** Orchid Digest - Issue #222 **
Ganoksin Online
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* * O r c h i d D i g e s t * *
Jewelry Manufacturing Methods and Techniques
January 4, 1998 Issue #222
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List Moderator: Brought to you by:
Dr. E. Aspler Ganoksin Jewelry Co.,Ltd
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.....IN THIS DIGEST.....
// -- N-E-W -- //
"Good Displays?"
~ tnu...@usit.net (William T. Nunes)
~ Tom LaRussa <mrla...@pop.erols.com>
~ Dave Wolanski <dav...@erols.com>
"Reticulation"
~ Sue Lowday <SueL...@CompuServe.COM>
~ "Vernon G. Wilson" <Vernon...@classic.msn.com>
~ Dave Sebaste <dav...@mindspring.com>
"Sawblades"
~ "M. Hu" <m...@u.washington.edu>
~ ramsey <r...@carvedbyramsey.com>
~ MPark763 <MPar...@aol.com>
~ Dave Stephens <da...@kickassdesign.com>
~ "George Fox" <George...@classic.msn.com>
~ Dave Sebaste <dav...@mindspring.com>
"Ring of gold and silver"
~ DAN...@scanva.canton.edu
~ John Burgess <jo...@ts.co.nz>
~ MPark763 <MPar...@aol.com>
~ Brian Adam <br...@adam.co.nz>
~ John Burgess <jo...@ts.co.nz>
"[again] Anticlastic raising"
~ Ian Morrison <iamor...@mindspring.com>
~ "Marrin T. Fleet" <mfl...@netten.net>
~ OAKLORD <OAK...@aol.com>
~ "Marrin T. Fleet" <mfl...@netten.net>
"Wire wrapping jewelry"
~ Dave Rhyne <Dave...@aol.com>
// -- C-O-N-T-I-N-U-I-N-G -- //
"Using a grinder setup for polishing"
~ marilyn <mms...@si-net.com>
~ Fishbre396 <Fishb...@aol.com>
~ "Vernon G. Wilson" <Vernon...@classic.msn.com>
"Intarsa or inlay"
~ PWR...@ix.netcom.com (Peter W. Rowe)
~ "Judith A. Pharo" <jph...@skipjack.bluecrab.org>
~ Suzy3D <Suz...@aol.com>
// -- T-U-C-S-O-N S-P-E-C-I-A-L --//
"Tucson show"
~ Fady Sawaya <ART...@inco.com.lb>
~ "David D. Arens" <GEMSTO...@CompuServe.COM>
~ "Richard J. Redfield" <redf...@home.com>
~ FranklyCin <Frank...@aol.com>
~ William Hochstedler <lu...@walrus.com>
~ Suzy3D <Suz...@aol.com>
~ TRimports <TRim...@aol.com>
"Orchid Badge"
~ "David D. Arens" <GEMSTO...@CompuServe.COM>
~ Ron Watts <gems...@micron.net>
~ Joan963 <Joa...@aol.com>
~ John Burgess <jo...@ts.co.nz>
"Quartzite...."
~ ad...@concentric.net
~ MetalWerks <Metal...@aol.com>
~ "William A McDonald" <w...@campus.mci.net>
~ Bob &/or Barbara <bob...@redshift.com>
~ Robby Packer <jew...@gator.net>
~ Bob &/or Barbara <bob...@redshift.com>
// -- H-E-L-P --//
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Orchid D - I - G - E - S - T
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
// -- N-E-W -- //
Good Displays?
^^^^^^^^^^^^^^
From: tnu...@usit.net (William T. Nunes)
Hi group, I heard someone mention display supplies and there has
been previous discussion about diplay set ups at fairs. I am
curious about any information and education on doing store
diplays. Being a metal artist who has recently taken first steps
out in public (my work is starting to sell by the way, Yea!), I am
quickly realizing the great importance of store display and how
much I have to learn on the subject. Presentation has allways been
important to me. I am learning how each situation with a store is
different as to how much control one might have over how their
work is presented. I have also been investigating various
companies that sell display products and considering also things I
could construct myself. So with this set up for you, can anyone
share their thoughts on this subject? Advice or experiences?
Suggest suppliers of such products? I have seen Rio advertise one
book on the subject called "Jewelry on Display" by MariAnn
Coutchie. Has anyone read this book or have any thoughts about it?
Thank you so much for your time and Happy,Happy New Year!-Carrie
Nunes tnu...@usit.net
From: Tom LaRussa <mrla...@pop.erols.com>
Carrie: Speaking as a customer, rather than an artist, I think
that the best person to design the displays for your work is you.
Details count. If your displays and your work show the same
attention to detail, and a unified theme, (or set of themes), I
think that a customer is much more likely to look at them longer,
and to come away with a sense of respect for your work. This
should mean more sales.
