voltage and knowing the

surface area of the item being plated and monitoring the amperage the amount of metal being deposited can be calculated.

The thickness of the deposit is expressed in microns.

Items that are covered by less than the Australian standard for gold plated items should not be referred to as gold plated.

ii. Silver

Silver is a member of the group of precious metals that make up the noble metals and like gold, is also very malleable and

ductile but less so than gold. Fine silver is a very soft metal and is much more abundant than gold. Silver is less dense than

gold and this means that the same article made in silver will be lighter than its gold equivalent.

Silver will tarnish if it comes into contact with sulphur, which is often present in the atmosphere in the form of sulphur

dioxide. Articles of silver need to be regularly cleaned to be kept looking their best.

iii. Platinum

Platinum is a very dense Noble metal which is white in colour. It has a very high resistance to chemical attack and

mechanical scratching. Platinum has gained in popularity as more equipment and techniques are developed to ease its use

as a jewellery metal of choice. It has a very high melting point.

Due to its high specific gravity, items of platinum are much heavier than the equivalent gold piece.

The Australian standard for platinum is 950 parts per 1000 for the platinum alloy to be stamped Pt. CIBJO recognises the Pt

mark on product over 850 parts per 1000.

iv. Rolled Gold

Rolled gold is a mechanical application of gold onto a base metal by means of pressure usually through a roller but may

also be done with a press. The quality standard of rolled gold is usually expressed as a percentage of the total mass of the

item. You may see a mark that says 1/10th 9ct gold or 1/10th 375 gold

Ion plating is a modern process which deposits a very low level of metal on an article. This metal thickness is well below the

Australian standard for gold plating but cannot be referred to as plating because the process is not carried out in a solution.

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The covering is durable as after coating with precious metal, a ceramic coating is applied which is hard wearing

considering its thickness.

Plating and coating

The quality of a silver plated item is measured by the micron thickness of the silver coating. The plating process is similar to

gold but with the appropriate silver anode and solution. Look out for EPNS. This stands for ‘electroplated Nickle silver’ and

only the outer plating is silver on a base metal blank.

v. Care of gold and silver jewellery

Be conscious of the fact that many commercial gold and silver ‘dip cleaners’ are corrosive and strip a layer of metal of the

item being cleaned. It is important to warn customers not to use the solutions on silver plated articles as the silver coating

will be removed. Note that after using a dip cleaning process the item being cleaned must be thoroughly washed in running

water. Dry with a soft cloth.

Customers should be told that placing each item into a separate bag before placing in a draw or jewellery box will prolong

the life of their jewellery as damage occurs when items rub against each other.

It is also a good idea to take your jewellery off before going to bed at night – if it’s on wear will still occur.

Of course delicate items should be removed before doing manual chores such as gardening, exercising or cleaning.

v. Rhodium

Chemical symbol Rh. Rhodium is a very hard silvery metal with a very high lustre which is highly reflective. Its jewellery uses

are mainly limited to that of a coating material (usually electronically plated) to provide a tarnish resistant layer on silver

items and to improve the colour of white gold jewellery.

Its industrial uses include as a component of thermocouples and as a coating where corrosion resistance is required. It also

finds use in catalytic converters.

vi. Palladium

Chemical symbol Pd, is a lustrous silver grey white metal which has the lowest melding point of the platinum group of

metals. It is also the least dense.

The main use of palladium is as an industrial metal which is widely used in catalytic converters.

A more recent industrial use has been in fuel cells which combine hydrogen and oxygen to produce electricity with heat and

water a by-product.

Palladium is known to be relatively brittle and may discolour if heated beyond 400 degree centigrade.

During the Second World War palladium was used for the production of white gold wedding bands as the allied countries

had declared platinum (which at the time was used for the production of wave guides for radar), a strategic material was

not available to the jewellery industry.

During the period 1960 to 2000 palladium’s jewellery use was manly confined to that of an alloy for the production of

good quality non-allergenic white golds.

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In the early years of the new millennium production difficulties and problems associated with the casting of Palladium were

resolved and as a result of steep price rises in the price of Platinum, palladium was used as a white metal in its own right.

It should be noted that some European hand manufacturers had been continually producing Palladium jewellery through the

70’s and 80’s but production was confined to individual pieces.

In 2010 the British assay office introduced a palladium mark for the purity grades: 500, 950 and 999 parts per thousand.

b. Gemstones

i. Gemstone Colour Groupings

Black Blue Brown Green Pink

Jet Agate – Blue lace Diamond Alexandrite Diamond

Onyx Aquamarine Smokey Quartz Apatite Kunzite

Tahitian pearls Diamond Topaz Chrome diopside Morganite

Tourmaline Iolite Zircon Chrysophase Rose quartz

Lapis Lazuli Emerald Sapphire

Sapphire Jade – Jadeite Spinel

Spinel Jade – Nephrite Tourmaline

Tanzanite Malachite

Topaz Peridot

Tourmaline Sapphire

Turquoise Turquoise

Zircon Tourmaline

Tsavorite garnet

Purple/Violet Red Yellow/Orange White/Colourless

Amethyst Alexandrite Amber Diamond

Iolite Carnelian Apatite Jade – Nephrite

Jade – Jadeite Coral Citrine Opal

Kunzite Diamond Diamond Pearls

Sapphire Garnet Fire opal Sapphire

Tanzanite Jade – Jadeite Golden topaz Zircon

Tourmaline Rhodolite garnet Sapphire

Ruby Spessatine Garnet

Rubelite Tourmaline Tigers Eye

Spinel Tourmaline

Topaz Zircon

ii. Diamonds

A diamond is composed of crystallised carbon and is the hardest natural substance known to man. Fifty-eight times harder

than anything else in nature, in fact. Only Mother Nature can make a natural diamond. A natural diamond is identified

using only the single word, "diamond".

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1. The Four C’s

The 4 C’s are considered the global language of diamond quality. The four C’s helps determine the value of each individual

diamond. These are the measures by which diamonds graders assess the variations in these stunning natural wonders, as

each natural diamond boasts its own unique characteristics.

Once the rough diamonds are mined, the artisan who creates the finished gem plans their cut accordingly, producing a

masterpiece with a unique size, shape, clarity, number of facets, and scintillation.

Cut Cut (proportions, symmetry, and polish) is a measure of how a diamond’s facets interact with light. Together, these

measures rate the cut facets from “Excellent” to “Poor”, regardless of shape. Jewellers often use the term “cut” to describe

the shape of a diamond, as well as the quality of workmanship. A round shape is a favourite for engagement rings.

Princess, emerald, pear, marquise and ovals are among the many other shapes available.

Colour The less colour, the higher the grade. Even the slightest hint can make a dramatic difference in value. Diamonds are graded

for colour on a scale from "D" or colourless, to "Z" or dark yellow. A chemically pure and structurally perfect diamond is

completely transparent with no hue or colour. The colour of the diamond may be affected by chemical impurities and

structural defects in the crystal lattice.

A "D" colour diamond is considered colourless–and the standard for a "white" diamond. Deeper tones, up to H, are often

considered "near colourless". Generally, the hue and intensity of a diamonds colouration can enhance or detract from its

value. Diamonds with deep yellow, pink or other significant colour have become especially prized and are extremely rare.

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Clarity Flaws inside a diamond are commonly referred to as inclusions. Clarity grades assess the number, size, type, position and

visibility of inclusions and blemishes. These imperfections may be crystals of a foreign material, another diamond crystal, or

structural imperfections (tiny cracks that can appear whitish or cloudy). Diamonds are graded from "flawless" (FL grade) to

grades of VVS, VS, SI and "included" (I or P grade).

Carat The carat weight measures the mass or size of a diamond. One carat is defined as exactly 200 milligrams. The value of a

diamond increases exponentially in relation to carat weight, since diamonds of larger sizes in gem qualities are rare.

2. Common Diamond Cuts

A round shape is a favourite for engagement rings. Princess, emerald, pear, marquise and ovals are among the many other

shapes available.

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3. Synthetic, Man Made & Treated Diamonds

Scientific and technological advances in the jewellery industry have made it possible for synthetic diamonds to be

manufactured and laboratory-created (made by man).

Synthetic diamonds also known as Laboratory (LAB) Created Diamonds.

Synthetic diamonds are not imitation diamonds. Synthetic means the product is made by man, in a laboratory, using the

same chemical substance (pure carbon) found in natural diamonds. A synthetic diamond has the same physical, chemical

and optical properties as a natural diamond. It's cut like a natural diamond but a synthetic diamond is created by man, not

by Mother Nature.

Synthetic/Lab Created/Man made diamonds is less expensive than their natural counterparts.

There are many varieties of diamond look-alikes or diamond imitations. These products are not diamonds. If you decide to

buy a diamond simulant or a stone that closely resembles a natural diamond, but the stone is not a diamond, be sure you

know what you are buying.

Simulant, diamond simulant or simulated stones are imitations. A simulant or simulated stone is not a diamond but rather an

imitation man-made product that resembles a diamond. A diamond imitation should not be confused with a synthetic

diamond which possesses essentially the same physical, chemical and optical properties of a natural diamond. An imitation

or diamond simulant can be made of glass, plastic or some other compound such as zirconia oxide, better known as CZ or

cubic zirconia. Simulated/imitation stones are made by man and are usually very inexpensive to manufacture.

Be aware that the selling of imitation diamonds may use names that confuse consumers into believing that they are natural

diamonds and not imitations. It is misleading to advertise a diamond simulant or diamond alternative, without the

appropriate terminology or declarations.

For example, ‘Royal Diamond’ or ‘The same as a real diamond’ or ‘Just like a real diamond’.

Only a natural diamond can be identified using only the word "diamond", no other description is needed.

Natural diamonds are different to synthetic diamonds and diamond simulants such as CZ.

Treatments Treatment or enhancements to natural diamonds with the goal of improving the diamond's overall appearance are common.

These treatments are acceptable and have their place in the jewellery world, provided the consumer understands if a

particular diamond was treated and exactly what enhancement/treatment was performed on the diamond and why. Treated

diamonds are a way for consumers to own lovely jewellery at affordable prices.

Treatment or enhancements to natural diamonds with the goal of improving the diamond's overall appearance are common.

These treatments are acceptable and have their place in the jewellery industry, provided the consumer understands whether

a particular diamond was treated and exactly what enhancement/treatment was performed on the diamond and why.

Some diamond treatments are less durable that others, meaning that the appearance of the diamond may change over time.

Treated diamonds are a way for consumers to own lovely jewellery at affordable prices.

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Laser drilling This treatment is done to reduce or eliminate dark "flaws" (inclusions) in natural diamonds. A laser beam is used to drill a

narrow path to the flaw. This path looks like a fine white thread starting at the surface travelling to the inclusion. The effects

of the laser treatment are permanent and the diamond does not need special care.

A laser-drilled diamond is an affordable alternative to paying more for a natural untreated diamond.

Fracture filling Fracture filling is a treatment to improve the appearance of a natural diamond. Surface cavities or fractures which reach or

break the surface of a diamond, are filled with a substance (often times a type of epoxy or resin). This treatment does not

remove the cavities or fractures but makes them appear less visible.

Fracture filling is not a permanent treatment since the heat of a jeweller's torch as well as ultrasonic cleaning can affect the

filling used in the treatment. For example: the filling sometimes dries and therefore the cavities or fractures might reappear.

Selling a fracture filled diamond requires the seller to fully disclose and explain the treatment, and any special care

requirements. Selling a fracture filled, treated diamond without proper disclosure is not an acceptable jewellery trade

practice.

Additionally, heat must never be applied to a treated diamond; it should always be removed from the setting before any

repair work is completed. A customer must advise their jeweller if a stone is treated so that any work being completed on a

piece of jewellery is adequately handled. Failure to advise the jeweller may result in damage to the diamond and further

costs for the customer, as a jeweller will not be liable if any treatments were not declared.

Moissanite Moissanite, (chemical compositions: silicon carbide), is a laboratory-created, near-colourless jewel. While Moissanite

closely looks like a natural diamond, it is not a diamond, synthetic diamond, brand of diamond nor is it marketed as a

diamond substitute. Rather moissanite is marketed as a unique jewel. However, some people do purchase it as a diamond

alternative.

4. Laboratory Reports

Diamond grading is a subjective task due to the non-standardised nature of diamonds. Whilst diamond grading is

subjective in nature, there are recognised standardised methodologies in place internationally to reduce subjectivity.

Grading is intended to quantitatively and qualitatively describe a diamond’s unique characteristics so that any diamond can

be identified based on its own diamond grading report. Grading can only be carried out before a diamond is set. It does

not give any value for a diamond, however it is the main tool used to determine the value of a diamond in the marketplace.

The JAA recognises independent grading laboratories that work to internationally recognised and respected grading rules

and guidelines. Any diamond grading laboratory needs to be independent of the diamond selling process, thereby

transparent and free of conflict of interest.

