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864 Pages
864 Pages
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Nearly ten years in preparation and production, Jewelry Concepts and Technology is the definitive guide and handbook for jewellery makers on all levels of ability. It is also a unique reference source for those not directly active in the field but who wish to gain an understanding of what lies behind the jewellery-making mystique. All traditional as well as innovative contemporary techniques are thoroughly described, making this. The more than 900 photographs in colour and black and white illustrate work of all degrees of complexity and show the incredible range of concepts which jewellers in all times, including today, incorporate in their work.
Historic and ethnic jewellery, as well as contemporary work done by approximately 300 jewellers from twenty-six countries, are grouped under particular technical processes. This arrangement dramatically illustrates the mutual bonds between today's creative jewellers and their colleagues: historic style-oriented, and anonymous, tradition-dominated ethnic jewellers. The detailed text is accompanied by 377 illustrations showing tools and processes used to carry out particular techniques.
In addition, thirty step-by-step photo demonstrations show master jewellers working from raw material to finished jewels, some of them revealing their methods for the first time. Supplemented by an extensive index, glossaries of jewellery forms and findings, and an international sources supply list, Jewelry Concepts and Technology is indispensable for anyone interested in any aspect of jewellery making.
Historic and ethnic jewellery, as well as contemporary work done by approximately 300 jewellers from twenty-six countries, are grouped under particular technical processes. This arrangement dramatically illustrates the mutual bonds between today's creative jewellers and their colleagues: historic style-oriented, and anonymous, tradition-dominated ethnic jewellers. The detailed text is accompanied by 377 illustrations showing tools and processes used to carry out particular techniques.
In addition, thirty step-by-step photo demonstrations show master jewellers working from raw material to finished jewels, some of them revealing their methods for the first time. Supplemented by an extensive index, glossaries of jewellery forms and findings, and an international sources supply list, Jewelry Concepts and Technology is indispensable for anyone interested in any aspect of jewellery making.
Acknowledgments | p. v |
Introduction | p. xv |
The Messages of Jewelry: Why We Wear Ornaments | p. 1 |
The Origins of Jewelry: Satisfying psychic and physical needs | p. 1 |
The uses and values placed on jewelry | p. 2 |
The jewel and the jeweler | p. 8 |
Jewelry Forms in Relation to the Body: Design and construction conditioned by anatomy | p. 13 |
Basic forms | p. 13 |
Functional considerations in jewelry concepts | p. 14 |
Common jewel-supporting systems | p. 17 |
The Means to Creation: Working Environment, Facilities, and Implements | p. 20 |
The Workshop: Organizing the working areas | p. 20 |
The basic work areas | p. 22 |
General workshop requirements | p. 24 |
Tools: Instruments of technique | p. 26 |
The hand: Provider of guidance and power | p. 26 |
Tool categories according to conceptual work principles | p. 27 |
Metal, the Jewel's Raw Material: Its Origin, Quality Control, and Variety | p. 30 |
Metal: Characteristics and classifications | p. 30 |
Metal characteristics in general | p. 30 |
Metal groups | p. 30 |
Gold Mining: Disgorging one of Earth's treasures | p. 31 |
Quality Control of Precious Metals: Insurance against fraud | p. 35 |
