Cleaning Jewelry

Cleaning jewelry to an incredible sparkle definitely enhances its value in the eyes of your customer. Fingerprints, skin oils, dust, and tarnish dull the beauty of jewelry and prevent it from shimmering with that gorgeous, high-quality aura.

Keeping your jewelry clean is a good strategy for increasing your sales and being able to charge higher prices. Look in any jewelry store showcase. Notice the almost unreal sparkle of metals, stones, and all other elements of the jewelry on display? That sparkle is one of the main reasons stores are able to sell a good volume of jewelry, for fairly high prices.

Cleaning jewelry and keeping it tarnish free should be a main goal for all home jewelry businesses. In addition, cleaning your customers’ other jewelry is a nice bonus service that helps you build a good relationship with them. It makes customers feel pampered, and enhances your reputation as a jewelry expert.

Safely Clean Delicate Jewelry

However, be careful when cleaning jewelry, ESPECIALLY when cleaning jewelry that belongs to customers! Before cleaning by any method, check the piece of jewelry to be sure it’s sound and in good repair. Check for loose stones and anything else that seems weak or not in good shape.

And don’t ever use anything for cleaning jewelry that has abrasives or bleach. Both of these damage silver and many stones! That includes toothpaste (especially tooth-whitening toothpastes), scouring powder, baking soda, or creamy opaque jewelry cleaners.

And although it’s sometimes helpful to use a small brush for cleaning jewelry, I don’t recommend using an old toothbrush. It’s likely to have a tiny residue of toothpaste on it, which may scratch your metal and stones. Use a brand-new toothbrush, and keep it just for scrubbing jewelry!

Cleaning Gemstone Jewelry

IMPORTANT: Be careful when cleaning jewelry with stones that are notoriously delicate:

* Amber
* Coral
* Drusy
* Emeralds
* Foil-backed glass stones
* Malachite
* Mother of pearl
* Opals
* Pearls
* Peridot
* Unstabilized turquoise

These delicate gems need VERY gentle cleaning. They should not be exposed to ammonia, hot solutions, ultrasonic cleaning, or any abrasives.

The best jewelry cleaners for these delicate items are:

1. A gentle, nonabrasive cleaner called Jewelry Joose, which you can spray on, rub gently and wash off, or else soak several pieces in it. It's safe for all metals and gems.

2. An ionic jewelry cleaner such as the SpeedBrite, which is considered generally safe for all metals and stones. Ionic jewelry cleaners do not use heat, sound waves, or abrasives, and they do an excellent job of removing tarnish and dirt very quickly. Ionic jewelry cleaners are available from many sources on the Internet; shop carefully because prices can vary widely.

(Note: I've heard that drusy stones should not be cleaned in an ionic cleaner because of their delicate crystal structure. I haven't tested that theory, but I don't recommend ionic cleaning of drusy unless you can first test a small piece of it that you don't mind messing up if it gets damaged.)

Removing Sterling Silver Tarnish

For plain sterling silver jewelry (with no stones), you can also get good results using commercial silver dip liquid, polish paste, or polish cloth. I wouldn’t use these products on jewelry containing gemstones, though.

Windex is often used to shine up silver and gold jewelry, including some gemstones (but not the delicate stones listed above; also don’t use Windex or any other ammonia solution on oxidized sterling silver, since the ammonia can damage the oxidized finish). Spray Windex on the jewelry, wait a few moments, rinse, and wipe clean with a soft, dry cloth.

There's also an easy method for removing tarnish from sterling silver using a few items you already have in your kitchen. See How to Clean Tarnished Silver Jewelry for using this method.

And again, you can also use an ionic cleaner to remove tarnish and quickly get sterling silver sparkling like new.

Steam and other hot methods of cleaning are safe for metals and all but the delicate stones listed above. To steam clean jewelry at home, slowly boil a solution of trisodium phosphate and water in a saucepan. Hang the jewelry in the pan—being very careful not to get burned by the steam!--on a small wire hooked over the edge of the pan. Don’t let the jewelry touch the bottom of the pan.