The JAA monitors the international diamond grading "landscape" and recognises the following diamond grading

laboratories*:

1. American Gem Society Laboratories (AGS)

2. Australian Diamond Grading Laboratory (ADGL)

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3. Diamond Certification Laboratory of Australia (DCLA)

4. Gem Studies Laboratory (GSL)

5. Gemmological Institute of America (GIA)

6. HRD Antwerp (HRD)

7. Independent Gemmological Laboratory (IGL)

8. International Gemological Institute (IGI)

9. International Institute of Diamond Grading & Research (IIDGR)

10. Scientific Gem Testing Laboratories (Auscert)

* Due to ongoing monitoring of Diamond Grading laboratories this list is subject to change over time and will be updated as and when required. JAA recognition is based on

the information currently available however it advises consumers to always do their own research. A laboratory is only deemed independent if it is not in any way involved in the

sale of diamonds. Last updated 19 January 2015

What does a grading report include? A grading report should include:

A statement that the diamond is a natural diamond

A report number

The accurate carat weight

The shape and measurements

The colour grade

The clarity grade

The cut grade (not applicable on fancy shapes)

The polish grade

The symmetry grade

The fluorescence type.

The plot to show where inclusions are located and the type of inclusion

Any applicable comments

Laser Inscription Most JAA recognised laboratories will offer laser inscription services. Laser inscription is minute writing, not visible to the

naked eye, applied on the girdle of the diamond. The main purpose is to be able to identify the diamond.

This will ensure that the diamond matches the report and will minimise the possibility of your diamond ever being switched.

The safest laser is a cold laser system which is guaranteed not to damage the diamond and which has no effect on the

purity.

iii. Other Gemstones

1. Glass Filled Corundum’s & Other Treatments

Enhancement of gemstones refers to treatments or processes that improve the appearance, durability or value of a

gemstone. Today many gemstones have been enhanced by countless methods to improve the natural properties of

gemstones. Some treatments and processes are fairly simple where others are more complex. Some gemstone

enhancements are less durable that others, meaning that the appearance of the gem may change over time.

Additionally, heat must never be applied to a treated stone; it should always be removed from the setting before any repair

work is completed. A customer must advise their jeweller if a stone is treated so that any work being completed on a piece

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of jewellery is adequately handled. Failure to advise the jeweller may result in damage to the gemstone and further costs for

a customer, as a jeweller may not be liable if any treatments were not declared.

Types of enhancements are, but not limited to, bleaching, coating, dyeing, filling, flux heating, heating, impregnation,

lasering, oil/resin infusion, irradiation and waxing/oiling.

Caution must be exercised when cleaning or using ultrasonic cleaners. Excessive cleaning and the use of ultrasonics may

affect the treatment that has been applied to certain gemstones. For example, most emeralds are oil or resin impregnated

and the use of ultrasonics may remove this treatment or expand existing fractures. Organic porous gemstones such as opals

and pearls should under no circumstances be exposed to ultrasonics. If unsure if a gemstone can be cleaned in an

ultrasonic, do not use an ultrasonic.

Gemstones such as opal, pearl, coral, amber and turquoise are heat sensitive. It is advisable not to leave them sitting in hot

sunlight, near heaters or in hot cars. Once an opal begins to craze, it is irreversible. Craze occurs when the water in opal

dries too quickly.

2. Pearls

Natural Pearls Natural pearls are defined as all types of pearls formed by chance in various saltwater and freshwater molluscs from a

grain of sand or tiny speck of coral, without any human intervention - there is no implanted nucleus. Historically, all pearls

discovered were natural pearls; however the ocean’s natural supply of pearls was seriously depleted around a century ago.

Today the occurrence of natural pearls is very rare. They are often traded at international auctions as investment pieces.

Cultured Pearls Cultured pearls are formed when humans intentionally introduce an irritant into the oyster. Most of today’s pearls are

cultured pearls.

To produce a cultured pearl a highly skilled technician inserts foreign matter into a healthy, mature oyster or mussel. To

protect itself from this irritant, the oyster produces cells that secrete multiple layers of nacre that eventually coat the foreign

matter to become the cultured pearl. After the insertion, the oyster is placed in wire mesh baskets for protection and hung

from floating rafts in the sea. Usually after one to three years beneath the sea the pearls are then harvested.

The shape and size of the resulting pearls depends, to a large degree, on the shape and size of their implanted irritant.

Harvesting valuable pearls requires luck as well as skill. The number of gem quality or 'perfect' pearls harvested each year

is still fairly low.

Today there are three main groups of cultured pearls:

• Akoya pearls

• White, Black and Gold South Sea pearls

• Freshwater pearls

It should be noted that Keshi Pearls are a by-product which can arise from any of the above groups.

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Cultured Pearl Chart

Akoya Pearls The term Akoya refers to nucleated saltwater pearls cultivated in the Akoya Pinctada fucata (martensii) oyster. The first

pearls were cultured in Japan, where the techniques for growing pearls were developed about a hundred years ago.

Only one pearl grows in the Akoya oyster and the period of cultivation is between eight months and two years.

The Akoya shell is no bigger than the palm of a hand and is found mainly in Japan, Korea and China. Its pearls generally

grow from 2mm to 9mm, or very rarely 10mm.

The majority of Akoya pearls harvested are round in shape. However, other shapes like baroque, button, oval, drop etc.

can also be found.

White South Sea Pearls White South Sea Pearls refers to pearls grown in the southern ocean, mainly off the coast of Western Australia, Indonesia,

the Philippines and Myanmar. They are grown in the Pinctada Maxima oyster which is the biggest oyster of all species (size

20-30cm).

There are the “yellow-lip” (mainly Philippines, Indonesia) and the “silver-lip” (mainly Australia and some parts of Indonesia)

Pinctada Maxima oysters which all produce a slightly different colour of pearl.

Pearls produced range in size from 9 to 20mm (occasionally bigger). The largest cultured South Sea pearl is 24mm.

Most of the harvested pearls will be in different shapes such as oval, drop, button and baroque.

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White South Sea pearls come in a variety of colours, ranging from white through to silver blue, and from cream to golden

colours. The rarest and expensive colours are silver white, white rose and dark gold. The other colours like cream, yellow,

blue, grey and champagne are more affordable.

Note: There are now some Freshwater pearls that also come in larger sizes, i.e. approx. 9mm – 15mm.

Black South Sea Pearls Black South Sea Pearls are cultured using a species of oyster called Pinctada Margaritifera or "black lip" oyster. This variety

of mollusc is indigenous to the lagoons and the atolls of French Polynesia and the surrounding South Pacific area – Tahiti,

Cook and Fijian Islands. They are also grown in small quantities off the Western Australian coast – Shark Bay and Abrohos

Island.

Tahitian oysters love the pristine lagoon waters, where temperatures range between 24-29 degrees.

As with other South Sea pearls, the Tahitian pearl ranges in size from 8-16mm (sometimes bigger).

Colours of Tahitian pearls range from gold through greens to aubergine or purple, and to quite a dark black. Generally, the

darker the pearl, the more valuable it is. True peacock black pearls are typically expensive.

Shapes come in round (only a limited percentage), off round, oval, drop, button and baroque and circle.

Gold Southsea Pearls Gold South Sea Pearls are cultured using a species of oyster called Pinctada Maxima, a silver or golden lipped pearl

oyster.

These pearls come from the waters off Australia, Indonesia, Myanmar and the Philippine’s. They are also grown in small

quantities off Vietnam, China and Papua New Guinea.

Freshwater Pearls Freshwater pearls grow in a mussel species (Hyriopsis Schlegeli) and/or (Hyriopsis cumingii). The mussels are not rare and

are mainly found in rivers, lakes and ponds in China and Japan, and also in Europe, Russia and America. They are

propagated in water tanks and ponds.

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Freshwater pearls have an endless variety of shapes, sizes and colours from lilac to purple, orange, brown, rose, grey,

gold, champagne and white. It is simply a question of taste.

Keshi Pearls The word 'Keshi' means 'poppy seed' in Japanese and these pearls are also sometimes referred to as seed pearls. It is an

old Japanese trade name for small saltwater natural or non-beaded cultured pearl that is essentially baroque in shape.

There is considerable controversy as to the classification of whether Keshi pearls are natural pearls or cultured pearls. It is

impossible to determine the difference in the laboratory.

As a basic rule, if the oyster has been seeded by human intervention and an additional pearl (by-product) is created

through the provocation of any substance, the pearl is considered to be cultured and is therefore called a “Keshi” pearl and

is 100% nacre.

They are generally small in size and their shapes vary widely. Keshi come in a wide variety of colours and tend to have a

high lustre. Most common today are the South Sea and Tahitian Keshi pearls.

Biwa Cultured Pearls A freshwater beaded or noon=beaded cultured pearl produced in Lake Biwa, Japan using the freshwater bivalve mollusc

Hyriopsis Schlegeli.

Imitation Pearls Imitation or simulated pearls are entirely man made from a variety of materials. They are mostly manufactured from beads

of glass, plastic, or polished shells that are coated with a varnish that traditionally was made from finely ground fish scales

but more recently from reconstructed mother of pearl.

Pearl Quality Unlike gemstones such as diamonds, there is not a universal international standard of quality used when judging the quality

of pearls. Various systems have been developed for grading pearls. Beauty is considered the most important criteria when

selecting a pearl. There are however, certain grading characteristics for judging the quality of pearls which include: colour,

lustre, shape, size, and surface finish.

For all the above criteria that determine the value of a pearl, there is one more important factor that is frequently omitted:

the matching of pearls. There is a saying that “no two pearls are alike”. It is therefore extremely difficult to find a perfectly

matched pair of pearls or matched pearls for a necklace or strand.

Helpful tips for judging the quality of pearl strands:

• Examine the strands on a flat white surface, e.g. white cloth, board or paper. Lustre and colour are hard to judge

when pearls are suspended in the air or lying against a dark surface.

• Try to examine the pearls directly beneath a bare light instead of away from the light source. This helps to bring out

the lustre and true colour of the pearls.

• Look for the darkest and brightest areas of the pearls in a strand. Then compare the contrast between the two. The

lower the contrast and the milkier the appearance of the pearl, the lower the lustre.

• Examine the reflection of light on the pearls. Usually, the less sharp and intense the reflection is, the lower the lustre

will be. Sometimes, however, a lack of sharpness in reflections is due to surface flaws rather than the overall lustre.

• Compare the lustre, colour and blemishes of individual pearls in a strand. The quality of a strand is determined by

its overall appearance, not just by one pearl.

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• Roll the pearls slightly to see their entire surface. The lustre, colour and surface imperfections not only vary from

pearl to pearl, but also vary on each individual pearl.

• Check the regularity of size and shape (especially in graduated strands).

• If possible, lay the pearls alongside other strands and compare lustre and colour. A strand will look better when

viewed next to lower quality strands rather than next to those of higher quality strands.

Required care of pearls It is possible for pearls to retain their lustre for hundreds of years if the generations of owners are educated in their required

care. Taking proper care of pearls is not difficult. It is helpful to remember that these gems are organic by nature, grown in

water from the living cells of a living creature. Like the oysters which formed them, they require moisture from salt or fresh

water. Never expose pearls to chlorinated water and be aware that pearls are prone to damage from pollution, heat and

injury.

How to care for pearls

• Store pearls separately from other pieces of jewellery in a cloth bag or jewellery pouch. Wrapping pearls in slightly

damp linen will help to prevent them from dehydrating in low-humidity atmospheres which have often been centrally

heated.

• Before putting pearl jewellery on, apply cosmetics, perfume and spray products first. Try to avoid wearing pearls if

you are wearing sunscreen lotion or insect repellent as the chemicals in these products can damage the pearl.

• Clean spills immediately if pearls come in contact with food acids. Use a soft cloth moistened with water to wipe

them down and then dry with another clean soft cloth.

• Always wipe pearls after wear, using a clean soft cloth.

• Have pearls re-strung regularly for the sake of the pearls as well as to avoid a broken string. Make-up, powder and

skin oils will form a soft, gluey paste on the string, deteriorating both the silk and the pearls.

• Replace individual pearls based on the advice of a competent and experienced pearl stringer. Cultured pearls

which always lie against the neck when worn will absorb acid from the skin and eventually lose lustre as well as

their spherical shape.

Things to avoid when wearing pearls • Perspiration and acids

• Make-up, skin creams, perfume, hairspray, sunscreen, insect repellent, talcum powder

• Dust and grit

• Soap and detergent

• Scratches

• Chlorinated water in shower or pool

• Safety deposit boxes in bank vaults over a long period of time

• Dehydration from being wrapped in cotton wool or from exposure to light and heat, especially spotlights in shop

windows and showcases

• The kitchen with acidic ingredients and the high heat used in cooking.

There are five physical characteristics by which all fine pearls are graded.

Lustre/Orient Lustre is the most important characteristic of a pearl. Of all precious gems, only pearls have lustre and it is this that gives

pearls their singular beauty. Orient which is an optical phenomenon caused by the interference and diffraction of light from

within the surface of some nacreous pearls.

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A pearl consists of countless layers of pearlescent organic material known as ‘nacre’. Lustre arises from the interaction of

light with these layers of nacre. The refraction of this light produces delicate shades of iridescent colours which is referred to

as the Orient.

The lustre of Australian South Sea pearls is attributable to the superlative quality and thickness of the nacre produced by the

wild Pinctada maxima oyster.

Together, these factors result in lustre of incomparable radiance and iridescence.

