Colored Gemstones

Co lored Gems tone sD i a m o n d C o u n c i l o f A m e r i c a ©

Diamond Council of America ©2016

Table of Contents

Table of Contents

1Co lored Gems tones

D i a m o n d C o u n c i l o f A m e r i c a ©

Lesson 1: The World of GemsA Professional Adventure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

How This Course Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Course Objectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Course Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Lesson Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

The Gem Compendium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Progress Evaluations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Evaluation Servicing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Completing the Course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Diamonds and Colored Gems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

The Spectrum of Gem Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Three Essentials for All Gems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Focal Points for Presentations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Recap of Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Lesson 2: Colors and GemsThe Magic Ingredient . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

The Color Equation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

You. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Responses to Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Life’s Color Cycles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Making Color Work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12


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Lesson 3: Gemstone ProductsEnticing Choices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Gem Minerals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Treated Gems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Synthetics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Imitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Assembled Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14


Lesson 4: Colored Gemstone ValuesThe Big Question. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

4Cs and Beyond. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Analyzing Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Color Boundaries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Presenting Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Clarity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Gem Inclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Evaluating Clarity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Presenting Clarity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Forms and Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Cut Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Carat Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Weight Representation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Gem Prices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Weight and Value. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Staying Focused. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18


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Lesson 5: Cultured PearlsA World Apart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Pearl Traditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Natural Pearls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Cultured Pearls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Preparation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Value Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Product Highlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Culturing Sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18


Lesson 6: Other Organic GemsLife’s Gems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Amber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Coral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Shell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Ivory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Tortoiseshell. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15


Lesson 7: Gemstone JewelryKey Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Gemstone Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Individual Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Group Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Jewelry Forms and Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Rings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

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Earrings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Necklaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Bracelets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Pins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

The Three Precious Metals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Gold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Platinum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Silver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Jewelry-Making Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Designs and Inspirations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Fine Jewelry Branding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23


Lesson 8: Natural Gemstone OriginsAmazing Tales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Critical Conditions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Gems from Fire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Gems from Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Gems from Water. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Presenting Miracles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10


Lesson 9: Gem Deposits and MiningHuman Effort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Gem Deposits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Discovering Gems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Development Variables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Mining Around the World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Alluvial Digs in Sri Lanka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

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Pegmatites in Brazil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Underground in Tanzania . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

In the Mountains of Colombia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

All Roads Lead to the Same . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14


Lesson 10: Gem Sources and TradeFaraway Lands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

World Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

The Leaders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Key Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Other Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Industry Centers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Wholesale Trade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Jewelry Manufacturers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Dealers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20


Lesson 11: Gem IdentificationCritical Assurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Clues to Identity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

The Testing Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

An "Ident" Scenario. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Lab Assistance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12


Lesson 12: Gem Magic and RomanceMeanings and Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Stories Behind the Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

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The Language of Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

History, Myth, and Lore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

The Birthstone Tradition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Anniversary Gems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Gems and Celebrities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

The Fashion Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16


Lesson 13: Gem and Jewelry CareThe Deciding Factor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Durability and Dangers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Hardness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Toughness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Stability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Cutting Down Worries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

In-Store Situations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Choosing With Care . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

At-Home Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Keeping Gems Clean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Grime Prevention. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Cleaning Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Professional Follow-Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Take-In for Repairs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Take-In Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20


Lesson 14: Selling Gems and JewelryDoing It Even Better . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

People Who Buy Gems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

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Greeting your Customer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Building Solid Rapport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Emotional Profiling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Presenting for Commitment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Objections and Trial Closes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Asking for the Sale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Making Add-On Sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Follow-Up for Success . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20


Lesson 15: Representation and DisclosureSimple Principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

The FTC Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Laws and Insights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Identifying Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Disclosing Treatments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Describing Value Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Speaking Trade Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20


Lesson 16: Jewelry DisplaysHardworking Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Layout Strategy and Savvy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Decisions About Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Symmetrical Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Asymmetrical Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Setting the Stage for Jewelry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Table of Contents



Displayers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Props . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Signage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Maintaining Display Impact . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15


Lesson 17: Final ReviewThe Last Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Getting Ready . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Questions and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Grading and Completion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Studying for the Exam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Lesson Checklists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Colored Gemstones

The World of Gems

Diamond Council of America © 2016

Colored Gemstones 1 1

In This Lesson:• AProfessionalAdventure• HowThisCourseWorks• DiamondsandColoredGems• TheSpectrumofGemProducts• ThreeEssentialsforAllGems• FocalPointsforPresentations

A PROFESSIONAL ADVENTUREWelcome to the Diamond Council of America’s Colored

Gemstone Course! You’re beginning a professional adventure – an explorative journey into the world of gems.

The gem world is filled with great beauty, diversity and wonder that most consumers don’t know a lot about. Although many are fascinated by gems, few realize the variety they offer, and even fewer are truly informed about purchasing and owning them. In this course you’ll travel deep into the heart of the gem world. You’ll learn how to reveal its marvels and help your customers make wise selections from among the choices it holds.

As in any unfamiliar world, there are differing points of interest and concern for different people. This course will provide a wide range of information that you can use to explain value, build desire, and highlight significance. You’ll also examine some of the sensitive issues associated with gems. Being aware of these – and knowing how to deal with them – will make you a better guide for your customers.

This lesson and those that follow will take you on an organized and exciting gem safari. It begins with the “lay of the land” – an overview of gem products, the attributes all gems share, and focal points for presenting gems to customers. Next you’ll dive into color, the top factor in beauty and value for most gems. After that you’ll explore other areas that can contribute to your successful involvement with gems and gemstone jewelry.

The World of Gems

The world of colored gems is a cornucopia of beauty and diversity.

Photo courtesy Akiva-Gil.

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When you finish, you’ll be a more knowledgeable and skilled gem professional. Along the way, remember: Knowledge leads to appreciation, appreciation fuels enthusiasm, and enthusiasm opens the door to success.

Lesson ObjectivesWhen you have completed this lesson, you will be able to:• Definethemaincategoriesofgemproducts.• Explainthequalitiesthatdefinea“gem.”• Identifythemainconcernsinpresentinggems.

HOW THIS COURSE WORKSThis course was developed especially for jewelry sales professionals and those who support their

efforts at a management level. It’s also designed to suit different adult learning styles. The lessons and exercises combine reading and thinking with listening and talking, observing and examining, acting and doing. This approach will enable you to apply what you learn to the specifics of your store’s operations, the merchandise you carry, and the customers you serve. Understanding how the course works will help you get the most from the time and energy you put into the education process.

Photo courtesy Tina Jewellery.DCA’s MIssIon sTATeMenT

ThemissionoftheDiamondCouncilofAmericais to provide quality, affordable distance education to enhance the ability of our members’

associates to sell fine jewelry with expertise, integrity, and professionalism and to fuel the passion of those looking to learn about our industry.

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The World of Gems

Colored Gemstones 1

Choice of FormatsThe Colored Gemstone Course is available in two different formats: in print and online. The print

version came in the package of course materials you received after enrolling. DCA’s website – www.diamondcouncil.org – has the online version.

You can take the course either way you choose. The two versions are exactly the same.

Course ObjectivesAfter you successfully complete this course, you will be able to:

• Helpcustomersunderstandandappreciatethegemstoneproductsyouoffer.• Explainfactorsthataffectthevalueandappealofcoloredgemstones.• Presentgemstonejewelryintermsofform,function,andstyle,aswellasqualityandvalue.

• Discusskaratgold,platinum,andsilver–themetalsthatareusedtomakemostgemstonejewelry.

• Explainthetreatmentsthatareusedoncoloredgemstones,anddealwithconcernsaboutsyntheticsandimitations.

• FollowFTCguidelinesandyourstore’spoliciesonrepresentationanddisclosureforcoloredgemsandgemstonejewelry.

• Citesourcesforgems,discusshowthey’refoundandminedandhowtheymaketheirwayintothemarket.

• Developyourawareness,understanding,andappreciationofcolor,andapplytheseinyourwork.

• Sellcoloredgemsandgemstonejewelrywhilecreatingsatisfyingexperiencesforcustomersandbuildinglong-termrelationshipswiththem.

• Doyourpartinprovidingadditionalservicessuchasgemstonejewelryrepair.

• Displaygemstonejewelryinawaythatmaximizesitsappealandreinforcesyourstore’smarketingapproach.

• Cleanandcareforcoloredgemsandgemstonejewelryaspartofnormalstoreoperations,andteachcustomerstocleanandcareforitemstheyownorpurchase.

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That may sound like a lot, and it is! You’ll be surprised, however, at how much you can accomplish through this course, your own efforts, and the support of your team. When you start seeing results – and that will be right away – you’ll feel truly motivated to keep moving forward. Learning even more will become easy and enjoyable.

Course Organization This course is divided into three main sections that reflect the

priorities and job responsibilities of jewelry sales professionals:

• SectionI“NeedtoKnow” – Lessons 2 through 7 – Fundamental product knowledge that you’ll use in many sales presentations and that customers will need to make purchase decisions. This section starts with a detailed look at color. Then it covers gemstone products, value factors, and jewelry.

• SectionII“NicetoKnow” – Lessons 8 through 12 – Background information that will boost your confidence, help you build appreciation for your products, and supply answers to questions knowledgeable customers may ask. This section follows the story of gems from formation through wholesale distribution. It includes a lesson on how gems are identified, and ends with a look at gem magic and romance.

• SectionIII“ProfessionalSkills” – Lessons 13 through 16 – Guidelines for successful selling and for functioning as a valued member of your store’s team. This section includes caring for gemstone jewelry, the selling process, representation and disclosure, and jewelry display.

At the end of the course there’s a review (Lesson 17), which will help you prepare for the Final Examination.

Photo courtesy Judith Ripka.

Photo courtesy Bielka.

Photo courtesy Zaffiro.

The World of Gems


Lesson ComponentsMost lessons have eight components that are designed to

create a complete and personalized learning experience.

• InThisLesson– Provides an initial snapshot of what’s in the lesson. It will give you an overview of the information that’s coming.

• Introduction – Sets the stage by identifying the main lesson topic, highlighting its importance, and providing context.

• LessonObjectives – Lists the knowledge and skills you’ll gain by completing the lesson and follow-up exercises.

• MainText – Presents the lesson’s core content.

• Sidebars– Contain information that expands or supports the lesson discussion. Sidebars are printed on a colored background to set them off from the Main Text.

• RecapofKeyPoints – Summarizes important ideas and facts from the lesson.

• LessonFollow-UpChecklist – Directs additional steps to help you apply what you learn to your own “real life” work situation.

• Self-Test– Multiple choice questions that allow you to gauge your comprehension of the lesson material. Correct answers and page references are listed at the end of each Self-Test.

Photo courtesy TJ Treasure.

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sTUDY TIPs

Herearesomeprovenstudytipsthatwillhelpyousucceedinthiscourse:

• Setascheduleandsticktoit.DesignateatleastacoupleofhourseachweekasyourDiamondCouncilStudyTime.Markthedatesandtimesonyourcalendar,andbesuretokeeptheseimportantappointmentswithyourself.

• Arrangeacomfortable,distraction-freeplacetodoyourstudying.

• BegineachlessonbyscanningitandcheckingtheSelf-Testtogetanideaofwhatyou’reexpectedtolearn.Thenreadthelessonthoroughly.

• Ifyou’reworkingwiththeprintversionofthecourse,keepapencilorhighlighterhandyandmarkinformationthatseemsinterestingorimportant.Youcanalsomakenotesinthelessons.

• Wheneveryourattentionbeginstolagduringastudysession,takeashortbreak.

• Applywhatyoulearnassoonaspossible.EachlessoncontainsaFollow-UpChecklistwithpracticeexercisesforturningknowledgeintoskill.Besuretocompletethechecklists.They’recriticalcomponentsofthelearningprocess.

