DOCSLIB.ORG

JD: Jewelry Design

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. This interdisciplinary techniques. course challenges students to combine Prerequisite(s): JD 101. jewelry and accessories aesthetics, JD 121 — Wax Carving materials and problem solving methodology 1 credit; 2 lab hours to create a unique three-piece collection that Wax carving of designs suitable for jewelry, may include but not limited to sandals, hats, stressing illusion and perspective, needed handbags and belts. for both brooches and rings. Emphasis JD 113 — Beginning Soldering Techniques is on preparing a design and model for 1.5 credits; 3 lab hours production. Introduces precision techniques in JD 122 — Jewelry Casting soldering and shaping jewelry. Emphasis 2 credits; 1 lecture and 2 lab hours is on exact measurements, and control of Using designs developed in JD 121, jewelry tools and soldering torches. students cast, learning the chemistry JD 114 — Piercing and Sawing of alloying metals and the principles in Techniques all casting methods. Experience also is 1.5 credits; 3 lab hours acquired in mold-making, spruing, and Proper use of the jeweler's saw is investing. emphasized and the eye is trained to Prerequisite(s): JD 121. understand the balance between positive and negative spaces. Students pierce and saw an intricate design in flat sheet stock. Co-requisite(s): JD 113, JD 121, JD 131, JD 133, and JD 172 or approval of chairperson. JD: Jewelry Design 1 JD 123 — Wearable Art (Interdisciplinary) JD 139 — Jewelry Design & Ideations I 2 credits; 4 lab hours 2.5 credits; 5 lab hours This is an interdisciplinary course cross- This course is an introduction to jewelry listed with FA 123. In this team-taught design concepts and ideation, using analog course, students explore the intermingling and computer-aided design. Basic design of sculpture and jewelry. Students connect, principles, drawing skills and mechanical interpret and combine traditional fine arts drafting are covered. and jewelry-making processes to create Corequisite(s): JD 174, or approval of chair. wearable art. JD 141 — Introduction to Diamonds JD 131 — Mechanical Drafting for 2 credits; 1 lecture and 2 lab hours Jewelers This introductory course provides an 1.5 credits; 3 lab hours overview to diamonds, how crystals Designed to teach students the form, the physical and optical properties fundamentals of mechanical and plan of diamonds, and mining techniques drawing as it applies to materials, throughout history from ancient times to mechanisms, concepts, and designs used in the present day. Other topics include a jewelry. review of mining locations and techniques, Co-requisite(s): JD 113, JD 114, JD 121, JD and the cultural, environmental, financial, 133, and JD 172 or approval of chairperson. and global economic impact of diamonds. JD 133 — Introduction to Jewelry Design JD 142 — Gemology and Gem 1.5 credits; 3 lab hours Identification Emphasis is on developing creative ability. 3 credits; 1 lecture and 5 lab hours A visual sensitivity is developed through This course introduces students to museum trips, nature studies, field trips, gemology and gem identification, with etc. Suitable rendering techniques, painting, an emphasis on their use in commercial and perspective requirements are covered. production and price structure. The uses of Co-requisite(s): JD 113, JD 114, JD 121, JD various gem testing equipment is covered. 131, and JD 172 or approval of chairperson. Students gain basic knowledge of the JD 134 — Jewelry Design II commonly used gem materials and the 1.5 credits; 3 lab hours ways in which they are used in jewelry. Advanced illustrative techniques in jewelry JD 148 — The Science of Jewelry design. An elementary knowledge of stones, (Interdisciplinary) both precious and semi-precious, is given 3 credits; 2 lecture and 2 lab hours for incorporating in design. Assigned This is an interdisciplinary course cross- projects focus on industry requirements. listed with with SC 148. This course gives Prerequisite(s): all first-semester Jewelry students an understanding of the scientific Design courses "Co-requisite(s): JD 115, properties and geologic origins of materials JD 116, JD 122, JD 171, and