From: Dave Wolanski <dav...@erols.com>
Having worked for a major retailer for a number of years, I can
tell you some design tips we used. First, all jewelry, elements
and cases must be spotless, use a mini vac and glass cleaner
daily. Selvt cloth the gems daily (A thumb print shows up
beautifully in the well lit displays). Group similar thing
together, in odd number groups... 3, 5, 7 etc. Make sure the
items are straight in their displays. Use lots of light, of the
right kind. Make sure tags are neat. And so on....
I learned how to do good displays by looking at other dispplays
and stealing ideas I liked..... and by doing them! Change your
displays a little (or a lot) daily, but change them a lot at
least weekly in your displays that are visible from outside the
store... It gives the impression you have fresh new merchandise. .
Move your displays around too.... for the same reason...
The last step in any display set up should be to look at it from
the customers viewpoint! If it looks bad, FIX IT now!
I guess these are common sense... hope they helped. Dave
Reticulation
^^^^^^^^^^
From: Sue Lowday <SueL...@CompuServe.COM>
I am attempting to make a pair of quite large earrings by
reticulating th e surface of 830 silver. I understand that it is
possible to repeat a reticulated pattern quite accurately in
certain circumstances. Does anybo dy out there know what the
secret is?
Sue Lowday
SueL...@compuserve.com
From: "Vernon G. Wilson" <Vernon...@classic.msn.com>
Very good tourch control and a constant qualility of silver . I
have fount that it is best to purchase silver and gold from your
refinner which is made just for this purpose. Hoover and Strong
is a good source. They also support a lot of charaties and often
include the students from the local collages by donating the gold
and silver for them to work with to make items which can then be
auctioned to raise money. Real nice folks to work with also.
Vernon
From: Dave Sebaste <dav...@mindspring.com>
Gee, Sue, I don't have the same understanding! I have done some
reticulation, and the effect is so near to accidental... so close
to the edge of actually melting metal, I think one would be lucky
to get a close approximation of a previous pattern. I suppose,
theoretically, if one was to develop a certain pattern of torch
movement, one could achieve similar results...
Sawblades
^^^^^^^^^^
From: "M. Hu" <m...@u.washington.edu>
I have a few questions for anyone out there about jeweler's
sawblades. I just about only use 8/0. I would be interested in
finding some smaller. Does anyone know if they are available
anywhere? Also, I have used Herkules Black Lable for years. What
is the difference between their black and white lables? Does
anyone have another favorite kind and why? Thanks, Mary
From: ramsey <r...@carvedbyramsey.com>
Mary, I just bought some blades from Frei & Borel (their own
brand) and they are THE nicest blades that I have ever used. I
haven't done alot of comparing, but have used a number of
different brands, and these seem to be much more flexible,
forgiving, and quick cutting than any others that I have used.
Their smallest size is, however, 8/0. Karen
ka...@carvedbyramsey.com
From: MPark763 <MPar...@aol.com>
Although this isn't a reponse to the tiny sawblade question, it
is related. After 20 years with the same saw frame it was finally
time to replace it. Since I do this full time I thought I'd pop
for the more expensive model. I bought a Swedish made unit from
Rio with a cushy looking handle, aluminum frame, and little
holes to slip in the blade with plastic coated thumb screws to
tighten. Beautiful, but would not hold the blade and belive me I
really cranked the screws. Dissapointed that my beautiful saw
frame would not preform one of its required duties (hold the
blade), I returned it. I then ordered a fifty dolar, wooden
handled, one peice unit with little slots that are not supposed
to allow any movement of the blade whatsoever. This very plain
looking frame is great, I have very little blade breakage and
total control. Bought it at Gesswein. Mark P.
From: Dave Stephens <da...@kickassdesign.com>
Mark: I have one of those Swedish saw frames and love it. If you
read the directions that came with it, assuming its the same
brand, it says NOT to crank down on the thumb screws and it only
takes a light turn to hold the blade. I have several sawframes and
this is the one I always end up using, it holds the blade
true.....Dave
From: "George Fox" <George...@classic.msn.com>
hi dave, i bought one of them space age sawframes and read the
instructions. it worked at first and i was very pleased. now it
doesn't hold the sawblade very well. (i read the instructions
and bet mark did too.) like mark, i'm working all the time and
don't have time to fiddle around with reinserting sawblades.
whatever mechanism they use to hold the blade is too finicky for
me, but the rest of the design is great, very light. i'm not
going to send it back just yet. i would like to take it apart and
see what kind of fastening stuff is inside and modify it to a
less tempermental design. best regards, geo fox
From: Dave Sebaste <dav...@mindspring.com>
Wow, Mary! 8/0? I almost always default to 4/0 as my general
all-around saw blade! I don't even know if I have any finer
blades! I don't recall ever thinking I could have/should have
used a finer blade. I'm curious about your reasoning for using
such a fine blade? It seems the sawing task would take a lot
longer with an 8/0. Maybe for some really detailed piercing...