The World of Gems


TheGemCompendiumThe Colored Gemstone Compendium is a very

important part of this course. Its main section contains profiles of more than 45 gems that you’re likely to see in today’s retail jewelry industry. Each profile outlines:

• Interestinghistoryandlore• Primaryvaluefactors• Commontreatments• Backgroundscience(gemologyandgeology)• Geographicsources• Pointstoconsiderinselectionandcare

Another section of the compendium includes reference charts that list birthstones, anniversary gems, worldwide gem sources, and gems for every color of the rainbow. There’s also a comprehensive table of gemstone treatments.

The compendium can help you tailor information to your individual needs. The course lessons provide “Big Pictures” of the various topics. They also use the most popular and commercially important gems as examples. Once you understand the basic principles and how they apply to the top sellers, you can adapt them to other gems you present. The compendium supplies all the details you need to do this. For practice, a number of the Lesson Follow-Up Checklists have exercises that involve the compendium.

The Colored Gemstone Compendium’s value doesn’t stop when you complete the course, however. In fact, it can become an ongoing resource in selling. For example, you can use the compendium to do your “homework” on new gems that arrive in your inventory. The compendium comes in handy during sales presentations as well. If you don’t know the answer to a question, you can often find it in one of the profiles or reference charts. You can also use the profile outlines as talking points, or even show them to customers.

You’ll get more tips on using the compendium as a presentation aid in Lesson 14. Go ahead and start familiarizing yourself with this important course component soon. It’s a great way to start learning about the gem world.

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ProgressEvaluationsThis course includes four Progress Evaluations. Each

one allows the Diamond Council to measure what you’ve learned at logical points in your coursework. They also let you offer input on the course and how it’s administered. The first Progress Evaluation comes after Lesson 2 and it’s intended to make sure you get off to a good start. The others come at the end of course sections – after Lessons 7, 12, and 16.

Each Progress Evaluation has three parts:

• LearningEvaluation–Thisisthesectiontest.Ithas20to30multiple-choicequestionscoveringallthelessonsinthesection.

• TrainingEvaluation–Thisensuresthatyoucanapplynewknowledgeandskills.Itcontainsitemsbasedonthefollow-upchecklistsinthesection,andalsosomeshort-answerquestions.

• SatisfactionEvaluation–Thisgivesyouachancetorateandcommentontheobjectives,content,presentation,andserviceforthatsectionofthecourse.

You can complete all three evaluations online or by mail. Detailed instructions for Learning Evaluations are in the Testing Center section of the Student Learning Center on DCA’s website, and also in the Progress Evaluation booklets that are included with printed courses. Instructions for Training and Satisfaction Evaluations are in the Evaluations section of the Learning Center.

Learning Evaluations and Training Evaluations are required coursework. Satisfaction Evaluations are optional, but DCA would like very much to know what you think and how you feel about your education experience.

The World of Gems


EvaluationServicingDCA grades Learning Evaluations and provides appropriate feedback on the DCA

grades Learning Evaluations and provides appropriate feedback on them. If you take a test by mail, your work will be processed the same day it is received. With online tests, you get results immediately.

• Grading–GradesforLearningEvaluationsarepercentagesbasedonthenumberofcorrectanswerscomparedtothetotalnumberofquestions.Forexample,ifyoucorrectlyanswer20outof25questions,yourgradeis80%.

• GradeTarget–TheminimumgradetargetforLearningEvaluationsis75%.

• Retakes–IfyourgradeforaLearningEvaluationislessthan75%,youmustretakethetest.Youcansimplyrepeatanonlinetest.Orifyoutookthetestbymail,DCAwillsendyouanewanswerformtousefortheretake.YoumayretakeaLearningEvaluationasmanytimesasyouneedto.Whenyouscore75%orhigher,thatgradewillbeaveragedwiththeother(s)todetermineanoverallgradeforthetest.

• Feedback–OneveryLearningEvaluationyou’llreceivefeedback.Ifyouscorelessthan75%,theLearningFeedbackwilllistthequestionsyoumissedandgivesectionreferences,helpfulhints,andadditionalexplanations.Ifyouscoreover75%,you’llbenotifiedofanyquestionsyouansweredincorrectly.TheLearningFeedbackwilllistcorrectresponsesandpagereferences,andsupplyfurtherinformation.

CompletingtheCourseWhen you’ve completed all four Progress Evaluations, you’ll be eligible

to take the Final Examination. You can find details about the exam in Lesson 16 (Final Review).

There are two limits on course completion that you need to keep in mind:

• AcademicLimit–TheminimumgradetargetfortheFinalExaminationis75%.AswithLearningEvaluations,thegradeisapercentagebasedoncorrectversustotalanswers.Butifyourgradeislessthan75%,youmayretaketheexamonlyonce.Ifyoudonotreachorexceedthetargetonthesecondattempt,youmustre-enrollinordertocompletethecourse.

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• TimeLimit–Allofthecoursework,includingProgressEvaluationsandtheFinalExamination,mustbecompletedwithin12consecutivemonthsfromthedateofenrollment.Ifyoudonotmeetthetimelimit,youmustre-enrollinordertocompletethecourse.YourcompletiondeadlineisnotedonTheColoredGemstoneCourseInstructionSheetthatcamewithyourprintedcoursematerials,andonthe“Welcome”pageoftheonlineStudentTestingCenter.YoucanalsoobtainthedatefromDCA.

After you’ve completed all course requirements – the four Progress Evaluations and the Final Exami-nation – you will receive formal recognition from the Diamond Council of America, marking your achievement.

AccessingDCAOnlineThe online version of The Colored Gemstone Course – including all lessons and tests – is available

on DCA’s website at www.diamondcouncil.org. To access this material, you’ll need to know your username and password.

These were listed on the instruction sheet that came with the print version of your course. If you included your email address on your enrollment application, DCA also sent you a message containing the information.

If you want to access the online course and you can’t find your username and password, contact DCA.

ConTACT THe DIAMonD CoUnCIL

Ifyouhavequestionsorconcernsaboutthiscourse–itsobjectives,design,content,presentation,administration,service,oranythingelse–pleasecon-tacttheDiamondCouncil.You’llreceiveapromptandfullresponse.DCAis100%committedtoyoursatisfactionandsuccess.

DiamondCouncilofAmerica 3212WestEndAvenue,Suite400 Nashville,TN37203 Phone:615-385-5301 TollFree:877-283-5669 Fax:615-385-4955 Email:[email protected] Website:www.diamondcouncil.org

The World of Gems


Drawing a line between diamond and other gems is valid because diamond has a unique beauty, commercial status, and popularity. To understand this, consider the following points:

• Mostgems’mainattractioniscolor,butdiamond’sappealnormallydependsonhowwellitreflectsanddisperseswhitelight.

• Diamondsalesgeneratehalformoreofallrevenueformanyjewelrystores.

• Diamondsarecloselylinkedtothemostfrequentjewelry-givingoccasions–engagements,weddings,andanniver-saries.

• TwooutofthreeUSconsumerssaydiamondistheirfavoritegem.

DIAMONDSANDCOLOREDGEMSIn the broadest sense, the gem world includes an amazing variety of materials used for jewelry and

other ornamental purposes. There’s everything from diamonds and pearls to iridescent insect shells and the latest lab creations. Generally speaking, most of these can be divided into two broad categories – diamonds and colored gemstones.

According to this simple classification, any kind of gem except diamond is considered a colored gemstone. That’s true even if it happens to be colorless, like rock crystal quartz. On the other hand, even though the Hope Diamond is a deep “sapphire” blue, it’s not considered a colored gem, and neither are other fancy color diamonds. These contradictions don’t bother professionals, but they can confuse customers. Therefore, if you’re presenting rock crystal or another colorless gem, don’t refer to it as “colored.” Just say “gem” or “gemstone.”

Coloredgemstonesarethespicesthatcreatemuchoftheindustry’sflavor.

Colored gemstones capture the romance of far away places and evoke the traditions of native cultures.

While diamonds may be the jewelry industry’s “bread and butter,” colored gems are the spices, and they create a lot of flavor. Most have long histories and they’re associated with interesting folklore. Many capture the romance of faraway places, while others evoke the traditions of native cultures. Some have been prized for thousands of years, but there are new discoveries, too. Above all, each gem celebrates the human love of beauty in a unique way.

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There are also practical reasons why colored gems are vital to the jewelry industry:

• SalesContribution – Surveys in recent years have consistently shown that colored gemstone jewelry represents about 10% of sales for many jewelry retailers. Put another way: one dollar out of 10 comes from colored gems. With thoughtful planning, creative merchandising, and a sustained sales focus, it’s often possible to increase that contribution.

• ConsumerPreference– About 1/3 of all US consumers prefer colored gemstones to diamonds, and that rate is higher among some key groups. Women buying for themselves often choose colored gemstone jewelry for its fashion, affordability, and individuality. Colored gems are favorite gifts for young people, too. In this group, colored gems can spark lifelong passions for jewelry.

• CompetitiveAdvantage – Internet retailers and other alternative outlets are now competing fiercely for diamond sales. Colored gemstones usually require highly personalized sales presentations, which aren’t as easy through mass-marketing technology. As a result, colored gems offer traditional retailers opportunities to create secure niches in their markets.

In this course you’ll focus on colored gemstones, though some information on diamonds is included for perspective. The more complete knowledge and skills needed by diamond professionals are presented in The Diamond Course.

$Onedollaroutofeverytencomesfromcoloredgems.

Women self-purchasers often choose colored gems for the combination of variety, fashion and affordability.

The World of Gems


A beautiful gem “lights up the room”. The term “semi precious” is unfairly negative.

Photos by Tino Hammid courtesy Intercolor.

PReCIoUs vs seMIPReCIoUs

Youmayhaveheardgemsdescribedas“precious”or“semiprecious”.Bothtermshavebeenusedforcenturies,buttheydon’treallybelongintoday’sgemworld.Traditionally,

the“precious”categoryincludeddiamond,emerald,ruby,sapphire,andnaturalpearl,plusoutstandingexamplesofgemssuchasopalandtopaz.Everythingelsewaslumpedtogetherinthe“semiprecious”category.

Mostgemprofessionalswouldnowsaythecategoriesthemselvesaremisleading.That’sbecauselow-quality“preciousstones”arelessbeautifulandlessvaluablethanmanyotherkindsofgems.The“semiprecious”labelisalsounfairlynegative.Garnets,forexample,wereonceconsideredsemiprecious,yetthegarnetvarietyknownastsavorite(SAV-oh-rite)canhaveanintensegreencolorthatrivalsfineemerald.Itcanalsocostthousandsofdollarspercarat.

Consideringthesefacts,it’sobviouslybesttodropthetermsfromyourvocabulary,thoughyou’restilllikelytorunacrossthemfromtimetotime.Theyoftenappearindocumentslikeappraisals,oldbooks,andevensomecurrentpublications.They’realsousedinthefashionindustry,andyou’realmostcertaintohearthemfromcustomers.

Occasionallyyou’llgetaquestionlike,“Isthisapreciousgem?”Whenthathappens,betactfulanddon’tlectureaboutproperterminology.Instead,highlighttheappealofthegemyou’reshowing.Trysomethinglike,“Asyoucansee,it’sabeautifulgemwithacolorthatlightsuptheroom.”Ifthecustomerpressesthepointyoucanprovidemoreexplanation.Inmostcases,alittlepositivefocusisallthat’sneeded.

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THESPECTRUM OFGEMPRODUCTS

The spectrum of gem products runs all the way from materials created solely by nature to those produced entirely by human technology. In Lesson 3 you’ll take a closer look at this spectrum and throughout the course you’ll continue to learn more about it. For now, here are some definitions you can begin thinking about and using:

• MineralGems– These are made by Earth’s rock-forming (geologic) processes. They’re also the products most consumers think of as “natural gems.” Diamond, emerald, ruby, and sapphire are the most familiar. Others include amethyst, aquamarine, citrine, garnet, opal, peridot, tanzanite, topaz, and tourmaline.

