JAA Technical Guide - Jewellers Association of Australia

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 of fine gold
Other metals
24
22
18
14
9
Nil
2 parts of alloy
6 parts of alloy
10 parts of alloy
15 parts of alloy
(parts per 1000)
24
22
18
14
9
1000
916
750
585
375
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
Jet
Onyx
Tahitian pearls
Tourmaline
Blue
Agate – Blue lace
Aquamarine
Diamond
Iolite
Lapis Lazuli
Sapphire
Spinel
Tanzanite
Topaz
Tourmaline
Turquoise
Zircon
Purple/Violet
Amethyst
Iolite
Jade – Jadeite
Kunzite
Sapphire
Tanzanite
Tourmaline
Red
Alexandrite
Carnelian
Coral
Diamond
Garnet
Jade – Jadeite
Rhodolite garnet
Ruby
Rubelite Tourmaline
Spinel
Topaz
Brown
Diamond
Smokey Quartz
Topaz
Zircon
Yellow/Orange
Amber
Apatite
Citrine
Diamond
Fire opal
Golden topaz
Sapphire
Spessatine Garnet
Tigers Eye
Tourmaline
Zircon
Green
Alexandrite
Apatite
Chrome diopside
Chrysophase
Emerald
Jade – Jadeite
Jade – Nephrite
Malachite
Peridot
Sapphire
Turquoise
Tourmaline
Tsavorite garnet
Pink
Diamond
Kunzite
Morganite
Rose quartz
Sapphire
Spinel
Tourmaline
White/Colourless
Diamond
Jade – Nephrite
Opal
Pearls
Sapphire
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 a nd 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
Abalone Pearl
All colours
All colours
Blister pearl
All colours
Saltwater pearl
All colours
Oiled
Oiled
Filled
Oiled
Dyed
Filled
Oiled
Dyed
Rarely
Rarely
Occasionally
Rarely
Rarely
Commonly
Rarely
Rarely
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Blister pearl
Freshwater pearl
Freshwater Blister Pearl
White, pink to purple
White, pink to purple
All colours
Grey to black
White, pink to purple
All colours
All colours
Grey to black
Filled
Oiled
Oiled
Dyed
Irradiated
Oiled
Dyed
Filled
Irradiated
Rarely
Rarely
Rarely
Rarely
Rarely
Rarely
Rarely
Rarely
Rarely
Trade names for Cultured pearls
Trade term
Colour
Treatment type
Frequency
Mabe Pearl
White
All colours
White
White
All colours
Grey to black
White to yellow and
Grey to black
Bleached
Dyed
Coated
Bleached
Dyed
Irradiated
Dyed
Commonly
Commonly
Rarely
Commonly
Commonly
Occasionally
Rarely
All colours
Bleached
Commonly
(Pinctada fucata)
White
Bleach
Uncommon
(Pinctada Maxima)
Rarely
(Pinctada
Margaritifera)
Freshwater Cultured Pearl (beaded)
Freshwater Cultured Pearl (non-beaded)
Keshi Saltwater Cultured Pearl (nonbeaded)
Saltwater Cultured pearl (beaded)
Akoya Cultured Pearl
South Sea Cultured Pearl
Tahitian Cultured Pearl
Dyed
All colours
Grey to black
Dyed
Coated
Filled
Oiled
Irradiated
Occasionally
(Pinctada fucata)
Occasionally
(Pinctada fucata)
Rarely
Rarely
Occasionally
Occasionally
(Pinctada fucata)
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.
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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.
Page 25 of 73
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 nonconventional 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
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.
Cluster Dress ring
Cocktail ring
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.
Multi-stone
Cluster
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.
Engagement ring
Broadly divided into 3 groups.
Solitaire
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
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
Classic vintage bar style brooch
Modern bar brooch
Given at birth and used to attach bib
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Cameo brooch
Other plain and stone set brooches
21st key
Leaf brooch
Nature as inspiration
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.
Bangles
A width of polished metal with a keyhole 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
A pearl cup attached to a screw fitting
Cuff links
There are two main cufflink groups.