A pearl with deep and radiant natural lustre is desirable and valuable whatever its shape, colour or size and despite any

surface imperfections.

Natural lustre is everlasting and should not be confused with the superficial metallic shine of treated pearls that may

diminish over time.

There are four categories of lustre:

Excellent – reflections are bright, sharp and distinct.

Good – reflections are bright but not sharp and they are slightly hazy around the edges.

Fair – reflections are weak, hazy and/or blurred

Poor – reflections are dim and diffused.

Surface Blemishes A pearl with a flawless surface is exceptionally rare. As living organisms produce pearls, nearly all pearls have

minor bumps, pits or uneven colour imperfections, known as blemishes.

A pearl’s quality is influenced by the number and size of imperfections and their degree of visibility. Clearly noticeable

imperfections compromise a pearl’s allure and value. Some of these imperfections may include, cracks, patches of missing

nacre, prominent flaws and obvious discolouration.

Blemishes come in four categories:

Clean

Lightly blemished

Moderately blemished

Heavily blemished

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Shape A pearl’s shape does not affect its quality. However, the demand for particular shapes does have a bearing on value.

Round is considered the most valuable shape for a pearl, however teardrop and oval are also especially high in demand.

Some other shapes, such as circle and baroque, are no less beautiful and have an appealing individuality. A circle pearl

features one or more grooved rings around the pearl. Baroque pearls are irregular in shape. These organic, free-form

shapes can be very beautiful and lend themselves to exciting and creative jewellery designs.

Pearls are classified into nine shape categories:

Round – perfectly spherical and highly desirable.

Near round – Slightly flattened or elongated rather than being a perfect sphere.

Semi-round – less round but still have an overall round shape.

Oval – narrower at the ends than they are in the centre.

Button – flattened to some degree making them resemble a button or perhaps a disk. Often used in earrings.

Drop – are pear or teardrop shaped and can also be triangular. These pearls make attractive earrings or pendants.

Circle (ringed) – Has one or more parallel grooves around the circumference of the pearl. Can be present on drops,

ovals, near round, semi round, triangles and buttons.

Baroque – a pearl which is both non-symmetrical and irregular in shape. It can be purely abstract in shape or can

resemble a cross, stick or some other shape.

Semi-baroque – are slightly irregular in their shape. For example a pearl that may be considered an oval or button

shape but which is not symmetrical in nature.

Colour Australian South Sea pearls are available in a wide array of natural colours mirroring the overtones of the Pinctada maxima

shell in which they form.

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Colour is a personal choice but the popularity of a particular colour can influence a pearl’s value. Australian South Sea

pearls are predominantly white or silver and may have multi-hued overtones including pink, blue and green.

The pearls hue can be broken down in to three categories:

Hue – the colours first impression

Tone – its lightness or darkness

Saturation – its strength or intensity.

A pearls colour can have along with the Hue three main characteristics:

Body colour – overall body colour of the pearl

Overtone – which is one or more translucent colours that appear over a pearl’s body colour and

Orient-iridescent – which are rainbow colours shimmering on or just below the pearls surface.

Size Australian South Sea pearls are the largest of all pearls, typically ranging from 11 to 16mm in diameter. Larger sizes up to

20mm and beyond are occasionally found and such pearls are highly prized.

Trade names for Natural pearls. Trade term Colour Treatment type Frequency Conch Pearl All colours Oiled Rarely

Abalone Pearl All colours Oiled

Filled

Rarely

Occasionally

Blister pearl All colours Oiled

Dyed

Filled

Rarely

Rarely

Commonly

Saltwater pearl All colours Oiled

Dyed

Rarely

Rarely

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3. Opals

Precious opal is a gemstone which shows a special phenomenon known as Play-of-Colour (POC). This play-of-colour is

revealed as an arrangement of small colour patches or colour grains that are arranged and distributed over the surface of

the gemstone and which change in colour when the gemstone is moved or rotated.

Filled Rarely

Blister pearl White, pink to purple Oiled Rarely

Freshwater pearl White, pink to purple

All colours

Grey to black

Oiled

Dyed

Irradiated

Rarely

Rarely

Rarely

Freshwater Blister Pearl White, pink to purple

All colours

All colours

Grey to black

Oiled

Dyed

Filled

Irradiated

Rarely

Rarely

Rarely

Rarely

Trade names for Cultured pearls

Trade term Colour Treatment type Frequency

Mabe Pearl White

All colours

Bleached

Dyed

Commonly

Commonly

Freshwater Cultured Pearl (beaded) White Coated Rarely

Freshwater Cultured Pearl (non-beaded) White

All colours

Grey to black

Bleached

Dyed

Irradiated

Commonly

Commonly

Occasionally

Keshi Saltwater Cultured Pearl (non-

beaded)

White to yellow and

Grey to black

Dyed Rarely

Saltwater Cultured pearl (beaded)

- Akoya Cultured Pearl

- South Sea Cultured Pearl

- Tahitian Cultured Pearl

All colours

White

All colours

Grey to black

Bleached

Bleach

Dyed

Dyed

Coated

Filled

Oiled

Irradiated

Commonly

(Pinctada fucata)

Uncommon

(Pinctada Maxima)

Rarely

(Pinctada

Margaritifera)

Occasionally

(Pinctada fucata)

Occasionally

(Pinctada fucata)

Rarely

Rarely

Occasionally

Occasionally

(Pinctada fucata)

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The colours seen are the same colours as seen in a rainbow and are called “spectral colours” due to the nature of how the

colours are produced in the gemstone. The Play-of-colour originates from the interaction of light with an amazing three

dimensional array of tiny silica spheres which cause the diffraction of white light into spectral colours. This structure was

originally revealed by the scientists at the Australian CSIRO who observed the sphere structure under the electron

microscope.

Natural Precious opal is classified under four separate types, Opal, Boulder opal, Matrix opal, and Hydrophane opal.

There are two distinct types of opal that form under similar but different chemical and geological environments. Almost all

Australian precious opal forms nearby or within the Great Australian Basin (GAB) which is sometimes also named the Great

Artesian Basin. This is an environment of a sedimentary nature where the weathering of the rocks has provided a suitable

chemical environment that forms a silica and water solution to allow the formation of silica spheres that can form opal.

Types of Opals Natural Opal (Type 1) - is opal presented in one piece in its natural state apart from cutting or polishing, and is substantially

homogenous chemical composition.

Natural Opal (Type 2) (Opal and rock) – is opal presented in one piece where the opal is naturally attached to the host

rock in which it was formed and the host rock is of a different chemical composition. This opal is commonly known as

bolder opal.

Natural Opal (Type 3)(Opal in rock) – is opal presented in one piece where the opal is intimatley diffused as infillings of

pores or holes or between grains of the host rock in which it was formed. The opal is commonly known as matrix opal.

Until Recently Australia produced about 95% of the world’s precious opal gemstones, however during the last 10 years

large deposits of precious opal has been discovered and mined in Ethiopia. Ethiopian precious opal is different from

Australian Precious opal in many aspects, and has different gemmological constants that allow for it to be distinguished.

Much of the new Ethiopian material is known as “Hydrophane opal” and it has been given this name because the material

is porous in its nature and as such can absorb water and other fluids. (See special care notes below). Precious hydrophane

opal is also “type 1” as the material is “all” opal, it will be distinguished in the nomenclature by a definition noting its

porous nature.

Precious opal qualities.

Precious opal is often classified or graded by its “Body colour” or “Body Tone. This grading is a neutral scale from Black to

white as listed in the chart below.

Body Tone Chart

Black Opal Dark Opal Light Opal

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Black Opal is the family of opal which

shows play-of-colour within or on a

black body tone when viewed face up

and may be designated N1, N2, N3

or N4 on the Scale of body tone. This

type of opal mostly comes from

Lightning Ridge (NSW) and high

quality stones are very rare.

Black Crystal is the family of opal

which shows a degree of transparency

the colours are often brilliant and can

appear to come from within the depth

of the gemstone. Good black crystal

opals are very rare. This type of opal is

mainly mined at Lightning Ridge

(NSW)

Dark Opal is the family of opal which

shows play-of-colour within or on a

dark body tone, when viewed face up

and may be designated N5 or N6

using the Scale of Body Tone.

This type of opal mainly comes from

Mintabie (SA) and Lightning Ridge

(NSW).

Light Crystal Opal is the family of opal

which shows a play-of-colour within or

on a light body tone, when viewed

face up and may be designated N7,

N8 or N9 on the Scale of Body Tone.

The N9 category is referred to as white opal. This type of opal is mainly mined

from the South Australian fields of

Mintabie, Coober Pedy and

Andamooka, although the first material

was mined 1890 when the first mining

leases where granted in White Cliffs.

Crystal Opal is an opal that is

transparent or very translucent and in

the better qualities shows a distinct and

very bright play-of-colour. This type of

opal is found in most Australian opal

fields.

Boulder Opal: is the family of opal

naturally occurring on its host rock. It is

easily identified because, when cut, the

host rock brown ironstone) is left on the

back of the opal. Boulder opal may be

light, dark or black. In the last twenty

years this type of opal has become

extremely popular as it can display the

same darkness and brilliance as a high

quality black opal. There is also

“Yowah” and “Yowah nut” opal which

also come from the Queensland mines.

Opal with a distinctly coloured body (such as yellow, orange, red or brown) should be classified as black, dark or light

opal, by reference to the Scale of Body Tone, and also have a notion stating its distinctive hue appended to its determined

body tone.

Mexican Opal. The most notable gemstone opal material produced by the Mexican opal fields is material commercially traded as “Mexican

Fire opal”. Fire opal is a well-known term used in the gemstone industry to describe orange to dark red colours of common

opal that is transparent to semi-transparent in nature. This material is often faceted in to orange and red gemstones like

other faceted gemstones.

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Also seen form the Mexican opal fields is a precious Mexican opal that is very different to Australian precious opal. Most

often the Mexican precious opal shows a Play of colour within a very orange body coloured gemstone. This material can

vary from a bright orange body colour through to a “crystal” or transparent variety with almost no body colour, although it

is usually slightly pale yellowish. This material is usually cabochon cut, like other precious opal, to show the play-of-colour.

Sometimes a variety of Mexican boulder opal is produced which shows precious opal within or on a light rhyolite rock. This

material is very different from Queensland boulder opal, which typically has an ironstone component.

Mexican fire opal and Mexican Precious opal is distinguishable from Australian precious opal not only by its orange body

colour, but also by its gemmological constants and attributes.

Factors determining the value of all types of opals The three major factors of value for precious opal are, the blackness or darkness of the body colour, there brightness or

brilliance of the play of colour, and the amount of red in the spectral play-of colour. When you add to these factors the

element of the pattern, (which is the way in which the colour grains are arranged) and what the pattern looks like, whether

it is a regular pattern, or a consistent pattern, or a directional pattern, the difficulty in providing a value can readily be

seen. This is also highlighted due to the fact that each and every precious opal is different or unique in its play-of-colour, no

two opals are exactly the same.

Opal Cutting

Most precious opal is cut en cabochon, usually in oval shapes; however boulder opal and especially Queensland Ironstone

boulder opal is often cut in freeform shapes with an undulating surface, and this is because the opal is usually a very thin

layer on the top of the ironstone rock from which it is cut. More recently there has been a larger amount of precious opal

that is also carved and shaped into different freeform shapes and abstract figures.

Composite opals.

Composite opals are manufactured items of either two pieces (Doublet opals) or three pieces (Triplet opals). They can

appear in jewellery manufactured out of either natural opal laminates or synthetic opal laminates as illustrated in the

diagrams. Sometimes small opal “tiles” are joined to a substrate in fitted pieces to form an opal mosaic. More recently some

new designs of opal jewellery items have been manufactured where the precious opal is “inlaid” or fitted and polished flush

to the surface of the jewellery item. Again this opal may be natural opal or it may be synthetic/imitation opal. Imitation opal

in silver jewellery is now quite abundant

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Doublet Opal Triplet Opal Mosaic and Inlaid Opal

A composition of two pieces where a

slice of natural opal is cemented to a

base material.

A composition of three pieces where a

thin slice of natural opal is cemented

between a dark base material and a

transparent top layer (usually of quartz

or glass).

These are a composition of a small flat

or irregularly shaped pieces of natural

opal cemented as mosaic tile on a dark

base material or encompassed in a

resin.

Synthetic/Imitation opal. Like many other gemstones, a man manufactured opal material has been produced and offered for sale in jewellery items.

Whilst it is not prevalent in Australian market places it is abundant overseas, and especially in South East Asian and

Chinese markets. A substantial amount of imitation/synthetic opal has been made into bead necklaces as well.

Opal Treatments The most well know opal treatment is the dying or carbonising treatment of sugar and acid applied to Andamooka Matrix

opal. In this treatment the lighter coloured matrix opal is given a black or dark background in order to imitate precious

black opal. This treatment is common. Also a substantial amount of Queensland boulder matrix opal has been treated in a

similar but slightly different fashion, and at least one product known as “fairy stone” has been used to produce beaded

necklaces.

Also seen in the market place is a substantial amount of Ethiopian hydrophane opal that has been coloured black, usually

by a process of “Smoke treatment” this material is abundant on the internet and in the overseas markets.