Ultrasonic cleaners are safe to use on most jewelry EXCEPT the delicate stones listed above. Small home models of ultrasonic cleaners are available in many stores.

Preventing Tarnish

Okay, after cleaning jewelry, how do you keep it from tarnishing and becoming dull again?

I store my jewelry covered with anti-tarnish cloth (sometimes also called Pacific Cloth), available by the yard at most fabric stores. I cut this anti-tarnish cloth to fit over my trays that are filled with jewelry, and to wrap around my loaded jewelry displays. It really makes a huge difference in preventing tarnish and reducing the time you spend cleaning jewelry.

Another method I recommend is keeping jewelry tightly sealed in ziplock jewelry bags with no-tarnish strips (available from most jewelry suppliers) inside with the jewelry. Change the no-tarnish strips every 3 to 6 months, depending on where you live and how fast jewelry tends to tarnish.

For jewelry you store on display racks or in trays or cases, place the rack and several no-tarnish strips inside a large plastic trash bag and close the bag up tightly with a twist-tie. Change the no-tarnish strips every 3 to 6 months. Every time I change my no-tarnish strips I write a quick note on my calendar 3 months from the date I change them, reminding myself it’s time to change them again!

Some jewelers use ordinary blackboard chalk in place of the no-tarnish strips. Although I haven’t tried that myself, many report excellent results using it! I suggest that if you choose chalk, you might want to stock up on it in August during the back-to-school sales.

Keeping Your Jewelry Clean at Shows

Finally, how do you keep your jewelry sparkling and fingerprint-free during shows? I recommend keeping a sunshine cloth or other jewelry polishing cloth handy to wipe and polish your pieces often during shows. It also makes a favorable impression to customers when they see you cleaning jewelry! Article by Rena Klingenberg

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Repairing Jewelry

Repairing jewellery is an extremely tricky job. Work often pretends to be something else, metal is not what it is labelled, or sold as and the customer's memory fades with time, so that jewellery is often given to the repair person as something different thas it's real condition or materials. What follows is a list of questions. If you can answer all of them about a piece before you begin work it is likely that all will be well. Answer as many of them as you can, at least mentally and repair work should be made a great deal easier.

1. What is the metal? (metals)
2. What stone type is it? (Basic rule: protect all stones from heat)*
3. What existing damage is present? (Protect yourself)
4. What previous repairs were done to the piece and how done?
5. Describe mentally or on paper: what is there now?
6. What will be there? What are you going to do to the jewellery?
7. How best to approach it in view of the above?
8. What potential damage and problems may occur during repair?

Now you may repair the piece. Always leave room for making a mistake. Repairs tend to surprise you when you least expect it.

* Note that some stones, diamond, garnet, synthetics may take a certain amount of heat without damage, however it is best to wait for experience to tell you when you may so work. In all cases slow air cooling is essential.

Table for converting American ring sizes to German (metric =circumference in mm.)

1	39	5	49.5	9	59.5
1-	40.5	5-	51	9-	60
2	41.5	6	52	10 (av woman's size)	62
2-	43	6-	53.5	10-	63.5
3	44.5	7	54.5	11	65.5
3-	45.5	7-	56	11-	66.5
4	47	8	57	12	67.5
4-	48	8-	58	12-	69 (bottom line)
				13	69 (top line)

NOTE: if making a blank up from sheet add the thickness of the metal to the length of the blank when you cut it out; more to the small sizes, less to the larger.

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Karats measurement

Carat, karat, caret, and carrot are all pronounced the same, but each has a different meaning. Carat and karat, of course, have very specific meanings in jewelry. Misusing either word can be an embarrassing, if not an expensive, mistake. Spelling carats or karats as carets or carrots will make you look foolish and unprofessional.

How do you know which word is correct? Let's look first at where the words came from, and then their current meanings. Many of us are familiar with carob, which is often used as a substitute for chocolate. Few of us, however, know that carat and karat both trace their ancestry to carob. Carob trees have grown in the Mediterranean region since antiquity. The trees produce small, edible seed pods containing carob beans. Carob beans are unusually consistent in size. This means that carob beans usually all weigh the same, no matter when or where harvested.