Torpedo
Torpedo styles with chain links between
the cuff-link fancy top and the torpedo
(sometimes made in the shape of a
dumbbell).
Clip
Clip fitting
Clip fittings are another method of
securing the earring to the ear for those
who do not have pierced ears.
Swivel
Swivel mechanisms
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
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.
Lock
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.
Toggle Bar
Safety chain
Swivel
(also known as albert clasp)
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.
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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.
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 sketch is of style
usually die struck and
assembled. Others are
made from cast pieces
soldered together.
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.
Page 33 of 73
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
Page 34 of 73
Soldering
Emerying
Stone Setting
Polishing
ii.
Lost Wax Casting
Mould made from prototype

Wax injected into the mould

Wax removed from the mould

Page 35 of 73
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.
Page 36 of 73
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.
Page 37 of 73
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
Page 38 of 73
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
c.
Milled design
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
Page 40 of 73
d.
e.
f.
Parts of a ring
Parts of a ring
Types of Settings
Claw
Bezel set or rub
over
Types of Shanks
Flat
D Shape (also known
as half round)
Shank
Channel
Head or setting
Bead (also known
as grain set)
Tapered
Hammer set (also
called Swiss set)
Split
End Set
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
Page 41 of 73
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
Page 42 of 73
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
8. Rinse in clean distilled water
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.
11. Rinse in clean distilled water
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
 Use a gold hook to suspend object  Temperature
control:
Minor
from alligator clip, never steel.
changes = inconsistent and poor
 Suspend object in solution with
results
current ON
 Current control: Never more than
 Be sure voltage setting is constant
3.5 volts for Rhodium, 3.5 is better
when actually plating piece
 Proper rinsing: Using distilled water
for about a minute
Safety
 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.
Page 43 of 73
Troubleshooting
Rhodium plates black
Dark spots after rhodium plating
Rhodium looks frosty
 Mounting is not clean
 Make sure the piece is clean
 Amperage is too high, reduce to
 Current is set to high, try lowering  Air bubbles are sticking to
1.5 amps
amperage 1.5-2 amps and longer
mounting, gently agitate to dislodge
times 1 - 2 minutes for best results
air bubbles
 Rhodium solution is contaminated.
Give your bath a carbon treatment
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



Pyrex beaker
24ct gold anode
14ct yellow gold plating solution
For plating of two-tone, yellow and white gold jewellery, add
the Following
 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.
2.
3.
4.
5.
Alkaline gold cyanide, for gold and gold alloy plating
Neutral gold cyanide, for high-purity plating
Acid gold plating for bright hard gold and gold alloy plating
Non-cyanide, generally sulphite or chloride-based for gold and gold alloy plating
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.
Page 44 of 73
i. Watches/Clocks
Term
Alarm clock
Analogue quartz time keeping instrument
Automatic chronograph
braille watch or clock
Carrousel watch
Chronograph
Chronometer
Complication
Cuckoo clock
Desk or Table clock
Digital quartz time keeping instrument
Electric time keeping instrument
Hall clock
Marionette or Carillon clock
Mechanical time keeping instrument
Multi-function time keeping instrument
Pocket watch
Radio controlled watch or clock
Satellite radio controlled watch and/or
clock
Skeleton watch or clock
Solar-powered watches or clock
Solar cell time keeping instrument
Stopwatch
Talking watch or clock
Definition
Clock with alarm function.
Quartz timepiece whose indicating devices (dial, hands, etc.) have a
mechanical construction.
Chronograph equipped with an automatic winding device.
Timepiece that can tell time using voice or by touching it with the fingers.
Watch with a mechanism similar to the tourbillon but with the cage rotating
around the third wheel instead of the fourth wheel.
Timepiece that can measure time besides the time indication function.
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 - Wristchronometers with spring balance oscillator.
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.
Clock that indicates each hour or fixed times through the song of a bird.
Stationary clock placed on a desk or a table.