As for brand... I couldn't tell you what I'm using (one of the
"better" brands from Rio), but I suspect good sawing skills make
more of a difference than brand when it comes to sawblade
longevity. I have to admit being intrigued by the catalog photo
of the blade bent in a full circle, though! Please let me know
why you like the 8/0 so much! Dave Sebaste
Ring of gold and silver
^^^^^^^^^^^^^^^^^^^
From: DAN...@scanva.canton.edu
I would like to make a ring using both gold (22gauge) and
sterling silver (20 or 22 gauge). The inner part would be gold,
and there would be a decorative landscape-type form of sterling
silver on part of the outside ring. Will I have success in
forming the circular shape if I solder the silver to the gold
while it is still flat? I am worried about the compression and
expansion of the metals on the inside and outside as the circle is
shaped. I would use a ring mandrel and mallet to do the shaping.
Rather than waste the gold with my trial and error, I hope someone
out there has had experience doing this and can give me a tip
about it.
Thanks to all who responded to my question about the cuff links
of silver and gold. They turned out well, and I was happy for
the suggestion that medium solder would be best for attaching the
findings. Thanks in advance, Sue Danehy
From: John Burgess <jo...@ts.co.nz>
G'day Sue; I have made many rings by piercing a pattern through a
strip of 0.5mm sterling and soldering it on to a similar strip of
2mm sterling, then forming it into a ring using a ring-triblet and
a hide mallet. OK, so you specified gold and silver, but I really
can't see any problems using the flat-strip method. Providing of
course that you don't overheat. Cheers,
From: MPark763 <MPar...@aol.com>
I would make the inner gold band to size and polish. Measure the
outside diameter of the gold band x pi to determine the needed
length of the silver to go around the outside. Cut my silver strip
a little longer than needed (to aid in bending). Peirce as
desired, keeping in mind the pattern needs to meet nicely). Then
form the silver into a ring so it just slips over the gold band,
(if the gold band is to be bright polished the silver band cannot
fit too tightly or it will scratch the finish, an easier solution
is to sandblast the background of the gold band after assembly).
Solder the seam of the silver band and polish it. It is very
important that both bands are very round and that they fit
together very snuggly without any gapping. At this point you
should be able to slip the bands together and they should stay
together without soldering (you still need to solder them). I
would solder with tiny peices of easy gold solder in maybe four
places around the band on each side.
Another way, if you have a ring stretcher and you want the
inside bright, is to make the gold band a quarter size too small.
Then you can have a slightly loose fit and stretch up to size.
Hope that helps . Mark P.
From: Brian Adam <br...@adam.co.nz>
I wonder if the problem here is the way the metal is laid on the
soldering board? The ring is flat at this stage, right? Two layers
of metal.
The top layer is getting the full heat of the flame and will
tend to heat up first before the bottom layer can get up to
temperature. This top layer may get inadvertantly heated to its
liquidus, especially if there are thin parts to the design. If
it's stg silver liquidus is only a little hotter than some
solders. Gold's liquidus is a lot higher.
Good heat control is needed. Here's what I'd do. Shoot me down in
flames if necessary, as I haven't done this for a while. BUT I'm
about to do it for a job.
First, I'd do sweat-soldering, rather than trying to add the
solder any other way. Hey, maybe I'd sweat the solder onto the top
piece before piercing it out.
To prevent the soldering board acting as a heat-sink on the
bottom layer I'd interpose some mesh.
Here's where I'm starting to think ... <ulp!> The way you set it
up to solder depends a lot on the relative thicknesses of the
layers. If the bottom layer is really a lot thicker I'd consider
heating from below (big bushy flame through the mesh) in the main,
and coming on to the top (smaller flame size) after the bottom
layer is well up to temperature.
It's not just thickness, either. Consider the relative bulks of
each piece. The design will have reduced bulk from top layer and
thin parts will heat up really quickly. So if they're equal in
thickness still maybe I'd heat from below.
Whatever you do:
Watch for signs of overheating and be prepared to STOP
The flux is a great temperature gauge. Watch also the thinnest
parts of the metal. If the solder doesn't flow soon after
everything has reached soldering temperature, something's not
right, and prolonged heating or increased heating may not help
matters. If any signs of melting starts to happen, STOP, pickle,
and start again, but change something about what you're doing.
I add powder flux to the job during soldering, as fluxes can get
depleted and lose their oxide-munching powers. Dry flux doesn't
cool the job down like wet does. Dirty metal's usually why people
have trouble soldering. The instinct is to heat her up till
something gives. Choose more flux instead.
