Jewelry

The jewelry is étymologiquement the Art to manufacture jewels, and more largely of the objects of ornament emphasizing mainly the fine invaluable stones, stones, the decorative stones and the Perle S, by using for mountings the following noble metals: the Money, the Gold, the Platinum and sometimes the palladium. Currently parts of jewelry of very top-of-the-range are carried out in Titane. These parts use specificities of titanium (rigidity and lightness) to reach dimensions ever seen (flowers of the 18 centimetre diameter, large butterflies, etc). These titanium parts are carried out by casting (lost wax) then polished.

The traditional jewels in jewelry

It is for examples:
  • solitary S,
  • the alliance S symbol of eternity,
  • the rings entourages made up of a stone of center surrounded by Diamond S,
  • diamond rivi2eres, crimped claws or crimped grains,
  • Pendentive S very of stones crimped,
  • the Diadem S and crowns,
  • the earrings matched for thus making complete ornaments,
  • and any other object putting in scene important quantity of stones (Throne S, Statue S, Automat S, eggs of Fabergé, etc)

The jewelry is thus primarily, the setting in scene of the stones with a support in Noble metal.

Comparison with the jewelry

The principle even of the jewelry consists of the development of a stone or a whole of stones on a mounting of metal, contrary to the jewelry which is primarily centered on metal parts, sometimes decorated stones.

The traditional jewelry consists in manufacturing objects of ornament emphasizing mainly the money, gold and platinum (ex: snap rings, chain S, Medal S, Signet ring S, Bracelet S, etc).

Moreover, the jewelry is not the superlative of the Bijouterie.

There exists moreover the jewelry known as " fantaisie" , using not-invaluable metals like the Copper, the Brass, the tin, the Zamac, and more recently the surgical Steel and the Titanium. This part of the jewelry uses as materials such as as the Cristal (Strass), the enamel at low temperature, the natural matters like the Bois, the horn, the Plume S, as well as the resin S of synthesis. Its creations are sometimes of an astonishing inventiveness and are not always cheap.

These two trades (jewelry and jewelry) are quite as creative one as the other. Very many civilizations, via craftsmen created and manufactured jewels and Joyau X.

Techniques of jewelry

Traditional artisanal manufacture

The manufacture of the jewelry is traditionally entirely made with the hand by craftsmen, with very an high-quality of execution and a great solidity. It rests on the deformation (stamping), folding, the filing, sawing, the welding, of invaluable pieces of metal.

Moulding

In addition to this traditional technique, one also uses the technique of the moulding, which was to democratize the trade, but which had as consequence especially to lower general quality when this technique is not controlled perfectly. This technique is used today so much in high jewelry (where the majority of the parts are now made by moulding) that in the many craftsmen.

The mould, elastomer resistant to a very high temperature, is taken on a metal part manufactured either by the traditional method above, or by cast iron with lost wax.

Cast iron with lost Wax or casting

A metal part of jewelry, which will be is a single part (ex: ring fiançaille to single measure), that is to say the model used for a moulding by elastomer, can be produced by the method of the cast iron with lost wax. It is about a traditional method which already the Egyptians of antiquity employed.

A stem of casting is fixed on the original model. The model is then inserted in the raw rubber. The raw rubber is vulcanized under pressure and in temperature so that it moulds the original model perfectly.

One then carefully separates the mould into two by means of a scalpel and one withdraws the original model.

Into the empty mould, one injects wax carefully, which creates a wax model of the original.

The tree structure waxes some is planted on a base, which one then locks up inside a metal tube. The cylinder thus created is filled with a plaster matched with alloy of foundry.

After hardening of the plaster, the wax is eliminated by dissolving it with the furnace. The mould then is pickled and preheated with the furnace during several hours.

One arrives at the essential phase: the molten metal is run in the mould, either by the process of vacuum centrifugal casting, or by that of vacuum static casting.

After cooling, one releases the metal tree structure of the solid plaster. One can then separate the various cast parts and, if necessary, sand them.

At this stage there the parts are transmitted to the jeweller for the following stages.

The shape of the part to be manufactured is initially carved in a wax mass or is manufactured out of metal, on the scale 1,05 (or on average 3%) to take account of the " rétreint" or " retrait" (light reduction of dimension of the metal part produced compared to dimensions of the wax model, dependant on the physical phenomenon of Dilation of metals) and of shrinking of wax after cooling.

In certain cases of models not tolerating the high temperatures necessary to the vulcanization of rubber, the mould can be carried out out of silicone. This technique is more expensive and the moulds are more fragile.

For important series (several hundreds of parts) one uses also moulds " in dur" in order to obtain a higher quality.

In certain cases the techniques of moulding are combined between rubber and hard mould.

The cleaning of the pig iron and cast iron

The cast iron with lost wax produces parts having surfaces a " of it; croûte" (some hundredths of millimetres) that should be eliminated to reach a metal of good quality. One finds also traces of moulds more or less marked.

This crust and these traces are removed by the jeweller, by filing, grinding or sandpapering (with bearded or the buff-stick).