JD 173 or used in the manufacture of jewelry, current approval of chairperson. issues in ethical and sustainable sourcing JD 138 — Introduction to CAD Modeling of these materials, and economics of the for Designers precious metals past and present. Gen Ed: 2 credits; 1 lecture and 2 lab hours Natural Science (G3). Using current hard-surface modeling JD 161 — Changes, Trends & Appraisals software, students will make 2D drawings 2 credits; 1 lecture and 2 lab hours and model 3D parts, beginning with general Students study the symbolic meaning exercises and leading to projects specific and economic rationale for jewelry in to their fields of study. Students will learn society, and are introduced to the science to develop basic designs and to explore of appraising jewelry. They learn stylistic their personal approach to the media. differences, and the causes and factors Fluency in basic computer skills is strongly behind them, and how styles are influenced recommended. by social and political events. 2 JD: Jewelry Design JD 171 — Materials and Properties JD 200 — Experimental Techniques with 2 credits; 2 lecture hours Japanese Metal Alloys Students learn basic chemistry and physics 2 credits; 4 lab hours as they pertain to materials used in jewelry. This course introduces students to Emphasis is on how chemicals and acids experimental techniques in metalworking used in the industry, and the chemical such as special Japanese copper alloys: composition of various stones, affect Shakudo, Shibuichi and Rosushou colorings production. and patinations. Alloying metal and JD 172 — Tools, Equipment, and patination is explored and used as aesthetic Processes enhancements for art jewelry. 1 credit; 1 lecture hour Prerequisite(s): JD 101 or JD 174. Study of the tools, equipment, and supplies JD 201 — Mineral Identification and used in the jewelry industry. Discusses Lapidary quality, function, and care of equipment, 2 credits; 1 lecture and 2 lab hours including sources and pricing. Using appropriate tools and instruments, Co-requisite(s): JD 113, JD 114, JD 121, JD students learn how to identify a variety of 131, and JD 133 or approval of chairperson. semiprecious materials and their specific JD 173 — Materials and Findings for the properties. Emphasizes applications of Jewelry Industry these materials for the decorative arts. 1 credit; 1 lecture hour JD 202 — Enameling for Contemporary Studies buying procedures, sources, Jewelry II and up-to-date technology in the jewelry 2 credits; 1 lecture and 2 lab hours industry. Discusses precious and Presents additional contemporary nonprecious materials as well as sizes, techiques, including the use of liquid nomenclature, and methods used in jewelry enamels, application of decals, and the manufacturing. use of lusters with enamel. Covers the Prerequisite(s): all first-semester Jewelry challenging technique of plique a jour. Design courses "Co-requisite(s): JD 115, Students design their own projects, JD 116, JD 122, JD 134, and JD 171 or experiment with techniques, and further approval of chairperson. augment their skills while developing an JD 174 — Studio Fabrications I individual aesthetic. 2.5 credits; 5 lab hours Prerequisite(s): JD 101 or JD 174 or JD This course introduces students to the 117. foundation techniques of manufacturing JD 203 — Introduction to Stone Setting jewelry while addressing safety issues in the 2 credits; 1 lecture and 2 lab hours studio. Processes covered include, but are This course introduces the art and craft not limited to, soldering with the oxygen/ of stone setting, focusing on both the gas torch and the use of hand and small technical and historic. Student projects machine tools to create jewelry in metal and are engineered to expose, educate and carving wax models to be cast. encourage analysis and understanding of JD 181 — Basic Principles of Appraising the physical parameters needed to securely Jewelry hold stones and other applicable materials 2 credits; 1 lecture and 2 lab hours for presentation in the fine jewelry and Establishes methods and values in the accessories. appraisal of jewelry and precious and Prerequisite(s): JD 101 or JD 174.
Recommended publications
  • Repoussé Work for Amateurs