Does any of this help?
Brian
From: John Burgess <jo...@ts.co.nz>
> John, when one 'overheats' would the result be that the
> gold would vanish into the silver or vice versa? I once tried to
> solder some gold to the silver sheet that I was using and the
> gold vanished. (Sucked up, into the silver, never to be found
> again . .. should I have filed a lot?)
G'day Ms Fishbre; I only did it once, and I got it too hot and yes
- the gold 'vanished'. What happened of course was that the gold
dissolved and alloyed with the silver, Filing wouldn't help and
the only way to find it again would be to get the piece to the
refiners where it would cost you more than the value of what you
lost. Some lessons are costly, eh? I never tried it again for
obvious reasons, but if you really want to I would suggest you use
Extra-easy solder and stop heating the moment the solder flashed
to liquid phase. He/she who lives learns, eh? You might be amused
to learn that I just made myself a walking-stick from native NZ
manuka, a very hard, tough, wood, and I mounted the carved handle
on the stick using a silver band made from two strips of soldered
sterling, the top strip pierced with three of my my logos. (Below)
This was to conceal the join. Looks quite stylish! Cheers,
[again] Anticlastic raising
^^^^^^^^^^^^^^^^^^^^^
From: Ian Morrison <iamor...@mindspring.com>
Does anyone know where I can get information on anticlastic
raising. I have the book "Metals Technic". I'm looking for
additional information. It would be particularly useful to find
written work by Heikki Seppa or Michael Good.
Allyson Morrison
iamor...@mindspring.com
From: "Marrin T. Fleet" <mfl...@netten.net>
"Form Emphasis for Metalsmiths" by Heikki Seppa Kent, Ohio, 1978,
Kent State Univ. Press ISBN 0-87338-212-9
This is "THE" book on the subject, in the sense that it is the
original definition, in depth, by the developer of the technique.
BI bought my copy last October from the National Ornamental Metal
Museum, here in Memphis, so it is still available. The last
printing was in 1993, but I think it is still considered "in
print". Any reputable bookseller should be able to order it,
unless they are tied to a single supplier. It could probably be
ordered direct from the publisher. If none of these work for you,
call Mari Greenslate at the National Ornamental Metal Museum after
Jan. 5, at 901-774-6380, 10am-5pm, Tuesday through Saturday. Mari
orders the books for the NOMM mseum store and their library, so I
know she could help.
The book is quite practical in approach, somewhat at variance with
Seppa's slightly outrageous statement of his aims and philosophy,
IMHO. I am a 'newbie' at this, and I am able to do _some_ of the
examples from their descriptions. This says a lot, I think, about
it's clarity!
Marrin Fleet
mfl...@netten.net
Memphis, TN
From: OAKLORD <OAK...@aol.com>
I too have been exploring anti clastic raising possibilities but
in the UK anti clastic raising stakes cannot be bought, no one
seems to stock them. However I have discovered an alternative I
thought you all might like to explore. I started by cutting half
circular holes from the edge of some hardwood approx 8 X 4 X 2
inches by rounding the bottom edges downwards with a rasp it was
possible to produce bracelets BUT the wood would disintergrate
after a while, then I discovered an American product called
Protoplast ( Suddenly I realise that as most of you are American I
may be teaching Granny to suck eggs! but anyway......) The plastic
is placed in boiling water for a few seconds, during which time it
goes soft and pliable, and then moulded around the wood former.
After ten or so minutes the plastic is so hard that it can be
hammered over and and over again without splitting. I' m currently
making a neck torc using this process. The plastic is marketed by
a company called Aquaplast whose web site is www.aquaplast.com.
For smaller scale pieces I also discovered that it was possible to
turn a tapered triblet on a metal lathe and then make half
circular gouges down its length in various widths and depths these
were invaluable for making finger rings.
Philip
From: "Marrin T. Fleet" <mfl...@netten.net>
> ... I discovered an American product called Protoplast ...
> The plastic is placed in boiling water for a few seconds,
> during which time it goes soft and pliable, and then moulded
> around the wood former. After ten or so minutes the plastic is
> so hard that it can be hammered over and and over again without
> splitting
A few months ago, I had the opportunity to spend a few hours
with Heikki Seppa, and was able to talk with him a little about
the ideas he had presented in "Form Emphasis", and in his lecture
the previous evening, which I attended. Unfortunately for me, he
was sharpening gardening tools and kitchen knives, rather than
working silver! Seppa uses high-density plastic for forms. I
think now he uses one of the high-density ones, but he also spoke
of nylon, sheets. I am not sure how he makes the forms from the
plastic, but I gather he cuts them into the edge of a sheet, and
forms them with files, rasps, etc. The sheet is held in a vise
when working. He regards these forms a temporary and disposable,
using them only for the piece immediately at hand, then recycling
them into different or modified forms.