Making an ingot of precious metal | p. 35 |
Lowering or raising gold and silver quality | p. 38 |
The hallmark: British quality control of precious metals | p. 43 |
The touchstone: Approximating quality | p. 46 |
Cupellation: A method of purifying and assaying precious metals | p. 48 |
Titration for silver content | p. 48 |
Recovery and refinement of precious metal | p. 49 |
Precipitation and recovery of silver from spent acid solutions | p. 50 |
Purchasing precious metals | p. 51 |
Nonferrous Metals Used in Jewelry Making | p. 51 |
Copper | p. 51 |
Nickel | p. 53 |
Tin | p. 54 |
Zinc | p. 55 |
Lead | p. 55 |
Refractory Metals Used in Jewelry | p. 55 |
Titanium | p. 56 |
Tantalum and niobium (columbium): Their new use in jewelry | p. 58 |
Ferrous Metals Used in Jewelry | p. 59 |
Iron | p. 59 |
Stainless steel | p. 60 |
Basic Techniques: Processing Sheet Metal Without Deformation | p. 61 |
The Rolling Mill: Changing metal dimensions by tangential compression | p. 61 |
Rolling sheet metal | p. 63 |
Rolling wire | p. 64 |
Some rolling techniques | p. 66 |
Texture and pattern transfer by rolling | p. 67 |
Rolling defects | p. 68 |
The care of rolling mills | p. 69 |
Measuring and Marking: Tools used to achieve dimensional accuracy | p. 69 |
Measuring tools | p. 69 |
Marking tools | p. 73 |
Design Transfer to Metal: Materials and methods | p. 74 |
Cutting Sheet Metal: Dividing metal from mass by shearing action | p. 75 |
Shearing | p. 75 |
Sawing: Severing or contour shaping metal by gradual groove removal | p. 78 |
The jeweler's saw frame | p. 78 |
Sawing practice | p. 80 |
Sawing problems and solutions | p. 82 |
The hacksaw | p. 84 |
Cold Bending Sheet Metal: Changing direction without springback | p. 84 |
Methods of bending | p. 85 |
Bend types | p. 86 |
Piercing: Penetrating metal laterally or perpendicularly | p. 89 |
Piercing by sawing: Enclosed negative shapes | p. 90 |
Sawline piercing: Kerf graphics | p. 91 |
Piercing by percussion penetration | p. 91 |
Piercing by boring | p. 93 |
Pierced work possibilities | p. 98 |
Files and Filing: Removing metal by attrition | p. 100 |
File manufacture | p. 100 |
General classification of file types | p. 101 |
File family groups | p. 102 |
Swiss pattern, escapement, and needle file sectional shapes | p. 104 |
The uses of files | p. 105 |
Rotary files, burs, and abrasive points | p. 107 |
Carbide burs | p. 109 |
Diamond dental rotary cutting instruments: Shank dimensions | p. 110 |
Milling: Rotary grinding metal for peripheral or face removal | p. 110 |
Main types of milling actions | p. 111 |
Diamond milling | p. 111 |
Sheet Metal: Forming by Deformation Techniques | p. 114 |
Sheet Metal Structural Distortion: Three-dimensional form through deformation | p. 114 |
Doming: Stretch punching a hemisphere | p. 114 |
Repoussage and Chasing: Free punching relief and intaglio forms | p. 118 |
Repoussage and chasing work surfaces | p. 119 |
Punches in general | p. 122 |
Repousse work and chasing punches | p. 122 |
The chasing and repousse work hammer | p. 126 |
Metals used for repoussage | p. 126 |
The repoussage and chasing process | p. 127 |
Margaret Laws makes a silver vest of relief-modeled forms | p. 127 |
Stamping: Impressing, blanking, or embossing by impact pressure | p. 132 |
Stamping concepts | p. 133 |
Punch and die stamping by hand methods | p. 134 |
Stamping with power machines | p. 140 |
Die stamping with a drop hammer | p. 142 |
George Paul van Duinwyk makes a stamped pendant-necklace | p. 142 |
Open forging: Free use of the drop hammer | p. 145 |
Wire: The Uses of Drawn or Extruded Flexible Filaments | p. 147 |
Wire: Manipulating line into shape and dimension | p. 147 |
The drawplate and drawtongs | p. 147 |