    Repoussé Work for Amateurs

    rf Bi oN? ^ ^ iTION av op OCT i 3 f943 2 MAY 8 1933 DEC 3 1938 MAY 6 id i 28 dec j o m? Digitized by the Internet Archive in 2011 with funding from Boston Public Library http://www.archive.org/details/repoussworkforamOOhasl GROUP OF LEAVES. Repousse Work for Amateurs. : REPOUSSE WORK FOR AMATEURS: BEING THE ART OF ORNAMENTING THIN METAL WITH RAISED FIGURES. tfjLd*- 6 By L. L. HASLOPE. ILLUSTRATED. LONDON L. UPCOTT GILL, 170, STRAND, W.C, 1887. PRINTED BY A. BRADLEY, 170, STRAND, LONDON. 3W PREFACE. " JjJjtfN these days, when of making books there is no end," ^*^ and every description of work, whether professional or amateur, has a literature of its own, it is strange that scarcely anything should have been written on the fascinating arts of Chasing and Repousse Work. It is true that a few articles have appeared in various periodicals on the subject, but with scarcely an exception they treated only of Working on Wood, and the directions given were generally crude and imperfect. This is the more surprising when we consider how fashionable Repousse Work has become of late years, both here and in America; indeed, in the latter country, "Do you pound brass ? " is said to be a very common question. I have written the following pages in the hope that they might, in some measure, supply a want, and prove of service to my brother amateurs. It has been hinted to me that some of my chapters are rather "advanced;" in other words, that I have gone farther than amateurs are likely to follow me.
  • Download Course Outline for This Program

    Download Course Outline for This Program

    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

    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
  • Compilation of Reported Sapphire Occurrences in Montana

    Compilation of Reported Sapphire Occurrences in Montana

    Report of Investigation 23 Compilation of Reported Sapphire Occurrences in Montana Richard B. Berg 2015 Cover photo by Richard Berg. Sapphires (very pale green and colorless) concentrated by panning. The small red grains are garnets, commonly found with sapphires in western Montana, and the black sand is mainly magnetite. Compilation of Reported Sapphire Occurrences, RI 23 Compilation of Reported Sapphire Occurrences in Montana Richard B. Berg Montana Bureau of Mines and Geology MBMG Report of Investigation 23 2015 i Compilation of Reported Sapphire Occurrences, RI 23 TABLE OF CONTENTS Introduction ............................................................................................................................1 Descriptions of Occurrences ..................................................................................................7 Selected Bibliography of Articles on Montana Sapphires ................................................... 75 General Montana ............................................................................................................75 Yogo ................................................................................................................................ 75 Southwestern Montana Alluvial Deposits........................................................................ 76 Specifi cally Rock Creek sapphire district ........................................................................ 76 Specifi cally Dry Cottonwood Creek deposit and the Butte area ....................................
  • Not for Publication United States Court of Appeals

    Not for Publication United States Court of Appeals

    NOT FOR PUBLICATION FILED DEC 20 2018 UNITED STATES COURT OF APPEALS MOLLY C. DWYER, CLERK FOR THE NINTH CIRCUIT U.S. COURT OF APPEALS CYNTHIA CARDARELLI PAINTER, No. 17-55901 individually and on behalf of other members of the general public similarly situated, D.C. No. 2:17-cv-02235-SVW-AJW Plaintiff-Appellant, v. MEMORANDUM* BLUE DIAMOND GROWERS, a California corporation and DOES, 1-100, inclusive, Defendants-Appellees. Appeal from the United States District Court for the Central District of California Stephen V. Wilson, District Judge, Presiding Argued and Submitted December 3, 2018 Pasadena, California Before: D.W. NELSON and WARDLAW, Circuit Judges, and PRATT,** District Judge. * This disposition is not appropriate for publication and is not precedent except as provided by Ninth Circuit Rule 36-3. ** The Honorable Robert W. Pratt, United States District Judge for the Southern District of Iowa, sitting by designation. Cynthia Painter appeals the district court’s order dismissing her complaint with prejudice on grounds of preemption and failure to state a claim pursuant to Federal Rule of Civil Procedure 12(b)(6). On behalf of a putative class, Painter claims that Blue Diamond Growers (“Blue Diamond”) mislabeled its almond beverages as “almond milk” when they should be labeled “imitation milk” because they substitute for and resemble dairy milk but are nutritionally inferior to it. See 21 C.F.R. § 101.3(e)(1). We have jurisdiction under 28 U.S.C. § 1291 and review the district court’s dismissal de novo. Durnford v. MusclePharm Corp., 907 F.3d 595, 601 (9th Cir.
  • Testing Gold Platinum Silver.Qxp