Special care requirements. Recently the International Coloured Stone Association (ICA) issued the following information regarding Ethiopian

hydrophane type opal: Precious opal Type 1- Hydrophane

Special care required Hydrophane generally indicates a material that is absorbent when immersed in liquid.

Keep away from cleaning agents, perfumes, oils and any liquids as they can be absorbed and may alter colour

and/or appearance.

Avoid sudden and extreme temperature changes. Avoid steam and ultra-sonic cleaners, clean with a soft cloth.

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2. JEWELLERY PRODUCT KNOWLEDGE

a. Types of Jewellery & Components

Rings Some Rings have carried special significance; an example is in times when most people could not sign their own names

seal rings that were imprinted into wax bore testimony to the authenticity of a document.

Early Chiefs and Kings would send an emissary with their seal ring to negotiate inter kingdom agreements.

Later wedding bands, which were consecrated in a religious ceremony, indicated a person’s marital status.

The significance of the ring carries on to this day with promise and engagement rings preceding a marriage and eternity

(some call them anniversary) rings following.

Wedding rings

Usually a flat or domed (D shape) ring which are plain but some variations are stone set, diamond cut patterned or

engraved. These may be produced in a variety of metals.

D shaped band

(also known as half round or domed)

Plain flat

Gem set

Styles which have stones set into the

band. These sometimes take a non-

conventional shape in order to fit

snugly into a special engagement ring

design.

Signet rings A solid band with a flat top. Sometimes engraved with a pattern and often engraved with the owners initials. These rings

are often die struck and the standard shapes are oval, round, square, cushion and shield. They can also be stone set with

family insignia.

In the North America most universities, schools, clubs and units of the armed forces have their own signet rings.

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Stone set rings, also referred to as – Dress rings, Cocktail ring,

Dress ring Cluster Dress ring Cocktail ring

A term used to describe both diamond

and coloured stone rings, such as

above. Whose use is ornamental

without needing to bestow a special

meaning to the occasion of purchase.

A term used to describe both diamond

and coloured stone rings whose design

is in a cluster style without needing to

bestow a special meaning to the

occasion of purchase.

Style of large rings with fancy stones or

multiple stones which are not suitable

for everyday wear and care needs to

be exercised when wearing these

items.

Engagement ring Broadly divided into 3 groups.

Solitaire Multi-stone Cluster

Solitaire which holds one centre stone

as the hero of the piece. Variants of

this style may have stones set into the

shoulders of the ring

Multi-stone rings with a large central

stone may be accompanied by two or

more smaller stones on the shoulder

These often take the form of a larger

centre stone with rows of smaller stones

encircling the centre stone.

Brooches The origin of the brooch is as a clip mechanism for holding garments closed. Later it evolved into having just a decorative

use. Often worn on the lapel of a coat or to secure a scarf.

Baby brooch

Given at birth and used to attach bib

Classic vintage bar style brooch Modern bar brooch

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Cameo brooch Other plain and stone set brooches

21st key Leaf brooch

Nature as inspiration

Bangles Hinged Slave or golf Key hole

Manufactured with a hinge to allow the

bangle to open and usually with a

tongue and groove box snap to hold

closed.

A continuous circle or oval that is

pushed over the wrist. Usually worn in

multiples. In some countries this is still a

form of accumulating wealth.

A width of polished metal with a key-

hole closure mechanism and a loop to

hold the metal in.

Cuffs

These are large light weight for their size pieces often made in silver or base metal which often make use of laser etching to

produce fancy pieces with cut out patterns. Some are also diamond cut to add sparkle.

Bracelets Made from chain with a length between 17.5cm and 21cm and an appropriate closure.

Tennis Stone set Mesh Gate

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Stone set bracelet, usually with

diamonds.

Stone set bracelet, usually

with a combination of

diamond or gemstones.

Bracelet of interwoven

design. Made in a variety

of widths and clasp

closures.

Traditional English style

with long oval and short

links. Made in a variety of

standard patterns.

Body Jewellery Apart from toe rings and ear-cuffs most body jewellery is associated with piercings.

Toe rings Belly Bars

A semi-circular ring with an opening that allows the ring to be bent to fit. Made with a ball on one end that unscrews

allowing the shaft to be inserted and a decretive head at the other end.

Some other forms body jewellery are nose rings, tongue piecing’s ear-cuffs, labrets and more. This is mainly a costume

jewellery area as the articles for piecing are often made from surgical grade stainless steel for safety reasons.

Lockets Originally made to hold a lock of a loved one’s hair, but after the invention of photography, often used to hold a picture

instead.

Pendants The origin of the pendant goes back to the amulets that early mankind wore to ward off evil spirits. As metal working

became more skilled these evolved into intricate and beautiful items.

These include gem and diamond set pendants in a multitude of different designs.

Pink sapphire and diamond pendant Blue topaz and diamond pendant

Religious Pendants These take the form of Crosses, Crucifixes, Saints medallions, Stars of David, Chai’s and many more.

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Maltese cross Crucifix St Christopher

Medallion

Star of David Chai - Hebrew symbol

for life

Other styles of pendants Dog Tag Styles: evolved from military personnel ID tags Dog tag style pendant with diamond cutting

Earrings - Pierced Studs Drops Hoops Other

The definition of a Stud

Earring style is that it consists

of a head piece to which is

attached a post (pin) and is

kept on the ear by passing

the post through a hole

pierced in the ear lobe and

securing with a butterfly

fitting. (Also called a scroll)

Studs may be plain or stone

set and have various

finishes.

These styles use a stud top

(as described above) to

which is attached one or

more pieces that hang down

below the lobe of the ear.

They may be plain metal or

stone set.

A multitude of styles that

have in common the fact that

they encircle the lobe of the

ear. Many have a hinged

fitting that goes through the

lobe and clips into a bracket

to hold it closed.

Others have a hinge at the

bottom and a wire form that

passes through the lobe at

the top and a notch cut into

the wire that clips into a

reciprocal hole in the other

half.

Earrings - Non-Pierced

A screw fitting is attached to a u piece which is produced with a winder that allows the wearer to tighten the screw head

against a plate when the u is placed onto the ear lobe. The earring design is soldered in front of the plate.

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Ear screw Clip Clip fitting

A pearl cup attached to a screw fitting

Clip fittings are another method of

securing the earring to the ear for those

who do not have pierced ears.

Cuff links

There are two main cufflink groups.

Torpedo Swivel Swivel mechanisms

Torpedo styles with chain links between

the cuff-link fancy top and the torpedo

(sometimes made in the shape of a

dumbbell).

These styles consist of a plate which is attached via a joint to a mechanism which

folds flat to allow for easy insertion through the double button holes of the shirt

sleeve. Once passed through the mechanism unfolds at right angles to secure the

cuff-link on the sleeve.

Tie jewellery The tie pin consists of a front to which is attached a pin which is pushed through the tie and shirt front and secured with a

clip mechanism at the back.

Tie chain Tie bar

Tie chains use a metal wire which is bent to pass over the

button on the shirt and at the end of the wires is attached a

piece of chain which holds the tie against the body whilst

serving a decorative function. Sometimes small charms are

hung from the chain or plate inserted in the chain. A belcher

chain attached to a tie chain back. Note the double loop for

safely securing the article.

The Tie Bar works by passing over the Tie and Shirt front,

clamping the two together and Holding the tie in place. A tie

bar set with a small diamond.

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Findings Findings are a collection of often used components manufactured by specialist suppliers in a variety of carat golds, silver

and base metals. They are also often used in jewellery repairs.

Earrings

Traditional

shepherd hook

Shepherd hook

with safety

A scroll or

butterfly placed

on the pin/

post to secure

earrings

Drop earring

top. Note hole

punched out

below half ball.

Pin is usually

8mm thick

Screw fitting

with pearl cup

for non-pierced

ears

Wire clip for

non-pierced

ears

Banjo style clip

for attachment

to earring

Chains, bracelets and similar findings Parrot clasp Jump rings Bolt ring Swivel

(also known as albert clasp)

The parrot clasp comes in

many sizes and variations.

(Lobster claw, carabina

and many more). Small

sizes are used on gold

chains and large pieces

are to be found on

bracelets. These clasps

have a small steel spring

that keeps the tongue

closed.

Jump rings are used to

secure the parrot clasp to

the chain and also to pass

through the clasp jaws for

ease of use where the chain

link is small.

The bolt ring is the most widely

used clasp fitting. Made from a

hollow tube which contains a

steel spring that acts against a

pin with a plate at the end

(inside the tube) to ensure it

stays it is this piece that gives

the clasp its name.

Swivel usually found

attached to a fob chain

used for pocket watches.

Later it was used as a

bracelet and chain finding

in its own right.

Lock Toggle Bar Safety chain

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This lock works by having

a hinged end on one side

of the loop and a niches

end on the other side that

clips into place to hold the

loop closed. Usually found

on bracelets.

The sketch is of style

usually die struck and

assembled. Others are

made from cast pieces

soldered together.

Toggle Bar and Dumbbell

Bars: Used as closures on

bracelets and necklets, often

a feature of the pieces

design. Not recommended

for valuable pieces as there

is a higher risk of loss than

with other styles.

The Safety Chain is used to

ensure the item does not drop

off in event of a failure of the

clasp mechanism. It is attached

to the article on one end and is

closed on the other with the bolt

ring. In many bracelets it is

permanently attached at both

ends and the article is put on as

one would with a bangle.

Variations for brooches are

made with a safety pin

mechanism replacing the bolt

ring.

Other Clasps Pearl Fold over

The pearl clasp has a loop at both ends for attaching the

pearl strings. The spring action in most pearl clasps comes

from the fold over of the piece that is inserted into the case.

This basic clasp is called a fold over clasp and is often used

on identity bracelets. The folded over loop at the end acts

as a kind of fail-safe system as when strain is on the clasp

the chain is acting against the bent over section.

Other findings Brooch pin Roller catch Cuff link backs Tie tack

Brooch pin used in

conjunction with a

hinge and roller catch

to secure the brooch

to clothing

Roller catch on the left

with the u shaped

bracket to fit the tail

end of the pin. A wire

is passed through the

u shaped bracket and

the pin and is riveted

in place to secure.

Cuff link backs are

attached to the cufflink

fronts to complete the

style. The hinged

tubular piece folds

down to create a

straight part that can

easily be inserted

through the shirt cuff

with one hand.

A plate mounded onto

a pin.

Tie tack back with

safety chain attached

and “T” bar to slide

through shirt front

button hole.

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b. Jewellery Production Methods

i. Traditional Bench Manufacturing

The traditional method for manufacturing jewellery is to manufacture products using rolled and drawn gold alloys, shaping

by hand, cutting and soldering parts together, before setting stones and polishing.

Jewellers Bench Gold Alloy Granule Gold Wire

Gold Plate Rollers/Mills Wire Drawing

Saw Piercing Annealing Assembly

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Soldering Emerying Stone Setting

Polishing

ii. Lost Wax Casting

Mould made from prototype Wax injected into the mould Wax removed from the mould

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Wax pattern placed onto a wax

tree

Wax tree ready for investing Plaster poured to produce

a ceramic mould

Flask placed into a kiln to burn out

the wax

Flask heated to 730 Molten gold alloy is poured into the

flask

Plaster is removed to

recover the gold tree

Pasrt ready for removal Castings are set with

stones and polished

iii. Laser Welding

Laser Welding technology allows the jeweller to undertake repair work using very little heat and achieve fine detailed work.

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One of the advantages of using a laser, is that the metal used for the repair is the same as the metal used to manufacture

the item, therefore no ‘solder’ is used, the caratage remains the same and there is no colour difference.

Many repairs made on jewellery items can be done using the laser and avoiding the need to remove stones, which then

reduces the risk of stone breakage.

iv. Laser Engraving

Laser Engraving technology allow decorative patterns and customer logos and inscriptions to be engraved onto the surface

of designs, allowing very complex patterns to be created with very fine details.

v. Plating (Decorative)

Electroplating jewellery is the process of depositing a bright and colourful surface coating to finished items, to produce a

mirror finish and changing the original appearance.

Once the item is chemically cleaned, it is placed in a solution that contains the required metal to be plated, and an

electrical current is passed through the item, which causes the metal that is in the solution to be deposited (plated) onto the

surface of the item.

If two or more colours are required, the item is painted with a masking lacquer to prevent the areas not requiring plating

from being changed.

The colour of the item after plating is dependent on the chemical composition of the solution in the plating bath.

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The most common metals plated are gold, silver and rhodium.

Gold Plating Typically there is a range of yellow gold colours to choose from, as well as several shades of red gold plating.

Silver Plating Silver plating is use to give silver items a very white finish after polishing. This is typically found in trophies, cutlery, plate

ware, and other similar items.

Rhodium Plating Rhodium is an element that is part of the platinum group of metals. it is a ‘hard’ white metal in appearance.

As white gold is alloy of pure gold and other ‘white’ metals, (i.e 18ct = 750/1000 parts gold + 250/1000 parts other

metals), the final colour of a white gold alloy will vary between manufacturers due to the different amounts of metals they

mix with the gold.

