Monday, May 19, 2008

Gold Jewelry Care Tips

Gold jewelry is beautiful and popular. Gold comes in many styles and colors, but all gold jewelry will benefit from some tender, loving care!

Care Tips for All Gold Jewelry
  • Don't wear your gold jewelry while bathing or cleaning. Soap won't harm gold, but it will leave a filmy residue that will coat karat gold jewelry, causing it to appear less lustrous and dingy. If you prevent the film from forming, it will be easier to keep your jewelry beautiful and will reduce cleaning time and effort.


  • Avoid chlorine! Don't wear gold jewelry in the pool or hot tub or when using chlorine bleach or cleaners. Chlorine reacts with gold, particularly at high temperatures. Exposure to chlorine can permanently damage and discolor your gold jewelry.


  • Use a chamois cloth to clean gold jewelry. A chamois cloth is a gentle, safe material for returning the luster to your jewelry.


  • Avoid storing or otherwise exposing gold jewelry to hard, abrasive materials. Gold is a very soft metal, easily scratched even by rubbing against other jewelry.
Special Cleaning Tips for Gold Jewelry - Without Gemstones

If your gold jewelry has gemstones, consult a jeweler for cleaning recommendations. Gemstones have special care requirements. The stones or settings may be damaged by the cleaning methods listed below.
  • Tarnish can be removed with a commercial jewelry cleaner or with soap and water with a few drops of ammonia. Brush the cleaning solution into the gold with a small brush (a toothbrush works well). After you have finished cleaning, simply rinse the gold with lukewarm water and allow it to dry.


  • Grease can be removed from gold by dipping it into ordinary rubbing alcohol.


  • Ultrasonic cleaners may be appropriate for some gold jewelry. Ask a jeweler to advise you before using this method, since certain pieces can be damaged by this cleaning method.

Saturday, May 17, 2008

Gemstone Treatments & Enhancements

What is a Gemstone Treatment or Enhancement?

A gemstone treatment or enhancement refers to the method used to alter a gemstone, permanently or temporarily, to improve to improve its durability or appearance. Here is a list of treatment names and symbols used by the American Gem Trade Association (AGTA). A reputable seller will always disclose the method of enhancement, if known. Be aware that failure to identify known enhancement of gemstones is an unfair trade practice. The Federal Trade Commission also requires sellers (including jewelry stores) to disclose whether or not a stone is man-made or synthetic. Many stores engage in a sort of don't-ask-don't-tell scenario, where they buy gems without asking about enhancements. Sometimes gems are purposely misrepresented. Also, sometimes treatments of imported gems or older gems are unknown. Enhancements may affect the value of certain stones, so use this information as a guide when asking questions about gems.


Assembled
ASBL
Assembled items are made of multiple layers of materials or combinations of manufactured and/or natural materials. Examples include opal triplets and mosaics.

Bleached
B
Bleaching is the use of chemical agents to lighten or to remove a gemstone’s color. Be aware that many pearls and mother-of-pearl are placed in sunlight for extended periods of time to lighten their color. This non-chemical form of bleaching still affects the durability of a pearl's nacre. Bleaching is a permanent treatment.

Coated
C
Coating is a surface enhancement applied to improve a gem's appearance, provide color, or contribute other special effects.

Dyed
D
Dyeing is the application of coloring matter into a gemstone to give it a new color, intensify its present color, or improve its color uniformity. Dyes and natural gemstone colors may both be adversely affected by prolonged exposure to sunlight or fluoresent light.

Enhanced
E
The 'enhancement' code indicates that the type of gemstone is routinely enhanced. Many enhancements are difficult or impractical to prove, so a supplier may simply assume that such enhancement has been done to the particular gemstone material being described. If the specific type of enhancement is known, its enhancement symbol will be stated.

Filled
F
Filled gems are characterized by the presence of solidified borax or other colorless substance produced as a by-product of heat enhancement. The results are visible under properly illuminated 10x magnification.

Gamma or Electron Irradiated
G
Gamma and/or electron bombardment may be used to alter a gemstone’s color. Gamma or electron irradiation may be followed by a heating process.