This characteristic of consistent weight led to carob beans becoming a unit of weight in early times. The Greeks were the first documented users of carob beans for weight. By 1500, Latin alchemists, still using carob beans as a basic unit of weight, measured things by the carratus. Carat and karat are the modern derivatives of carratus.

Although they have a common origin and are pronounced the same, carat and karat now have different meanings. A carat is a unit of weight in gemstones. A karat is a unit for measuring the purity of gold. Carat is abbreviated as c. or ct., while karat is k. or kt.

How much does a carat weigh? Prior to 1913, a carat in the United States weighed 205.3 milligrams. In 1913 the United States accepted 200 milligrams as the international standard weight of a carat. (European countries and Japan had accepted this standard earlier.) Some jewelers use the term metric carat. A metric carat also weighs 200 milligrams. For those of us who still think in pounds and ounces, it takes about 142 carats to make an ounce.

The important thing to remember is that a carat is a unit of weight, not a unit of size. One carat of a dense (heavy) stone will be smaller than one carat of a lighter stone. For example, a one-carat sapphire will be smaller than a one-carat diamond, because sapphires are heavier than diamonds. A karat has nothing to do with weight, but instead refers to the quantity of gold contained in a particular item. The measurement uses a base of 24 units. Pure gold is twenty-four twenty-fourths (24/24ths) gold, and is called 24-karat gold.

As gold is a soft metal, other metals are often added to make it harder. Gold with other metals added to it is referred to as a gold alloy. The most common metals used in gold alloys are silver, copper, nickel, and zinc. Gold that is 14-karat gold is fourteen twenty-fourths (14/24ths) gold and ten twenty-fourths (10/24ths) other metals. The most common gold alloys are 14-karat gold and 18-karat gold. Other alloys, such as 16-karat gold, are sometimes available.

When buying gold or objects made from gold, remember that the higher the number of karats, the higher the proportion of gold. Only 24-karat gold is 100% gold.

In addition to carats and karats, we also have carets and carrots. A caret is the symbol ^. Use a caret to show where something should be inserted in printed matter. It is derived from the Latin word for lacking. Carrot began with the Greek word for head. Carrots are important vegetables for jewelry makers--they are a rich source of vitamins that help keep our eyes healthy!

As jewelry makers, may your life be full of gemstones, which you will weigh by the carat, and gold, the purity of which you will measure by the karat.

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Basic Safety Principles

In general safety Aim for: a well laid-out, orderly workshop, well-lit by multiple non glare light sources, well-maintained equipment, electrically and fire safe, with low dust and few procedures involving solvents, with excellent local ventilation at the appropriate work stations (such as investing or melting areas), the use of work clothing, which is cleaned frequently, lots of personal safety equipment (earmuffs, shoe covers to protect against molten metal splashes, safety glasses etc.), different jobs and heights to work at over the work day, ergonomically considered working actions and a conscious attitude and consciousness of safety. Choose procedures that don't involve exposure to risks. Set things up so that you can't hurt yourself. Make safety a habit and then it won't seem like work. If you don't use a certain chemical or hazardous procedure in your shop, then you are extremely unlikely to get hurt by it. Substitute less hazardous processes and materials for more dangerous ones. If you have an accident or a near miss it needs to be recorded in your accident book and discussed so as to avoid doing the same thing again.

To escape unnecessary work, look for examples of people who have solved the same kinds of safety problems you have to solve, and see if you can adapt some of their ideas and approaches for your own small shop. Look for models around you.

There are dusts you can see in the air. It is, however, the smaller, completely invisible particles that are the most dangerous. These, especially fibrous or jagged ones like asbestos, cotton and silica, are stored between the air sacs of the lungs. That is, you breathe them in and they will never escape again. Once there, they cause scarring, thickening of tissues, eventually stressing the heart because it is more work to breathe. Cristobalite (a rather vicious form of silica) exposure is considered a real silicosis hazard. It is a major component of casting investment.