Bothmineralandorganicgemscanbetreated.

• OrganicGems– These come from living organisms (plants or animals). Cultured pearls are the most important organic gems. Amber, coral, ivory, and shell are also in this group. Organics have been part of the gem world for thousands of years. In modern times, however, some have been affected by environmental issues. Lesson 5 is devoted to cultured pearls, and Lesson 6 surveys the other organic gems.

• TreatedGems– This product segment mainly consists of gems that formed naturally, but underwent some sort of artificial treatment. Treatments include dyeing, heating, and irradiation. They improve a gem’s appearance or wearability. Both mineral and organic gems can be treated, and some experts estimate that 3/4 of all colored gems are now being treated in one way or another. You’ll learn more about treatment processes in Lessons 3, and Lesson 15 discusses treatment disclosure.

• Synthetics– These are lab-created versions of natural gems, and they copy their natural counterparts right down to the atomic level. For example, natural ruby and synthetic ruby are made of the same kinds of atoms arranged in the same crystal pattern. As a result, they have almost identical characteristics. Only slight differences make it possible to tell them apart.

Organic gems such as coral, shell and pearl come from living organisms.

Mineral gems, such as ruby in marble, are born from earth’s rock forming processes.

Photo courtesy Gary Bowersox.

The World of Gems


Only slight differences make it possible to tell them apart. You’ll learn how gemologists do this in Lesson 11.

• Imitations– You can think of these as look-alikes. They resemble the gems they imitate in either color or appearance, but the similarity ends with that. Natural gems were once common imitations. (For instance, red garnets served as ruby imitations.) Because of consumer interest in gems of all kinds today, however, it’s best to present these as “color alternatives” rather than imitations. Most modern man-made imitations are glass, ceramic, or plastic, but there are also synthetics that resemble other gems. A good example is light blue synthetic spinel, which imitates aquamarine.

• AssembledProducts– These are made by fusing or bonding separate pieces of natural or manufactured gems. Assembled products have a variety of functions. Many are used as imitations, but some create unique color alternatives. Others utilize attractive gem material that would otherwise be wasted. Opal triplets fit in the last category. They’re assembled by bonding a thin slice of opal between a supportive base and a protective top.

THREEESSENTIALSFORALLGEMSAmid their diversity, all true gems share three essential

attributes – beauty, rarity, and durability. They possess these attributes in varying combinations, though, and you must understand what these terms mean, both in the context of the general gem world and for each gem specifically:

• Beauty – This is the visual allure that catches, holds, and pleases the eye. For most gemstones, the main component of beauty is color. For others, like cat’s-eye chrysoberyl, opal, and star sapphire, beauty comes from special optical effects known as phenomena. Others, such as agate and malachite, feature attractive color patterns. For almost all gems, the striking symmetry of cut or the artistic design of carving is also a critical factor in beauty.

• Rarity – All natural gemstones are “rare” in the sense that they’re uncommon in occurrence and choice in quality. There are big differences in degrees of rarity, however. Some gems have only a single source, or there might be just a few known specimens of the rarest collector gems. On the other

Imitations resemble the gems they imitate in color and appearance only. Usually, they are completely different gem materials.

Beauty is the visual allure that catches, holds and pleases the eye.

Photo courtesy Krashes and Dirnfeld.

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Durabilitymeansthatagemstone’sbeautycanpassthetestoftime.

hand, there are gems like chalcedony (kal-SED-uh-nee), which is found in hundreds of places and mined by the ton. Nevertheless, it is comparatively rare when you consider that it’s made of the same material as sand which is universally abundant. Most gems fall somewhere between these extremes. They’re abundant enough to create and meet consumer demand, yet rare enough to maintain high monetary and symbolic value. For each kind of gem there’s also a scale of rarity that’s determined by factors like carat weight, clarity, and intensity of color.

• Durability – From a function standpoint, you could say that durability is a gem’s capacity to be worn and enjoyed in jewelry. At a deeper level, however, durability means that a gemstone’s beauty can pass the test of time. This is illustrated by the radiant gems that are sometimes found at ancient ruins. It was put into words by the famous American gemologist George F. Kunz (1856-1932). He once wrote, “All the fair colors of flowers and foliage, and even the blue of the sky and the glory of the sunset clouds, only last for a short time, and are subject to continual change, but the sheen and coloration of precious stones are the same today as they were thousands of years ago and will be for thousands of years to come.”

Together with the cultural influences of fashion and tradition, the attributes of beauty, rarity, and durability determine each gem’s status and value in the marketplace. In Lesson 4 you’ll see how these variables translate into value factors that you can explain to customers.

Although chalcedony is found in many locations, it’s still comparatively rare.

Photo courtesy Kim International Manufacturing.

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FOCAL POINTS FOR PRESENTATIONS

When you present colored gems and gemstone jewelry to customers, it’s important to consider these key points:

• RepresentingProducts– With all the combinations of lifestyle, personal preference, and budget among today’s consumers, there’s a market for almost every gem product. To make informed purchases, however, customers need to know exactly what you’re offering. Thus, your top priority is to identify your products clearly and accurately, and avoid communicating anything that might confuse or mislead.

• DisclosingTreatments– You must inform customers of any known or probable treatment a gem has undergone. Full disclosure means describing the treatment process, explaining whether or not the effect is permanent, detailing any special care that’s required, and discussing how the treatment affects value.

• ExplainingValue – To make informed decisions, customers also need to understand the factors that affect quality and cost. This involves highlighting beauty, rarity and durability and possibly explaining something about the 4Cs as they relate to the gem you’re showing. To establish value on a personal basis, you must also link the gem’s features with benefits that are meaningful to the individual customer.

• CapturingMeaningandMagic – While you’re covering the bases on representation, disclosure, and value, you can’t lose sight of the ideas and emotions that motivate customers to own or give gems in the first place. The secret of selling lies in identifying each customer’s needs and desires, and then using the facts to capture the personal meaning that surrounds a beautiful gem. With thought, creativity, and practice it’s even possible to turn the “nuts and bolts” issues into part of the magic.

In the upcoming lessons you’ll learn to accomplish these objectives – and much, much more. It’s all part of your professional adventure in the world of colored gemstones.

Emotional links to gemstones have existed since ancient culture.

Photo: Purported breastplate of the High Priest Aaron, thought to be the original inspiration of birthstones.

Without professional sales associates, there would be no gem and jewelry industry.

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The World of Gems

18

FTC GUIDes on CoLoReD GeMs

TheUSFederalTradeCommission’sGuidesfortheJewelry,PreciousMetals,andPewterIndustrieshelptodefine

ethicalandlegalstandardsforallgemprofessionals.Manyoftheguidesaddresscoloredgemstoneproductsandthejewelryinwhichthoseproductsappear.Atappropriateplacesinthiscourse,theguidesarequotedanddiscussedsoyoucanunderstandhowtheyapplytoyourwork.

You can obtain a complete copy of the guides from the FTC’s website at: www.ftc.gov/bcp/guides/jewel-gd.shtm.

Distinguishing between different gems is an ongoing challenge.

Photos courtesy Chatham Created Gems and from Gemstones, Quality and Value, Volume 1 by Yasukazu Suwa.

Photo courtesy Intercolor.

The World of Gems


ReCAP oF KeY PoInTs

• Thegemworldisfullofbeauty,diversity,andwonder,butmostconsumersdon’t know much about it. As a jewelry sales professional, you must learn to reveal its marvels and help your customers make wise selections among the choices it holds.

• Gemsaredividedintotwobroadcategories:diamondsandcoloredgemstones.Diamonds are the mainstay of the jewelry industry, but colored gems are vital because of their appealing variety, contribution to sales, popularity among consumers, and competitive advantages.

• Thefullspectrumofgemstoneproductsrunsfrommaterialscreatedsolelybynature to those produced entirely by human technology. It includes mineral gems, organic gems, treated gems, synthetics, imitations, and assembled products.

• Alltruegemspossessbeauty,rarity,anddurabilityinvaryingcombinations.Together with the cultural influences of fashion and tradition, these attributes determine each gem’s status and value in the marketplace.

• Sellingcoloredgemstonestoretailcustomersrequiresattentiontofourmainissues:

• Representingproductsaccurately

• Disclosingtreatmentfully

• Explainingvalueclearly

• Capturingmeaningeffectively

The secret of selling is using what you know to capture the personal meaning that surrounds a beautiful gemstone.

Photo courtesy Jean François Albert.

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20

Lesson 1 FoLLoW-UP CHeCKLIsT

____ Start becoming familiar with the colored gems in your inventory. Begin by making a list of all the different kinds you carry. Then spend a little time just looking at them individually. Think about which ones appeal to you, and why.

____ With a coworker, role-play responding to the customer question, “Is this a precious gem?” First practice with the “customer” easily accepting your positive focus on the gem. Then have the “customer” be more persistent with a question like, “But isn’t it a garnet? … And aren’t garnets semiprecious?”

____ Begin keeping a record of your colored gemstone sales. Useful information includes the date, the type of gem, its size and quality, the type and style of the jewelry, the amount of the sale, and notes about challenges.

____ Discuss the focal points of presenting colored gemstones with your manager and coworkers. Share problems and successes you’ve had in dealing with these core issues. Write down any questions you have now, and watch for the answers as you work through the upcoming lessons.

The World of Gems


JA® sALes PRoFessIonAL CeRTIFICATIon™ JewelersofAmerica(JA)isoneoftheforemostUSjewelrytradeorganizations.

Withamissiontoincreaseconsumerconfidenceinthejewelryindustry,JAadvocatesprofessionalismandadherencetohighethical,social,andenvironmentalstandards.Itworkstoenhanceitsmembers’profitabilitybyofferingeducation,certification,marketing,andcost-savingprograms.

JAcreatedtheSalesProfessionalCertification(SPC)programtoestablish,maintain,andrecognizesuperiorstandardsofknowledgeandskillamongjewelrysalesprofes-sionals.Formorethanadecade,JA’scertificationprogramshavevalidatedthetalentandproficiencyofjewelryindustryprofessionalstonationalstandards.JAcertificationcanadvanceyourcareer,differentiateyourstore,andimproveyourreputationwithfinejewelrycustomers.

TheSPCprogramhastwolevels:

JACertifiedSalesProfessional(CSP)–Thislevelreflectsknowledgeandskillsgenerallyexpectedoftrainedentry-leveljewelrysalespersonnelwithaboutoneyear’sexperience.

JACertifiedSeniorSalesProfessional(CSSP)–Thislevelreflectsmoderatetoadvancedsalesknowledgeandskills,andincludessomeareasnottestedatthefirstlevel.

ToqualifyforeitherdesignationyoumustbeemployedbyaJAmemberstore,haveatleastoneyearofretailjewelrysalesexperience,andpasstheSPCwrittenexam(s).Forcompleteprograminformationcontact:

JewelersofAmerica,Inc.CertificationManager120Broadway,Suite2820NewYork,NY10271Phone:800-223-0673/646-658-0246Email:[email protected]:www.jewelers.org

DCAandJAsharethegoalofincreasingprofessionalismthroughoutthejewelryindustry,andbothorganizationsbelieveeducationisessential.Forthesereasons,theDCAcurriculumisdesignedtoeducatestudentsandoffersupporttoindividualswhoelecttopursuethegoalofprofessionalcertificationthroughJewelersofAmerica.

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Congratulations!You’re on your way to becoming

Colored Gemstone Certified by DCA! There’s no Self-Test for this lesson,

so you can go ahead to Lesson 2. Enjoy!

Colored Gemstones

Colors and Gems



In This Lesson:• The Magic Ingredient

• The Color Equation

• Responses to Color

• Life’s Color Cycles

• Making Color Work

THE MAGIC INGREDIENTThe fiery red glow of a ruby or the lush cool green of

emerald, a sapphire’s blue serenity or the rainbow at play in anopal – for each of these gems (and most others, too), color isthe magic ingredient. It catches the eye, sparks the imagina-tion, and lures the heart.