The majority of white gold jewellery is Rhodium Plated to give a shiny bright ‘white’ appearance that is consistent amongst

manufacturers. This consistency is required in the retail environment as item are sourced from multiple manufacturers.

Rhodium Plating is a very thin coating, and overtime will require re-plating as the coating wears off through abrasion.

Surface Coatings There are many different forms of ‘protective’ surface coatings that can be applied to jewellery items in order to reduce the

effects of the environment and reduce the incidence of tarnishing. Most of the new nano-tech coatings are design to protect

the jewellery whilst in-store, but do not offer much resistance to the daily ‘wear and tear’ when the items are worn.

c. CAD/CAM

CAD/CAM is an acronym for Computer Aided Design / Computer Aided Manufacturing.

CAD is the software tool used by a jewellery designer to create a 3 dimensional graphical representation of the design

required to be made. When completed, the 3D design can be ‘rendered’ to produce a photo-realistic representation of

what the design will look like when manufactured. This visualisation allows the customer to see how the custom design will

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look before any major expense to manufacture has been made. Modifications to the design can be easily made to the CAD

drawing to ensure the design meets the customer expectations.

When satisfied that the design meets expectations, the CAD file is exported as a surface mesh (STL, SLC, SLF), which can

then be used by the CAM software to create the tool paths required for the machine being used to create the physical

model. By creating a 3D model, the design can then be coded to allow a machine to “print” the design using wax, UV resin

or other substrates.

Model to be ‘sliced’ into layers Multiple layers

CAM is the process used to convert the 3D design created by a designer, and produce a physical item by utilising a

commercially available printer. Printers can use either a subtractive or additive process to produce the physical final piece.

a. CAM Software: Once the design has been saved as a ‘surface mesh’ the file is imported into software package that

‘slices’ the surface mesh into layers, and then creates the tool paths for each layer specific for the machine being

used. The printer will take this ‘sliced model’ file and build the design, layer by layer.

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b. Subtractive Process: involves the removal of material from a block, typically using a milling process. This process is

limited for jewellery applications due to the limited ability for the tools to mill undercut and hollow parts of the item.

Wax milling Milled design

c. Additive Process: use different materials such as wax, UV resin and metal powders, to progressively build the

design layer by layer. The process allows for very complex designs with no limitation on the shape of the item.

Wax printing Wax printed designs

UV printing UVresin printed designs

Metal powder printing

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d. Parts of a ring

Parts of a ring Shank Head or setting

e. Types of Settings

Claw Bezel set or rub

over

Channel Bead (also known

as grain set)

Hammer set (also

called Swiss set)

End Set

f. Types of Shanks

Flat D Shape (also known

as half round)

Tapered Split Cross-over

g. Types of Chains

Descriptive terms associated with chain and pearl strands lengths:

Collar: approximately 25-35 cm long. This sits lower on the neck line

Choker: approximately 35-40 cm long. This should sit up on the neck line

Pendant: approximately 45cm long. This should sit at or just below the collarbone

Matinee: approximately 50 to 60cm long

Opera: approximately 70cm or longer

Sautoir: approximately 70-90cm long

Rope/Lariat: approximately 115cm long

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Some types of chain

Anchor Belcher

Byzantine Cable

Curb Box (also known as Venetian)

Bead Figaro

Rope Snake

Prince of Wales Serpentine

Trace Herring Bone

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Omega

h. Plating and coatings

i. Rhodium Plating

With modern alloys, how do jewellers achieve a really white colour? The answer to that question is rhodium plating. A

quality rhodium plated finish should be standard procedure on all white gold mountings but this leads to another frequently

asked question, how does one get a good rhodium plated finish? To answer that question let's begin with the basic

principles. First and foremost the piece needs to be polished to a bright finish. If the piece is not clean, it will not plate.

Rhodium plating procedure

1. Polish to a brilliant high finish

2. Clean thoroughly in an ultrasonic cleaner

3. Rinse in distilled water

4. Steam clean

5. Electro clean: 120°F, 4 volts for 2 minutes in a stainless beaker with the positive lead attached to the beaker,

negative attached to the piece being plated. OR 120°F, 4 volts for 2 minutes in a glass beaker with a stainless steel

anode, positive lead attached to the stainless anode, negative attached to the piece being plated

6. Rinse in clean distilled water

7. Activator: room temp, no voltage, 30 seconds


9. Dip in fresh distilled water (When plating silver, use nickel mirror or palladium solution 120°F, 2 volts, for 2 minutes

using a nickel anode. Palladium is recommended due the large amount of people that have allergic reactions to

nickel)

10. Rhodium plate: Room temperature, 4.5 volts, 20-30 seconds, negative lead attached to piece being plated, positive

lead to platinized titanium anode.


12. Steam clean then dry. Try using a blow dryer to heat dry the piece. (Allow item to cool before handling if going this

route)

Helpful hints Critical issues Safety

Use a gold hook to suspend object

from alligator clip, never steel.

Suspend object in solution with

current ON

Be sure voltage setting is constant

when actually plating piece

Temperature control: Minor

changes = inconsistent and poor

results

Current control: Never more than

3.5 volts for Rhodium, 3.5 is better

Proper rinsing: Using distilled water

for about a minute

Safety glasses are a must

When skin contact occurs,

neutralize with a paste of baking

soda. Rinse with plenty of water.

Protect skin and clothing with

rubber gloves and neoprene apron.

As rhodium plating may produce

some acidic fumes, it is

recommended to work under good

ventilation and to wear a NIOSH

approved mask when plating.

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Troubleshooting

Rhodium plates black Dark spots after rhodium plating Rhodium looks frosty

Mounting is not clean

Current is set to high, try lowering

amperage 1.5-2 amps and longer

times 1 - 2 minutes for best results

Rhodium solution is contaminated.

Give your bath a carbon treatment

Make sure the piece is clean

Air bubbles are sticking to

mounting, gently agitate to dislodge

air bubbles

Amperage is too high, reduce to

1.5 amps

Suggested equipment

10 amp rectifier

Platinized titanium anode

Stainless steel anode

3 - 600ml pyrex beakers

3 lip covers

An immersion thermometer

A double burner

Activator

Electrocleaner

Recommended ventilation for plating

Solder pure with rhodium filter

Ductless fume hood

For gold plating, add the following For plating of two-tone, yellow and white gold jewellery, add

the Following

Pyrex beaker

24ct gold anode

14ct yellow gold plating solution

Masking Lacquer

Lacquer stripper

ii. Gold plating

Gold plating is a method of depositing a thin layer of gold onto the surface of another metal, most often copper or silver (to

make silver-gilt), by chemical or electrochemical plating.

There are five recognized classes of gold plating chemistry:

1. Alkaline gold cyanide, for gold and gold alloy plating

2. Neutral gold cyanide, for high-purity plating

3. Acid gold plating for bright hard gold and gold alloy plating

4. Non-cyanide, generally sulphite or chloride-based for gold and gold alloy plating

5. Miscellaneous

Gold plating of silver is used in the manufacture of jewellery. Like copper, silver atoms diffuse into the gold layer, causing

slow gradual fading of its colour and eventually causing tarnishing of the surface. This process may take months and even

years, depending on the thickness of the gold layer. A barrier metal layer is used to counter this effect. Copper, which also

migrates into gold, does so more slowly than silver. The copper is usually further plated with nickel. A gold-plated silver

article is usually a silver substrate with layers of copper, nickel, and gold deposited on top of it.

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i. Watches/Clocks

Term Definition

Alarm clock Clock with alarm function.

Analogue quartz time keeping instrument Quartz timepiece whose indicating devices (dial, hands, etc.) have a

mechanical construction.

Automatic chronograph Chronograph equipped with an automatic winding device.

braille watch or clock Timepiece that can tell time using voice or by touching it with the fingers.

Carrousel watch Watch with a mechanism similar to the tourbillon but with the cage rotating

around the third wheel instead of the fourth wheel.

Chronograph Timepiece that can measure time besides the time indication function.

Chronometer Name of a mechanical watch whose precision has been tested and which has

been certified by an official body managed by the Chronometer Control

International Council (CICC).

The test program and minimum requirements are defined by ISO 3159 - Wrist-

chronometers with spring balance oscillator.

Complication A is an additional indication which differs from the simple timekeeping

function. The chronograph, striking-mechanisms, repeaters, perpetual

calendars, phases of the moon and multiple time-zones are all examples of

complications.

Cuckoo clock Clock that indicates each hour or fixed times through the song of a bird.

Desk or Table clock Stationary clock placed on a desk or a table.

Digital quartz time keeping instrument Quartz timepiece with electronic display. (LCD, LED, etc.)

Electric time keeping instrument Timepiece using electrical power source but mechanical time source elements

and indicating devices.

Note: Some timepieces use utility power for power source and time source.

Hall clock Large and tall clock for indoor use.

Marionette or Carillon clock Clock that plays a melody and activate the dial or a marionette at fixed hours.

Mechanical time keeping instrument Timepiece whose power source, time source elements and indicating devices

have a mechanical construction.

Multi-function time keeping instrument Timepiece equipped with functions such as time counter or alarm besides time

display.

Note: Mechanical watches with many functions are also called complicated

watch.

Pocket watch Portable watch that can be put on the clothes or in a pocket.

Radio controlled watch or clock Watch or clock equipped with a function to automatically adjust the time and

date using standard time radio signals.

Satellite radio controlled watch and/or

clock

Watch or clock equipped with a function to automatically adjust the time and

date using radio signals received from a GNSS including GPS.

*GPS: Global Positioning System

Skeleton watch or clock Watch or clock whose movement's skeleton can be seen through the case or

the dial.

Solar-powered watches or clock

Solar cell time keeping instrument

Timepiece equipped with solar cells to use the energy of light as power

source.

Stopwatch Portable time counter.

Talking watch or clock Watch or clock that uses audio messages to indicate time, etc.

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Tourbillon watch Watch whose escapement and the regulator at its center are placed in a

rotating cage.

The escape wheel pinion rotates around the fixed fourth wheel. The cage

generally rotates one turn per minute and adjusts to minimize changes in the

vertical position.

Wall clock Clock that is fixed to a wall or a column.

Wristwatch Watch worn on the wrist using a band.

Watch part names

An example of a typical analogue watch with a leather strap

An example of a digital watch with a metallic band

Mechanical watch and quartz watch

The Swiss watch industry produces essentially two types of watch: electronic quartz watches and mechanical watches. Three

in every four watches are electronic. Despite being produced in smaller numbers, mechanical watches are extremely

important in value terms, since they represent more than 75% of total value.

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Quartz watch In a quartz watch, the heart of the watch consists of the integrated circuit. The division of time is effected by a quartz

oscillator, vibrating under the effect of electrical energy supplied by a battery. The energy source takes the form of a

miniaturised battery with a lifespan of several years. The division of time is effected by a quartz oscillator which transforms

energy from the battery into vibrations.

Quartz watches are extremely accurate thanks to a high frequency of vibration (32 kHz). Their annual variation is

consequently very low: in the order of one minute per year, i.e. less than a second a day.

Quartz watches come with two types of display. The most common is the analogue display, i.e. with hands.

Watches with a digital display contain liquid crystals, which receive the impulses they need to display the time directly from

the integrated circuit. Therefore, there is no mechanical transmission of energy.

These two types of display can be combined to provide a range of indications, such as the time of day and short, measured

times, for example.

Diagram of a quartz watch

1. Battery

2. Integrated circuit

3. Quartz

4. Trimmer regulating the frequency

5. Stepping motor

6. Gear-train

7. Analogue display

Mechanical watch A standard mechanical watch has around 130 components assembled in three subassemblies, namely the energy source,

the regulating parts and the display. The number of components is naturally higher for watches with complications

(chronograph, calendar, phase of the moon, fly-back hand, etc). The energy supplied by the spring is transmitted by the

gear-train. The escapement transmits impulses, while the balance divides the time. Winding, either manual or automatic via

the rotor, tightens the spring.

Diagram of a mechanical watch

1. Mainspring

2. Gear-train

3. Escapement

4. Oscillating balance

5. Winding stem

6. Rotor

7. Analogue display

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Automatic quartz watch Swiss watchmakers have overcome the challenge of combining these two types of technology. They have created a watch

movement which operates as a quartz movement but recharges like a mechanical movement, thereby obtaining an

automatic watch with the accuracy of quartz.

Its operating principle is simple but nonetheless revolutionary: an automatic recharging mechanism (oscillating weight)

tightens the mainspring which, when released, starts up a mini-generator able to convert mechanical energy into electrical

energy. This energy is accumulated in a capacitor. Thereafter the system behaves like a traditional quartz watch, with the

integrated circuit controlling the distribution of energy and providing the impulses required to drive the stepping motor.

What is the lifetime of a watch battery? Generally the lifetime of a watch battery is between two and five years. Its longevity depends on the type of watch, its

dimensions and the amount of energy required by the different functions. For example, a chronograph will have a higher

energy consumption than a watch that only indicates hours, minutes and seconds.

Some watches are equipped with a battery power indicator: when the seconds-hand jumps in intervals of several seconds, it

is time for the battery to be replaced.

Some special lithium-iodine batteries have a theoretical lifespan of up to 10 years.