Wire gauges: Wire measurement | p. 149 |
Wire manufacture by hand | p. 150 |
Industrial wire drawing | p. 156 |
Profiled wire made with a drawswage | p. 156 |
Cutting wire | p. 157 |
Using wire without changing its sectional shape: Shaping and bending | p. 158 |
Pliers | p. 158 |
Spiral making | p. 161 |
Twisted wire | p. 164 |
Altering the shape or surface of wire | p. 168 |
Filigree: A traditional wire technique of captured air | p. 172 |
Filigree structural types | p. 173 |
Filigree constructional concepts | p. 174 |
Basic filigree wire uses | p. 176 |
Filigree construction | p. 178 |
Gold filigree: The Oaxaca, Mexico, method | p. 181 |
Fausto Vargas Ramirez makes a filigree earring | p. 181 |
Chains: Integrating interlinked, interlooped, flexible systems | p. 184 |
The link: The chain unit | p. 184 |
General chain types | p. 184 |
Making plain link chain | p. 189 |
Commercial chain | p. 190 |
Single loop-in-loop chain making | p. 192 |
Multiple loop-in-loop chain making | p. 193 |
Chuck Evans shows the technique of interlocking deformed links | p. 193 |
Chain couplings | p. 196 |
Chain Mail: A unit system of intertextured construction | p. 196 |
Chain mail construction | p. 196 |
Mail and plates | p. 199 |
Making chain mail links and plates | p. 200 |
David LaPlantz makes a chain mail necklace | p. 200 |
Wire and Strip in Interworked Processes: Using concepts employed with fibrous materials | p. 204 |
Wire suitability to process | p. 205 |
Metal qualities in relation to interworked processes | p. 205 |
Classification of fibercraft techniques | p. 205 |
Finger-worked processes | p. 206 |
Hand-with-hand-tool-worked processes | p. 228 |
Hand- or mechanism-worked weaving processes | p. 233 |
Forging: Fabrication by percussion to move metal mass | p. 236 |
Forging and heat treating tool steels | p. 236 |
Tools used in the forging process | p. 240 |
Basic forging operations | p. 248 |
Methods of joining forged parts | p. 253 |
Finishing a forged metal surface | p. 254 |
Forging in action | p. 255 |
Albert Paley makes a forged brooch | p. 255 |
Tubing: The Uses of Fistular Forms | p. 259 |
The Tube: Hollow, uniform, seamless, or seamed | p. 259 |
Seamless tube manufacture by extrusion | p. 259 |
The uses of tubing in jewelry making | p. 260 |
Drawing seamed tubing | p. 262 |
Seamed and seamless tube forming with core wire and mandrels | p. 263 |
Reshaping the sectional form of seamless tubing | p. 264 |
Richard Mawdsley draws round tubing to a hexagonal section | p. 264 |
Tube shaping | p. 265 |
Ornamental tube use in jewelry | p. 270 |
Richard Mawdsley constructs a brooch mainly with tubing | p. 270 |
Tapered Tubing: Transmuting flat sheet into coniforms | p. 277 |
Tapered tube fabrication | p. 277 |
Marcia Lewis makes a neckpiece using tapered tubing | p. 277 |
Cores for shaping large-diameter tubes | p. 281 |
Surface Ornament Without Heat: Metal Removal Techniques | p. 283 |
Engraving: Forward-pressure linear metal removal | p. 283 |
The uses of engraving on jewelry | p. 284 |
Engraving tools and accessories | p. 285 |
Preparing the workpiece for engraving | p. 293 |
Holding and using a graver | p. 294 |
Engraving practice | p. 298 |
Ilse Immich engraves a silver pendant | p. 298 |
Scoring: Backward-pressure linear metal removal | p. 299 |
Decorative and functional purposes of scored lines | p. 299 |
Tools for scoring | p. 299 |
Decorative scoring of flat surfaces | p. 300 |
Functional scoring | p. 301 |
Chip Carving: Metal volume removal from mass with chisels | p. 302 |
Historic chip carving: Kerbschnitt | p. 302 |
Contemporary chip carving | p. 302 |
Chip carving with chisels | p. 303 |
Gene Pijanowski investigates chisel-cut textures | p. 303 |