Quartz timepiece with electronic display. (LCD, LED, etc.)
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.
Large and tall clock for indoor use.
Clock that plays a melody and activate the dial or a marionette at fixed hours.
Timepiece whose power source, time source elements and indicating devices
have a mechanical construction.
Timepiece equipped with functions such as time counter or alarm besides time
display.
Note: Mechanical watches with many functions are also called complicated
watch.
Portable watch that can be put on the clothes or in a pocket.
Watch or clock equipped with a function to automatically adjust the time and
date using standard time radio signals.
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
Watch or clock whose movement's skeleton can be seen through the case or
the dial.
Timepiece equipped with solar cells to use the energy of light as power
source.
Portable time counter.
Watch or clock that uses audio messages to indicate time, etc.
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Tourbillon watch
Wall clock
Wristwatch
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.
Clock that is fixed to a wall or a column.
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).
Page 48 of 73
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
Watch for mixedgas diving
200m - 1000m
Water resistant
Watch
diving
100m - 200m AIR DIVER'S 100m
Water resistant
for
air
Enhanced
water
resistant watch for
daily use
Water resistant
to 20 bars
Water resistant
to 10 bars
Water resistant
to 5 bars
Water
resistant
watch for daily use
Water resistant
to 2-3 bars
Examples of water-resistant
indications
HE-GAS DIVER'S 300m
WATER RESIST 20 BAR
WATER 20BAR RESIST
W.R.20BAR
WATER RESIST 10 BAR
WATER 10BAR RESIST
W.R.10BAR
WATER RESIST 5 BAR
WATER 5BAR RESIST
W.R.5BAR
WATER RESIST
W.R.
Uses/precautions in handling
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.
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 shallowwater diving (scuba diving, etc.,) using compressed
air in a cylinder for respiration. This cannot be used
for mixed-gas diving.
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.
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.
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
Page 49 of 73
Non-water resistant
watch
pressure changes sharply.
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.
Page 50 of 73
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.
Page 51 of 73
3. INFORMATION FOR JEWELLERY RETAILERS
a.
Gemstone Specifications and Care Chart
Agate - Blue Lace
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Blue background with
white bands
7
None
Translucent to opaque
Lustre
Waxy - dull
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Quartz
Ornamental
Agate - Cameo
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Blue background with
white foreground
7
Dyed
Opaque
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Quartz
Ornamental
Alexandrite
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Blue-green to red
8.5
1.745 – 1.759
3.71 – 3.75
None
Transparent to near
opaque
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Honey brown
2–3
1.539 – 1.545
1.02 – 1.12
Lustre
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
Often heat treated
Transparent to opaque
Gemstone family
Type
Vitreous
Usually safe
Usually safe
Chysoberyl
Precious
Amber
Resinous
Usually safe
Never
Soft material – wear with
care
Organic
Ornamental
Page 52 of 73
Amethyst
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Purple
7
1.544 – 1.553
2.65
Heat treated
Transparent to semitransparent
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Usually safe
Never
Colour
Lustre
Vitreous
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Bi-colour: purple and
yellow
7
1.544 – 1.553
2.65
Heat treated
Transparent
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Usually safe
Never
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Blue
7.5 – 8
1.563 – 1.582
2.68 – 2.80
Heat treated
Transparent to opaque
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Unsafe
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Green
7
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous, waxy
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Translucent red/orange
6.5
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Usually safe
Quartz
Precious
Ametrine
Quartz
Precious
Aquamarine
Beryl
Precious