Fumes are small particles of a material, often from metals that have been melted. These may be very tiny and can be breathed deeply into the lungs. Metal fume fever can be a real problem with molten metals. Metal fume fever can be caused by zinc, copper, magnesium, aluminum, copper, antimony, cadmium, iron and silver.

Dilution ventilation is used in many shops, where you open a window next to you, and another one elsewhere, so that air passes you on its way out. Dilution ventilation is not generally an effective approach. What we really want most of the time is local ventilation, which means a sucking device, slot or tube very close to the working area that is generating the dust, mist or fumes so they are sucked away as they are produced: removed entirely from the workshop and vented safely (i.e. not near a makeup air intake).

If you think you need a respirator to do something, red flags should be waving in front of your eyes and alarm bells ringing in your mind. If you have to use a respirator, there is something seriously wrong with your ventilation system and working processes. And when you take it off, whatever it was you were afraid of will still be there, an invisible dust (such as cristobalite investment) on all surfaces, so that merely walking past later will stir it up into the air so you can breathe it in. If you are using one, make sure it is correct for your face and for the dusts, chemicals and fumes you are protecting yourself from. Talk to your safety supply company representative, or better still several of them. It is easy to use the wrong respirator or to have an imperfect seal when you use it.

Eye protection in the workshop usually consists of using safety glasses and/or a face shield. Polycarbonate glasses are good. Aside from protection from sharp objects, flying chunks, dust, chemicals, fumes, liquids and hot metal splashes, we have to deal with glowing materials (infrared light), the blue flame of a high-temperature torch (ultraviolet light) and "sodium glare or flare."

Most glasses and polycarbonates will stop the ultraviolet. So will most contact lenses. The infrared is stopped by a "shade": numbers 2 and up have been suggested. It is important that one understands that a "tinted" lens does not offer infrared protection-only a shaded lens offers protection. McCann notes that "most recent recommendations are to wear the darkest shade number consistent with being able to see your work (ANSI Z87.1-1989" (McCann, Artist Beware page 216). Side shields that stop UV and infrared are also a good idea. The sodium flare, which is more of a problem for glass workers, is stopped by didymium glasses.

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Where You Can Find Jewelry Making Patterns

Jewelry making is by far one of the most popular and well known hobbies in the world today, and if you are interested in jewelry making then you should know that there are many different things that you are going to have to take into consideration here.

When you want to begin something like jewelry making, one of the first things that you are going to have to get is jewelry making patterns.

With jewelry making patterns you are going to be able to find different types of jewelry that you can make, and because you have actual jewelry making patterns, you will be able to follow the patterns step by step, making the entire process much easier on you.

More About Jewelry Making Patterns

If you are interested in getting jewelry making patterns then you should know that there are many different places that you can go to in order to get them. One of the first places that you should check out is your local arts and crafts store, where you should be able to find a great selection of jewelry patterns.

However there are many other places that you can go to as well, and for instance, you can go on the Internet, and his is a really great idea because the speed and efficiency of the Internet allows you to be able to quickly and easily find exactly what it is that you are looking for.

Your options are really endless here, and so regardless of what type of jewelry making patterns you are interested in, you are surely going to be able to find something that works perfectly.

Browse through as many different jewelry supply stores as you can, so that you can have the most options, and thus end up being the most satisfied in the end. Just make sure that you set out a budget for yourself beforehand so that you can calculate out how many patterns you can purchase and thus you will not end up going overboard and spending more than you should.

Taking your time is incredibly important here, and so you want to make sure that you do this so that you pick out patterns that you are going to be able to complete without trouble and that you are going to have fun while you are making the jewelry as well.

Article Source: articles.fjewelrystore.com

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Jewelry Making Findings Can Make Or Break A Jewelry Project

Jewelry making findings are the essential pieces which make the bead and wire a piece of jewelry. Jewelry making findings are simply the components of any piece of jewelry; the findings consist of clasps, head pins, ear clutches, jump rings and any other manufactured or hand made component. Separate headings of 'Findings" are listed in all jewelry making supply catalogs or websites. A craft or hobby store will have the header listed in their jewelry supply area. Jewelry making findings is a major revenue business all by itself.