Heated
H
Heat may be used to alter color, clarity, and/or other gem aspects. This is a gemstone treatment that has been used for centuries, possibly dating back to the Roman Empire. The results of heating are permanent under normal conditions. Usually, heating is not detectable. Unheated rubies and sapphires may contain microscopic rutile needles or tiny gas bubbles in pockets of liquid that can be used to determine that these stones have not been heated. If these gems are the finest color, they will command premium prices. Unless explicitly stated otherwise, assume the following gems are heated: rubies, sapphires, tanzanite, citrine, pink topaz, aquamarine, blue zircon, and colorless zircon.

Infilling
I
Infilling is the intentional filling of cavities or fractures with glass, plastic, opticon with hardeners, and/or hardened foreign substances. Infilling is performed to improve durability and/or appearance of a gem and/or add weight.

Imitation
IMIT
Imitation gems are man-made products, fabricated using materials such as glass, ceramics, and/or plastics. Imitation gems resemble the appearance of a natural gemstone, but not duplicate its characteristic properties.

Lasering
L
Lasering is the use of lasers and chemicals to reach and alter inclusions in gemstones, most notable diamonds. Lasering results in a visible trail that can be detected by a trained professional.

Natural
N
Natural stones are gems which are not known to be enhanced.

Oiled or Resin Infused
O
Oiling or resin infusion is the intentional filling of surface-breaking cavities of a colorless oil, wax, natural resin, or unhardened man-made material into fissured transparent/translucent gemstones. Oiling is performed to improve a gem's appearance (e.g., as for emeralds). Although unoiled emeralds can be found, they are unusual and neither more nor less valuable than oiled gems. When rough emerald is mined it is often placed into oil. When emeralds are cut, oil is used as a lubricant.

Irradiated
R
Irradiation refers to the use of neutrons with the combination of any other bombardment and/or heat treatment to alter a gem’s color.

Stabilized or Bonded
S
Bonding or stabilization is use of a colorless bonding agent, such as plastic, with a porous gemstone. The procedure is intended to enhance durability and/or appearance.

Synthetic
SYN
Synthetic gems are man-made materials which have essentially the same optical, physical, and chemical properties as the natural counterpart.

Diffusion
U
Diffusion is the use of chemicals in conjunction with high temperatures to produce color and/or asterism (star-like inclusions). Diffusion is not a generally accepted gemstone treatment, since only a slight layer is actually treated. Therefore, if the surface is chipped or abraded, it cannot be repolished without removing the effect.

Waxed or Oiled
W
Waxing or oiling is the impregnation of a colorless wax, paraffin, and/or oil in porous opaque gemstones to improve their appearance.

Chinese Dragon - Free Beading Pattern


This pattern for the loom or square stitch makes a 200x150 (30,000) bead panel, which could be used for a purse or a wall hanging. To use the pattern, right-click on the image and save or print the pattern, enlarged (200% or 400%) so that you can see the invidivual pixels (beads). I didn't list bead colors because the beads you use are going to be determined by what you have on hand. You'll want to condense the colors, I'm sure. I recommend using primarily opaque beads for this project. If you bead it, by all means please send me a photo of your finished project. It's my favorite Chinese or Eastern dragon, but I never seem to have a few shades of pink and several of pale aqua needed to complete it. The original dragon was a jpg file someone sent me that I played with in an image processor. If you recognize this dragon (it's changed quite a lot, but still...), please send me information about its origin. I'd very much like to credit the artist. Enjoy!
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Hugs & Kisses Beaded Ring - Free Beading Pattern



This beaded ring is made with two sizes of beads and either wire or stringing material. The design works up more quickly and is more uniform if you use two needles (or wires), but it can be accomplished using single needle right angle weave, if desired. You can vary types and numbers of beads, colors, and embellishments to make many different-looking rings based on the same design.


Skill Level
Suitable for beginners. More experienced jewelry makers may enjoy playing with color and embellishments.

Time Required
Approximately 30 minutes.

