Professional Jewelry Making - Tim McCreight, …

1 A Contemporary Guide to Traditional Jewelry TechniquesphotographyBarry Blau and Christine DheinillustrationsGeorge McLean and emiko oyeProfessional Jewelry MakingThis book as well as a complete listing of instructional opportunities for jewelers is available from:Revere Academy of Jewelry Arts760 Market Street, Suite 900 San Francisco, California 94102 391-4179 or fax (415) 391-7570brynmorgen press 318 Bath RoadBrunswick, Maine 04011 2011 by Alan Revere. All rights by Barry Blau and Christine DheinIllustrations by George McLean, emiko oye, and Alan RevereBook design: Kathleen Cunningham DesignOriginally published as Professional Goldsmithing 1991 by Van Nostrand ReinholdReprints of original engravings from L Encyclop die, ou dictionaire raisonn des sciences, des arts et des m tiers by Denis Diderot.

2 Courtesy of the Brancroft Library and the Revere Academy of Jewelry in Hong Kongisbn 1-978-929565-42-9 WARNING: Some of the traditional procedures described in this book can be harmful if not executed properly. Learn about the hazards of all techniques and materials before using them. Wear protective goggles and use proper safety measures. When in doubt, consult an rights reserved. No part of this book may be reprinted or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photo-copying, recording, scanning, or by any information storage or retrieval system without permission in writing from the generous people have helped in the preparation of this book.

3 During my practice and education I have met and shared information with countless craftspeople and other experts, each offering a unique point of view based on their own personal experiences. In 1972, in search of training that I could not find in the United States, I trav-eled to Pforzheim, Germany, a town known throughout the world as the Gold City. Pforzheim is located in the Black Forest region, and for nearly two hundred years it has served as a major international center of goldsmithing and Jewelry manufacturing. For two years I had the good fortune to study at Pforzheim s world-renowned Fachhochshule f r Gestaltung, formerly the Kunst und Werkschule, with students from Jewelry communities around the world.

4 Indeed, the school has trained leaders in the Jewelry industry for well over a hundred years. Jewelry historian Ralph Turner noted that the Pforzheim school has probably produced more creative jewellers than any equivalent anywhere else in the world. 1 Professor Reinhold Bothner was most responsible for my training as a goldsmith. At the time that I worked with him, he was the senior master goldsmith in Pforzheim, having spent half a century creating treasures. I studied design with Professor Reinhold Reiling, a master goldsmith and internationally acclaimed Jewelry designer.

5 Professors F ll and Zeiss trained me in the skills of hand engraving and stonesetting, respectively. In addition to my classes and studio work, I was employed in several workshops, includ-ing that of Klaus Ullrich, a renowned designer, master goldsmith, and master silversmith. It was while working for Professor Ullrich that I learned how to use precious other dedicated craftspeople helped me gather the information presented in this book. We all share a love of fine metal work and together are carrying our craft into the next millenium. Some are senior members of the Jewelry community, and some are newcomers whose enthusiasm has helped keep the torch lit.

6 Among these fine craftspeople are George McLean, Evert DeGraeve, Edward Friedman, Michael Good, Yas Tanaka, Jon T. Dixon, Karen Sprague, Paul Christiansen, Harold O Connor, Steven Kretchmer, Jaime Pelissier, Doug Zaruba, Frank Trozzo, George Sawyer, Joannie Mar, Wellington Dong, Julie Harrington, Holly Beye, Emmy McKenzie, Neal Pollack, Irene Hogan, Irving Gold, Enrique Lop z Larrea, David Clarkson, Keith Bartel, Abrasha, Michael Smorra, and Gregory Steerman. In addition, I wish to thank the many students at the Revere Academy of Jewelry Arts who helped me prepare the material for this book including: John Sliwa, Bruce Morrison, Catherine Glew, Jay Vullings, Keith Saslaw, Eric Baltzley, Vinnie DiPadova, Terry Cook, Jeff Gray, and Kristin modern masters, Tim McCreight and Charles Lewton-Brain, contributed significantly to this project through their service as technical editors.

7 I would like to thank George Holmes, the editor of Jewelers Circular-Keystone where much of this material first appeared, as well as Lilly Kaufman of Van Nostrand Reinhold for her support; Anna M. Miller for putting me in touch with VNR; and Jewelry writer and critic Ettagale Blauer for her would like to thank Bill Nigreen and Max Yasgur who colluded to save me from law school, as well as Andrew Wilner who showed me that crafts could be a way of life. I acknowledge Carolyn Chaikin Rosenberg who introduced me to art and craftsmanship at an early age. In addition to the photographs, Barry Blau has given this project many years of his tireless perfectionism and humor, both in the original and now revised reworking of Professional Goldsmithing into Profes-sional Jewelry Making was possible thanks to the tireless hours by my assistant, Christine Dhein, and book designer Kathleen Cunningham.

8 Also thanks to Yas Tanaka and James Binnion for technical assistance, to emiko oye for her work on the illustrations, and to Robert Graham for his eye in proofing the , I wish to thank Sherli and my father George for their support, patience, and encouragement during my journey, as well as my children Dustin and Alexis, who inspired me to prepare this material for future Turner, Contemporary Jewelry (New York: Van Nostrand Rein-hold, 1976), p. Bangle50 Pierced Earrings95 Sister Hook138 Crochet Chain55 Carved Band103 Donut Ring146 Hoop Earrings63 Box Ring112 Basket Pendant153 Curb & Cable Chain71 Foxtail Chain117 Necklace Clasp159 Twist Ring80 Gallery Ring123 Hollow Ring165 Toggle Bracelet86 Forged Ring131 Ball Clasp174 Part 1 Getting Started Part 2 Basic Projects Precious Metals 2 General Procedures 15 Tools 22 Alloying & Ingots 42321456987101112151413161718contentsLoc ket181 Mesh Chain192 Solitaire Ring229 Gallery Pendant277 Box Clasp197 Square Linkage236 Wire Brooch289 Hollow Neckpiece203 Rope

9 Chain243 Coronet Ring297 Cylinder Clasp209 Bracelet Sections250 Cluster Ring308 Pierced Bezel Ring214 Tube Ring259 Hinged Bracelet220 Hollow Bracelet265 Part 3 Advanced Projects Appendix 318 Glossary 336 Index 3403332313435212019222324272625282930 Rolling Wire 48 Annealing Wire 56 Drawing Wire 57 Using a Vernier Caliper 58 Sharpening a Drill Bit 67 Soldering 69 Pickling 70 Technique BoxesRolling Wire Flat 73 Sawing 74 Filing Flat 77 Piercing 97 Buffing 101 Polishing 102 Step Rolling 104 Throughout this book you will find several dozen Technique Boxes like the one shown here.

10 These present highlighted information on specific techniques in condensed form that is easy to locate. To revisit a particular box, use the index the Inside of a Ring 107 Using a Sanding Stick 108 Sanding the Inside of a Ring 109 Pick Soldering 120 Filing Outside a Curved Plane 125 Using Binding Wire 128 Linear Forging 134 Making Tubing 140 Tension Soldering Tubing 142 Dividers to Lay Out a Circle 161 Dapping a Hemisphere 176 Riveting 227 Annealing Platinum 279 Welding Platinum 287 PrefAceIn the early 1700s a French philosopher, art critic.