Ear Wire

Ear wires are the jewelry making findings that are used to connect a beautiful earring body to the wearer's ear. Ear wires are essential when making earrings; they are generally silver, gold and copper. There is also silver and gold plated, as well as, gold filled. The 22 gauge is the size which is most used in ear wires.

The ear wires are inexpensive to manufacture and are sold in bulk. Ear wires can also be made by hand, and this could be a way to distinguish your work from a manufactured earring. There are many books and websites which contain instructions for different patterns of ear wires.

Zip Lock Bags

Small zip lock bags are also considered jewelry making findings. Plastic zip lock bags or small fabric pouches are items which must be considered when selling your jewelry or keeping it safe. Oils and everyday pollution will harm your jewelry making findings and, therefore, must be kept in containers before and after they are made into jewelry.

Sizes of these bags depend upon your necklace, bracelet and earring projects. But jewelry making findings must always include small bags of some capacity.

Clasps

Toggle clasps, jump rings, lobster clasps, S clasps and magnetic clasps are all examples of jewelry making findings. These are all necessary components to make any necklace or bracelet work. Your beads or crystals, wire or chains and clasps is all that it takes to make a spectacular necklace or bracelet. But your findings are absolutely essential in the making of these necklaces and bracelets.

There are many more examples, but the ones that are listed above are the essential pieces. When researching for jewelry making findings, look for quality first. In jewelry making findings you really do get more 'bang for your buck'.

Spend a little more for your findings and your customers will turn into repeat customers and you won't turn into a jewelry repair business. When all is said and done, jewelry making findings can literally make or break your jewelry making projects.

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Reaching Success In Jewelry Making

One day, you buy your first plier and some rolls of wire and make your first loop. Disastrous, of course. You add one bead and painstakingly get to add the hook and you feel like the Queen of Jewelry Land. You actually get it to make a pair. Double feeling of being the queen.

Years go by and you keep working. Adding the hooks does not take hours anymore, so you start adding little embellishments, maybe a spiral loop. During these years, you learn the hard way all the ways you can make mistakes in this business. A few times along the way you decide you won’t make it anymore and maybe ramble with other arts, but pliers and wire always call you back and you find yourself awake at 5 AM because you suddenly woke up with that necklace design in your head. But it’s not easy. It makes you mad to think “why others can?” while you can’t seem to make it. Your artist ego is frustrated. You are tired of going nowhere. Things like marketing, advertising and promoting sound like from another world. A scary world. You’re an artist, you’re not a salesperson. But maybe you can’t quit your day job because you wouldn’t bay your bills selling jewelry.

But then, one day, you start working patiently and silently. Do not argue anymore about your doomed fate and overcome yourself by working seriously, making a business plan that works and give good results soon. You find ways to promote yourself that are easy and enjoyable and learn the right way to work a business. A real one that grows and grows in many directions.

What happened to you?

Well, you just lost your ego. Your amazing power to make each of your dreams come true can now arise and materialize. Obviously you don’t need this article at all but if you feel still included in the second paragraph, maybe you should keep on reading this

7 Tips to Be a Better Jeweler: The Ego Issue
According to both Buddhism and Psychology, your ego is a small angry child that never grew up. Instead of thinking rationally, we humans tend to act forced by that little child that, of course, cannot manage with an adult’s issues and just cries and moans and get completely paralyzed in fear of the unknown. Surprising, ah? If you ask yourself too much things like “Why do I never have luck?” or “Why does this always happen to me?”, maybe you’re letting that little child control your life.

The key to personal (and world) happiness is putting that child to rest letting it flow through creative activities, love and self – acceptation, but making choices with a higher conscience. Good choices bring happiness to us and good energy to the Universe, that will flow back to us through opportunities helping us achieve our full potential. As artists, we are even more inclined than many other people to reach a higher state of consciousness, so it should be easier for us to understand this facts.