What are the jewels of a watch? A mechanical movement contains watchmaker’s stones that reduce friction, and hence wear, to a minimum. The rubies that

were originally used have long since been replaced by synthetic sapphires. These jewels, as they are still called, are turned,

polished and drilled to serve as bearings for the different gears of a watch.

In general, a standard mechanical watch displaying hours, minutes and seconds should in principle contain at least fifteen

jewels located in the places most subject to wear caused by friction. It must be fitted with a shock-absorbing system on the

balance, containing a jewel.

What is a unidirectional bezel? A bezel is a ring fitted over the case band of the watch case. It is used to record additional data, such as the duration of a

phenomenon for example. It can rotate in both directions.

The unidirectional bezel on the other hand, as its name implies, only turns one way. This technical constraint prevents any

danger when measuring a diving time for example, since even if the bezel is knocked and moved it will simply indicate the

diver has less air or decompression time rather than more.

What types of water-resistant watches are there? Water Resistant is a quality specification for water-resistant watches based on the description of JIS (Japan Industrial

Standards) and ISO (International Organization for Standardization).

"WATER RESIST” and "W.R.” are the abbreviated forms of "WATER RESISTANT.”

The water resistance for daily use is indicated by "bar” (atmospheres) and the water resistance for diving is indicated by

"m” (meters).

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It is important to read carefully the instruction manual to understand the handling instructions and precautions before use regardless of the degree of water-resistance of the watch.

The various types of water-resistant watches and their basic precautions are outlined in the table below.

Examples of water-resistant indications shown in the table below are indicated either on the dial or on the case back.

Name Specifications Examples of water-resistant

indications

Uses/precautions in handling

Watch for mixed-

gas diving

200m - 1000m

Water resistant

HE-GAS DIVER'S 300m The water resistance is as high as it can withstand

diving to the depth of water indicated (example:

300m).

This watch equipped with devices required for

measuring the diving time and decompression time,

such as a rotating bezel, can be used for deep-sea

diving (mixed-gas diving) using the mixed gas of

helium and oxygen for respiration.

Watch for air

diving

100m - 200m

Water resistant

AIR DIVER'S 100m The water resistance is as high as it can withstand the

pressure to the depth of water indicated (example:

100m) and longtime underwater use.

This watch equipped with devices required for

measuring the diving time and decompression time,

such as a rotating bezel, can be used for shallow-

water diving (scuba diving, etc.,) using compressed

air in a cylinder for respiration. This cannot be used

for mixed-gas diving.

Enhanced water

resistant watch for

daily use

Water resistant

to 20 bars

WATER RESIST 20 BAR

WATER 20BAR RESIST

W.R.20BAR

This can be used by people who do water sports

(swimming, sailing, fishing, etc.,) and skin diving.

Do not use it for mixed-gas diving or air diving.

Water resistant

to 10 bars

WATER RESIST 10 BAR

WATER 10BAR RESIST

W.R.10BAR

Water resistant

to 5 bars

WATER RESIST 5 BAR

WATER 5BAR RESIST

W.R.5BAR

This can be used by people who often touch water

(fishery, agriculture, car washing, restaurants, etc.,)

and who do water sports (swimming, sailing, fishing,

etc.).

Do not use it for skin diving, mixed-gas diving, or air

diving.

Even if the water resistance is 5 bars or more, avoid

directly showering or applying tap water to it under

high pressure.

Water resistant

watch for daily use

Water resistant

to 2-3 bars

WATER RESIST

W.R.

This can withstand perspiration, face washing water

drops, rain, etc., in daily life, but cannot be used for

water-using works, water sports, skin diving, and

other types of diving.

Do not use it under conditions in which the water

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pressure changes sharply.

Non-water resistant

watch

In the case of NO marking of water resistant on the case back, avoid direct contact with water.

Care for your watch Since manufacturers are obliged to provide instructions for use and detailed warranty conditions, make sure you obtain all

necessary information from your reseller. Bear in mind also that only a professional is capable of correctly replacing the

battery of your watch without impairing its water-resistance.

How should I care for my watch? Ideally, mechanical watches should be inspected and cleaned every 3 to 5 years to ensure correct operation. The moving

parts of quartz watches also need to be inspected when the battery is replaced; even the tiniest speck of dust can prevent

the watch from running as it should.

The battery should be replaced as soon as the watch stops or when the power-reserve indicates the end of its lifetime. This is

a very fast, routine operation. Maintenance of water-resistant watches may be less frequent. However, water-resistant seals

must be replaced if the watch is opened. Water-resistance can be checked by a specialist reseller.

It should be borne in mind that frequent exposure of the watch to chemicals or seawater for example can also damage

straps, bracelets and plated cases. The same is true of perfumes and certain cosmetics when applied directly. At all events,

a timepiece manufactured from appropriate materials and fitted with a suitable strap or bracelet will help to prevent any

inconvenience.

Pay attention to surrounding electrical appliances because time indicated on timepieces may become incorrect if they are affected by magnetism.

Many products in our environment generate magnetism, such as electrical appliances (speakers of audio equipment, etc.),

mobile phones, magnetic necklaces, and magnets in furniture or bags. If your timepiece suddenly stops, or loses or gains

time, it may be affected by magnetism. Magnetism resistant watches designed to minimize the effect of magnetism are

commercially available.

What should I be careful about daily care and use? Watch bodies and bands (metallic or leather) may cause stain on sleeve edges due to dirt and/or rust, or skin irritation due

to allergic reactions for those who have sensitive skins. Keep watches clean.

In addition, if rust forms in pins used in adapters that connect a watch body and a band or in metallic band links, the band

may loosen, the watch body may fall off the band, or it even cause injury in rare cases.

Adjust the band to allow a little clearance with your wrist to ensure airflow. When wearing the watch, leave enough room

to insert a finger between the band and your wrist.

Do not use solvents including benzine and paint thinner, chemicals, or bleach for cleaning.

Moisture, sweat or dirt may cause rust on metallic bands including stainless steels and gold plating if they are left for a long

time.

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Because some titan bracelets use pins made of high-intensity stainless steels, rust may form in the stainless steel parts.

Wipe off moisture or sweat with a soft and hygroscopic cloth and keep watches in a place that allows ventilation to dry

them well.

Wash bands with diluted neutral detergent or soapy water using a soft brush occasionally. Keep the watch body away from

water if your watch is rated as "non-water resistant."

For leather bands, wipe off moisture or sweat with a soft and hygroscopic cloth and keep watches in a place that allows

ventilation to dry them well. A deteriorated leather band needs to be replaced. A leather band is susceptible to

deterioration gradually even though the watch is unused.

Synthetic rubbers such as polyurethane and plastic bands may crack, break, or deteriorate. Wash bands with diluted

neutral detergent or soapy water using a soft brush occasionally. When a band becomes less flexible, have the band

replaced with a new one. If you continue to use the band as it is, it may crack or become brittle over time.

Be sure to observe the following when handling common watch batteries.

Replacement of watch batteries requires professional knowledge and skill. For battery replacement, contact a watch store

near you.

Do not leave watches with dead batteries for a long time because it may cause a malfunction.

Monitor batteries are incorporated in watches since shipping from a factory, so the first battery life may be shorter than the

period described in instruction manuals.

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3. INFORMATION FOR JEWELLERY RETAILERS