Materials
Size 11 Seed Beads: I used Matsuno for the red/gold ring and Delicas for the hematite ring

4-mm Czech Firepolish Beads: Try rounds or other sizes too
Stringing Material: I used 10# PowerPro, but other threads or wire work

Ring Mandrel (Optional): Use to make rings of specific sizes

Wire Cutters or Thread Nippers: Try kiddie Fiskars for PowerPro

Cut about a half meter (1-1/2 feet) of stringing material or wire. It's more than you will need, but it's good to have extra length so you can keep a tight working tension. I recommend #8 or #10 PowerPro, since you can pass it through the ring a second time to reinforce it and because I have never had a ring break yet using it. Unless you are using wire, thread both ends of your needle (I used size 10's with the Power Pro). String an odd number of seed beads and let them fall to the center of the thread. I used 5 Matsunos or 7 Delicas. You can vary this number, but you want it to go at least halfway around your main beads, otherwise thread will show.



Cross your needles or wire through a main bead (4-mm Czech in photo). Pull it tight, with your beads are in the middle of the string.



String 3 Delicas onto each needle. Cross your needles through another small bead and pull the thread tight (total of 7, or whatever number you used in the first step, with half on each side plus a crossing bead).



Are you starting to see a pattern here? Add three small beads to each side and cross through a large bead. Pull tight. You don't need to strong-arm it, especially if you are going to go through the design a second time, but you do want a nice tight weave.

Add three small beads to each side and cross through an additional bead. Add three beads to each side and cross through a big bead. This motif with three larger beads covers the top of my finger, so I tend to start the band of the ring after this point. However, you can make only 1 motif or 5 motifs or do the ring in this design all the way around. Pick the design that suits your taste and comfort.



There are many possibilities for making the band. I have shown a band where you add three small beads to each side, cross through 2 at once, add 3 each side, cross through 2, until you reach the desired length. You could have 3 each side, cross through 1 or 2 each side, cross through 1... whatever you like.



When the ring is long enough (wrap it around your finger or a mandrel to check it), cross the last motif through the middle bead at the end of the ring (where you started!). Be sure to avoid twisting the design. Tie a knot or twist your wire and hide the ends.



I like to weave through the entire ring once more, tying knots every so often. If you weave through a second time, expect the finished ring to tighten/stiffen a bit. Going through the design a second time offers a great opportunity to embellish the design by adding extra beads, particularly over/under the 'crossing' beads. Reinforcing the weave isn't a big deal with smooth beads, but if you try this design with sharp-edge beads (e.g., Swarovski, bugles) you may appreciate the extra security. Clip the ends of the thread or wire and enjoy your new ring!

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Abstract Volcano Beadwork Pattern


Abstract Volcano makes a stunning pendant or pin. Feel free to experiment with different fringes. I like this pattern beaded in matte translucent beads (use white or gray thread), but opaque beads (use black thread) work well too. The finished size I cited is for Delicas. Of course, other beads can be used, but expect both the width and height to change.



Basic Information


Loom or Square Stitch
Width: 20 beads (21 warps)
Height: 40 beads
Bead Count: 800 total
Finished Size About 1" x 2-1/2" using Delicas

Colors
Brown
Red
Magenta
Deep Orange
Light Orange
White
Lime Green
Cornflower Blue
Lilac
Violet
Black

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Whirlpool Brickstitch Beading Pattern


This diamond-shaped abstract whirlpool pattern makes an unforgettable pendant or it can be stitched to a pin back to make a brooch. If you run a thread around the outer edge you can pull the diamond into a three-dimensional domed form.



Skill Level
Beginner through Intermediate

Time Required
hours - possible to complete in a weekend

Dimensions
60 beads tall; 30 beads wide
1-3/4" x 3" using Delicas

Materials

Thread: I used gray Nymo D.

Beading Needles: I used size 10s.

Thread Conditioner: Thread Heaven or beeswax, optional.

Scissors or Snippers: I used my wire flush cutters.