    Testing Gold Platinum Silver.Qxp

    PROCEDURES FOR TESTING GOLD, PLATINUM AND SILVER To test for the karat value of gold, platinum and silver, you will need the following materials and tools: • Black acid testing stone that is washed thoroughly with water prior to each test. • Acids. • Gold testing needles with gold tips - used for comparison with test pieces. Testing for 10K, 12K, 14K Scratch the gold piece to be tested on the stone. Next to this position, scratch the appropriate needle (10, 12 or 14K). Place a drop of the appropriate acid on the stone where the gold was rubbed off. If the gold is the same karat or higher, the color of the scratch mark for the gold piece will appear the same as the mark from the needle. If that gold piece is a lower karat, the scratched deposit will become fainter and eventually disappear. Testing for 18K Scratch the test piece on the stone and apply 18K acid. Any gold that is less than 18K will disappear in less than 30 seconds. Gold that remains on the stone is 18K or higher. Testing for 20K and 24K Scratch the gold piece on the stone. Next, scratch any item of know karat (coin or needle) on the stone. Apply one drop of acid to area. The material that starts to disappear has the lower karat. Testing for Platinum Scratch the test item on the stone and apply one drop of acid to the application on the stone. If the material is platinum, it should keep its white, bright color. White Gold The same procedure for platinum can be used for 18K white gold.
  • Neycraft Centrifugal Casting Machine to Be Free from Defects in Material and Workmanship for a Period of Two Years from the Date of Sale

    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.
  • The Platinum/Palladium Process

    The Platinum/Palladium Process

    9 The Platinum/Palladium Process OVERVIEW AND EXPECTATIONS In the majority of the classes and workshops that I’ve taught over the years, “the platinum/palladium process” is the answer that surfaces first when I ask the question, “What process do you want to learn the most?” In this chapter you will learn how, and, as in previous chapters, I begin with a little history. Then you will learn the chemistry and sequence of the various stages to a finished print. This chapter gives you alternatives to traditional platinum/palladium chemistry and provides you with a simple sensitizer “drop chart” that is based on the type of negative you are working with, rather than the print you would like to make. I also provide the beginnings of a trouble-shooting list to assist in hunting down problems that may be showing up in your work. Finally, you’ll get some brief alternative ideas for combining platinum/palladium with other techniques such as Van Dyke and gum bichromate. A LITTLE HISTORY Like most refined non-silver and alternative photographic processes, the art of platinum/palladium printing was developed in pieces over time by a number of dedicated artists and scientists. In 1830, Ferdinand Gehlen recorded the action and effects of light on platinum chloride, noting that UV light would alter the color of platinum salts and cause the ferric salts to precipitate out into a ferrous state. At around the same time, Johann Wolfgang Dobereiner (1780–1849) observed the decomposition of ferric oxalate on exposure to UV light and scientifically defined its sensitivity.
  • METAL ENAMELING Leader Guide Pub

    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).
  • Black Diamond Pegmatite Custer County, South Dakota