Metal Inlay: Excavation succeeded by insertion techniques | p. 304 |
Japanese inlay work (hon zogan) | p. 304 |
Metals used for inlay | p. 305 |
Pitch: The traditional ground metal holding surface | p. 305 |
The inlay tools | p. 306 |
Chisels in general | p. 306 |
The Japanese inlay process | p. 308 |
Hiroko Sato Pijanowski inlays a pendant | p. 308 |
Variations of inlay | p. 313 |
The Acid Etching of Metal: Selective metal removal by chemical action | p. 320 |
The uses of etching acids and processes | p. 320 |
Materials used in the metal etching process | p. 321 |
The etching process | p. 321 |
Mary Ann Scherr relief etches a pendant | p. 321 |
Electrochemical anodic etching | p. 326 |
Stencil etching metal sheet using light-sensitized gelatin | p. 327 |
Photomechanical one- or two-surface etch piercing | p. 328 |
Halftone photoetching on metal: Graduated tone photoreproduction | p. 334 |
Surface Ornament with Heat: Metal Fusion Techniques | p. 336 |
Reticulation: Samorodok, or the self-born technique of fusion texturing | p. 336 |
Metals used for reticulation | p. 337 |
The theory of reticulation | p. 337 |
Reticulating silver alloy | p. 337 |
Reticulating sheet metal | p. 338 |
Gene Pijanowski explores reticulation possibilities | p. 338 |
Variations in reticulated effects | p. 339 |
Reticulating preformed shapes | p. 340 |
Fusing Metal: Using heat to plastically form metal | p. 341 |
Shot making: Forming a metal ball by total fusion | p. 341 |
Fusion forming a ball at a wire end | p. 343 |
Fusing wire, sheet, and waste metal forms | p. 344 |
Fused textures | p. 346 |
Micro-welding | p. 346 |
Hot modeling: Tool shaping fused metal | p. 346 |
Rita Greer hot models an owl brooch | p. 346 |
Hot pressure molding small forms | p. 348 |
Fusion inlay | p. 348 |
Granulation: Fusion weld bonding ornamental units | p. 348 |
The fusion weld bond: Theory | p. 348 |
Joining granule to base: Chemical and thermal action on copper and binder | p. 350 |
Basic granule arrangement and growth pattern systems | p. 352 |
Gold granulation: Practice | p. 359 |
John Paul Miller illustrates one granulation method while making a pendant/brooch | p. 359 |
Metal Lamination Fabrication: Bonding and patterning multi-metal composites | p. 363 |
Damask steel: Pattern in cast crucible steel or fabricated laminates | p. 363 |
Basic lamination fabrication systems: Structural concepts used for pattern development | p. 365 |
Postlamination treatments | p. 371 |
Mokume Gane: A Japanese fusion-layered patterned laminate | p. 372 |
The metals used for a nonferrous mokume laminate | p. 372 |
Creating a nonferrous mokume gane: Horizontal lamination | p. 373 |
Preparing a nonferrous mokume laminate: Wet bonding by solder fusion | p. 373 |
Preparing a nonferrous mokume laminate: Diffusion weld bonding method | p. 375 |
Creating a mokume face pattern: Horizontal lamination | p. 377 |
Mokume parquetry: Mosaic lamination | p. 379 |
Spiral mokume: Vertical strip lamination | p. 379 |
Mokume wire laminates: Straight and twist lamination | p. 381 |
Miscellaneous processing of finished mokume laminates | p. 381 |
Quality stamping of laminates | p. 382 |
Niello: A fusion-inlaid contrast alloy | p. 382 |
The niello composition | p. 382 |
Preparing the parent metal for niello | p. 383 |
Preparing the niello alloy: The first melt of the compound | p. 384 |
Applying the niello powder | p. 385 |
Niello fusion: The second melt of the compound | p. 385 |
Finishing the nielloed surface | p. 386 |
Repairing nielloed work: The third melt of the compound | p. 387 |
Fabrication: Building Fragments Into Units | p. 388 |
Soldering: Joining fabricated parts by intermediary metal alloy fusion | p. 388 |
Solders for precious metals and their alloys | p. 388 |