Aventurine Quartzite
None
Translucent, opaque
Quartz
Ornamental
Carnelian
Heat treated, maybe dyed
Transparent to near
opaque
Quartz
Ornamental
Page 53 of 73
Chrome Diopside
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Green
5.5 – 6
1.664 – 1.721
3.22 – 3.39
None known
Transparent, translucent
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous to dull
Never
Never
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Minty apple green
6.5 – 7
1.530 – 1.540
Vitreous to waxy
Usually safe
None known
Translucent to opaque
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Yellow to golden yellow
7
1.544 – 1.553
2.65
Heat treated
Transparent
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Usually safe
Never
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Red, pink
3.5 – 4
1.486 – 1.658
2.6 – 2.7
None known
Transparent to opaque
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous, waxy
Never
Never
Avoid chemicals
Organic
Ornamental
Adamantine – diamond
Lustre
Usually safe
Usually safe
Precious
Chrysoprase
Heating can affect colour
Quartz
Ornamental
Citrine
Quartz
Precious
Coral
Diamond
Colour
Red, pink
Lustre
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
10
2.42
3.51
Laser drilling, fracture
filled, heat treatment
Transparent to opaque
Ultrasonic
Steam Clean
Special advice
Gemstone family
Transparency
Type
Diamond
Precious
Page 54 of 73
Emerald
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Green
7.5 – 8
1.585 – 1.6
2.67 – 2.76
Lustre
Ultrasonic
Steam Clean
Special advice
Vitreous
Never
Never
Avoid sudden
temperature change
Beryl
Precious
Usual treatment
Transparency
Oiled
Transparent to opaque
Gemstone family
Type
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Deep red
7.0 – 7.5
1.750 – 1.830
3.95 – 4.30
None
Transparent to opaque
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Usually safe
Never
Colour
Light yellowish to dark
green
6.5 – 7.5
1.888 – 1.940
3.70 – 4.10
None known
Transparent to opaque
Lustre
Vitreous, diamond-like,
adamantine
Usually safe
Never
Lustre
Vitreous
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Yellow-orange, redorange
7.0 – 7.5
1.742 – 1.748
3.65
None
Transparent to opaque
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Usually safe
Never
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Rose to lavender
7.0 – 7.5
1.745 – 1.780
3.79 – 3.95
Lustre
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
None
Transparent to opaque
Gemstone family
Type
Vitreous
Usually safe
Never
Avoid sudden
temperature change
Garnet
Precious
Garnet – Almandine
Garnet
Precious
Garnet – Demantoid
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Garnet
Precious
Garnet – Hessonite
Colour
Garnet
Precious
Garnet – Rhodolite
Page 55 of 73
Garnet – Tsavorite
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Bright green
7.0 – 7.5
1.738 – 1.745
3.57 – 3.68
Lustre
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
None
Transparent to opaque
Gemstone family
Type
Vitreous
Usually safe
Never
Avoid sudden
temperature change
Garnet
Precious
Hematite
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Black, black-grey, brownred
6 – 6.5
2.940 – 3.220
None known
Opaque
Lustre
Metallic
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Never
Usually safe
Metallic
Ornamental
Iolite
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Blue, purple-blue
7 – 7.5
1.537 – 1.551
2.58 – 2.66
None known
Transparent, translucent
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Never
Never
Colour
Brown, blackish, violet,
green, white, red, yellow
6.5 – 7
1.64 – 1.68
3.30 – 3.58
Bleached, dyed,
Opaque, translucent
Lustre
Waxy, greasy
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Never
Never
Precious
Jade - Jadeite
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Jade
Ornamental
Jade - Nephrite
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Green, white, grey,
yellow, red, brown, often
spotted
6 – 6.5
1.600 – 1.627
2.90 – 3.02
Often untreated but can
be dyed, coated or
impregnated
Translucent, opaque
Lustre
Vitreous
Ultrasonic
Steam Clean
Special advice
Gemstone family
Never
Never
Type
Ornamental
Jade
Page 56 of 73
Jasper
Colour
Lustre
Dull, vitreous
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
All colours, mostly striped
or spotted
6.5 – 7
1.540
2.58 – 2.91
None known
Opaque
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Quartz
Ornamental