a. Gemstone Specifications and Care Chart

Agate - Blue Lace

Colour Blue background with

white bands

Lustre Waxy - dull

Moh’s Hardness 7 Ultrasonic

Refractive Index Steam Clean

Specific Gravity Special advice

Usual treatment None Gemstone family Quartz

Transparency Translucent to opaque Type Ornamental

Agate - Cameo

Colour Blue background with

white foreground

Lustre




Usual treatment Dyed Gemstone family Quartz

Transparency Opaque Type Ornamental

Alexandrite

Colour Blue-green to red Lustre Vitreous

Moh’s Hardness 8.5 Ultrasonic Usually safe

Refractive Index 1.745 – 1.759 Steam Clean Usually safe

Specific Gravity 3.71 – 3.75 Special advice

Usual treatment None Gemstone family Chysoberyl

Transparency Transparent to near

opaque

Type Precious

Amber

Colour Honey brown Lustre Resinous

Moh’s Hardness 2 – 3 Ultrasonic Usually safe

Refractive Index 1.539 – 1.545 Steam Clean Never

Specific Gravity 1.02 – 1.12 Special advice Soft material – wear with

care

Usual treatment Often heat treated Gemstone family Organic

Transparency Transparent to opaque Type Ornamental

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Amethyst

Colour Purple Lustre Vitreous

Moh’s Hardness 7 Ultrasonic Usually safe


Specific Gravity 2.65 Special advice

Usual treatment Heat treated Gemstone family Quartz

Transparency Transparent to semi-

transparent

Type Precious

Ametrine

Colour Bi-colour: purple and

yellow

Lustre Vitreous





Transparency Transparent Type Precious

Aquamarine

Colour Blue Lustre Vitreous

Moh’s Hardness 7.5 – 8 Ultrasonic Unsafe

Refractive Index 1.563 – 1.582 Steam Clean


Usual treatment Heat treated Gemstone family Beryl

Transparency Transparent to opaque Type Precious

Aventurine Quartzite

Colour Green Lustre Vitreous, waxy




Usual treatment None Gemstone family Quartz

Transparency Translucent, opaque Type Ornamental

Carnelian

Colour Translucent red/orange Lustre Vitreous

Moh’s Hardness 6.5 Ultrasonic Usually safe



Usual treatment Heat treated, maybe dyed Gemstone family Quartz

Transparency Transparent to near

opaque

Type Ornamental

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Chrome Diopside

Colour Green Lustre Vitreous to dull

Moh’s Hardness 5.5 – 6 Ultrasonic Never



Usual treatment None known Gemstone family

Transparency Transparent, translucent Type Precious

Chrysoprase

Colour Minty apple green Lustre Vitreous to waxy

Moh’s Hardness 6.5 – 7 Ultrasonic Usually safe


Specific Gravity Special advice Heating can affect colour

Usual treatment None known Gemstone family Quartz


Citrine

Colour Yellow to golden yellow Lustre Vitreous






Coral

Colour Red, pink Lustre Vitreous, waxy



Specific Gravity 2.6 – 2.7 Special advice Avoid chemicals

Usual treatment None known Gemstone family Organic


Diamond

Colour Red, pink Lustre Adamantine – diamond

Lustre


Refractive Index 2.42 Steam Clean Usually safe


Usual treatment Laser drilling, fracture

filled, heat treatment

Gemstone family Diamond


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Emerald

Colour Green Lustre Vitreous



Specific Gravity 2.67 – 2.76 Special advice Avoid sudden

temperature change

Usual treatment Oiled Gemstone family Beryl


Garnet – Almandine

Colour Deep red Lustre Vitreous

Moh’s Hardness 7.0 – 7.5 Ultrasonic Usually safe



Usual treatment None Gemstone family Garnet


Garnet – Demantoid

Colour Light yellowish to dark

green

Lustre Vitreous, diamond-like,

adamantine




Usual treatment None known Gemstone family Garnet


Garnet – Hessonite

Colour Yellow-orange, red-

orange

Lustre Vitreous






Garnet – Rhodolite

Colour Rose to lavender Lustre Vitreous




temperature change



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Garnet – Tsavorite

Colour Bright green Lustre Vitreous




temperature change



Hematite

Colour Black, black-grey, brown-

red

Lustre Metallic

Moh’s Hardness 6 – 6.5 Ultrasonic Never



Usual treatment None known Gemstone family Metallic


Iolite

Colour Blue, purple-blue Lustre Vitreous






Jade - Jadeite

Colour Brown, blackish, violet,

green, white, red, yellow

Lustre Waxy, greasy




Usual treatment Bleached, dyed, Gemstone family Jade

Transparency Opaque, translucent Type Ornamental

Jade - Nephrite

Colour Green, white, grey,

yellow, red, brown, often

spotted

Lustre Vitreous




Usual treatment Often untreated but can

be dyed, coated or

impregnated

Gemstone family Jade


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Jasper

Colour All colours, mostly striped

or spotted

Lustre Dull, vitreous

Moh’s Hardness 6.5 – 7 Ultrasonic

Refractive Index 1.540 Steam Clean




Kunzite

Colour Pink, violet Lustre Vitreous



Specific Gravity 3.15 – 3.21 Special advice Avoid strong light due to

colour fade

Usual treatment Irradiated Gemstone family Spodumene


Lapis Lazuli

Colour Lazur blue, violet, green-blue

with light blue colour streak

Lustre Vitreous, greasy to dull

Moh’s Hardness 5 – 6 Ultrasonic Never

Refractive Index 1.500 Steam Clean Never

Specific Gravity 2.50 – 3.0 Special advice Avoid chemicals, soft

material – wear with care

Usual treatment None known Gemstone family Rock


Malachite

Colour Light-green to black-green,

banded

Lustre Weak vitreous, matt



Specific Gravity 3.25 – 4.10 Special advice Avoid chemicals

Usual treatment None known Gemstone family Carbonate


Moonstone

Colour Colourless, yellow, pale

sheen

Lustre Vitreous to pearly



Specific Gravity 2.56 – 2.58 Special advice Sensitive to pressure –

wear with care

Usual treatment None known Gemstone family Feldspar

Transparency Transparent to translucent Type Ornamental

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Onyx

Colour Colourless, yellow, pale

sheen




Specific Gravity 2.56 – 2.58 Special advice Sensitive to pressure –

wear with care

Usual treatment None known Gemstone family Feldspar


Opal – white, black, matrix, boulder, harlequin, jelly, crystal, girasol

Colour All colours. Lustre Waxy to resinous

Moh’s Hardness 5.5 – 6.5 Ultrasonic Never


Specific Gravity 1.98 – 2.50 Special advice Avoid heat, chemicals

and water – wear with

care

Usual treatment None known Gemstone family Opal


Opal – Fire

Colour Orange-yellow Lustre Sub vitreous to waxy,

resinous



Specific Gravity 2.15 Special advice Avoid heat, chemicals

and water – wear with

care

Usual treatment None known Gemstone family Opal


Pearl

Colour White, pink, silver,

cream, golden, blue,

black

Lustre Pearly


Refractive Index 1.520 – 1.660

Black: 1.530 – 1.690

Steam Clean Never

Specific Gravity 260 – 2.85 Special advice Avoid chemicals and

household items – wear

with care

Usual treatment Bleached Gemstone family Organic

Transparency Translucent to opaque

Type Precious

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Pearl - Mother of Pearl

Colour White, grey, silver,

yellow, blue-green,

brown, pink, red, black,

bronze, banded

Lustre Pearly



Specific Gravity 260 – 2.87 Special advice



Pearl - Paua Shell

Colour Blue-green iridescent Lustre Pearly

Moh’s Hardness 3.5 Ultrasonic Never

Refractive Index Steam Clean Never




Peridot

Colour Green, yellow-green Lustre Vitreous, greasy



Specific Gravity 3.3 – 3.4 Special advice Avoid harsh chemicals

and thermal shock



Prehnite

Colour Yellow-green, brown-

yellow







Quartz – Lemon

Colour Pastel yellow, pastel green Lustre Vitreous




Usual treatment Irradiated, heat treated Gemstone family Quartz

Transparency Translucent Type Precious

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Quartz – Prasiolite, mint, green

Colour Pale green Lustre Vitreous




Usual treatment Irradiated, heat treated Gemstone family Quartz

Transparency Transparent Type Ornamental

Quartz – Rose

Colour Pink Lustre Vitreous




Usual treatment Sometimes dyed Gemstone family Quartz

Transparency Translucent Type Precious

Quartz – Rutilated

Colour Clear to smoky with rutile

needles (golden, black,

red-pink)

Lustre Vitreous

Moh’s Hardness 6 – 6.5 Ultrasonic



Usual treatment Gemstone family Quartz


Quartz – Smokey

Colour Brown to black, smokey

grey

Lustre Vitreous




Usual treatment Often dyed Gemstone family Quartz

Transparency Transparent to translucent Type Precious

Ruby

Colour Red Lustre Vitreous




Usual treatment Often heat treated Gemstone family Corundum


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Sapphire

Colour Blue Lustre Vitreous




Usual treatment Often heat treated Gemstone family Corundum


Sodalite

Colour Blue Lustre Vitreous to greasy



Specific Gravity 2.24 Special advice Dyed material may fade

Usual treatment Often dyed Gemstone family


Spinel

Colour Black, blue, pink, purple,

red, violet

Lustre Vitreous




Usual treatment None known Gemstone family Spinel


Tanzanite

Colour Deep blue Lustre Vitreous



Specific Gravity 3.35 Special advice Soft and brittle material –

wear with care

Usual treatment Often heat treated Gemstone family Zoisite


Tiger’s Eye

Colour Brown with golden bands Lustre Silky

Moh’s Hardness 7 Ultrasonic Never


Specific Gravity 2.58 – 2.64 Special advice Soft and brittle material –

wear with care



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Topaz - Blue

Colour Light to dark blue Lustre Vitreous



Specific Gravity 3.53 Special advice Avoid thermal shock

Usual treatment Irradiated, heat treated Gemstone family Topaz


Topaz - Golden

Colour Rich golden yellow Lustre Vitreous



Specific Gravity 3.50 – 3.54 Special advice Cleavage planes – wear

with care

Usual treatment None known Gemstone family Topaz


Topaz - White

Colour White Lustre Vitreous



Specific Gravity 3.56 – 3.57 Special advice Avoid thermal shock

Usual treatment None known Gemstone family Topaz


Tourmaline – Chrome, green

Colour Shades of green Lustre Vitreous to slightly resinous


Refractive Index Steam Clean Never

Specific Gravity 3.06 Special advice Avoid thermal shock

Usual treatment None known Gemstone family Tourmaline

Transparency Transparent, translucent,

opaque

Type Precious

Tourmaline – Pink

Colour Shades of green Lustre Vitreous to slightly

resinous



Specific Gravity 2.82 – 3.32 Special advice Avoid thermal shock

Usual treatment None known Gemstone family Tourmaline

Transparency Transparent, opaque Type Precious

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Turquoise

Colour Turquoise Lustre Waxy, matt



Specific Gravity 2.60 – 2.9 Special advice Avoid hot water and

household chemicals

Usual treatment None known Gemstone family Aluminium Phosphate


Zircon

Colour Colourless, yellow,

brown, orange, red,

green, blue, violet

Lustre Vitreous to brilliant sheen



Specific Gravity 3.93 – 4.73 Special advice Brittle material – wear

with care

Usual treatment Sometimes heat treated Gemstone family Zircon

Transparency Transparent to translucent Type Precious

Note: All gemstones need to be checked for treatments, traditional, permitted and disclosable. All crystalline quartz

stones must be worn with care as knocking the stone may cause chipping or breakage.

b. How to Use a Jewellers Loupe

The standard loupe for the jewellery and gem industry is a 10 x magnification triplet loupe which is corrected for colour

(described as achromatic) and spherical aberration (aplanatic). Spherical aberration results in objects being out of focus at

the edge of the field of vision.

Buy the best quality you can afford, especially if you plan to use your loupe to later study gemmology. Most manuals

recommend a loupe with a black housing to prevent reflected light causing a distraction when examining a gemstone or

diamond.

How to hold the loupe:

1. Establish which your dominant eye is.

Most people usually see better through one eye than the other. The right eye of most right handed people is

usually their dominant eye. Use your dominant eye for viewing through the loupe but remember to keep both eye

open to prevent fatigue and eye strain. With practice you will become experienced in focusing through the eye

with the loupe only. It may feel odd in the beginning but persevere.

2. Grip the loupe between your thumb and forefinger, though some texts suggest putting your finger through the

loupe cover. Do what feels comfortable to you.

3. Bring the loupe up close to your dominant eye. If you wear glasses you can even rest the loupe against your

spectacles. Rest your hand against your cheek or nose to form a stable platform. The focal point of a 10 x loupe

is about 2.5 centimetres from the front of the lens.

4. To establish the working area of your loupe, look at a piece of graph paper through the loupe.

Less expensive lower quality lenses will show distinct bending at the edges. (often only the central 80% of the

lens is usable.). The lens may also show colour distortion at the edge if not corrected.

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5. When viewing a stone held in a tweezers, bring the top of hand holding the tweezers to rest against the bottom

of the hand holding the loupe so as to bring the item into focus. (The same goes when viewing a piece of

jewellery without the tweezers).

6. You can now use the lower hand to “swivel” back and forth (with a wrist action) to bring the stone in the

tweezers into clear focus - think of this as the fine adjustment. If the fingers of the two hands do not touch the

item being viewed will move about and not stay optimally focused.

Correct viewing position Close up view of hand positions Stable ergonomic work position Lighting position

Note: Loupe hand held close to eye, supported against cheek. Tweezer hand held against loupe hand to create stable platform.

When viewing a large number of items it is best to be seated at a workbench where you can support your elbows on the

bench top to help form a stable position and to prevent muscle strain and fatigue. If you are viewing an item in the standing

position, tuck your arms in to your sides for support and stability. Remember bring the object being checked to the loupe.

Keeping a stable viewing platform is essential.

The light source Use an adjustable desk lamp with a solid shade as your light source. It is important that the light from the lamp does not

shine directly into your eyes.

You want the light to angle into the side of the stone to illuminate the internal features so that they appear brightly lit and

clearly visible against the dark background of the stone. This creates what is known as a dark field illumination.

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c. Finger Size Comparison Chart

Australian/UK/South Africa A B C

USA 1 1.5 2

Europe 38 39 40 41

Inside diameter (mm) 12.07 12.10 12.34 12.41 12.46 12.73 12.75 12.85 13.05 13.16

Outside diameter (mm) 37.90 38.00 38.75 38.97 39.12 39.97 40.04 40.35 40.98 41.32

D E F G H

2.5 3 3.5 4

42 43 44 45 46

13.25 13.37 13.56 13.64 13.69 13.97 14.01 14.03 14.32 14.38 14.42 14.64 14.78 14.82

41.61 41.98 42.58 42.83 42.99 43.87 43.99 44.05 44.96 45.15 45.28 45.97 46.41 46.53

I J K L M

4.5 5 5.5 6 6.5

47 48 49 50 51 52 53

14.96 15.19 15.22 15.28 15.60 15.61 15.92 16.00 16.23 16.40 16.55 16.79 16.82 16.87

46.97 47.70 47.79 47.98 48.98 49.02 49.99 50.24 50.96 51.50 51.97 52.72 52.81 52.97

N O P Q R

7 7.5 8 8.5

54 55 56 57 58

17.18 17.19 17.22 17.51 17.58 17.63 17.83 17.97 18.03 18.14 18.36 18.45 18.46 18.76

53.95 53.98 54.07 54.98 55.20 55.36 55.99 56.43 56.61 56.96 57.65 57.93 57.96 58.90

S T U V

9 9.5 10 10.5

59 60 61 62 63 64

18.78 18.87 19.10 19.15 19.28 19.42 19.55 19.74 19.76 19.94 20.05 20.17 20.33 20.37

58.97 59.25 59.97 60.13 60.54 60.98 61.39 61.98 62.05 62.61 62.96 63.33 63.84 63.96

W X Y Z

11 11.5 12 12.5 13

65 66 67 68 69

20.60 20.69 20.73 21.01 21.12 21.33 21.41 21.51 21.65 21.82 21.91 21.96 22.23

64.68 64.97 65.09 65.97 66.32 66.98 67.23 67.54 67.98 68.51 68.80 68.95 69.80

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d. Repair Take in Procedure

1. Record customer details, such as clients email address (so you can add to database), contact numbers and

address. Also, with a mobile number you can text when the job is ready.

2. Confirm ownership. For example, is this your ring?

3. Do a thorough visual inspection. Use a loupe to check the conditions of the item and make the client aware of

any defects you observe and write your findings on the take in document. If an item has a large build-up of dirt it

should be noted that a full inspection is not possible. Following is a list of things to look for when noting the

condition of the item.

What you should look for:

a. loose stones - usually found by gently prodding the stones with a pointed tip instrument

b. chipped or abraded stones

c. broken stones

d. missing stones

e. wear on claws

f. claw tips that are missing

g. broken or missing claws

h. cracks in the ring shank - possible from previous sizing

i. cracks in lower bezel of settings

j. wear and damage to support rails of channel set stones

k. general wear due to ageing - things that could affect serviceability of item

l. worn links on chains and bracelets

m. on pendants check the bails (loops) for wear

n. any jump rings on an article need inspection for wear e.g. safety chain on a brooch or bracelet

o. on items with a box snap, check the tongue for tension

4. Describe the piece.

a. Identify the metals and stones by colour only – yellow or white metal, red or white stones – do not

say gold or ruby and diamonds. If the client insists you note the metal or stone type, preface it with

‘client states stones are rubies’ etc. An example of a description is a yellow metal ring with a white

metal 6 claw basket setting containing a round white stone with a total of 12 channel set round

white stones in the shoulders. Ring is stamped ‘9ct’.

b. Remember to note:

i. Any hallmarks on the item

ii. Record the finger size of a ring

iii. The style of setting and the number of stones

iv. For strands of pearls, record the number of pearls, length, size and clasp description.

With graduated strands record the largest and smallest pearl sizes too.

v. For chains, record the style, weight, length, colour and any stamped markings on the

catch/clasp or individual links.

Remember that your sketch and description will be used by the bench jeweller to ensure the right piece goes

back into the packet after the polishing and cleaning which are usually done in a batch. The more information

included the less chance of any confusion.

5. Record what the client wants to have done. Be precise so your bench jeweller is clear on what is required. If you

have found several problems and a client is not having all the work done, record that they have declined your

suggestion as this will protect you from a spurious warranty claim.

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6. Do a sketch of the item. If you have facilities take a photo also.

7. Establish when the client needs the job back. This may affect the amount quoted depending on your stores

policy.

8. Give an estimate of the costs involved.

9. Have your client check the information on the packet and sign acknowledging the description, what to be

completed and quote, if one has been noted. Provide the client with a copy of the take in document and ask the

client to copy of the docket back when collecting the left item which must be signed for on collection.