Color’s strong appeal makes tuning in to it a must forevery gem professional. That appeal has many levels involvingconcepts and emotions as well as the visual perception of beauty .Some are linked to nature while others arise from culture. Thenthere are those that reflect personal events and meanings.

In a sales presentation you need to identify the aspects ofcolor that “speak” to your customer, and highlight their connections with the gems you show . Thismight mean comparing the golden yellow color of a topaz to autumn leaves. Maybe you could empha-size yellow’s place in trendy fashion palettes, or point out that it traditionally denotes happiness. Theright approach depends on the customer, but developing the understanding to get there takes colorsavvy and sensitivity on your part.

Understanding color can help in other ways, too. Color is the top value factor for most gems, andyou should be able to explain this clearly. Use color to give customers glimpses into the mysteries ofhow gems are created, or to help them understand the scientific detective work through which gems areidentified. Managing the complexities of color is also critical if you want gems to look their best inyour displays and showcases.

Colors and Gems

Cover photo courtesy R.A. Bentley.

Color involves not only the physicalsensation of beauty, but also mentaland emotional response.

JA® SPC SKILLSIf you’re participating in the JA®

Sales Professional CertificationProgram™, this lesson presents infor-mation related to the following SkillAreas:

PRODUCT KNOWLEDGE• Colored Gemstones• Disclosure• History of Jewelry

SERVICES AND GUARANTEES• Store Service Programs

CUSTOMER SERVICE• Initiating Customer Contact• Building Customer Relations

SELLING PROCESS• Theory of Selling• Customer Needs• Building the Sale• Closing the Sale

SELLING TOOLS OPERATIONS• Merchandise Maintenance

POINT OF SALE PROCEDURES• POS Record Keeping• POS Customer Development

PROFESSIONAL STANDARDSAND EXPECTATIONS

BUSINESS ETHICS• FTC Guidelines• Trade Practices

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2

In the lessons ahead you’ll examine all these topics. Here,however, at the beginning of your adventure into the gem world,let’s take a look at the ‘big picture’ of color – how we see it andhow it affects us, the realms of color from nature’s canvas topersonal preferences, and some of the endless varieties of fered inthe gem world.

THE COLOR EQUATION Many people take color for granted because it’s all around us all

the time. In reality, color is actually a fascinating and amazinglycomplex phenomenon. It’s produced by an interplay between energy,matter, the senses, and the mind. You don’t need to know all the tech-nical details, but grasping the basic equation is essential if you want toconjure the magic of color for your customers. This basic equation isreasonably simple. In most cases, there are just three key “players” –light, an object, and the viewer.

The fascinating internal world ofgems comes alive when you tryto identify them.

Lesson ObjectivesWhen you have successfully completedthis lesson, you will be able to:• Identify factors that affect color perception.

• Discuss the emotions and symbolism of color.

• Explain links between gem and fashion colors.

• Use color more effectively in your presentations.

Light

Except for dreams, visions, and other mental events (like flashesafter a bump on the head), the colors you see lar gely depend on thelight that’s available at a particular time and place. Take, for example,a red rose. In moonlight it might appear dark brown; a little beforedawn, deep maroon; and at mid-morning, bright crimson. The rosedoesn’t change, but the light does.

A major factor in the change – and its dramatic ef fect on the flower– is the light’s color content. Most “white” light is a mixture of all thespectral colors. These are revealed when light shines through a prism.When this happens you can see the well-known rainbow spectrum ofred, orange, yellow, green, blue, indigo, violet, and all the color blendsin between.

The color content of white light can also vary .We usually don’t notice the variations because oureyes automatically adjust to them, but they stillexist. Full sunlight contains a fairly balanced colorblend, but daylight’s color shifts considerablydepending on the time and weather conditions.Most fluorescent lights, though they appear‘white’, are weighted toward blue and green.Incandescent lights – like the bulbs in most homesand the spotlights in your store – also appear‘white’, but put out more yellow, orange, and red.Some stores now use halogen bulbs, which gener-ally strive to balance the components of color .

Even minor differences in light’s color content can have a significant impact on how you perceive acolor. Though you may not have analyzed the way the color of a rose changes through the day , youmight have bought a blouse or shirt that looked great in the clothing store, but turned drab in yourjewelry showroom. Or maybe it matched an outfit perfectly when you tried it on, but not when youwore it. In either case, a dif ference in lighting was probably the culprit.

The same thing can happen with gems. The right light will bring a gem’s color to life – but theopposite is true as well. A neon-blue tourmaline that’s positively luminous under the cool-white fluo-rescents of an office may look dull and sleepy during a candlelight dinner . In the same settings, amandarin-orange garnet might snooze through the workday, but add passionate glints to the evening’sromance.

Colors and Gems


The color of lighting can make the same subject lookcompletely different.

Color is an amazingly complexphenomenon produced by anever changing interplay betweenlight, objects and you.

Since light is the starting point for color , colored gems can look different in some displays than inothers, depending on the light to which they’re exposed. Customers may also comment on dif ferencesthey notice when wearing gemstone jewelry. It’s all part of the mystery and wonder of color .

Object

While light is the additive part of the color equation, the next compo-nent usually involves subtraction. The process is called selective absorp-tion, and the concept is simple: In most cases, the atoms that compose anobject cause it to soak up – or absorb – certain elements – or colors – ofwhite light. We then see those that remain, and are reflected by the object,as the object’s color. The rose in the garden absorbs most colors except red.An amethyst absorbs orange, yellow, and green, leaving a mix of red andblue which we see as purple.

Gems play with light in many ways. When you look closely at anamethyst, you most often don’t see a single uniform color. Instead, there’s akaleidoscopic dance as you rock the gem back and forth. That’s becauselight rays are absorbed a little dif ferently as they enter the amethyst, bouncearound inside, and then reflect back to your eyes. Good cutting maximizesthis optical choreography.

In some gems, light takes on dif ferent colors as it travels in dif ferent directions. This is known aspleochroism (PLEE-oh-crow-ism), and one gem that shows it particularly well is tanzanite. Dependingon the direction through which you look at a tanzanite crystal, you see various blends of blue, purple,and pale greenish yellow. When the crystal is cut, it must be oriented so the most attractive combina-tion – the blue and purple – will be seen when the finished gem is set in jewelry .

Colored Gemstones

Colors and Gems

4

Amethyst selectively absorbsmost colors except red andblue, which combine todisplay the colors you see.

Photo courtesy Tino Hammid.

Depending on the directionyou look at tanzanite, yousee various blends of blueand purple.

Photo courtesy Gem Tech.

Good cutting maximizes the optical choreography.

Other gems display different colors side-by-side. This resultsfrom variations in the type or concentration of coloring agents thatare present. A watermelon tourmaline might be half green and halfpink. Ametrine shows amethyst’s purple next to the orange or yellowof citrine. In the kind of jade called moss-in-snow, delicate greenveins run through a background of pure white.

There are also gems that display completelydifferent colors in different types of light. A greatexample is the alexandrite variety of chrysoberyl. It’sred in incandescent light, but green in daylight orunder a standard fluorescent lamp. The light’s colorcontent and the way the gem responds to it combineto create this effect. As a result, alexandrite is classi-fied as one of the “phenomenal” gems. You’ll learnmore about this special group in the next lesson.

Colors and Gems


You

After light adds color and the object subtracts it, you – oryour eyes and brain, to be exact – total up the equation. This isthe most complicated step in the process, but the outline is stillpretty straightforward: Light reflected from the object enters youreyes and hits specialized cells that convert it to electro-chemicalsignals. These go to your brain, which decodes them and createsthe final color image.

From your own experience, you know the results can bedelightful. From a scientific standpoint they’re also amazing.Researchers say most people can distinguish more than 7 milliondifferent colors. With training and proper conditions, the numberjumps to about 10 million. That includes the colors of the spec-trum, black and white, and all the shades and tints from grays,browns, and pale pastels to the most vibrant visual fireworks.

Incandescent Light

Your eyes and brain are themost complicated componentsof how you see color.

Watermelon tourmaline isaptly named for it’s resem-blance to a watermelonfruit slice.

Daylight

Alexandrite displays differentcolors when viewed indifferent kinds of light.

Photos courtesy Tino Hammid.

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6

The three dimensions of color –hue, tone and saturation.

Courtesy Munsell.

Most of these color perceptions in your brain have threedimensions:

• Hue – This usually gives a color its generic name: red,yellow, blue, red-orange, blue-green, yellowish orange,greenish blue, and so forth.

• Tone – The color’s lightness or darkness. Totally neutraltones (without any hue) are pure black, pure white, and thevariations of gray in between. Examples of tone dif ferenceswith hue include pink and red, and sky and navy blue

• Saturation – The color’s strength and purity. This is alsocalled brightness, chroma, and intensity. All of these termsdescribe variations running from grayish or brownish (dull) tovivid. Sage green and slate blue are near the dull end of thatscale. Emerald green and royal blue are at the vivid end.

Tone is the varia-tion of a hue fromlight to dark.

Courtesy Munsell.

When they’re combined, hue, tone, and saturation define a colormuch like latitude, longitude, and elevation pinpoint a geographic loca-tion. You usually don’t need to get too technical with customers, butbeing aware of color dimensions can help you understand relationshipsthat are important in art, décor, fashion, and other areas – includingjewelry design, display, and wardrobing. Hue, tone and saturation

form a “World of Color”.

Courtesy Munsell.

Saturation is the color’s

strength andpurity.

Colors and Gems


• Mind and Body – Experiments have shown that colors af fectphysical functions such as heartbeat and brain activity. They alsoinfluence perceptions of size, weight, and temperature. Darkcolors tend to make objects look smaller and feel heavier . Lightcolors do the opposite. Reds, oranges, and yellows generatesensations of warmth. Greens, blues, and violets seem cool. Fire-engine red speeds the pulse and sends adrenaline pumpingthrough the body. Midnight blue lowers blood pressure and quietsthe nervous system. Colors between the extremes are also inter-mediate in the reactions they cause.

• Emotions – Some medical experts believe different colors stim-ulate brain areas that control certain glands, along with hormonesand the moods they produce. A number of psychologists are simi-larly convinced that color likes and dislikes yield insights intopersonality. Neither theory has been proven fully, but mostpeople would agree that color both influences and expressesemotions. The consensus is that red packs the most powerfulpunch by evoking or reflecting passion – whether it’ s in the formof love or hate, ecstasy or rage. At their best, orange and yelloware happy, uplifting, and invigorating. Green is linked to securityand comfort. Blue conveys inner peace. Violet communicatesemotional complexity, and purple signifies sensual enjoyment.

RESPONSES TO COLORThe ability to perceive color isn’t unique to our species.

Many animals have limited color vision. Some birds andreptiles, as well as most primates, possess the optical “equip-ment” to see color as effectively as we do. One thing that setsus apart, however, is the range of our responses to color .

Animals use their color vision mainly to identify food,threats, and mates. Over generations, though, humans havebuilt on their instincts through creative thinking, communica-tion, and shared traditions. As a result, colors have multipleeffects and meanings for human beings today.

Red speeds the pulse and sendsadrenaline pumping.

Colors have multiple effects

and meanings on a

human being.

Colored Gemstones 2

Colors and Gems

8

Blue conveys inner peace.

• Symbolism – In the early light of human imagination, thecolors of the yearly seasons stood for the stages of life. Soonafter came colors for the elements of creation andpersonal being – earth, air, fire, and water; body,spirit, heart, and mind. Over time, natural connec-tions grew into abstract concepts, and history addednew meanings. Blue provides a good example ofsuch evolution. Being the color of sky and oceanmade it an intuitive choice to represent the highestand deepest of forces. So, since ancient times blue has beenassociated with heavenly power, earthly authority, and eternalspirit. By extension, peace, mercy, and truth eventuallybecame part of its symbolism. In the 1300s an English kingpicked a blue garter for the emblem of the noblest order ofknighthood. This bestowed the connotation of superior qualityand achievement now carried by terms like “blue chip” and“blue ribbon.”