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Pink, violet
6.5 – 7
1.600 – 1.681
3.15 – 3.21
Lustre
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
Irradiated
Transparent
Gemstone family
Type
Vitreous
Never
Never
Avoid strong light due to
colour fade
Spodumene
Precious
Colour
Lustre
Vitreous, greasy to dull
Moh’s Hardness
Refractive Index
Specific Gravity
Lazur blue, violet, green-blue
with light blue colour streak
5–6
1.500
2.50 – 3.0
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
None known
Opaque
Gemstone family
Type
Never
Never
Avoid chemicals, soft
material – wear with care
Rock
Ornamental
Kunzite
Lapis Lazuli
Malachite
Colour
Light-green to black-green,
banded
3.5 – 4
1.655 – 1.909
3.25 – 4.10
None known
Translucent, opaque
Lustre
Weak vitreous, matt
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Never
Never
Avoid chemicals
Carbonate
Ornamental
Lustre
Vitreous to pearly
Moh’s Hardness
Refractive Index
Specific Gravity
Colourless, yellow, pale
sheen
6 – 6.5
1.522 – 1.530
2.56 – 2.58
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
None known
Transparent to translucent
Gemstone family
Type
Never
Never
Sensitive to pressure –
wear with care
Feldspar
Ornamental
Page 57 of 73
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Moonstone
Colour
Onyx
Colour
Lustre
Vitreous to pearly
Moh’s Hardness
Refractive Index
Specific Gravity
Colourless, yellow, pale
sheen
6 – 6.5
1.522 – 1.530
2.56 – 2.58
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
None known
Transparent to translucent
Gemstone family
Type
Never
Never
Sensitive to pressure –
wear with care
Feldspar
Ornamental
Opal – white, black, matrix, boulder, harlequin, jelly, crystal, girasol
Colour
All colours.
Moh’s Hardness 5.5 – 6.5
Refractive Index
1.370 – 1.52
Specific Gravity
1.98 – 2.50
Lustre
Ultrasonic
Steam Clean
Special advice
Waxy to resinous
Never
Never
Avoid heat, chemicals
and water – wear with
care
Opal
Precious
Usual treatment
Transparency
None known
Transparent to opaque
Gemstone family
Type
Colour
Orange-yellow
Lustre
Moh’s Hardness
Refractive Index
Specific Gravity
5 – 6.5
1.370 – 1.45
2.15
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
None known
Transparent to opaque
Gemstone family
Type
Sub vitreous to waxy,
resinous
Never
Never
Avoid heat, chemicals
and water – wear with
care
Opal
Precious
Colour
Lustre
Pearly
Ultrasonic
Steam Clean
Never
Never
Specific Gravity
White, pink, silver,
cream, golden, blue,
black
2.5 – 4.5
1.520 – 1.660
Black: 1.530 – 1.690
260 – 2.85
Special advice
Usual treatment
Transparency
Bleached
Translucent to opaque
Gemstone family
Type
Avoid chemicals and
household items – wear
with care
Organic
Precious
Opal – Fire
Pearl
Moh’s Hardness
Refractive Index
Page 58 of 73
Pearl - Mother of Pearl
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
White, grey, silver,
yellow, blue-green,
brown, pink, red, black,
bronze, banded
2.5 – 4.5
1.53 – 1.69
260 – 2.87
None known
Translucent to opaque
Lustre
Pearly
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Never
Never
Organic
Ornamental
Pearl - Paua Shell
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Blue-green iridescent
3.5
None known
Translucent to opaque
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Pearly
Never
Never
Organic
Ornamental
Peridot
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Green, yellow-green
6.5 – 7
1.635 – 1.710
3.3 – 3.4
Lustre
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
None known
Transparent
Gemstone family
Type
Vitreous, greasy
Never
Never
Avoid harsh chemicals
and thermal shock
Quartz
Precious
Colour
Yellow-green, brownyellow
6 – 6.5
1.611 – 1.669
2.82 – 2.94
None known
Transparent to opaque
Lustre
Vitreous to pearly
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Never
Never
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Usually safe
Never
Prehnite
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Ornamental
Quartz – Lemon
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Pastel yellow, pastel green
7
1.544 – 1.553
2.65
Irradiated, heat treated
Translucent
Quartz
Precious
Page 59 of 73
Quartz – Prasiolite, mint, green
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Pale green
7
1.540 – 1.550
2.65
Irradiated, heat treated
Transparent
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Usually safe
Never
Quartz
Ornamental
Quartz – Rose
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Pink
7
1.544 – 1.553
2.65
Sometimes dyed