Basic types of joints | p. 396 |
Soldering jigs | p. 398 |
Refractory materials used for jigs and soldering surfaces | p. 401 |
Fluxes used for silver or hard soldering | p. 403 |
Presoldering operations: General recommendations | p. 405 |
Burning fuels: The energy source of heat | p. 407 |
The soldering operation | p. 414 |
The three stages of a soldering cycle | p. 414 |
Postsoldering operations | p. 417 |
Soft soldering | p. 422 |
Screws, Bolts and Nuts, and Screw Joints: Mechanical cold fabrication by torsion-pressure holding systems | p. 424 |
Screws | p. 424 |
Bolts | p. 427 |
Nuts | p. 427 |
Construction | p. 427 |
Making a screw or bolt | p. 427 |
Rivets and Riveting: A cold percussion closed pressure joining system | p. 431 |
Rivet conditions used in jewelry | p. 431 |
Rivet head shapes | p. 433 |
Rivet setting | p. 434 |
Nilda C. Fernandez Getty utilizes rivets on a pendant | p. 434 |
The Lathe and Machined Jewelry: Rotational fabrication systems | p. 437 |
The primitive manually powered lathe | p. 438 |
Basic contemporary lathe categories | p. 439 |
Lathe types | p. 439 |
Lubrication of the lathe | p. 440 |
Workpiece materials | p. 441 |
Manual tooling and manual lathe tools | p. 444 |
Mechanical tooling and mechanical lathe tools | p. 445 |
Safety precautions | p. 447 |
Primary lathe operations: External cuts or feeds | p. 448 |
Secondary lathe operations | p. 449 |
Machining jewelry | p. 449 |
Gary S. Griffin shows the use of fixed tool lathe techniques | p. 449 |
Plastics in Jewelry: Fabrication using synthetic solids and liquids | p. 463 |
Basic plastic types: Thermoplastics and thermosetting plastics | p. 463 |
Manufacture of plastics | p. 464 |
Plastics in solid form used in jewelry | p. 465 |
David Keens fabricates a brooch using plastics shaped by various methods | p. 465 |
Laminating sheet plastics | p. 472 |
Plastics in liquid resin form | p. 474 |
Casting polyester resin | p. 477 |
Rodolfo R. Azaro uses a silicone rubber mold | p. 477 |
Casting: Methods of Giving Form to Molten Metal | p. 482 |
Gravity Pour Casting: Exploiting Earth's centripetal force | p. 482 |
The development of casting technology | p. 482 |
Gravity pouring metal | p. 482 |
Cuttlebone casting: Creating the mold cavity by pressure | p. 484 |
Direct carving of a cuttlebone mold cavity | p. 487 |
Alice Shannon cuttlebone casts a pendant | p. 487 |
Lost Wax Casting: Replacing a mold-voided temporary model with metal | p. 490 |
Lost wax investment casting | p. 490 |
Wax composition for investment casting | p. 492 |
Types of wax | p. 493 |
Forms of wax | p. 494 |
Non-wax model materials | p. 496 |
Wax-manipulating tools and materials | p. 496 |
Preparing the wax model | p. 499 |
Wax-in-wax inlay | p. 505 |
Thomas Gentille forms a rigid bracelet exploiting wax characteristics | p. 505 |
Preparing a wax model for a stone setting | p. 507 |
Centrifugal Casting: Flinging molten metal from a rotating center outward into a single-use investment plaster mold | p. 510 |
Spruing the wax model | p. 511 |
Determining the amount of metal needed for a casting | p. 512 |
Mounting the model on the pouring gate former | p. 512 |
Painting the model with a wetting agent | p. 514 |
The investment plaster composition | p. 515 |
The burnout: Losing or eliminating the wax | p. 518 |
The centrifugal casting hand sling | p. 520 |
The centrifugal machine | p. 521 |
Preparing the casting metal | p. 523 |
Casting metal on the centrifuge | p. 525 |
The shakeout: Freeing the casting from the investment | p. 525 |
Cleaning the casting: Fettling | p. 526 |
Finishing the casting | p. 527 |
Porosity: A major casting fault and its causes | p. 527 |
Centrifugal casting: Practice | p. 528 |