Because they’re essentially wired intoour brains and nervous systems, the ef fects ofcolor on mind and body are almost universal.Symbolism, however, is often rooted inculture. For instance, white (for purity) is atraditional wedding color in the US, but green(for fertility) once had that status in Europe,and red (for joy) was favored in China.Colors can have negative symbolism, too.Yellow can mean cowardice, green can denotedecay, blue can be melancholy, and there aresimilar downsides for almost every color.

Red evokes passionand high emotion.

Green is linked to secu-rity and comfort.

Colors and Gems


Emotional responses are highly subjective, and they are there-fore difficult to predict with certainty. Life experiences often deter-mine whether a particular color makes someone feel happy, sad, orindifferent. The specifics of hue, tone, and saturation matter aswell. (Just consider the emotional difference between indigo andturquoise blue. To most people, indigo is a solid and anchoringcolor – subdued yet strong. Turquoise is lighter, freer, somewhatflighty and happy.) Fads and fashions also have influence on theemotions people attach to colors.

In Lesson 12 you’ll find an expanded list of color -related images, feelings, and ideas you can use inpresentations. Right now, it’s important to realize thatseemingly simple preferences can have hidden depths.If a customer points to an aquamarine in your show-case and gasps, “Oh! That’s my favorite color!” shemight be responding instinctively to the gem’s sea-bluecharms. Perhaps for her the color invokes the mysticpower of water, or maybe it brings to mind a dress sheloved when she was a little girl. Getting acquaintedwith the customer can give you a feel for these possi-bilities, and enable you to bring out all the color trulyrepresents.

turq

uois

e b

lue

indig

o b

lue

The symbolism of color isoften rooted in culture.

Turquoise:lighter andfreer; happy.

Indigo: solid andanchoring; serious.

Life experiences often determine whether a

particular color makes someone feel happy, sad, or indifferent.

Colored Gemstones 2

Colors and Gems

10

LIFE’S COLOR CYCLESConsciously or not, all of us live within cycles of

color. From spring and summer to fall and winter ,nature sets the tempo and sounds the keynotes with arhythm of chromatic progressions. In some places,the effect is like a soft background tune. In others,it’s a full-blown symphony. Anywhere you happento be, though, the changing colors of earth and skymark the passing of time on a planetary scale.

Human communities also have their color cycles.Across the country, lights and decorations go up for theholiday season. Fireworks illuminate New Year’s Eve andthe Fourth of July. Grinning jack-o’-lanterns greetcostumed kids on Halloween. Whenever people celebratetheir heritage, identity, or civic pride, the streets erupt incolor. As each faith observes its calendar of worship,specific colors almost always have a role in the ceremonies.

There are less public cycles as well, and – like some ofthe grander ones – they help to keep life interesting. Maybeyou add festive touches to your home for holidays, birth-days, and anniversaries. You might periodically sprucethings up with fresh flower arrangements, or experimentwith the colors of knickknacks, throw pillows, and so forth.In your store, a comparable process is likely to be carefullyplanned and executed because it plays an important part incommunicating your company image, establishing displaythemes, and making your merchandise look inviting.

Spring, Summer, Fall and Winter –nature displays a rhythm of chro-matic progressions.

Colorful arrangements

and knickknacks

make a homeinteresting.

For centuries jewelry has been a fashionaccessory, and that role has become even moreprominent in recent years. It’s not surprising then that gemsalso experience vogues. This season’s hits might be theluscious pinks and reddish purples of rubellite tourmalineand “raspberry” rhodolite garnet. Next season may call forthe warm friendly oranges or yellows of citrine and“sherry” topaz. After that, the tart citrusy greens of peridotand tsavorite could be in style.

Fine jewelry can be costly, however, so an essentialelement of gem appeal is permanence. For this reason, yourjob as a professional is to keep a finger on fashion’ s pulse,while also keeping an eye on the timeless beauty and long-term value of gems.

Colors and Gems


For some of your customers, the color cycles of greatest interestexist in the world of fashion. Twice a year, at the fashion centers ofthe world, the latest palettes come strutting down designer runways.Not long afterward, they’re in catalogs and on ready-to-wear racksacross the country. Between premier and mass-market appearances,they splash through magazines, television programs, and thelifestyle sections of newspapers.

Fashion colors and “personal palettes” were once tied to the fourseasons of nature – fall, winter, spring and summer. Modern tastes,fabrics and dyeing methods have liberated them from those oldboundaries, but they still have definite cycles. A complete turn ofthe fashion wheel typically includes basic black and classic white,nearly neutral grays and beiges, earth tones, pastels, stronger tints,and bold pure hues. It might take a decade, and the sequence canvary – frequently subject to pop influences from Hollywood,Broadway, and MTV – but sooner or later, every ‘in’ color goesout and comes back again.

Twice a year the latestfashion palettes comestrutting down thedesigners runways.

Photo courtesyJames de Givenchy.

Photo courtesy Scavia.

It might take a decade…but sooner or later,

every color comes back.

Part of your jobas a professionalis to keep upwith fashioncolors and knowwhich gems workwith them.

Colored Gemstones 2

Colors and Gems

12

To help a customer balance these contradictoryconcerns, you might suggest that she approachpurchasing jewelry like buying clothes – with an ef fortto create a well-rounded wardrobe. It makes sense toinvest in items that are functional, versatile, and mean-ingful – in other words, pieces the customer feels thatshe’ll be able to enjoy for years to come. Then, asopportunity and budget allow, she can make additionsfor variety or special occasions. This puts decisions in acontext most customers understand. (From your view-point, it can also provide the basis for developing long-term clients.)

MAKING COLOR WORKNo matter how a customer looks at color , you can

mirror her thoughts, feelings, and priorities in the gemsyou present. Gems occur in every color, so it’s alwayspossible to match a preference. Regardless of fashion’scurrent direction, there will always be a gem to providethe perfect accent. There’s no better way to express feel-ings, communicate personal messages, or simply cele-brate being one’s self.

Since color is usually the first feature that catches acustomer’s attention, it’s also the logical place to begin apresentation. Start with the visual and go on from there,using color’s unifying themes to build your imagery.After spotlighting a tanzanite’s velvet blue allure forexample, you could say the depth and quality of colorgive the gem exceptional value. You can emphasize thatexpert cutting was required to display the color at itsbest. You might share the fact that tanzanite was discov-ered only a few decades ago, but its color has made itone of the world’s favorite gems. You also have anethical obligation to point out that a carefully controlledprocess of heat treatment permanently morphed the

Regardless of fashion direction,some gems are bound to be theperfect accent.

It makes sense toinvest in items that arefunctional, versatileand meaningful.

Photo courtesy BarbaraWestwood.

You can help acustomer mirror

their feelings in the gems

you present.

Colors and Gems


gem’s original color to its current splendor. Thus,whether you want to accentuate beauty, explain value,add interest, or disclose treatment, talking about colorcan help you achieve your objective.

To make color work in all these ways, you shouldput three items near the top of your list for professionaldevelopment:

• Learn more about color – Whatever your present levelof color consciousness, try to take it higher. For general infor-mation or inspiration there are lots of good books andwebsites available. Popular magazines cover color from afashion angle. Trade publications like Jewelers’ CircularKeystone, Modern Jeweler, National Jeweler, InStore,Jeweler’s Quarterly and Professional Jeweler often examinecolor and fashion from our industry’s perspective.

To gain “street-level” insights, pay attention to the colorschemes in blockbuster movies and hit TV shows. Look at howcolor is used in trend-setting clubs, restaurants, and stores. Studythe colors in department store fashion windows. In fact, become akeen observer of color everywhere you go. Most of all think aboutthe role that color plays in your own life, then strive to bring yourawareness and enjoyment to your interactions with customers.

• Learn more about gems – Connecting color with gemstakes a combination of general understanding and specificknowledge. This course will help you acquire both. Upcominglessons explain how color relates to product distinctions, valuefactors, identification methods, gem romance, the sellingprocess, and other aspects of your work. The ColoredGemstone Compendium provides additional information formost of the gems you’re likely to sell. Together, the lessonsand the compendium present overviews and close-ups thatenable you to respond effectively to any type or level ofinterest a customer might have. They also form a solid foun-dation on which you can continue to build.

Tanzanite was discoveredonly 40 years ago but itscolor has made it one of theworld’s favorite gems.

Photo courtesy Jean François Albert.

Trade publications alwayscontain topics on coloredgemstones.

Observing the colors in nature givesyou a keener sensitivity to them.

Colored Gemstones 2

Colors and Gems

14

• Learn more about your customers – Though itmight sound cliché to say that every customer is unique, it’ s true.Individual differences can start at the level of basic visualperception. (People who suffer from color confusion – oncecalled color blindness – are good examples.) Complexion andhair color often dictate choices for personal wardrobes, and thusthe gems that might serve as accessories. Personality also plays adramatic yet unpredictable role.

As you can see, knowing color and gems isn’ t enough.You’ve also got to know the customers you serve. That meansmaking an effort to build relationships and assure customersyou’re genuinely interested in their concerns. It requires takingtime to identify their needs, desires, and motivations. Only afterseeing to these crucial steps can you be fully prepared to say , “Ihave exactly what you’re looking for” and follow through withthe right suggestions and presentation.

Of course, you’re not going to master these goals in a week,a month, or even a year. Unlike smaller projects, you can’t set adeadline for learning all there is to know about colored gems,and marking things off your list shouldn’t be the top priority.After all, success, professional growth, personal fulfillment –however you define what you’re setting out to accomplish – isn’ ta destination. It’s an ongoing journey. From that perspective,color, gems, and your customers are part of a career path thatleads into the future as far as you want to go.

Knowing your customers andwhat they wish for takesbuilding rapport and showinggenuine interest in theirconcerns.

Individual differences can

start at the most basic levels

of perception.

Colors and Gems


RECAP OF KEY POINTS

• For most gems, color is a primary feature of appeal. That makes tuning in tocolor an essential for every gem professional.

• Color is normally produced by an interplay between light, an object, and theeyes and brain. Each component of this equation has a critical ef fect on howwe perceive color, and on the way colors appear in dif ferent types of gems.

• Human responses to color can involve mind and body, emotions, andsymbolism. The effects of color on mind and body are almost universal.Symbolism is often rooted in culture, and emotional responses are highlysubjective. As a result, a customer’s color preference can have considerabledepth.

• Color cycles exist in nature, in human communities, and at more personallevels. For some customers, cycles of greatest interest lie in the world offashion. Jewelry has always been a fashion accessory, but fine jewelry can alsobe costly, and permanence is part of gem appeal. To help customers balancethese concerns, you can introduce them to the concept of jewelry wardrobing.

• No matter how a customer looks at color , you can demonstrate how thoughts,feelings, and priorities are reflected in the gems you present. Color is usuallythe logical place to begin a presentation, and it can be a unifying theme aswell. To put color to work professionally, you need to learn more about gemsand your customers as well as color.

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LESSON 2 FOLLOW-UP CHECKLIST

____ Examine different gems in different types of light. If possible, try sun,shade, fluorescent, and incandescent. If all of these aren’ t options, acool-white fluorescent tube and a 40- or 60-watt bulb will show youwhat you most need to see. Use only one light source at a time, andnotice how the gem’s color appearance changes. (Generally, green,blue, and violet gems will look their best under the tube, while red,orange, and yellow gems will come alive under the bulb.)

____ With a few coworkers, or perhaps some friends, conduct a brain-storming session on physical, emotional, and symbolic responses tocolor. Run through the entire spectrum. Think about hue, tone, andsaturation variations – for example, emerald, lime, hunter , andavocado green. Consider negatives as well as positives.