Translucent
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Usually safe
Never
Colour
Clear to smoky with rutile
needles (golden, black,
red-pink)
6 – 6.5
1.54 – 1.55
2.63 – 2.70
Lustre
Vitreous
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Quartz
Ornamental
Quartz
Precious
Quartz – Rutilated
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Transparent to translucent
Quartz – Smokey
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Brown to black, smokey
grey
7
1.544 – 1.553
2.65
Often dyed
Transparent to translucent
Lustre
Vitreous
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Usually safe
Never
Quartz
Precious
Ruby
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Red
9
1.760 – 1.778
3.80 – 4.05
Often heat treated
Transparent to opaque
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Usually safe
Usually safe
Corundum
Precious
Page 60 of 73
Sapphire
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Blue
9
1.760 – 1.774
3.99 – 4.01
Often heat treated
Transparent to opaque
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Usually safe
Usually safe
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Blue
5.5 – 6
1.480
2.24
Often dyed
Transparent to opaque
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous to greasy
Never
Never
Dyed material may fade
Colour
Black, blue, pink, purple,
red, violet
8
1.712 – 1.762
3.54 – 3.63
None known
Transparent to opaque
Lustre
Vitreous
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Usually safe
Usually safe
Corundum
Precious
Sodalite
Ornamental
Spinel
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Spinel
Ornamental
Tanzanite
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Deep blue
6–7
1.692 – 1.700
3.35
Lustre
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
Often heat treated
Transparent
Gemstone family
Type
Vitreous
Never
Never
Soft and brittle material –
wear with care
Zoisite
Precious
Tiger’s Eye
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Brown with golden bands
7
1.550
2.58 – 2.64
Lustre
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
None known
Opaque
Gemstone family
Type
Silky
Never
Never
Soft and brittle material –
wear with care
Quartz
Ornamental
Page 61 of 73
Topaz - Blue
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
Light to dark blue
8
1.619 – 1.627
3.53
Irradiated, heat treated
Transparent, translucent
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Never
Never
Avoid thermal shock
Topaz
Precious
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Rich golden yellow
8
1.629 – 1.637
3.50 – 3.54
Lustre
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
None known
Transparent, translucent
Gemstone family
Type
Vitreous
Never
Never
Cleavage planes – wear
with care
Topaz
Precious
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
White
8
1.609 – 1.620
3.56 – 3.57
None known
Transparent, translucent
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous
Never
Never
Avoid thermal shock
Topaz
Precious
Shades of green
7 – 7.5
Lustre
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous to slightly resinous
Never
Never
Avoid thermal shock
Tourmaline
Precious
Topaz - Golden
Topaz - White
Tourmaline – Chrome, green
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
3.06
None known
Transparent, translucent,
opaque
Tourmaline – Pink
Colour
Shades of green
Lustre
Moh’s Hardness
Refractive Index
Specific Gravity
Usual treatment
Transparency
7 – 7.5
1.614 – 1.666
2.82 – 3.32
None known
Transparent, opaque
Ultrasonic
Steam Clean
Special advice
Gemstone family
Type
Vitreous to slightly
resinous
Never
Never
Avoid thermal shock
Tourmaline
Precious
Page 62 of 73
Turquoise
Colour
Moh’s Hardness
Refractive Index
Specific Gravity
Turquoise
5–6
1.610 – 1.650
2.60 – 2.9
Lustre
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
None known
Translucent, opaque
Gemstone family
Type
Waxy, matt
Never
Never
Avoid hot water and
household chemicals
Aluminium Phosphate
Ornamental
Colour
Lustre
Vitreous to brilliant sheen
Moh’s Hardness
Refractive Index
Specific Gravity
Colourless, yellow,
brown, orange, red,
green, blue, violet
6.5 – 7.5
1.810 – 2.024
3.93 – 4.73
Ultrasonic
Steam Clean
Special advice
Usual treatment
Transparency
Sometimes heat treated
Transparent to translucent
Gemstone family
Type
Usually safe
Never
Brittle material – wear
with care
Zircon
Precious
Zircon
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.
