2019 – 2020 Catalog
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Program Outline 434- Jewellery and Metalwork NUNAVUT INUIT LANGUAGES AND CULTURES Jewelry and Metalwork (and all fine arts) PROGRAM REPORT 434 Jewellery and Metalwork Start Term: No Specified End Date End Term: No Specified End Date Program Status: Approved Action Type: N/A Change Type: N/A Discontinued: No Latest Version: Yes Printed: 03/30/2015 1 Program Outline 434- Jewellery and Metalwork Program Details 434 - Jewellery and Metalwork Start Term: No Specified End Date End Term: No Specified End Date Program Details Code 434 Title Jewellery and Metalwork Start Term No Specified End Date End Term No Specified End Date Total Credits Institution Nunavut Faculty Inuit Languages and Cultures Department Jewelry and Metalwork (and all fine arts) General Information Eligible for RPL No Description The Program in Jewellery and Metalwork will enable students to develop their knowledge and skills of jewellery and metalwork production in a professional studio atmosphere. To this end the program stresses high standards of craftship and creativity, all the time encouraging and exposing students to a wide range of materials, techniques and concepts. This program is designed to allow the individual student to specialize in an area of study of particular interest. There is an emphasis on creative thinking and problem-solving throughout the program.The first year of the program provides an environment for the students to acquire the necessary skills that will enable them to translate their ideas into two and three dimensional jewellery and metalwork. This first year includes courses in: Drawing and Design, Inuit Art and Jewellery History, Lapidary and also Business and Communications. -
Lapidary Journal Jewelry Artist March 2012
INDEX TO VOLUME 65 Lapidary Journal Jewelry Artist April 2011-March 2012 INDEX BY FEATURE/ Signature Techniques Part 1 Resin Earrings and Pendant, PROJECT/DEPARTMENT of 2, 20, 09/10-11 30, 08-11 Signature Techniques Part 2 Sagenite Intarsia Pendant, 50, With title, page number, of 2, 18, 11-11 04-11 month, and year published Special Event Sales, 22, 08-11 Silver Clay and Wire Ring, 58, When to Saw Your Rough, 74, 03-12 FEATURE ARTICLES Smokin’*, 43, 09/10-11 01/02-12 Argentium® Tips, 50, 03-12 Spinwheel, 20, 08-11 Arizona Opal, 22, 01/02-12 PROJECTS/DEMOS/FACET Stacking Ring Trio, 74, Basic Files, 36, 11-11 05/06-11 DESIGNS Brachiopod Agate, 26, 04-11 Sterling Safety Pin, 22, 12-11 Alabaster Bowls, 54, 07-11 Create Your Best Workspace, Swirl Step Cut Revisited, 72, Amethyst Crystal Cross, 34, 28, 11-11 01/02-12 Cut Together, 66, 01/02-12 12-11 Tabbed Fossil Coral Pendant, Deciphering Chinese Writing Copper and Silver Clay 50, 01/02-12 Linked Bracelet, 48, 07-11 12, 07-11 Stone, 78, 01/02-12 Torch Fired Enamel Medallion Site of Your Own, A, 12, 03-12 Easier Torchwork, 43, 11-11 Copper Wire Cuff with Silver Necklace, 33, 09/10-11 Elizabeth Taylor’s Legendary Wire “Inlay,” 28, 07-11 Trillion Diamonds Barion, 44, SMOKIN’ STONES Jewels, 58, 12-11 Coquina Pendant, 44, 05/06-11 Alabaster, 52, 07-11 Ethiopian Opal, 28, 01/02-12 01/02-12 Turquoise and Pierced Silver Ametrine, 44, 09/10-11 Find the Right Findings, 46, Corrugated Copper Pendant, Bead Bracelet – Plus!, 44, Coquina, 42, 01/02-12 09/10-11 24, 05/06-11 04-11 Fossilized Ivory, 24, 04-11 -
THE CUTTING PROPERTIES of KUNZITE by John L
THE CUTTING PROPERTIES OF KUNZITE By John L. Ramsey In the process of cutting l~unzite,a lapidary comes THE PROBLEMS OF PERFECT CLEAVAGE face-to-face with problem properties that sometimes AND RESISTANCE' TO ABRASION remain hidden from the jeweler. By way of ex- amining these problems, we present the example of Kunzite is a variety of spodumene, a lithium alu- a one-kilo kunzite crystal being cut. The cutting minum silicate (see box). Those readers who are problems shown give ample warning to the jeweler familiar with either cutting or mounting stones to take care in working with kunzite and dem- in jewelry are aware of the problems that spodu- onstrate the necessity of cautioning customers to mene, in this case kunzite, invariably poses. For