Beads: You can work this design with any beads, but keep in mind the finished dimensions will change. I worked the example using Delicas. The first color is the one shown in my pattern, followed by the Delica I used. If I saw another color that would also have worked well, that is listed next:

Purple:
Delica DB167 Rainbow Opaque Power Blue or DB165 Rainbow Opaque Royal Blue

Light Green:
DB166 Rainbow Opaque Kelly Green

Sky Blue:
DB164 Rainbow Opaque Turquoise

Pink/Light Purple:
DB56H Inside Color Cranberry AB Hex or DB158 Rainbow Opaque Lavender Cream

Dark Green:
DB918H Inside Color Turquoise Hex or DB112 Sea Blue Luster

Start with the widest row using ladder stitch or whatever your personal preference is for starting brick stitck. Work one half of the pattern, then the other. I replaced the top and bottom blue beads with 4-mm blue crystals and ran a coated beading wire through the outside beads to add stability to the design and to use it as the focal point of a pearl necklace. If you use Matsunos or Czech beads instead of Delicas, your diamond will be somewhat shorter and wider.



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How to Tell Real Pearls from Fake Pearls

There are real pearls and then there are fake pearls. If you are buying pearls, you may be able to identify fake pearls by their name: simulated, faux, glass, plastic, resin, artificial, manmade. Genuine pearls come in a variety of 'flavors'. There are natural pearls and cultured pearls. Real pearls may come from freshwater or saltwater and from a variety of molluscs (not just oysters). To further confuse things, there are also shell pearls and genuine pearls which have had treatments applied to them, such as coatings or faceting. Before you buy or sell pearls, you need to know whether they are real or not. Here are some ways to tell them apart. After the list, I'll tell you more about the tests, including how reliable they are. I cannot begin to count the number of times I have known jewelry stores to incorrectly identify pearls as real or faux! Do not assume that a person at a jewelry store can identify your pearls. If you really need to ID your pearls, take them to a certified professional.

  • The Destructive Test
  • X-rays
  • The Tooth Test
  • The Sun Test
  • Magnification
  • Other Visual Clues
  • Density
  • Hole Characteristics
  • The Settings

Destruction


If you cut a pearl open, you will see its true nature. Natural pearls are comprised of layer upon layer of nacre. Cultured pearls have a shell (mother-of-pearl) core covered with a thin layer of nacre (generally no more than half a millimeter, usually much thinner). Fake pearls have a core with one or more layers of coating applied to them, which tends to flake away from the core upon cutting. Cutting a pearl reveals the nature of its drill hole, if present. Of course, you need to be able to tell pearl-colored glass from shell in order to do this test (plastic and resin are easier to discern). Also, you'll destroy the pearl. It isn't recommended.

X-Ray


If you really need to know whether or not your pearls are real or fake or whether they are natural or cultured, you are going to have to pay someone, preferably a certified gemologist, to x-ray them for you. An x-ray will show the inside of the pearl, including variations in its density, the presence or absence of a parasite that might have caused the formation of a natural pearl, and the characteristic shapes of drill holes, if present.

The Tooth Test


Let me preface my remarks by stating an important point: This test is NOT reliable! To use the tooth test, you rub the surface of the pearl over your teeth. Supposedly a real pearl feels gritty while a faux pearl feels smooth. The premise behind the test is valid: Real pearls are made up of layers of nacre that are deposited rather like sand on a beach. The slight waves and irregularities in the nacre can produce a gritty or bumpy feeling against the teeth. On the other hand, many synthetic nacres are applied smoothly onto perfectly smooth beads. These pearls would feel smooth against the teeth. The test is pretty good for distinguishing rare natural pearls from glass pearls, but it isn't as good at identifying cultured pearls, which have fewer layers of nacre and may feel more smooth. If the pearls are dyed, the dye can fill in natural depressions in the pearls, making them feel smooth. Also, some synthetic pearls are made to look and feel like real pearls. Mabe pearls may have a protective coating applied to them, which makes them smooth even though they may be genuine. The formulation of the nacre can closely resemble that of real pearls. The nacre could be applied to a natural base, like a shell bead, making this test completely unreliable. The tooth test is a nice test, but don't base your judgement of authenticity on this test alone. If you think it's reliable, I swear I could find pearls that would fool you, both real and faux.