He also suggests wood, as you are doing, especially for students
and beginners. I don't know your local woods, but merely
'hardwood' isn't descriptive enough. Try finding something with
inter-locking grain, and a closed grain structure. Figured wood,
such as tiger-striping, birds eye or quilting might work well
because the convoluted grain would resist splitting. Here in the
US, I would suggest maple or persimmon because of the grain
structure. Oak is too splintery, and the open grain allows
compressibility, which leads to crumbling.
Just a thought, and I know a bit more about wood than I do
metal, so I am glad for an opportunity to contribute something,
considering the help and knowledge I am getting on this forum!
Marrin Fleet
mfl...@netten.net
Memphis, TN
Wire wrapping jewelry
^^^^^^^^^^^^^^^^^^^
From: Dave Rhyne <Dave...@aol.com>
glad you are going to try wire wrapping. I sell and teach
locally here in SW Florida. It would be best to locate the
nearest gem and mineral club and ask if they have a member who
wire wraps. If you could get one-on-one help to get started it
will be so much easier. However there are some books on the market
that are acceptable in fundamentals Once you learn the basics that
make the item structurally strong, then you can let your own
creativity take over. Look in Lapidary Journal book and video
section for some listings. Remember , there are two basic types of
wrapping. One is the traditional and the other is the freeform
scroll. The wire used is different for these two types.I generally
use 22 ga. sguare, 1/2 hard, 1/20 14 kt gold filled or sterling
for the traditional. For the scroll type I use the same except
dead soft rather than 1/2 hard.The size wire will also vary with
the item.You can purchase wire from Rio Grande 1-800 545 6566 and
others. E-mail me direct if you need ad good luck,Dave aditional
info Dave...@aol.com
// -- C-O-N-T-I-N-U-I-N-G -- //
Using a grinder setup for polishing
^^^^^^^^^^^^^^^^^^^^^^^^^^^^
From: marilyn <mms...@si-net.com>
I don’t know much about horsepower etc and I’ll let those more
knowledgeable answer that part. Although you can take the stone
off and find buffs with big holes, they will need some sort of
fastening to keep them on. If you replace them with tapered
spindles which you can find in most jewelry supply catalogs, It
will make it much faster and easier to change buffs. You will want
to change buffs so that you can use a variety of sizes, shapes and
types. Marilyn Smith
From: Fishbre396 <Fishb...@aol.com>
Horse power. I have 1/3 HP, and I purchased a grinder type
motor from Sears (I'll post the model number if necessary.) What
one HAS to do is cut off the threads after removing the grinding
wheels (and the guards which come with the thing.) Cutting off
the threads was not a big deal. I used a hack saw with a metal
cutting blade (white one from Sears.) and the threads were off in
less than 15 minutes! DO NOT START CUTTING WHERE THE SHAFT
COMES FROM THE MOTOR!!! You won't have anything to attach the spindle
to!!!
(The guy at Sears tried to tell me that I wouldn't be able to cut
the shaft!!! hahahaha! - so If they try to tell you the same thing
they told me,do not believe them!)
I purchased 1/2" spindles (you need to measure the shaft which
extends from inside the motor . . . it's not a difficult thing to
do) THE IMPORTANT thing is: Order a RIGHT and LEFT spindle . .
. there is a difference when the things start to spin! The
spindles I use came from Thunderbird (our local supplier didn't
have two of the same length!) These are only around $5.00 a
piece.
Happy (almost) New Year! Wishing all a Healthy, Happy and
Profitable year!!!
From: "Vernon G. Wilson" <Vernon...@classic.msn.com>
Marshal, go for it . I used a simular set up for years. You can
buy spindels from most jewelry tool supply houses for a few
dollars. Vernon
Intarsa or inlay
^^^^^^^^^^^^^
From: PWR...@ix.netcom.com (Peter W. Rowe)
To most folks I know in the trade, the fitting of pieces of
stone together to form a picture or pattern would be intarsia.
Kinda like paint by numbers, only using selected stones. If, on
the other hand, you're only fitting one material into another base
material, that's inlay. Usually, the "other material" is metal,
and is often open channels and spaces fitted with one stone, or
multiples, either well fitted together or simply chips, with the
spaces filled with glue or other filler. I'd define the
difference as being intarsia when the different stones are fitted
together chosen by shape and color both, to form a defined pattern
or picture. In inlay, the shape of adjacent stone pieces is less
important, so long as the combination fills the space both are
helping to fill. Sometimes the exact label of a piece can be
fuzzy though. I've seen some wonderful pieces where a picture was
created with multiple stones in multiple colors, but each was in a
seperate cell of metal, or at least in it's own defined area.