1: You can always make it better.
Ego says: “I’m very very good” but really, how good you are? This is a very competitive world and you must be objective about the quality of your work. How can your jewels be improved? Can they be safer? Have you double-checked everything before you package it? Are you selling something that may eventually break or fall off?
Remember that the kind of customer that you will die for is one that looks for quality and durability. A very good question to ask yourself is “Would I pay that money for this jewel?”

2: You can always treat your customers better.
Ego says “Making that custom gift box is really hard work, and for free!” Please, be more respectful with your customers! Some of the money they pay for a (never forget that) completely unnnecessary item you sell is very hard-earned! From all the jewelers around they’ve chosen YOU! There is always time to add and extra gift for a good customer. As artisans we need customers that come back again and again, and that always think of you first when they need a special jewel for their social events or gifts. We need a customer that speaks wonderfully of our work and bring new customers with them so, what do people find when they meet you, whether if the meeting is at your studio or at your booth? Treat them all the same, whether if they make big of small buyings. Know them as much as you can and try to put all your best efforts to make them feel at home with you.

3. Work hard to find your own style.
Ego says “Oh, my style is truly unique!” but the truth is that there is almost no such thing in jewelry business, or in any art business. Finding your own way includes a LOT of constant learning and humility. Strive to make the jewel you really dream of and do not feel pressured by what you can sell or whom you can sell to. If your pieces breath uniqueness they will sell out.

4. Give and Teach as much as you take and learn from others.
Ego says “oh, if I share my techniques everyone will make copys of my work and sell more than me for sure” Really, have you heard how childish that sounds? Change your view about yourself and ask yourself if someone could envision you as a master in your particular style.

Sharing your techniques, whether as downloadable files for small prices (tutorials are usually very cheap) or simply for free like I’m doing now, will not only improve your business karma wonderfully, but also will make you get a lot of respect from learners and professionals alike. Building a good reputation will mean a good percentage of your sales one day, but you have to start now.

5: Forget about inspiration
Ego says: “I’m an artist, I can’t work if I’m uninspired”…well, and Pablo Picasso said inspiration exists, but it has to find you working. Who do you believe? I chose to believe Master Pablo, of course. Inspired or not, work everyday. I’m sure there are a lot of “office issues” like web updating, taking better pictures of your items, making tags or whatever that you have pending, as we all have, that you can make it on your uninspired time. My husband is an electrician company director and he goes to work everyday, whether if he’s inspired or not! Why should I have that privilege?

6. You can make your own ways to sell and promote your work
Ego says “I’m an artist, I can’t deal with sales and publicity. That’s not what an artist is supposed to be.” Something I really hear a lot. I truly believe that, as artists, we are even more able to sell ourselves than other professionals because creativity is the real key to publicity success. The true instinct to find beauty is inside every true artist. Though I think is essential to read a good quantity of marketing articles, we have an ability to create that is a natural advantage. Again, change your point of view about yourself and create new ways to promote your work.


7. Don’t take critiques personally
Ego says “Oh, that person I don’t know at all thinks my jewelry is awful…I am a complete failure!” Well, you don’t like everything, so don’t expect your jewelry to be loved by everyone. What a person says about your work may be influenced by many things that do not have to do with your work at all. Be always ready to follow positive advice inmediatly, but don’t let other people’s feelings reflect on you self image. Remember, maybe that person is also talking through her/his little angry child!



Epilogue
Learning the business takes time and effort. There is no instant success and if there is, it will pass soon leaving you wondering what you did wrong… and making you learn another good lesson – which should always be seen as a valuable thing. I am personally guilty and all crimes said above and in many, many more that have turned into a deeper knowledge of myself, my work as an artist and the world around me. I am very proud of all my mistakes, in fact!

We all are on an endless road of personal growing, with no finish line. There is always someone wiser than us and someone that may need our advice as well. I really hope this article helps you in your way to reach complete success; knowing that you’ve found your way is one of the highest feelings a person can have… and you deserve to have it too.

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