Lynda Watson-Abbott uses an intaglio clay mold to form a wax relief model for casting | p. 528 |
Casting metal on metal: Ganga-Jumna | p. 532 |
Pressure casting | p. 532 |
Pressure and vacuum casting | p. 533 |
Vacuum assist casting | p. 533 |
Rubber Mold Wax Injection: Duplicating a master model with a reusable flexible mold | p. 536 |
Making the master model | p. 536 |
Making a two-part mold with a separator | p. 537 |
Making a one-piece rubber mold without a separator | p. 540 |
Injection waxes | p. 541 |
The wax injector machine | p. 541 |
Making a wax-injected replica | p. 542 |
Cold rubber mold making | p. 544 |
Using transparent plastic mold making compounds | p. 544 |
Making a rubber mold for use in wax injection | p. 544 |
Bjorn Weckstrom designed production brooch | p. 544 |
Natural Materials in Jewelry: Using Nature's Valued Nonmetals | p. 551 |
Organic Materials Used in Jewelry: Employing products of formerly living organisms | p. 551 |
Ivory | p. 551 |
Bone | p. 557 |
Teeth | p. 558 |
Tortoiseshell and horn | p. 558 |
Claws | p. 560 |
Shell cameos | p. 560 |
Coral | p. 561 |
Amber | p. 562 |
Mother of pearl: Nacre | p. 563 |
Pearls | p. 564 |
Drilling and mounting pearls | p. 570 |
Methods used by K. Mikimoto and Co. Ltd., Tokyo, Japan | p. 570 |
Feathers in jewelry | p. 573 |
Stones and their Setting: Inorganic Minerals Employed in Jewelry | p. 578 |
Stones: Selected fragments of terrestrial bounty | p. 578 |
Precious, semiprecious, and synthetic stones | p. 578 |
The lapidary art: Stone shaping and polishing | p. 585 |
Tumbling: Mechanical shaping and polishing stones | p. 585 |
Gemstone carving and engraving: The glyptic art | p. 590 |
Stone mosaics in jewelry | p. 592 |
Cabochon-cut stones | p. 596 |
Bezel setting a cabochon stone | p. 603 |
Faceted stones | p. 604 |
Composite stones | p. 611 |
Gemstone substitutes | p. 612 |
Setting a faceted stone | p. 612 |
Metal Finishing: Achieving Desired Surface Appearance | p. 633 |
Metal Finishing Techniques: Manual and mechanical | p. 633 |
Types of soil on metals | p. 633 |
Cleaning solution finishing techniques | p. 633 |
Hand and mechanical finishing techniques | p. 634 |
Hand polishing and buffing | p. 640 |
Mechanical finishing of metal surfaces | p. 642 |
Abrasives | p. 651 |
Polishing and buffing compositions | p. 652 |
Types of finish on metals | p. 654 |
Polishing and buffing wheels in action | p. 655 |
Flexible shaft equipment and accessories | p. 658 |
Respirators: Protection against particle and gas inhalation | p. 660 |
Metallic Coating Techniques: Changing the Base Metal's Surface Appearance | p. 662 |
Cold Gilding with Metal Leaf: Mechanical application of precious metals | p. 662 |
Leaf metal | p. 662 |
Gold leaf production | p. 663 |
Traditional techniques as modified today | p. 663 |
Mechanical surface gilding | p. 665 |
Mercury Amalgam Gilding: Depositing precious metal by heat | p. 666 |
Mercury | p. 666 |
Amalgams | p. 666 |
Preparing a gold-mercury amalgam for gilding | p. 667 |
Walter Soellner devises a closed venting system | p. 667 |
Shakudo: A favored Japanese copper alloy | p. 668 |
Kinkeshi: A Japanese amalgam gilding method | p. 669 |
Mitsuko Kambe Soellner parcel gilds a shakudo pendant | p. 669 |
Gilding puddle-bonded solder on steel | p. 672 |
Walter Soellner parcel gilds a steel belt buckle | p. 672 |
Techniques in the use of precious metal amalgams | p. 674 |
Metallic Buildup: Electrolytic Molecular Creation of Surface and Form | p. 677 |
Electroplating: Depositing metals through electrolytic mediums | p. 677 |
Reasons for electroplating | p. 677 |
Principal properties of plated coatings | p. 678 |
Factors influencing electroplated results | p. 679 |