Some american indian work is often this way, and it's pretty much
inlay, but can be very close in effect, to intarsia. Ask yourself
whether in such cases the stones, without the metal, are what's
defining the pattern, and whether they were fitted together first,
before the whole was set in metal. Or, if you really want to get
confused, my parents have some wonderful marble tiles and plaques,
done in India in the style of the decorations on the Taj Mahal.
These have floral patterns of flowers and leaves and stems and the
like all rendered in multiple stones, but all dropped into a basic
background of marble. I'll probably get some who call this pure
intarsia, but to me, it both inlay and intarsia, with the intarsia
flowers inlaid into the marble seperately. Any takers? And then
there are the clear and obvious examples of intarsia. Dennis
Adaki's work, for example. his exquisite birds and the like,
rendered in multicolored stones, may be inlaid into the
silverwork. But the work is clearly intarsia. And Joe
Phettaplace's work, shown around the world, includes table sized
murals and "paintings", all done in exquisitely chosen and
seamlessly fitted bits of agate and other gems, to the point
where, sometimes, it's hard to even tell that it's seperate pieces
of stone, so carefully are the adjacent pieces matched to create
the graduating colors and forms of the image he's depicted. THAT,
my friends, is intarsia at it's best.
Peter Rowe
From: "Judith A. Pharo" <jph...@skipjack.bluecrab.org>
Thanks David,
Also found an article in the January 1998 issue of Lapidary
Journal pg. 20 by Andy Oriel "A Symphony of Stones" an interview
with Rick Olmstead and his description of intarsa. He seems like
a real master.
I acquired a piece by Nicoli Medvida (sp) in Tucson some years ago
that is a treasure, his use of opal, sugilite and turquoise is
shear mastery, it seems to change every time I look at it, like
there are little lights inside the opal, he was able to capture
the opal flash perfectly and with every twist and turn the whole
image changes. Another master is George Mc Connell, here in the
East, he used Nevada opal, sugilite, desert palm and rhodochrosite
in a ring I wear every day. People all over the world have
stopped me to admire at these pieces.
When this art is perfected it is truly a Symphony, but some of the
stuff I've seen at shows for less $$$ looks like Elvis on Velvet,
hope this is not a trend. Wonder what will show up in Tucson this
year, can't go my self but would love to hear from anyone who
does.
From: Suzy3D <Suz...@aol.com>
Check out the article about the wonderful intarsia done by my
friend Rick Olmstead, in the January Lapidary Journal. If the
picture of a piece based on a century plant makes the article,
you'll see the piece I own! Karen
// -- T-U-C-S-O-N S-P-E-C-I-A-L --//
Tucson show
^^^^^^^^^^^
From: Fady Sawaya <ART...@inco.com.lb>
Hi all,
Can anyone help? I'm planning to attend the Tuscon show. I'm
intrested in the gold and silver jewelry shows. As it will be my
first visit to Tucson can anyone help with the following:
-what shows deal mainly with gold and silver jewelry?
-when and where are they held in Tucson?
-How to apply as a "wholesale" visitor?
-how to contact the organizers?
Well! thank you all, and happy new year.
FADY SAWAYA.
From: "David D. Arens" <GEMSTO...@CompuServe.COM>
Hi Fady,
> -what shows deal mainly with gold and silver jewelry?
You'll find gold & silver at just about all the shows.
> -when and where are they held in Tucson? -how to contact the
> organizers?
There are 20+ shows the 1st 2 weeks of February. Some are open the
full 2 weeks & some start & stop at various times within the 2
weeks. The best way to check the dates, locations & organizers is
to refer to the 'Calender' section in any issue of the Lapidary
Journal (E-mail, Ljmag...@al.com). It has a complete list of all
this info.
> -How to apply as a "wholesale" visitor?
Most shows require you to have a copy of your business or sales
tax license. It's also good to have several copies of your
companie's letter head stationary & lots of business cards.
There are several hundred new hotel rooms this year, but get your
hotel reservation as soon as possible. Most of the national (US)
motel chains have affiliates in Tucson. Dave
From: "Richard J. Redfield" <redf...@home.com>
> From my experience in attending the show I recommend the
> following:
1. Obtain hotel accomodations well in advance as almost every
room is booked 6 mos to 1 year ahead of the show. This is
serious as some people drive in from as far away as Pheonix
everyday to attend the show.
2. As soon as you get to the show locate a copy of the Lapidary
Journal Show Guide. It has all of the registered jewelers listed
by location, product categories and alphabetical. It is an
indespensible guide and reference work.