    Black Diamond Pegmatite Custer County, South Dakota

    Diamond-drilling Exploration of the Beecher No. 3- Black Diamond Pegmatite Custer County, South Dakota GEOLOGICAL SURVEY BULLETIN 1162-E Diamond-drilling Exploration of the Beecher No. 3- Black Diamond Pegmatite Custer County, South Dakota By J. A. REDDEN CONTRIBUTIONS TO ECONOMIC GEOLOGY GEOLOGICAL SURVEY BULLETIN 1162-E UNITED STATES GOVERNMENT PRINTING OFFICE, WASHINGTON : 1963 UNITED STATES DEPARTMENT OF THE INTERIOR STEWART L. UDALL, Secretary GEOLOGICAL SURVEY Thomas B. Nolan, Director For sale by the Superintendent of Documents, U.S. Government Printing Office Washington 25, D.C. CONTENTS Page Abstract___________._______________________.__ El Introduction.___________________________________ ________ 1 Description of pegmatite units_____________________ _____.-__ 2 Structural geology_________________________________________________ 9 Economic appraisal of the exploration____________________________ 10 References. ___ __________________________ 11 ILLUSTRATION Page PLATE 1. Outline map and sections, Beecher No. 3-Black Diamond peg- matite______________________________________ In pocket TABLE Page TABLE 1. Diamond-drill logs, Black Diamond pegmatite.____________ E3 m CONTRIBUTIONS TO ECONOMIC GEOLOGY DIAMOND-DRILLING EXPLORATION OF THE BEECHER NO. 3-BLACK DIAMOND PEGMATITE, CUSTER COUNTY, SOUTH DAKOTA By J. A. REDDEN ABSTRACT Diamond-drilling at the Beecher No. 3-Black Diamond pegmatite, Ouster County, S. Dak., has provided information that modifies and supplements findings reported previously (Redden, 1959). Two zones not exposed at the surface were found during the drilling: a quartz-albite-perthite-muscovite-pegmatite zone and a quartz-albite-perthite-spodumene pegmatite zone. Previous concepts of the structure near the surface require no significant change, but the new data make possible a greatly improved interpretation of the structure at depth. The most notable change is the recognition of a narrow constriction in the pegmatite at a depth of 60 to 100 feet.
  • Studio Member Magazine of the PMC Guild PMC

    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.
  • Advertising Platinum Jewelry

    Advertising Platinum Jewelry

    FTC FACTS for Business Advertising Platinum Jewelry ftc.gov The Federal Trade Commission’s (FTC’s) Jewelry Guides describe how to accurately mark and advertise the platinum content of the jewelry you market or sell. Platinum jewelry can be alloyed with other metals: either precious platinum group metals (PGMs) — iridium, palladium, ruthenium, rhodium, and osmium — or non-precious base metals like copper and cobalt. In recent years, manufacturers have alloyed some platinum jewelry with a larger percentage of base metals. Recent revisions to the FTC’s Jewelry Guides address the marking of jewelry made of platinum and non-precious metal alloys and when disclosures are appropriate. When Disclosures Should Be Made Product descriptions should not be misleading, and they should disclose material information to jewelry buyers. If the platinum/base metal-alloyed item you are selling does not have the properties of products that are almost pure platinum or have a very high percentage of platinum, you should disclose that to prospective buyers. They may want to know about the value of the product as well as its durability, luster, density, scratch resistance, tarnish resistance, its ability to be resized or repaired, how well it retains precious metal over time, and whether it’s hypoallergenic. You may claim your product has these properties only if you have competent and reliable scientific evidence that your product — that has been alloyed with 15 to 50 percent non-precious or base metals — doesn’t differ in a material way from a product that is 85 percent or more pure platinum. Facts for Business Terms Used in Advertising • Jewelry that has 850 parts per thousand pure platinum — meaning that it is 85 percent pure • Any item that is less than 500 parts per platinum and 15 percent other metals — may be thousand pure platinum should not be marked referred to as “traditional platinum.” The other or described as platinum even if you modify the metals can include either PGMs or non-precious term by adding the piece’s platinum content in base metals.