avoid shocking the stone when they wear it in those unfamiliar, it is important to note that kun- jewelry. zite has two distinct cleavages. Perfect cleavage in a stone means that splitting, when it occurs, tends to produce plane surfaces. Cleavage in two directions means that the splitting can occur in The difficulties inherent in faceting lzunzite are a plane along either of two directions in the crys- legendary to the lapidary. Yet the special cutting tal. The property of cleavage, while not desirable problems of this stone also provide an important in a gemstone, does not in and of itself mean trou- perspective for the jeweler. The cutting process ble. For instance, diamond tends to cleave but reveals all of the stone's intrinsic mineralogical splits with such difficulty that diamonds are cut, problems to anyone who works with it, whether mounted, and worn with little trepidation. -
Neycraft Centrifugal Casting Machine to Be Free from Defects in Material and Workmanship for a Period of Two Years from the Date of Sale
CRUCIBLE SLIDE LEVER COUNTER BALANCE WEIGHT SILICA CRUCIBLE WINDING & LOCKING WARRANTY INVESTMENT FLASK KNOB FLASK RECEIVER WARRANTY: Except with respect to those components parts and uses which are described herein, ASSEMBLY DENTSPLY Neytech warrants the Neycraft Centrifugal Casting Machine to be free from defects in material and workmanship for a period of two years from the date of sale. DENTSPLY Neytech’s liability under this warranty is limited solely to repairing or, at DENTSPLY Neytech’s option, replacing those products included within the warranty which are returned to DENTSPLY Neytech within the applicable warranty period (with shipping charges prepaid), and which are determined by DENTSPLY Neytech to be defective. This warranty shall not apply to any product which has been subject to misuse; negligence; or accident; or misapplied; or modified; or repaired by unauthorized persons; or improperly installed. INSPECTION: Buyer shall inspect the product upon receipt. The buyer shall notify DENTSPLY Neytech in writing of any claims of defects in material and workmanship within thirty days after the buyer discovers or should have discovered the facts upon which such a claim is based. Failure of the SAFETY SHELL buyer to give written notice of such a claim within this time period shall be deemed to be a waiver of such claim. MOUNTING BASE DISCLAIMER: The provisions stated herein represent DENTSPLY Neytech’s sole obligation and exclude all other remedies or warranties, expressed or implied, including those related to MERCHANTABILITY and FITNESS FOR A PARTICULAR PURPOSE. LIMITATION OF LIABILITY: Under no circumstances shall DENTSPLY Neytech be liable to the buyer for any incidental, consequential or special damages, losses or expenses. -
METAL ENAMELING Leader Guide Pub
Arts & Communication METAL ENAMELING Leader Guide Pub. No. CIR009 WISCONSIN 4-H PUBLICATION HEAD HEART HANDS HEALTH Contents Before Each Meeting: Checklist ..............................1 Adhesive Agents or Binders ....................................6 Facilities Tools, Materials and Equipment Safety Precautions..................................................6 Resource Materials Kiln Firing and Table-Top Units Expenses Metal Cutting and Cleaning Planning Application of Enamel Colors Youth Leaders Other Cautions Project Meeting: Checklist ......................................3 Metal Art and Jewery Terms ...................................7 Purposes of 4-H Arts and Crafts ...........................................8 Components of Good Metal Enameling Futher Leader Training Sources of Supplies How to Start Working Prepare a Project Plan Bibiography ............................................................8 Evaluation of Projects Kiln Prearation and Maintenance ...........................6 WISCONSIN 4-H Pub. No. CIR009, Pg. Welcome! Be sure all youth are familiar with 4H158, Metal Enameling As a leader in the 4-H Metal Enameling Project, you only Member Guide. The guide suggests some tools (soldering need an interest in young people and metal enameling to be irons and propane torches), materials and methods which are