Page 63 of 73
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.
Page 64 of 73
c.
Finger Size Comparison Chart
Australian/UK/South Africa
A
B
USA
C
1
Europe
38
1.5
39
2
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
2.5
G
3
42
43
H
3.5
44
4
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
4.5
5
47
48
49
K
L
5.5
6
50
51
M
6.5
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
7
54
P
7.5
55
Q
8
56
R
8.5
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
9
59
T
U
9.5
60
V
10
61
10.5
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
11
X
Y
11.5
65
Z
12
66
12.5
67
13
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
Page 65 of 73
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.
Page 68 of 73
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)
ITEM IN YOUR HAND
METAL YOU WANT TO MAKE
Wax
Silver
9ct
14ct
18ct
22ct
Wax
x 1.00
x 10.49
x 11.30
x 12.90
x 15.10
Silver
x 0.10
x 1.00
x 1.08
x 1.23
9ct
x 0.09
x 0.93
x 1.00
14ct
x 0.08
x 0.81
18ct
x 0.07
22ct
(fine)
Platinum
x 17.60
x 19.32
x 21.45
x 1.44
x 1.68
x 1.84
x 2.04
x 1.14
x 1.34
x 1.56
x 1.71
x 1.90
x 0.88
x 1.00
x 1.17
x 1.36
x 1.50
x 1.66
x 0.69
x 0.75
x 0.85
x 1.00
x 1.16
x 1.28
x 1.42
x 0.06
x 0.60
x 0.64
x 0.73
x 0.86
x 1.00
x 1.10
x 1.22
(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
24ct
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:
24ct
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
1
2
3
4
5
Mineral
Talc
Gypsum
Calcite
Fluorite
Apatite
Gemstone
Gem Hardness
Pearl
Coral
3.5
3.75
Sphene
Window glass (not a gemstone)
5
5.5
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6
Orthoclase
Feldspar
7
Quartz
8
Topaz
9
Corundum
10
Diamond
Opal
Silica glass
Turquoise
Lapis-Lazuli
Peridot
Nephrite (Jade)
Chalcedony
Tourmaline
Jadeite
Garnet (most types)
Zircon (most types)
Beryl
Spinel
Chrysoberyl
Synthetic cubic zirconia
Ruby
Sapphire
5.5
6
6
6
6.5
6.5
6.5
7
7
7.0
7.0
7.0
8
8.5
8.5
9
9
– 6.0
– 7.5
– 7.5
– 7.5
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.
Page 71 of 73
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
February
March
April
May
June
c.
Garnet
Amethyst
Aquamarine
Diamond
Emerald
Pearl or Alexandrite
July
August
September
October
November
December
Ruby
Peridot
Sapphire
Opal or Tourmaline
Topaz or Citrine
Tanzanite, Zircon or Turquoise
Wedding Anniversary stones
1st
2nd
3rd
4th
5th
6th
7th
8th
9th
10th
d.
Gold
Garnet
Pearls
Blue Topaz
Sapphire
Pink Tourmaline
Amethyst
Onyx
Tourmaline
Lapis Lazuli
11th
12th
13th
14th
15th
16th
17th
18th
19th
20th
Diamond
Turquoise
Jade
Citrine
Ruby
Peridot
Watches
Cat’s Eye
Aquamarine
Emerald
21st
22nd
23rd
24th
25th
30th
35th
40th
45th
50th
Iolite
Spinel
Imperial Topaz
Tanzanite
Silver
Pearl
Emerald
Ruby
Sapphire
Gold
55th
60th
65th
70th
80th
Alexandrite
Diamond
Blue Spinel
Sapphire
Ruby
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
Page 72 of 73
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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