The Polishing

There exist two principal methods for polishing in jewelry and jewelry:

  • Polished mechanics:

Of the cotton or felt discs is coated more or less abrasive pastes and makes it possible to polish the surface of metal.
For the places difficult to reach, (pierced, interior angle), one uses cotton wire coated with the same abrasive pastes which one passes in the not very accessible part then that one rubs vigorously.
For certain elements like the tails of pins, one uses a polished agate or steel burnisher, which one passes on the surface of metal. This method makes it possible to polish by friction by avoiding the deformation of the object (which frequently arrives with the techniques using of the discs, because the number of revolutions), all in donnat one hammer-hardened sufficient at piece-rates if it has a mechanical role to play (as the tail of pin, therefore)

  • chemical Polish:

This type of polishing is dangeureux, it is not applicable to all alloys used in jewelry.

Setting

The Sertissage consists in fixing an invaluable or fine stone on a metal mounting, by moving part of this metal. The techniques usually used for setting are:

  • claw setting: the claws are outgoing metal stems of mounting, stems which the setter comes to fold up in pins on the stone to fix it. It is the technique which one usually uses on the recluses.
  • crimped with grain: it is a small swarf which is pushed by a cutting graver which leaves it the metal mass (without disuniting some) jewels, to fold back it on the edge of the stone. These grains fix the stone firmly, behaving like tiny claws.
  • the crimped closed one: a thin noble metal plate surrounds housing of the stone. One folds up the sheet on all the perimeter of the stone, thus solidarizing it mounting.

Comparison of the artisanal production by welding, and the method by moulding

The use of the Rolling mill, strongly compressing the noble metal ingots, produced plates regular thicknesses, definitely denser and more brilliant than moulded metal doing nothing but cool in the plaster without mechanical effort.

Moulded metal is thus less resistant and less extremely than rolled metal.

Stones used in jewelry, or Gem S

They are the invaluable stones, the fine stones, and the hard or decorative stones

The invaluable Stones

This name is reserved exclusively for four stones (placed by decreasing order of value, the ruby tending however to " doubler" the emerald since a few years):

The fine stones

It is the name of a vast whole of stones which are not regarded as invaluable, but have a beautiful color and a beautiful transparency, making them suited to the use in jewelry. They are also called semi-precious stones. Their use in the largest jewellers widened since the years 1980, after broad innovative uses by Cartier in the Années 1940.

The hard stones also named decorative stones

Three more current are the Lapis-lazuli, the Malachite and the quartz. The hard stones are especially used in objects of jewelry, in combination with invaluable and/or fine stones.

The entrusted

The exchanges between Concise S, Diamond-like S, Jeweller S, Jeweller S, etc are based on this principle: for example, a diamond cutter will entrust in small sachets to the always identical folds, considerable sums of diamonds, more often called brilliant , to that which will design the jewel, the jeweller. In the same way, the concise one with its stones of color.

Receipts, signatures, engagements, guarantees, etc? None. Engagement is total, the absolutely disadvised skid. Fable or reality, a cartoon, Immortal the, evokes this relationship of trust and of absolute engagement until on the prestigious place of Antwerp.

The evocation of this practice in these trades cannot be made without indicating the parapets of them. Indeed a solid and constant jurispridence of the Court of appeal, in France, fact of nonthe restitution, with first request, of a entrusted , a breach of trust, i.e. an punishable offense of the criminal Law.

Formations with the jewelry

In France

preparing with the Vocational training certificate of workman jeweller

  • Association for the Formation And the Development of the Visual arts (private school), AFEDAP, 15 rue Henri Mürger, 75019 Paris * the school of the Jewelry, Jewelry, Goldsmithery (private school supported by the trade union), 58 rue du Louvre, 75002 Paris
  • Vocational school Jean Guéhenno de Saint-Amand Montrond
  • Vocational school Nicolas Flamel affiliated to the school Swell; street of Montmorency Paris
  • Vocational school of the SEPR, street of professor Rochaix Lyon
  • Vocational school Amblard 43,rue Amblard 26000 Valence

preparing with creation in jewelry

  • the College Jean Guéhenno, DMA (Diploma of the Trades of Arts) Art of the Jewel and the Jewel
  • the school Swell, DMA (Diploma of the Trades of Arts) art of the jewel and the jewel which occurred Dorian, 75012 Paris
  • the SEPR, DMA art of the jewel and the jewels
There exist several adapted formations has this trade. They prepare with the following diplomas: - CAPE jeweller option polishing - CAPE arts of the jewel and the jewel - CAPE noble metals option jewelry - CAPE setting in high jewelry - Concise CAPE option diamond and option invaluable stones
  • college Amblard Valence (France), B.M.A and C.A.P Art of the jewel and the jewel and setting in high jewelry.

Famous jewellers

See too

  • Liste of the trades of art in France
  • Joyau
  • Contrôle of principal marks sector: ''{{PAGENAME}}'' .

Nds-nl: Opsmuk Simple: Jewelry

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