successful. more appropriate for older youth and more suitable for larger facilities (school art room or spacious county center), rather To get started, contact your county University of Wisconsin- than your kitchen or basement. Rearrange these recommen- Extension office for the 4-H leadership booklets 4H350, dations to best suit the ages and abilities of your group’s Getting Started in 4-H Leadership, and 4H500, I’m a 4-H membership and your own comfort level as helper. Project Leader. Now What Do I Do? (also available on the Wisconsin 4-H Web Site at http://www.uwex.edu/ces/4h/ As in any art project, a generous supply of tools and pubs/index.html). -
Studio Member Magazine of the PMC Guild PMC
Studio Member Magazine of the PMC Guild PMC Summer 2005 · Volume 8, Number 2 Studio Summer 2005 · Volume 8, Number 2 Member Magazine of the PMC Guild PMC On the Cover: Gang blade from PMC Tool and Supply/Darway features Design Studio, leaf cutters and rolling tool from Celie Fago, and tool kit from New Mexico Clay. Background image is Elaine Luther working on her butterfly pendant... see page 7 4 Word Art Studio PMC This beginner's project by Debbie Fehrenbach using rubber stamps is PMC Guild ideal for teaching the technique. P.O. Box 265, Mansfield, MA 02048 www.PMCguild.com 6 Butterfly Inlay Pendant Volume 8, Number 2 • Summer 2005 Editor—Suzanne Wade Elaine Luther demonstrates the use of some of her favorite tools Technical Editor—Tim McCreight in this pendant project. Art Director—Jonah Spivak Advertising Manager—Bill Spilman Studio PMC is published by the PMC Guild Inc. 10 The Tool Trade • How to SUBMIT WORK to Studio PMC… For some PMC artists, developing and selling tools has become We welcome your PMC photos, articles and ideas. You may submit by mail or electronically. Please include your name, address, e-mail, a welcome addition to their PMC careers. phone, plus a full description of your PMC piece and a brief bio. Slides are preferred, but color prints and digital images are OK. By Mail: Mail articles and photos to: Studio PMC, 11 Tools, Tools, Tools P.O. Box 265, Mansfield, MA 02048. Electronically: E-mail articles in the body of the e-mail, or as Studio PMC's First Tool Buyers' Guide! A treasure trove of tools attachments. -
Evaluation of Brilliance, Fire, and Scintillation in Round Brilliant
Optical Engineering 46͑9͒, 093604 ͑September 2007͒ Evaluation of brilliance, fire, and scintillation in round brilliant gemstones Jose Sasian, FELLOW SPIE Abstract. We discuss several illumination effects in gemstones and University of Arizona present maps to evaluate them. The matrices and tilt views of these College of Optical Sciences maps permit one to find the stones that perform best in terms of illumi- 1630 East University Boulevard nation properties. By using the concepts of the main cutter’s line, and the Tucson, Arizona 85721 anti-cutter’s line, the problem of finding the best stones is reduced by E-mail: [email protected] one dimension in the cutter’s space. For the first time it is clearly shown why the Tolkowsky cut, and other cuts adjacent to it along the main cutter’s line, is one of the best round brilliant cuts. The maps we intro- Jason Quick duce are a valuable educational tool, provide a basis for gemstone grad- Jacob Sheffield ing, and are useful in the jewelry industry to assess gemstone American Gem Society Laboratories performance. © 2007 Society of Photo-Optical Instrumentation Engineers. 8917 West Sahara Avenue ͓DOI: 10.1117/1.2769018͔ Las Vegas, Nevada 89117 Subject terms: gemstone evaluation; gemstone grading; gemstone brilliance; gemstone fire; gemstone scintillation; gemstone cuts; round brilliant; gemstones; diamond cuts; diamonds. James Caudill American Gem Society Advanced Instruments Paper 060668R received Aug. 28, 2006; revised manuscript received Feb. 16, 8881 West Sahara Avenue 2007; accepted for publication Apr. 10, 2007; published online Oct. 1, 2007. Las Vegas, Nevada 89117 Peter Yantzer American Gem Society Laboratories 8917 West Sahara Avenue Las Vegas, Nevada 89117 1 Introduction are refracted out of the stone. -
JMD How to Enamel Jewelry