Note: A large magnifier at the take in counter will help show the client any wear and damage. It is a good idea to work over a soft cloth to protect items

against accidental damage from dropping.

e. Refunds and returns

We are not required to provide a refund or replacement if you change your mind.

However, you can choose a refund or exchange if an item has a major problem. This is when the item:

• Has a problem that would have stopped someone from buying the item if they had known about it

• Is unsafe

• Is significantly different from the sample or description

• Doesn’t do what we said it would, or what you asked for and can’t be easily fixed.

Alternatively, you can choose to keep the item and we will compensate you for the drop in value.

If the problem is not major, we will repair the item within a reasonable time. If it is not repaired in a

reasonable time you can choose a refund or a replacement.

Please keep your proof of purchase e.g. your receipt

f. Lay-by and Special Order Procedures

Special Order Terms and Conditions 1. Special orders are subject to a 50% deposit. The balance is payable on collection of goods.

2. Cancellation due to change of mind is subject to a 50% cancellation fee.

I agree to the Terms and Conditions as specified above:

Lay-by Agreement Terms and Conditions 1. The ownership of the Lay-by items will not pass to the consumer until the total price has been paid and the

terms and conditions of the Lay-by contact have been fulfilled.

2. This contract is subject to an initial deposit, subsequent regular payments and a maximum Lay-by period as

specified below.

3. Should the consumer fail to make payments when they fall due or meet any other conditions of the Lay-by

contract the contract will be deemed to have been cancelled by the consumer.

4. It is the responsibility of the consumer to inform the retailer of any change of address or contact details.

5. Lay-by Cancellation by the Consumer.

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A consumer can cancel the Lay-by agreement at any time before delivery of the goods. In such cases the

retailer must refund all amounts paid by the consumer, less any Lay-by cancellation fee as specified below. If

the consumer’s Lay-by payments do not cover the termination charge, the retailer can recover the outstanding

amount as a debt.

6. Lay-by Cancellation by the Retailer.

A retailer can only terminate a Lay-by when:

• The supplier is no longer engaged in trade or commerce or

• The goods are no longer available due to circumstances outside the retailer’s control

7. A retailer who cancels the Lay-by agreement cannot charge a termination fee.

8. Lay-bys of more than one item can be separated only if full payment for the item/s handed to the consumer

have been received and the appropriate deposit is still left on the remaining item/s.

g. Special Care Guide

Be careful with light and heat

Just as the sun’s harmful rays can damage our skin, light and heat can affect a coloured gemstone’s durability and colour.

Over time, and in excess, they can also fade or damage some gemstones, such as amethyst, kunzite, topaz and shell

cameos. Pearls and other delicate materials, such as ivory, will bleach under extreme exposure to light. Other gems,

especially amber, can darken over time when exposed to too much light.

Excessive heat and sudden temperature changes may also fracture some gems. Heat can easily remove the natural moisture

these gems need to keep their beauty. Pearls, for instance, can dry out, crack and discolour. Opals can turn white or

brown, develop tiny cracks, and might lose their play-of-colour.

Keep your jewellery away from chemicals

Exposure to chemicals can damage or discolour precious metals – gold, silver and platinum – and may harm some coloured

gems. Even everyday substances like hairspray, lotion, perfume or other cosmetics can contain chemicals that will

permanently damage the surface of your pearls and other delicate or porous gems (like turquoise). Fine jewellery should be

removed before diving into a chlorinated swimming pool or before using household cleaners. Many of these cleaners

contain ammonia, which can be too harsh for delicate gems or vintage jewellery. Chlorine bleach, another common

household solvent, can pit or damage gold alloys.

Give treated gems special care

Many coloured gemstones are routinely treated to improve the appearance of colour and clarity. These treatments can be

negatively affected by heat, solvents, steam and ultrasonic cleaners. Knowing whether a gem has been treated is the first

step to knowing how to care for it. Refer to 3.a Gemstone Specifications and Care Chart for more information.

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Use ultrasonic cleaners with caution

Be aware that not all gems and jewellery can be safely cleaned in an ultrasonic cleaner.

Ultrasonic cleaners should not be used to clean:

1. Gemstones with surface-reaching breaks that have been filled with a substance such as oil, resin or a glass-like

material

2. Organic gem materials such as pearls, coral, ivory, or amber

3. Gems that have been coated with a non-permanent substance like plastic or wax

4. Some heat-treated gemstones

5. Gems that are susceptible to heat and temperature changes whether they are treated or not. Some of these gems

include tanzanite, feldspar (sunstone and moonstone), fluorite, iolite, kunzite, lapis lazuli, malachite, opal, topaz,

turquoise, zircon and others

6. What’s more, the vibration generated by the machine can sometimes shake gems loose or chip gems that are set

with their girdles touching.

Refer to 3.a Gemstone Specifications and Care Chart for more information.

Safest cleaning methods

Most coloured gems can be cleaned with warm water, mild dish soap (no detergents) and a soft brush. A pulsed-water

dental cleaning appliance and a soft, lint-free cloth can also be used. Be sure to rinse jewellery in a glass of water to

remove cleaning solutions since there is a risk of losing loose stones – or even an entire piece of jewellery - if it is rinsed

directly in the sink.

Soft gems, such as pearls, on the other hand, can easily scratch. Use a new, clean makeup brush and warm, soapy water

to softly clean them. Lay a strand of pearls on a towel to dry. The wet silk thread can stretch and attract dirt− so don’t touch

the strand until it is completely dry. Pearls worn often should be restrung once a year.

Safely store jewellery

Proper jewellery storage is often overlooked. Jewellery should never be tossed into a drawer or on top of a dresser as there

is a higher risk of scratches and damaged gems.

Most jewellery pieces come in a box or pouch from the store, which is a perfect place to keep them. Sterling silver, for

example, should be kept in an anti-tarnish bag or cloth. Jewellery boxes that feature individually padded slots for rings and

posts for hanging necklaces and bracelets are also ideal.

Pearls and opals draw moisture from the air, so storing opal or pearl jewellery in a dry area, such as a safe deposit box,

can sometimes do more harm than good.

When traveling, protect jewellery pieces from scratches or other impact damage by padding it in a separate box or case.

Jewellery should be checked every six months and cleaned frequently.

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4. OTHER INFORMATION

a. Specific Gravity Chart

Weight Conversion between metals

(To find the weight of an article in a metal different from that in which it is now)

METAL YOU WANT TO MAKE

Wax Silver 9ct 14ct 18ct 22ct 24ct (fine) Platinum

ITEM

IN

YO

UR H

AN

D

Wax x 1.00 x 10.49 x 11.30 x 12.90 x 15.10 x 17.60 x 19.32 x 21.45

Silver x 0.10 x 1.00 x 1.08 x 1.23 x 1.44 x 1.68 x 1.84 x 2.04

9ct x 0.09 x 0.93 x 1.00 x 1.14 x 1.34 x 1.56 x 1.71 x 1.90

14ct x 0.08 x 0.81 x 0.88 x 1.00 x 1.17 x 1.36 x 1.50 x 1.66

18ct x 0.07 x 0.69 x 0.75 x 0.85 x 1.00 x 1.16 x 1.28 x 1.42

22ct x 0.06 x 0.60 x 0.64 x 0.73 x 0.86 x 1.00 x 1.10 x 1.22

24ct (fine) x 0.05 x 0.54 x 0.58 x 0.67 x 0.78 x 0.91 x 1.00 x 1.11

Platinum x 0.04 x 0.49 x 0.53 x 0.60 x 0.70 x 0.82 x 0.90 x 1.00

How to use this table:

Formula: 1. Weight the item in your hand

2. Find the metal of the item in your hand in the left column

3. Find the number in the same horizontal row under the vertical

column of the metal you want to make

4. Multiple the weight of the item you hold, by the number

Example: You have a 9ct ring weighing 8 grams. What will it

weigh in 18ct?

1. Along the horizontal row marked “9ct”, and in the vertical

column under the heading “18ct” we find the factor 1.34

2. 8 grams x 1.34 = 10.72grams in 18ct

b. Mohs Hardness Table

The Mohs scale of hardness was an attempt by an Austrian mineralogist to set up a comparative scale of scratch resistance.

Low numbers are soft whilst high numbers are harder. The scale is not linear and all that can be said is that higher numbers

are harder than all the numbers lower down the scale.

An example of this is that a diamond, which is 10 on the Mohs scale, is in fact 4 times as hard as corundum (ruby and

sapphire), which is a 9 on the Mohs scale.

The minerals chosen were selected on the basis that there is only minor differences between various samples due to slight

chemical differences.

Hardness Mineral Gemstone Gem Hardness

1 Talc

2 Gypsum

3 Calcite Pearl

Coral

3.5

3.75

4 Fluorite

5 Apatite Sphene

Window glass (not a gemstone)

5

5.5

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Opal 5.5 – 6.0

6 Orthoclase

Feldspar

Silica glass

Turquoise

Lapis-Lazuli

Peridot

Nephrite (Jade)

Chalcedony

6

6

6

6.5

6.5

6.5

7 Quartz Tourmaline

Jadeite

Garnet (most types)

Zircon (most types)

Beryl

7

7

7.0 – 7.5

7.0 – 7.5

7.0 – 7.5

8 Topaz Spinel

Chrysoberyl

Synthetic cubic zirconia

8

8.5

8.5

9 Corundum Ruby

Sapphire

9

9

10 Diamond

Note: A scratch test should never be performed on a cut gem as it will damage its surface.

The scale does provide a guide as to the suitability of using a gem in a piece of jewellery.

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b. Birthstones

Tradition has it that each month has a colour that some people believe is lucky for people born during that month. Myths

and legends have grown up over the years that make claims for these stones having special “healing powers”.

It is believed that the origin of this tradition goes back to biblical times and is associated with the twelve stones that the

Bible tells us were affixed to the breast plate of Aaron, the High Priest, one for each of the twelve tribes.

January Garnet July Ruby

February Amethyst August Peridot

March Aquamarine September Sapphire

April Diamond October Opal or Tourmaline

May Emerald November Topaz or Citrine

June Pearl or Alexandrite December Tanzanite, Zircon or Turquoise

c. Wedding Anniversary stones

1st Gold 11th Diamond 21st Iolite 55th Alexandrite

2nd Garnet 12th Turquoise 22nd Spinel 60th Diamond

3rd Pearls 13th Jade 23rd Imperial Topaz 65th Blue Spinel

4th Blue Topaz 14th Citrine 24th Tanzanite 70th Sapphire

5th Sapphire 15th Ruby 25th Silver 80th Ruby

6th Pink Tourmaline 16th Peridot 30th Pearl

7th Amethyst 17th Watches 35th Emerald

8th Onyx 18th Cat’s Eye 40th Ruby

9th Tourmaline 19th Aquamarine 45th Sapphire

10th Lapis Lazuli 20th Emerald 50th Gold

d. Valuations

What is a valuation?

A jewellery valuation (also known as a valuation certificate) is a document that describes an item of jewellery in detail and

also states the value of the item in question.

Why is a valuation needed?

While there are a number of reasons why consumers may require a valuation certificate when buying an item of jewellery,

the most common reason is for Retail Replacement purposes and the vast majority of valuations that are produced for

jewellery are required for insurance purposes.

Unspecified Jewellery Items

Most insurance companies will insure unspecified jewellery items up to a total value of approximately $5,000 and a

maximum value of each item of approximately $1,500, as part of a home and contents policy. When a loss is suffered and

a claim is lodged, the insurance company in question will request proof of purchase and proof of the value. (Inexplicably

insurance companies do not usually request this at the time a policy is first issued.) Proof of value will not necessarily require

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a formal valuation certificate but a sales docket from the retailer giving a detailed description of the piece concerned and

the price paid should be provided. Most jewellery claims fall under the unspecified jewellery category and consumers are

strongly advised to ensure they can provide proof of purchase and value. This means keeping a copy of the sales docket in

a safe place. Consumers should photograph their jewellery items as close up as possible as the photographs can be used to

assess proof of purchase and the value, should the sales docket be lost.

Specified Jewellery Items

Most insurance companies insist on a valuation certificate and proof of purchase for items of jewellery valued above

$1,000 to $2,000 (depending on the insurance company involved) before issuing insurance cover.

Valuation Certificates

Consumers should be aware of the fact that there is no legal obligation for a jeweller to issue a valuation certificate when

an item of jewellery is purchased. However, most professional jewellers will often offer to provide a valuation certificate,

particularly for items above $1,000. Please note that some jewellers may charge a fee for producing a valuation certificate.

When a new item of jewellery is purchased from a jewellery retailer, a valuation certificate from the retailer is acceptable

as long as a full and detailed description of the jewellery item appears on the certificate and, most importantly, the

valuation figure that appears on the certificate is the same as the price actually paid. A valuation certificate for insurance

purposes is supposed to reflect the market price of the item and the price paid is by definition the market price. The only

exception to this is when a retailer who has one or two genuine clearance sales per year sells a product at a genuine

discounted price and where that retailer believes that it would not be able to replace the item for the price actually paid.

For pre-owned jewellery we recommend consumers use a Registered Valuer to value their jewellery or check that the person

valuing your jewellery has the appropriate qualifications for assessing jewellery. Please visit www.ncjv.com.au for a listing

of available valuers in your state.

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