____ During the next week, pay extra close attention to color in your life –everywhere you go and in everything you do. This can be the startingpoint for making color work for you, both professionally and person-ally.

Colors and Gems


his lesson also includes a Self-Test that’s designed to help you gauge your comprehension of the lesson material. The test is an important part of the learning process, so be sure to complete it.

When you're ready to take the test, go to the Course Materials page (the one that lists all the lessons) and click on "Take Self-Test." Make certain you select the test for this lesson.

All questions in the test are based on Lesson 2. More than one answer for a question might seem correct, but you should select the one best answer based on the lesson discussion.

As you take the test, you may refer to the lesson. To do this, you’ll need to have the lesson loaded in a separate window of your browser.

If you feel certain about a question, try answering it without looking at the lesson. But if you’re not sure, check the lesson before answering.

After you answer a question, you'll receive immediate results and feedback. You'll find out whether you answered correctly, what the correct answer was (in case you missed it), and also the page number in the lesson where the information can be found. Take time to review any material you're not completely clear on.

At the end of the test, you’ll receive your overall results. Then you’ll be able to continue to the next step in your coursework.

If you have questions or need help, please contact us. You can use this website – just click on Help. You can also email [email protected] or phone 615-385-5301 / toll free 877-283-5669.

Lesson 2 Self-Test

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Colored Gemstones

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Progress Evaluation Reminder

If you have not yet completed Progress Evaluation 1, please do so before continuing further with your coursework.

The Colored Gemstone Course includes four Progress Evaluations. They come after Lessons 2, 7, 12, and 16. Each one has three separate components – a Learning Evaluation, a Training Evaluation, and a Satisfaction Evaluation.

For more information about Progress Evaluations and how to complete them, see the Testing Center FAQs page.

If you have other questions or need help, please contact us. You can use this website – just click on Help.

You can also email [email protected] or phone 615-385-5301 / toll free 877-283-5669.


In This Lesson:• Enticing Choices

• Gem Minerals

• Treated Gems

• Synthetics

• Imitations

• Assembled Products

ENTICING CHOICES It could be said that the gem and human w orlds have developed

together over thousands of years. The earliest gem materials wereby-products of the search for food and the struggle for survi val.These included pearl, shell, and ivory. Crystals and pebbles withstriking shapes and vivid colors were also found as primitive culturesexplored their surroundings. Eventually people began to enhance andimitate the beauty they saw in gems. In modern times, they ulti-mately learned to re-create it.

For many centuries, the evolving activities of discovery, trade,art, science, and technology gradually added to the number andvariety of gems that were available. Within the last few decades,however, those same forces have come together to create a rapidlygrowing galaxy of enticing choices for consumers. As a result,today’s gemstone products, and the jewelry in which they appear,reflect all the rich diversity of contemporary life.

As a jewelry sales professional, it’s essential for you to know andunderstand these products. The distinctions among them are criticalin every aspect of your work. In sales presentations, for example,solid product knowledge serves as a foundation for representationand disclosure. It’s also the basis for explaining the value andmeaning of gems.

Gemstone Products

Gem materials werean important part ofearly culture.

Cover image courtesy Jean-François Albert.

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You’ve already learned that the gem world includes minerals,organic materials, treated gems, synthetics, imitations, and assem-bled products. In this lesson you’ll begin to take a closer look atmost of these. Lesson 4 will explain factors that determine theirvalue, while Lessons 5 and 6 discuss cultured pearls and otherorganic gems.

For now, the emphasis will be on providing clear descriptionsand highlighting basic differences. As you move further ahead inthe course, you’ll see how product fundamentals apply in sellingas well as other job responsibilities such as care and cleaning,merchandising, and display.

Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Explain how gem minerals relate to each other.

• Define the most common types of treatment.

• Describe the main methods for synthesizing gems.

• Recognize how imitations and assembled products are used.

Minerals are also part of the gemworld. Although prized as specimensfor their own unique beauty, most areeventually cut into gems for jewelry.



PRODUCT KNOWLEDGE• Colored Gemstones• Pearls• Disclosure• History of Jewelry• Designer & Brand Name Jewelry

SERVICES AND GUARANTEES• Warranties and Guarantees• Store Service Programs

SERVICE DEPARTMENT

CUSTOMER SERVICE• Building Customer Relations

SELLING PROCESS• Customer Needs• Building the Sale• Closing the Sale

SELLING TOOLS OPERATIONS• Store Maintenance• Merchandise Maintenance

POINT OF SALE PROCEDURES• POS Customer Development

RISK MANAGEMENT• Security



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GEM MINERALS Most natural gems are minerals that were created by

Earth’s rock-forming processes. Scientists have identi-fied more than 4,000 different kinds – or species – ofminerals. many of which are valued by collectors. Ofthese, fewer than 100 have the beauty and durability tobe considered gems. Only about 20 mineral speciesappear often in jewelry stores, and just three account for more than 95% of all gemstone sales in v alue.Those three are diamond, beryl (BER-al), and corundum (ka-R UN-dum).

Everyone has heard of diamond, but the other two will probably not sound familiar to mostcustomers. That’s because beryl and corundum are species names, and gems belonging to those speciesare usually sold under better-known variety names. Beryl varieties include emerald and aquamarine.Corundum has two main varieties – ruby and sapphire.

Emerald is a variety of thespecies beryl.


Ruby and sapphire arevarieties of the speciescorundum.

Photo courtesy John Buechner.

The garnet group is a familyof closely related species.

Garnet collectioncourtesy of Janice Mack.

To understand these distinctions, you need to know a little about howminerals are scientifically classified:

• Species – A species is a mineral type that’s defined by the combina-tion of chemical composition and crystal structure. Chemical compo-sition is the atomic recipe – the kinds and relati ve quantities of atomsthat make up the mineral. Crystal structure is the w ay in which theatoms are arranged. Corundum’s composition, for example, is repre-sented by the formula Al2O3. That means it’s made of aluminum (Al)and oxygen (O), with two aluminum atoms for every three oxygenatoms. In a corundum crystal the atoms also form a three-dimensionalgeometric pattern that’s described as hexagonal.

• Variety – A variety is a subcategory within a species. Gem varietiesare usually distinguished by color or one of the optical ef fects knownas phenomena. Corundum with a red color is ruby. Corundum of anyother color – not just blue – is sapphire. If there’ s also a star effect, it’sstar ruby or star sapphire depending on the color .

• Group – A group is a mineral family made up of species that areclosely related in composition or structure. Garnets form the mostfamiliar gem mineral group. There are about a dozen species ofgarnets, and half of them produce gems. All garnets have the samecrystal structure, but differ slightly in chemical compositions.

PHENOMENAL GEMS

Phenomenal gems form a special product category that appeals tomany customers. A few are rare and costly, but others are within

reach of even the most modest budgets. They all have some kind ofextra optical effect (besides color) that sets them apart from their moretraditional counterparts.

There are dozens of phenomenal gem varieties. Most, however,show one of the following effects:

• Play-of-Color – This is the rainbow dance you see in opals. Itoccurs because these gems are composed of tiny silica spheres thatbreak up white light into spectral hues. (The spheres are less than10 millionths of an inch in diameter.) Opal is the onlynatural gemstone with true play-of-color.

• Change-of-color – Gems with this effect appear tobe different colors in different types of light. Finequality alexandrite provides an outstanding example.Under a standard incandescent bulb, it appears red.In daylight or fluorescent light, it appears green. Thechange is triggered by shifts in the light’s colorcontent. Alexandrite is a variety of the chrysoberyl

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Lesson 8 describes how gem minerals form, including the conditions that produce species, v arieties,and groups. You can find more information in the Colored Gemstone Compendium. Most customersaren’t too interested in mineral terms and kinships, ho wever, so you usually don’t need to spend muchtime on the subject. Occasionally, though, you can add interest by e xplaining some eyebrow-raisingdetails – like the fact that ruby and sapphire belong to the same species. You might call them “gemsiblings.” If a customer is considering garnets and thinks red is the only choice, you might surprise himby revealing that members of this group occur in other colors, too. (Be ready to sho w examples whenyou spark curiosity, however.)

In every presentation, a top priority is identifying your products. That’s where understanding gemnames and knowing how to use them really counts. Sometimes a single w ord is enough. When you sayruby, sapphire, or emerald, there’s instant recognition. Sometimes it helps to clarify a bit: “This is bluetopaz,” or “pink tourmaline.” At other times you need to be more elaborate: “This bright purple gem isthe garnet variety known as rhodolite.” After such introductions you can provide more information, andyou’ll learn to do this in upcoming lessons. Initially , however, your main concern is making sure thecustomer understands what you’re showing.

Play of color in opal.


Change of color in alexandrite.


species, the phenomenon is often called the alexandrite effect.Other natural gems that can display this dramatic color changeinclude garnet, sapphire, and spinel. One kind of syntheticsapphire also shows change-of-color. This man-made product isinexpensive and widely available. The color goes from purplein incandescent light to green in daylight or fluorescent light.

• Cat’s-eye – This phenomenon is sometimes called chatoy-ancy (sha-TOY-an-see). Another variety of the chrysoberylspecies shows the effect at its best. In cat’s-eye chrysoberyl, ashining band is produced by light reflections from microscopicneedle-like crystals trapped inside the gem. That band gives thephenomenon its name. (To create a sharp cat’s-eye, the gemmust also be cut in the domed style known as a cabochon.) Anumber of other natural gems occasionally display chatoyancy.The most affordable one is the quartz variety called tiger’s-eye.

• Star – This effect is also known as asterism. It has the samecause as chatoyancy: light reflections from needle-like inclu-sions. In a cat’s-eye, however, the inclusions are parallel toeach other. In a star gem, they’re oriented in different direc-tions. So, instead of a single band, you see multiple raysextending from a center point. The best-known examples of thisphenomenon are corundum varieties – star ruby and starsapphire. Asterism sometimes occurs in other gems such asgarnet, quartz, and spinel.

• Moonstone – The phenomenon is technically known asadularescence (AD-ja-lar-ESS-enss). The only natural gem inwhich it’s seen is moonstone, which is a variety of feldspar. Thephenomenon appears as a soft floating glow. The floating glowis sometimes blue, but more often white. The effect is caused bylight reflecting and scattering from different layers in the gem’sstructure.

The Colored Gemstone Compendium includes profiles of alexan-drite, cat’s-eye chrysoberyl, moonstone, opal, star ruby, starsapphire, and tiger’s-eye. There you’ll find more facts you can usein presenting these gems, plus tips for showing them at their best.

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Asterism in star sapphire.

Photo by Tino Hammid courtesy RafcoInternational Gem Corporation.

Adularescence inmoonstone feldspar.

Chatoyancy in chrysoberylcat’s-eye.

Photo by Tino Hammid courtesy RafcoInternational Gem Corporation.

TREATED GEMS Except for fashioning techniques like cutting and carving, almost any artificial process that

improves a gem’s appearance or durability is considered a treatment. Although treatments are some-times controversial, they’ve been part of the gem world since ancient times. Treated gems were foundin the tomb of Egypt’s Pharaoh Tutankhamen (who died in 1325 BC). A Roman book written almost2,000 years ago describes several treatment methods that are still in use today .

Gem treatments developed slowly until the 20th century. When science andtechnology began to supply advanced tools like high-temperature furnaces andnuclear reactors, changes in treatment processes began to come at a muchquicker pace. Our understanding of the chemistry and physics of gems has alsoincreased, and as a result, the variety, sophistication, and extent of treatmentshave grown rapidly in recent decades.

Today, treatments are vital to the jewelry industry. They make beautifulgems more available and more affordable. Therefore, it’s important to knowabout treatments – what they do and on which gems they’re used.