PRESENTS How to Enamel Jewelry: Expert Enameling Tips, Tools, and Techniques Jewelry Making Daily presents How to Enamel Jewelry: Expert Enameling Tips, Tools, and Techniques 7 3 21 ENAMELING TIPS BY HELEN I. DRIGGS 12 10 TORCH FIRED ENAMEL ENAMELING MEDALLION NECKLACE BY HELEN I. DRIGGS BY HELEN I. DRIGGS ENAMELED FILIGREE BEADS BY PAM EAST I LOVE COLOR! In jewelry making, enamel is one of the most In “Enameled Filigree Beads,” Pam East walks you through a versatile sources of pure, luscious color – powdered glass you simple technique of torch firing enamel onto a premade bead can apply with great precision onto silver, gold, copper, and using a handheld butane torch instead of an enameling kiln. other jewelry metals. With enamels, you can paint with a broad The enamel adds color to the bead, while the silver filigree brush or add minute and elaborate detail to pendants, brace- creates the look of delicate cells like those in cloisonné enamel lets, earrings, and more. You can work in rich, saturated tones work. And in “Torch Fired Enamel Medallion Necklace,” Helen or in the subtlest of pastels. You can create a world of sharp Driggs shows you how to create your own torch fired enamel contrast in black and white or one entirely of shades of gray. “cabochons,” how to tab set those cabs, and how to stamp You can even mimic the colors of the finest gemstones, but you and patinate the surrounding metalwork, which you can put can also produce hues and patterns you’d never find among the together using the chain of your choice. -
Gems'll Quick
c -/9 ARIZONA DEPARTMENT OF MINERAL RESOURCES MINERAL BUILDING, FAIRGROUNDS Phoenix, Arizona 85007 September 6, 1977 BOOK LIST 11 For the beginner, ~ For general information, d/ For the student 11 Advanced text, ~ Technical specialized text Books for the Mineral Collector Author Publisher *Field Guide to Rocks and Minerals d/ Pough Houghton Miffin Mineral Recognition J/ Vanders & Kerr John Wiley Prospecting for Gemstones and Minerals d/ Sinkankas Von Nostrand *A Textbook of Mineralogy 11 Dana John Wiley *The Mineral Kingdom ~ Desautels Grosset & Dunlap *Minerals and Man ~ Hurlbut Random House *Glossary of Mineral Species 11 Michael Fleischer Mineralogical Record, Inc. *Rocks and Minerals 11 Joel Arem Ridge Press, Inc . *Encyclopedia of Minerals ~ Roberts, Rapp Von Nostrand and Weber *Mineralogy of Arizona J/ Anthony-Williams University of, Bideaux Arizona Press Books on Geology Stories Read from Rocks 11 Parker Row Peterson The Earth's Changing Surface 11 Parker Row Peterson Rocks, Rivers & the Changing Earth ~ Schneider W. R. Scott Anatomy of the Earth ~ Cailleux McGraw-Hill Structural Geology 11 De Sitter McGraw-Hill Physical Geology 11 Longwell, et al John Wiley Elements of Geology 11 Zumberge John Wiley *Minerals and Rocks 11 Kirkaldy Hippocrene Books Books on Gems and Gem Cutting Practical Gemmology J/ Webster Wehman Brothers The Story of the Gems 'll Whitlock Emerson The Book of Agates and Other Quartz Gems'll Quick Chi lton Gemstones of North America 11 Si nkankas Von Nostrand Von Nostrand's Standard Catalog of Gems 11 Sinkankas -
The Cultural Significance of Precious Stones in Early Modern England
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, & Student Research, Department of History History, Department of 6-2011 The Cultural Significance of Precious Stones in Early Modern England Cassandra Auble University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/historydiss Part of the Cultural History Commons, European History Commons, and the History of Gender Commons Auble, Cassandra, "The Cultural Significance of Precious Stones in Early Modern England" (2011). Dissertations, Theses, & Student Research, Department of History. 39. https://digitalcommons.unl.edu/historydiss/39 This Article is brought to you for free and open access by the History, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, & Student Research, Department of History by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE CULTURAL SIGNIFICANCE OF PRECIOUS STONES IN EARLY MODERN ENGLAND by Cassandra J. Auble A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: History Under the Supervision of Professor Carole Levin Lincoln, Nebraska June, 2011 THE CULTURAL SIGNIFICANCE OF PRECIOUS STONES IN EARLY MODERN ENGLAND Cassandra J. Auble, M.A. University of Nebraska, 2011 Adviser: Carole Levin Sixteenth and seventeenth century sources reveal that precious stones served a number of important functions in Elizabethan and early Stuart society. The beauty and rarity of certain precious stones made them ideal additions to fashion and dress of the day. These stones also served political purposes when flaunted as examples of a country‘s wealth, bestowed as favors, or even worn as a show of royal support. -