The Sun Test


This is my favorite test. It involves taking your pearls out into the sun or holding them under very bright indoor lighting. Unless they are very expensive, genuine pearls won't be perfectly matched under the sun. You will be able to see variations in their iridescence (orient) and color. If the pearls are perfectly matched for color and overtones, they are most probably fake. If you are buying pearls from a seller who offers pearls that are perfectly matched, the cost of a gemologist certificate (for a gemologist of your choice, not his) is a minimal part of the investment. It costs about $150 to have pearls tested, as opposed to several thousands of dollars for the type of pearls that warrant the test.

Magnification


As is true with diamonds, magnification reveals a lot about the quality of a pearl. You can see the characteristic ridges and irregularities of real pearls or the grainy smoothness of fakes. You can examine drill holes to see the interface between the nacre and what lies beneath it. You can read any writing on the clasp or setting.

Other Visual Clues


Fakes tend to look 'flat' in comparison to the real thing. There are exceptions, of course, with beautiful simulated pearls made by Swarovski and other manufacturers. Real pearls tend not to be perfect and may have bands in their nacre, bumps, ridges, or pits. They vary in size and shape from one to another. Genuine pearls may have concentric ridged circles around them, which inexperienced people may take for marks from molding of a fake (which is seen in the exact middle of all the pearls on strands of some faux pearls). Real pearls come in many shapes, but they tend not to be perfectly round, so a perfect sphere should be suspect. Expensive genuine pearls may be round, but you will have other clues to help you make a determination. Some fakes are made to look irregular, and glass pearls often have flattened ends or slightly oval shapes. In addition to visual clues, genuine pearls tend to warm to the skin much faster than glass pearls. Resin or plastic pearls tend to feel somewhat warm upon first contact.

Density


Density is the mass of an object as a function of its volume. Real pearls are heavier for their size than plastic, resin, or hollow glass pearls. Good glass fakes will have the same density are real pearls. Light pearls are fake - you can't tell real from faux on the basis of density alone if the pearls are heavy.

The Drill Holes


Real pearls tend to be drilled from both sides, to meet in the center. If you could see the cross section of the pearl, the hole may appear wider at the outside edge of the pearl than at the center (which can make stringing poorly-drilled pearls very challenging and is one reason many people won't restring pearls that they didn't sell). Holes of real pearls tend to be as small as possible (with some exceptions), since the weight of a pearl affects its price (more hole means less weight and lower value). Inexpensive real pearls may be lower in cost because the drill holes are not completely straight. Fake pearls often have larger, possibly straighter holes than real pearls. Some fakes are made to have smaller holes, so that they can be knotted like their genuine counterparts. Inexpensive fakes may have holes of widely variable sizes on a single strand.

The nacre of fake pearls is more likely to flake away near the drill hole than on a cultured pearl (it won't flake on a natural pearl). Either the flaking or the sight of a clear inner bead may clue you in to a fake. Most fakes have pearl-colored centers, so the center color may not help you. The holes of fake pearls often form a shallow bowl shape, while the holes of real pearls are more likely to be flat. Examining the hole is also a good way to detect signing of dyeing.

The Setting


If you see the Mona Lisa in someone's home, you can be pretty sure it isn't the original piece of artwork. Similarly, you can gain valuable clues about a pearl's authenticity by looking at its surroundings. In a finished necklace or bracelet, real pearls are more likely to have knots between each pearl than faux pearls. Real pearls are more likely to have settings of gold, silver, or platinum than faux pearls. You can examine clasps for stamps or engravings in the metal or for magnetism (indicating the clasp or setting contains iron as opposed to a precious metal). Clasps tend to have safety mechanisms, like fish hooks, but some real pearls are sold with other types of clasps, usually as an accomodation for a person who would have difficulty opening/closing the more secure clasp. However, insecure clasps are not usually seen on good pearls. It isn't a hard-and-fast rule. Some fakes have high quality settings. Some genuine pearls have cheap settings. Even so, the setting can provide clues to help you reach a conclusion.