You also need to be able to informcustomers about treatments. You may not be ready to do that,however, until you’ve moved further ahead in this course.Mentioning treatments without knowing how to discuss themproperly can ruin a sale. Lesson 15 will sho w you how tomake disclosure a positive part of your presentations. TheColored Gemstone Compendium will give you all the factsyou need. If you are handling colored gems on a re gular basis,you may want to jump ahead and familiarize yourself with thetypes of treatments and how to disclose them in a positiveway.

For now, as part of this initial product surv ey, here’s analphabetical listing of the most common treatments forcolored gems:

• Bleaching: Using chemicals like hydrogen peroxide or chlorine bleach (sometimes e ven acid) tolighten or remove color or dark surface blemishes. This is a standard procedure for most culturedpearls, either by itself or before color-adding treatments such as dyeing and irradiation. It’s alsocommon for chalcedony, jade, and tiger’s-eye.

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It's important to understand treatments andnecessary to tell customers about them.

Treated gems datingbefore 1300 BC werefound in the tomb ofTutankhamen.

• Coating: Applying a thin layer of some substance to a gem’ s surface,usually to improve or change the color. Coating can also make the polishlook better (in other words, make the surface look smoother). It canimitate or intensify a phenomenon such as asterism, too. Man y differentsubstances are used as coatings – oil, w ax, paint, varnish, plastic, foil,and metallic compounds like those used for mirrors and camera lenses.The treatment is most often seen on imitations. F amiliar examplesinclude glass “rhinestones” with a mirror-like coating on the back.Colorless quartz and topaz are sometimes coated to add surf ace color orcreate iridescence. (Iridescence is the “oil-and-water” colors that appearwhen light is broken up by structural layers.)

• Diffusion: Heating a gem to very high temperature while it’s in contact with selected chemicals.The chemicals penetrate the gem’s surface and actually become part of the crystal, changing itscolor in the process. Depending on the technique that’ s used, the new color can be very shallow(often extending less than 1/100 inch beneath the surf ace), or it may go deeper – sometimes all theway through the gem. Shallow diffusion is most often used on colorless and light-colored sapphires.The chemicals can produce a colored layer of red or blue that is just thick enough to mak e the stonemimic ruby or blue sapphire. Deeper diffusion is usually used on pale sapphires to create a v arietyof more intense colors, including orange, yellow, green, and violet. Deep diffusion can also turn alight-colored sapphire to ruby red. Occasionally, diffusion is used to produce a star ef fect bycreating a layer of needles just below the surface from which light can reflect.

• Dyeing – Adding a chemical coloring agent to improve or changecolor. This is common for translucent and opaque gems such aschalcedony, cultured pearls, jade, lapis lazuli, opal, shell, tiger’ s-eye,and turquoise.

• Filling – Adding a substance to fill a void in a gem. There are twobasic versions of this treatment: fracture filling and cavity filling. In fracturefilling, breaks that reach the gem’s surface are filled to make them less visible.This improves the gem’s appearance. In cavity filling, largersurface openings are filled for the same purpose. If the ca vitiesare large, the treatment also adds weight. Fracture f illingsinclude colorless oils, natural or synthetic resins, and glass.Cavity fillings are usually glass or plastic. Fracture f illing iscommon for emeralds, while cavity filling is most frequentwith rubies and sapphires. Both methods appear less often inother gems. If a coloring agent is added to the f iller, the treat-ment is also considered dyeing.

Diffusion creates a thinlayer of color on thesurface of a gem.

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A cavity in a ruby hasbeen filled with glass.

A filled fracture in a diamond isrevealed by the pink reflection.

• Heating – Using high temperature, usually to improve or changecolor. This is common for many gems including amber, aquamarine,carnelian, citrine, ruby, tanzanite, tiger’s-eye, zircon, blue and yellowsapphire, pink and red topaz, and blue, green, and pink tourmaline.Carefully controlled heating can eliminate needle-like inclusions andimprove the clarity of rubies and blue sapphires. Less often it’ s used tomake the same kind of inclusions grow in order to create or intensify astar effect.

Heat treatment can often be detected by microscopic clues that it lea ves inside the gem. Sometimesdetection takes advanced testing. Please remember that this course isn’ t designed to teach you how toidentify treatments. The objective of this lesson is to inform you that the treatment e xists. Lesson 15 willexplain how to disclose it to your customers.

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From Gemstones,Quality and Value,Volume 1 by YasukazuSuwa.

Impregnated

Impregnated

untreated

Turquoise may bedyed or wax-impregnated toimprove color.

• Impregnation – Applying oil, wax, plastic, epoxy resin, or similarsubstances to fill pores and small surface openings. This process is some-times called stabilizing. It’s similar to coating, but low heat or other methodsmay be used to improve penetration. Impregnation usually improves thegem’s color and the way the polish or surface looks; sometimes durability,too. It also conceals minor blemishes and cracks. This treatment is commonfor coral, jade, lapis lazuli, opal, and turquoise. As with filling, if a coloringagent is added, the treatment is also considered dyeing.

• Irradiation – Exposure to high-energy radiation or bombardment withsubatomic particles to change color. This is routine for smoky quartz andblue topaz. (With topaz it’s followed by heating.) Irradiation is also commonfor red, pink, and purple tourmaline. It’s sometimes used on amethyst andcultured pearls, too.

As you can see from this brief look, the list of colored gems that might betreated probably includes most of those in your sho wcases: amethyst, aquama-rine, chalcedony, citrine, coral, cultured pearls, emerald, jade, lapis lazuli, opal,ruby, sapphire, shell, smoky quartz, tanzanite, tiger’s-eye, topaz, turquoise, tour-maline, and zircon. Those are only the standard treatments and the gems onwhich they’re most commonly used, too! The complete list is much longer andmuch more detailed!

Most treatments are routine and permanent and do not

substantially effect value.

Ruby before and after heat treatment.

SYNTHETICS In Lesson 1 you learned that synthetics are man-made v ersions of

natural gems. They have essentially the same compositions, structures, andcharacteristics as their natural counterparts. You might also say they’rerealizations of the age-old desire to re-create the beauty and w onderhumans perceive in the world around them.

The first experiments in gem synthesis began in the early 1800s. Thatwas soon after mineralogy became a science. Success on a commercialscale came after nearly a century of intense w ork. Since then, however,synthetic gem materials have become part of our technological culture.Besides being set in jewelry, they’re used in electronics, medicine, manu-facturing, science, and even national defense.

So far, more than 1,500 mineral species and varieties have been synthe-sized. Most of these are just for e xperimental or technical purposes,though. Only about a dozen are commonly a vailable in the jewelry

industry. They include the synthetic forms of alexan-drite, amethyst, citrine, emerald, opal, ruby, sapphire,smoky quartz, and spinel. Synthetic quartz is alsoproduced in colors that don’t occur naturally. Someother synthetics – for example, synthetic cubiczirconia (CZ) and synthetic moissanite – are not soldas synthetic versions of natural gems but rather asimitations of natural gems or merely as “lab-createdgems”. Synthetic diamonds have begun to appear onthe market, too.

All of the synthetics developed up to now havebeen detectable. That’s likely to remain true. Manycan be separated from their natural counterparts by

At this point it’s important to recognize that treatment of colored gems is v ery common. In manycases you also have a responsibility to disclose it. You shouldn’t over-react or alarm customers, though.As you’ll learn in Lesson 15, you simply need to kno w what treatments the gems in your inventoryhave undergone. This information is usually provided by your supplier or your buyer. Then you needto inform customers of a treatment if it’s not permanent, if it creates a need for special care, or if it hasa significant effect on value. You’ll find out how to do all of this by the time you f inish the course.

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Synthetic moissonite does nothave a natural gem counter-part.

Most synthetics can be separated from theirnatural counterpart by simple gemological tests.

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simple gemological tests or examination with a microscope.(Natural gems and synthetics have different kinds of inclusions.)For some synthetics, identification might require advanced labora-tory testing, but they will all eventually reveal their origin to theexperienced gemologist.

As with treatments, this course isn’t designed to teach youhow to identify synthetics yourself. Its purpose is to inform youthat these products exist, and to assure you that they can be identi-fied. If you have questions about the gems in your inventory, askyour buyer or manager to answer them for you.

In flame fusion, powdered chemicals are droppedthrough a flame, melted and re-solidified onto arotating pedestal forming a ”boule”.

Graphics courtesy Michael O’Donoghue, A Guide to Man-made Gemstones.

In the pulling technique,the chemicals are meltedand then “pulled” slowlyout of the melt as theycrystallize onto aretreating rod, forminglarge, perfect “boules”.

There are special ways for synthesizing gems like opal and diamond. There are also dozens of vari-ations in basic techniques. Most synthetics, however, can be divided into two categories: melt-grownand solution-grown.

• Melt-Grown Synthetics – The most important methods for manufacturing melt-grownsynthetics are known as flame fusion and pulling. The first is sometimes called the Verneuil (ver-NOY) process. The second is also known as the Czochralski (cho-KRAL-ski) process. (Those arethe names of the researchers who developed the processes in the early 1900s.) In flame fusion,chemical ingredients are poured through a blowtorch flame, which melts them. The melt is allowedto cool and crystallize on a rotating pedestal. In pulling, the ingredients are f irst melted in acrucible. Then a seed crystal is dipped into the melt and slo wly pulled away, growing the syntheticgem as it goes.

In melt growing the crystal growth produces“boules”, carrot-shaped formations

Flame fusion is the most common and ine xpensive way to makesynthetic ruby, plus synthetic sapphire and synthetic spinel in man ycolors. These usually sell at retail for a few dollars per carat. They’rewidely used in class rings, imitation birthstone jewelry, and trendy fashionitems. Pulling is also low-cost. Every year the process produces millionsof carats of synthetic ruby, synthetic sapphire, and synthetic spinel.Pulling can produce very large crystals that are defect-free.These are often used to make lasers and semiconductors.

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Solution growth comes close to reproducing the conditions in which natural gems form. It requiressophisticated equipment and long periods of time – from se veral weeks for hydrothermal synthetics, tomore than a year for some flux products. Products created using solution-gro wing methods are thereforemore expensive than melt-grown synthetics.

Hydrothermal methods produce synthetic emerald, synthetic ruby, synthetic sapphire, and syntheticquartz (amethyst, citrine, and other colors). Flux gems include higher quality “luxury” synthetic ale xan-drite, synthetic emerald, synthetic ruby, and synthetic sapphire. These can retail for hundreds of dollars percarat. For this reason, they’re often marketed as “created” or “cultured” gems under manuf acturers’ brandnames. Chatham Created Emerald is one example.

The flux and hydrothermalprocesses more closely dupli-cate the processes of nature.The gems made by theseprocesses can cost hundredsof dollars per carat.

Photo courtesy Chatham CreatedGems.

• Solution-Grown Synthetics – Themain solution-growth techniques are classi-fied as flux or hydrothermal (HIGH-dro-THERM-al). Flux synthesis was developedin the 1930s. It involves dissolving ingredi-ents in a high-temperature chemical solu-tion, and then allowing them to cool andcrystallize. Hydrothermal processes werefirst used for commercial gem synthesis inthe 1960s. Ingredients are dissolved in amixture of water and chemicals at hightemperature and pressure. Under theseconditions, the synthetic material forms onseed plates that provide the pattern forcrystallization.

HydrothermalProcess.

Flux melt process.

Graphics courtesy MichaelO’Donoghue, A Guide to Man-madeGemstones.

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IMITATIONS There’s no way to know when humans first began

to produce imitations of the gems they loved. Morethan 6,000 years ago the Egyptians may ha ve usedpottery with a blue-green glaze to imitate turquoise. By1000 BC they were mimicking emerald and other gemswith glass. Ever since, imitations have had a place inthe gem world.

Today there’s healthy demand for imitations. Low-cost versions appeal to young people looking foraffordable beauty. They’re also favorites withcustomers accessorizing the season’s clothing styles.More expensive imitation-set pieces show up in manyhigh-fashion lines. This trend started with Coco Chanelin the 1920s, and it’s still going strong.