3. You can register in advance of the show by contacting the
show organizers ( GLDA, AGTA, etc.) You can also register at each
event at the registration desk. You will need the following to
register:
1. Business license showing a jewelry related business type.
2. Wholesale Tax ID from your state, county or city that
identifies you as able to purchase wholesale for resale
purposes.
3. Picture ID
4. Business card
4. Show dates
1. The major shows open for 1-3 weeks bginning the last
weekend of January or first week of February.
2. Contact the show Organizers for start dates
5. Show Sponsors ( phone numbers may not be correct, check for
these people on the WWW for current info)
Gem and Lapidary Dealers Association (GLDA)
Holiday Inn
520-624-5455
American Gem Trade Association (AGTA)
Tucson Convention Center
800-972-1162
Gem & Lapidary Wholesalers (GLW)
Holiday Inn/Holidome
601-879-8832
Atrium Productions
Pueblo Inn
602-998-4000
Registration with these major exhibits will allow you access to
almost any other show without registering.
From: FranklyCin <Frank...@aol.com>
the AGTA show is the best around and you can call 800-972-1162 for
info and registration ....they've got the only designer pavilion
in the town.
also, colored stone mag publishes the whole city show
directory.... their publication tells it all......they're based in
Devon PA - 610-293-1112.
good luck! cindy e.
From: William Hochstedler <lu...@walrus.com>
Particularly for AGTA and GLDA, I find that it also helps to
have several industry invoices to show that you are actually
involved in gemstones, etc. Wm
Luma Group, Inc. Tel: (212)391.3999
21 W 47th St 6/F Fax: (212)391.0090
New York, NY 10036 Email: lu...@walrus.com
From: Suzy3D <Suz...@aol.com>
I agree about taking invoices to prove you are in business.
However, if you are a customer of someone in the AGTA show, you
can have a runner sent to get them to sign for you. This will get
you into the show. Just make sure you send the runner to someone
who really knows you, and will sign for you. AGTA is pretty
serious about keeping the riff-raff out!
As for the other shows, I found that if you have an AGTA badge,
you can go to the head of the line. They figure if AGTA let you
in, you're ok. So, I'd recommend going to AGTA first.
Enjoy Tucson! Karen
From: TRimports <TRim...@aol.com>
The AGTA Gemfair will be Feb. 4-9 in the Tucson Convention
Center. The best way to reserve a hotel room is to call Bon
Voyage Travel, who handles the travel arrangements for the AGTA at
800-843-1110. They block groups of rooms for people attending the
show, prices range for rooms between $85-150 (you'll quickly find
out all the hotels raise their rates for the shows.)
Call the AGTA at 800-972-1162 and ask for a registration
booklet.
You may be able to get better prices for your flight, depending on
where you are traveling from, if you fly into Phoenix. Tucson is
about hour and half drive from there.
Make sure you bring some very comfortable shoes!!
BTW our booth in the AGTA show is 1309-1311. Tell them you are on
Orchid.
Tim Roark Imports
toll free at 888-TIM-ROCK or 404-872-8937
TRim...@aol.com
colored stones from A-Z
Orchid Badge
^^^^^^^^^^^^
From: "David D. Arens" <GEMSTO...@CompuServe.COM>
Hey Gang,
For all you folks going to the Tucson show, how about each of us
wearing a distinctive 'Orchid Badge' so we can identify ourselfs
to each other. Be nice to put a face with the names.
An Orchid would be nice, but it'd get kinda expensive if you're
there for the whole 2 weeks. An Orchid on a big grey haired male
gorilla would probably look funny too!
What're your suggestions for the Orchid Badge? Dave
From: Ron Watts <gems...@micron.net>
DAVE: Terrific idea. Ganoskin could make a design available from
there web site that could be downloaded into your computer and
printed then set in a pin-on ID plastic sleeve badge RON
From: Joan963 <Joa...@aol.com>
Hi All, Another idea for an Orchid badge, is to download it and
print it on labeling material- ie Avery, and then we can transfer
it from the AGTA, to GLDA badges as needed. Peel and stick...
Hope everyone had a wonderful holiday, have been up to my eyeteeth
in work and orders,,, great way to be!! But still had time to
peek at the list once a week... Hope to see all of you again in
Tuscon -- are we going to plan a dinner again this year????.. It
was great fun. Joan
From: John Burgess <jo...@ts.co.nz>
G'day - here's my ha'porth; For those who attend jewellery
meetings of any sort I would think that a badge on Orchid gallery
which one could download and print on 'peel-off' as Joan has just
suggested would be a really excellent idea. It could even be put
on one's snail-mail jewellery correspondence, etc. But I must
emphasise that before anything is done we *must* get the opinion
and permission of Ganoksin's owner, Hanuman, and he *must* have
the final word. Wouldn't you all agree? Cheers,
Quartzite....