Carat Weight It's the Old Quandary. Is Bigger Better? Size Is Sought After, Naturally; but Overall Quality Counts in the Stretch
Carat Weight It's the old quandary. Is bigger better? Size is sought after, naturally; but overall quality counts in the stretch. This balance of size and quality makes up much of the art of a professional gem cutter. It is the cutter's job to produce a gorgeous diamond while giving the consumer the highest CARATAGE for his or her money. Caratage means CARAT, the measurement used to weigh a diamond. The word carat is taken from the perfectly matched carob seeds that people once used in ancient times to balance scales. So uniform in shape and weight are these little seeds that even today's sophisticated instruments cannot detect more than three one-thousandths of a difference between them. Don't confuse it with KARAT, the method of determining the purity of gold. What's The Point? One Carat= 200 milligrams, or 0.2 grams. 142 carats adds up to one ounce. Carats are further divided into points. Carat Weight point system What does all this mean, and how does it work? The price of a diamond will always rise proportionately to the size of the stone. Larger diamond crystals are more rare and have a greater value per carat. So, a one carat diamond of a given color and clarity will be much more valuable than 2 one half carat diamonds of equal quality. Cut As the single human contribution to a polished diamond's beauty, cut is perhaps the most important, yet most over-looked, of the Four Cs of diamond quality. How does cut affect a diamond's value and beauty? A good cut gives a diamond its brilliance, its dispersion, its scintillation-in short, its life. -
JD: Jewelry Design
JD: Jewelry Design JD 101 — Introduction to Jewelry JD 115 — Metal Forming Techniques: Fabrication Chasing and Repousse 2 credits; 1 lecture and 2 lab hours 1.5 credits; 3 lab hours Basic processes used in the design and Introduces students to jewelry-forming creation of jewelry. Students fabricate their techniques by making their own dapping own designs in the studio. and chasing tools by means of forging, JD 102 — Enameling Techniques for annealing, and tempering. Using these Precious Metals/Fine Jewelry/Objects tools, objects are created by repousse and D'Art other methods. 2 credits; 1 lecture and 2 lab hours Prerequisite(s): all first-semester Jewelry Vitreous enameling on precious metals. Design courses or approval of chairperson Studies include an emphasis on the "Co-requisite(s): JD 116, JD 122, JD metallurgical properties of gold, silver, and 134, JD 171, and JD 173 or approval of platinum and their chemical compatibility chairperson. with enamels. Surface treatments, ancient JD 117 — Enameling for Contemporary and modern, that intensify the jewel- Jewelry like qualities of vitreous enamel on 2 credits; 1 lecture and 2 lab hours precious metal will be explored. along with Vitreous enamel has been used for construction techniques that help students centuries as a means of adding color transform glass into beautiful, functional and richness to precious objects and jewelry and objects of art. jewelry. This course examines historical Prerequisite(s): JD 101. and contemporary uses of enamel, and JD 103 — Jewelry and Accessories explores the various methods of its Fabrication (Interdisciplinary) application, including cloisonne, limoges 2 credits; 1 lecture and 2 lab hours and champleve, the use of silver and gold This is an interdisciplinary course cross- foils, oxidation, surface finishing and setting listed with LD 103.