Immersion or "dip" plating | p. 681 |
Brush plating | p. 682 |
Electroplating and electroforming equipment and conditions | p. 682 |
A typical cyanide gold plating process cycle | p. 688 |
Plating formulas | p. 688 |
Electroforming: Synthesizing form and texture by electrochemistry | p. 691 |
Creating the mandrel: Preliminary work prior to electroforming | p. 692 |
Preparing mandrels for electroforming | p. 696 |
The electroforming process | p. 698 |
Acrylic autoclave casting and electroforming a brooch | p. 701 |
Stanley Lechtzin creatively uses two industrial processes | p. 701 |
Photoelectroforming: Using light to impart an image to metal and to create form | p. 708 |
The photoelectroforming process sequence | p. 708 |
Electroplating using the photoresist stencil | p. 712 |
Photoelectroforming: Stripped or adhesive electroforms | p. 712 |
Coloring Metals: Achieving Patinas Through Heat, Chemicals, and Electrolysis | p. 714 |
Metal Coloring: Broadening the basic color range of metals | p. 714 |
Coloring processes | p. 715 |
Postcoloring treatments | p. 719 |
Anodizing Metals: Electrochemical conversion coating and dye coloring | p. 720 |
Preanodizing treatment and metal surface preparation | p. 720 |
Anodizing aluminum: Preparing the oxide coating | p. 721 |
Dye coloring anodized aluminum objects | p. 722 |
Titanium Coloring: Heat and anodic oxidizing methods | p. 723 |
Titanium surface preparation before coloring | p. 724 |
Titanium direct heat treatment coloring | p. 726 |
Titanium overall anodizing: Coloring by electrochemical immersion | p. 727 |
Titanium localized anodizing: Selective area coloring | p. 728 |
Maintenance and protective coatings on titanium oxide films | p. 730 |
Standard Weights, Measures, and Tables | p. 731 |
Abbreviations Used in Weights, Measures, and Other Areas | p. 730 |
Linear Measurements | p. 731 |
Length | p. 731 |
Thickness | p. 738 |
Area or surface | p. 743 |
Measures of Weight and Mass | p. 744 |
Weight Measurements | p. 744 |
Conversions of weight and mass | p. 747 |
Capacity: Liquids | p. 752 |
Capacity measurements | p. 752 |
Conversions of liquid measures of capacity | p. 752 |
Temperature | p. 753 |
Time and Speed | p. 756 |
Time measurements | p. 756 |
Speed measurements | p. 756 |
Glossaries | p. 757 |
Visual Glossary: Geometric and morphic shapes, forms, and concepts | p. 757 |
Glossary: Forms of Jewelry | p. 774 |
Glossary: Jewelry Findings | p. 779 |
Soldering jewelry findings | p. 785 |
The hinge | p. 788 |
The spring | p. 790 |
Bibliographies | p. 791 |
Historic Jewelry | p. 791 |
Jewelry Technology | p. 793 |
Lapidary; Mineralogy; and Gemology | p. 795 |
Exhibition Catalogs and Handbooks on Jewelry | p. 796 |
Periodicals: Jewelry | p. 797 |
Periodicals: Lapidary | p. 798 |
Sources of Tools, Supplies, and Services | p. 799 |
United States of America | p. 799 |
United Kingdom | p. 805 |
Index | p. 808 |
Table of Contents provided by Syndetics. All Rights Reserved. |
ISBN: 9780709196167
ISBN-10: 0709196164
Published: 1st December 1982
Format: Hardcover
Language: English
Number of Pages: 864
Audience: College, Tertiary and University
Publisher: The Crowood Press Ltd
Country of Publication: GB
Dimensions (cm): 28.5 x 22 x 5.5
Weight (kg): 3.38
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- Non-FictionHandicrafts, Decorative Arts & CraftsJewellery & Beadcrafts
- Non-FictionArts & EntertainmentArt FormsNon-Graphic Art FormsPrecious Metal, Precious Stones & Jewellery in Artworks & Design
- Non-FictionHandicrafts, Decorative Arts & CraftsPainting, Drawing & Art Manuals
- Non-FictionReference, Information & Interdisciplinary SubjectsEncyclopaedias & Reference WorksReference Works
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