^^^^^^^^^
From: ad...@concentric.net
First of all, Happy New Year to all! Everyone is talking about
Tuscon, but I'm thinking/planning on going to Quartzite (Feb 4th
to the 8th). I'm a hobbiest (read: no tax ID number) jewelery
designer and gem cutter, mainly looking to increase my inventory
of cutting rough and I've heard that Quartzite is the place for
that. Has anyone out there been? Is it worth the trip from
Massachusetts? Is anyone else out there planning to be there
between the 4th and 8th? Any ideas or suggestions about where to
stay? About the closest I seem to be able to find something is
Parker. Thanks in advance, Alan
From: MetalWerks <Metal...@aol.com>
Allan, Quartzite is as great place to find all sorts of unusual
things. The Pow Wow is the better of the shows to find rough and
gem material. I havent been up there in a couple of years but it
was a fun time. It is just like on huge flea market and spread out
all over. You may try to find a motel in Neddles CA. its just
across the border and has more motels, one time i was at Quartzite
i stayed in Lake Havausu as it was the closest place. One option
if you like to drive is to stay in Laughlin NV and drive down
hwy95 on the California side its about a 1 1/2 drive the stay is
cheap and so is the food. I know a lot of dealers leave and go
down to Tucson so maybe somebody else can respond and tell if you
if it is still a good place to look for material. One other note
is that not all the shows require a wholesale number the Tucson
Gem show is open to public and a lot of dealers in the Congress St
Expo dont require credentials so that maybe an option also.
Michael
From: "William A McDonald" <w...@campus.mci.net>
Hello all, Wow, Massachusetts to Quartzite now there is a trip!!!
Would it not make sense for an person in Arizona to become a
broker to people who could not afford or want to spend the $$$
traveling to Tucson or Quartzite (for a small markup to offset
shipping, time and risk)? You could put your requests for
specific items, that person could pool the requests. Buy in bulk
(at cheaper prices) and forward them out. One down side is you
would miss the fun and excitement and maybe some deals that were
not on the list. But, the way I look at it, if you have $1000+ in
travel expenses and purchase a kilo of rough (like every one is
going to buy that much rough) this would add $.20 to each caret. I
don't know shows are great but they are not for everyone
(Geographically Undesirable). :)wam
From: Bob &/or Barbara <bob...@redshift.com>
> going to Quartzite (Feb 4th to the 8th).
FWIW if you can change your plans, do so. The Quartzite pnenom.
goes on all during the months of Jan and Feb, but from past
experience the best venue to visit of "The Main Event" This will
be over by Feb. That leave you Tyson Wells and the Pow Wow. I've
found better availabilith of stones (rough and finished) at the
main Event show. TW seems to be more like a flea market or worse.
Just my $0.02
From: Robby Packer <jew...@gator.net>
Hi, my name is Robby and I own and operate Renaissance Jewelers in
Gainesville Florida. My wife and I went to Quartzite several years
ago and had a great time. We stayed in Blith Cal. It is truly a
amazing place. A town with one stop light is completly covered
with gem shows. Every parking lot and field is turned into
exhibits. As far as the trip from Mass, it's along way. If you
plan to spend a fair amount of money and have the time to score
the fields there is a lot of really good stuff to find. The
country is beautiful. It's your decision. Robby
From: Bob &/or Barbara <bob...@redshift.com>
> Are all these shows out west somewhere???
Quartzite is about 20 miles east of the AZ-CA border on I-10. It
is billed as the largest rock and gem show in the world. It is
auctually several large shows back to back. Jan 17-30 will be the
show called "the Main Event" This IMHO is the best for rockhounds
and jewelers. When TME closes the "Tyson Wells Show" opens
across the street. After the TW is an Indian "Pow Wow"These are
the meat of the shows.
Quartzite is a mecca for rockhounds, but don't bother trying to
sell finished jewelry. This is where you go to get your supplies.
I prefer Quartzite to Tucson . The atmosphere is more relaxed.
and you don't have to go all over town to find that special
bargin. The whole thing is outdoors with vendors seting up tents
and awnings, much like an outdoor flea market
I am leaving Monday on a 3 week trip to visit friends and family
in New Mexico. I will stop by Quartzite next weekend to check out
the pre-show bargins, and will be through there on the end of the
trip when TME is in full swing. Lots of dealers come early and
stay late. Many will go from Quartzite to Tucson. If you ever go,
it is easier on you is you have an RV or camper of some sort.
No matter what time of the year you go thru Quartzite there will
be someone there selling anything from rough to finished stones
and other things. (rugs, or black velvet Elvis paintings etc)
During most of the year is is a Flea Market, but Jan & Feb the
rockhounds invade and it turns into a party.
----------- End of Orchid Digest --------------
// -- H-E-L-P -- //
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