Imitation gemstones may or may not be part ofyour inventory. That decision depends on your store’smerchandising philosophy and target market. Even ifyou don’t sell imitations, however, you may encounterthem during take-in for repairs or appraisals. Youshould be prepared to discuss them with customers.

Natural gemstonescan imitate othernatural gems.Above, pink spineland on the right,pink sapphire.


Glass is among theoldest imitations.

To many customers the terms “synthetic” and “imitation” mean the samething. There are differences you may need to clarify, though. As you’velearned, a synthetic is a duplicate of its natural counterpart. An imitation (orsimulant) is only a look-alike. Appearance is all it has in common with thegem it imitates.

At the same time, imitations cut across other product boundaries. Theyinclude a wide assortment of natural and artif icial materials:

• Natural Imitations – It was once a common practice to sell somegems as substitutes for others simply because the y looked like them. (Forinstance, red garnet for ruby, or iolite for tanzanite.) Consumer interest inall kinds of gems has changed that, however. While you might suggestcolor alternatives, it’s usually best to present natural gems on their o wnmerits.

The designer Coco Chanelwas shrewd, chic and onthe cutting edge. She couldnot afford the fashions ofthe time so made up herown, including fake jewelry.

• Glass and Ceramics – These are amongthe oldest imitations, and they’re still the mostpopular. Glass can be produced in almost an ycolor and texture. Therefore it’s used for inex-pensive imitations of all kinds. Since mostceramics are opaque, they imitate gems likecoral, jade, lapis lazuli, and turquoise.

• Synthetic Look-Alikes – Next to glass,flame-fusion synthetic sapphire and syntheticspinel are the top transparent gemstone imitatorsin terms of volume. They’re available in manycolors. They cost more to produce than glass,but they also offer better wearability. Moreexpensive synthetics often marketed as imita-tions include synthetic cubic zirconia andsynthetic quartz.

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• Plastics – Most plastic imitations aren’t veryconvincing, so you’ll seldom see them in a f ine jewelrystore. Notable exceptions are plastic imitations ofcoral, ivory, and other gem materials that come fromthreatened or endangered species. You’ll learn moreabout these “environmentally friendly” alternatives inLesson 6.

In addition to these imitations, there are others that f itin the final category of this survey: assembled products.

Plastic is usually molded togem shapes. As a result,you can often see evidencelike concave facets.

Photo courtesy Jewelex.com

Synthetic alexandrite-like sapphire(a man-made corundum) is acommon imitation on the market.

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ASSEMBLED PRODUCTS Assembled products – or composites – are made

by fusing or bonding separate pieces of natural orman-made gemstones. Those with two main compo-nents are often called doublets. Those with threecomponents are known as triplets. Like treatments andglass imitations, assembled gemstones have a longhistory. They date back at least to the Roman Empire.Over the years there have been countless versions andvariations. The ones you might see in today’s market-place boil down to three main types:

• Assembled Imitations – These are usuallymade as low-cost look-alikes for natural gems withcolors that flame-fusion synthetic sapphire orsynthetic spinel can’t reproduce. An example is thesynthetic spinel triplet, which most often imitatesemerald. It consists of a layer of deep greencement or glass sandwiched between a top andbottom of colorless synthetic spinel.

With constructs, there’s not an attempt atimitating or disguising – just creatingimaginative combinations.

Photo by Robert Weldon courtesy Maxam Magnata.

An opal triplet has athin layer of opal with ablack backing (glass orchalcedony) and aquartz or glass dome.

An opal doublet consists of a thinlayer of opal on a stronger backing.

• Natural Remnants – The objective here is maximizing theuse of beautiful and valuable natural gem material. The bestexamples are opal doublets and triplets. The key ingredient inboth is a piece of gem-quality opal that’s too thin to be used byitself in jewelry. In a doublet, the opal sliver is cemented to abacking of stronger supporting material such as chalcedon y,glass, or plastic. (Using a black adhesive can heighten the play-of-color.) In a triplet, the opal and its backing are co vered witha protective top made from colorless quartz or glass.

• Creative Combinations – In the quest for new anddifferent effects, gemstone artists use a variety of materials inpieces sometimes called constructs. Very expensive gems areusually excluded, but almost anything else – natural or man-made – can show up in these creative productions. There’s noattempt at imitation or at disguising the nature of the product.Instead, there’s just a playful celebration of the beauty anddiversity that exist in the gem world.

Triplet

Doublet

A synthetic spinel tripletconsists of a layer ofcolored cement sand-wiched between twocolorless pieces ofsynthetic spinel.

ASSEMBLEDOPAL

Gemstone Products


RECAP OF KEY POINTS

• The gem world includes minerals, organic materials, treated gems, synthetics,imitations, and assembled products. As a jewelry sales professional, it’s essen-tial for you to understand the distinctions between them.

• Most natural gems are minerals that were created by Earth’ s rock-formingprocesses. Minerals are classified into species based on the combination ofchemical composition and crystal structure. Varieties are subcategories withinspecies, usually distinguished by color or phenomenon. Groups are made upof closely related species.

• A treatment is an artificial process, other than fashioning, that improves agem’s appearance or durability. Treatments used on colored gemstones includebleaching, coating, diffusion, dyeing, filling, heating, impregnation, and irradi-ation. Commonly treated gems include amethyst, aquamarine, chalcedon y,citrine, coral, cultured pearls, emerald, jade, lapis lazuli, opal, ruby , sapphire,shell, smoky quartz, tanzanite, tiger’s-eye, topaz, turquoise, tourmaline, andzircon.

• Synthetics are man-made versions of natural gems. They have essentially thesame compositions, structures, and characteristics as their natural counterparts.Among those available in the jewelry industry are synthetic forms of alexan-drite, amethyst, citrine, emerald, opal, ruby, sapphire, smoky quartz, andspinel. Most of these can be divided into low-cost melt-grown products, andmore expensive solution-grown “luxury” synthetics.

• Imitations are look-alikes. They encompass a varied assortment of natural andartificial materials including natural simulants, glass and ceramics, lo w-costsynthetics, and plastics.

• Assembled products also serve as imitations, as well as pieces made to maxi-mize the use of natural gem material or to create inno vative color combina-tions.

Colored Gemstones 3

Gemstone Products

16


____ Develop short, simple introductions for the mineral gems you sell. Atthis point, just focus on saying enough to identify what you’ reshowing. To make sure you’re being clear, try out your introductionson family members or friends who aren’t in the jewelry business.

____ Review the lesson section on Treated Gems, and determine how manyof the colored gems you sell are on the “commonly treated” list. Thencheck the Treatment section for those gems in the Colored GemstoneCompendium. Talk to your coworkers and your store’s owner ormanager about how you might disclose treatment to customers.(Remember, however, that Lesson 15 will discuss this topic in detail.)

____ Look through your store displays and see how many imitations andsynthetics you can identify. With your manager or coworkers discusswhere imitation and synthetic gemstone jewelry fit in your store’sproduct lines. If you don’t sell them, discuss the reasons for thismarketing decision.

Lesson 3 Self-Test

This lesson also includes a Self-Test that’s designed to help you gauge your comprehension of the lesson material. The test is an important part of the learning process, so be sure to complete it.








Gemstone Products


Colored Gemstones

Colored Gemstone Values



In This Lesson:• The Big Question

• 4Cs and Beyond

• Color

• Clarity

• Cut

• Carat Weight

• Staying Focused

THE BIG QUESTION Today, many consumers shop for diamonds just as the y do for

cars, computers, and other mass-market products – by pricecomparison. As a result, in diamond presentations it’s oftennecessary to devote considerable time to the subject of price andvalue. Because colored gems aren’t so “commoditized,” youusually don’t have to rely heavily on a financial focus in sellingthem. Nevertheless, a sound explanation of value and the factorsthat affect it can often clarify or reinforce a purchase decision.

The primary value factors for most colored gems are similarto those for diamonds. With colored gems, however, customersare likely to raise a number of different questions about relativequality and value. One of the most common and generalized is,“What makes one gem more valuable than another?”

Some questions concern a specific gem – for example, “Whyare there flaws in this tourmaline?” Others involve differentspecies or varieties – “Why does this ruby cost more than thatgarnet, when the two look almost exactly alike?”


Many consumers comparison shopfor diamonds but colored gemstonesare not so highly commoditized.

Cover photo courtesy Jean-François Albert.

Colored Gemstones 4


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There can also be questions about examples of the samevariety. A customer might wonder why one blue sapphire is moreexpensive than another, or why a ring set with a single lar geemerald costs more than one with f ive small emeralds.

In any case, if you respond with a clear picture of quality andvalue, you provide needed information while enhancing thecustomer’s comfort and confidence. Just as important, you buildtrust as you take a step toward answering the big question inevery customer’s mind: “Why should I buy this gem from you?”

This lesson will examine the variables that can play a part indetermining the values of colored gems. It starts with a look atthe 4Cs and other influences. After that come individual factorsyou might discuss in a typical sales presentation. Along the wayyou’ll gain insights into the qualities that mak e each gem unique.You’ll also find suggestions for putting what you learn to w ork.

Customers will often ask,“What makes one ruby morecostly than another?”

Photo courtesy Ball State UniversityArchives, from A Gem of a Story.

Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Point out market factors that affect gem values.

• Explain how the 4Cs relate to price.

• Translate value factors into features and benefits.



PRODUCT KNOWLEDGE• Diamond Jewelry• Colored Gemstones• Disclosure• History of Jewelry




SELLING TOOLS

POINT OF SALE PROCEDURES• POS Customer Development





4Cs AND BEYOND Many of today’s jewelry customers are familiar with the 4Cs of diamond

value. They know at least a little about color, clarity, cut, and carat weight. Thiscan give you a head start in presenting colored gemstone v alue, because mostcolored gems are affected by the same factors.

You can draw a parallel with diamonds by saying that three of the Cs – color ,clarity, and carat weight – are closely link ed to the natural rarity of the gemspecies or variety. As with diamonds, cut is the human contrib ution to beauty andvalue.

You may need to explain that there’s no official grading system for coloredgems at this time. Several have been proposed, but none have been widelyaccepted in the jewelry industry so far. Each kind of gem must also be judged onits own merits which are related to certain “norms” that e xist in the gemkingdom. This makes value comparisons possible.

There is no officialgrading system forcolored gems at thistime. Each kind ofgem has to be appre-ciated on its ownmerits.

Photo courtesy ChathamCreated Gems.

The color range of Paraíbatourmaline is described asneon blue and green.

From Gemstones, Qualityand Value, Volume 1 byYasukazu Suwa.

Colored gems are also subject to value factors that go beyond the 4Cs. Themost important of these are cultural traditions, mark et economics, and fashiontrends.

• Cultural Traditions – Most gems are cloaked in history, lore, andglamour, but tradition has crowned some with a special magic that greatlyenhances their value. The prime examples are emerald, ruby, and sapphire.For centuries they’ve been prized above other colored gems, and they stillhave great appeal for many customers today. Even though other gems maybe equal in beauty – and actually even rarer – few possess the samemystique.

• Market Economics – While the law of supply and demand applies toall gems, it has an especially strong ef fect on those with great beauty andrestricted availability. Examples from recent decades include tanzanite andtsavorite. One of the latest is the gem kno wn as Paraíba (par-a-EE-ba)tourmaline. In the 1990s its vivid “neon” blues and greens made it a smashhit in the marketplace. The gem comes from only a few small mines inBrazil, however, and fueled by strong demand, limited production, anduncertain supply, prices have soared.

CUT is the human contribution to beauty and value.

Colored Gemstones 4


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• Fashion Trends – Designer runways in Tokyo,Milan, Paris, and New York can have an impact on thevalue of gems in your showcases. By popularizingvarious palettes, textures, and looks, fashion trendscreate surges in demand for different types of gems andjewelry. The price effects usually aren’t dramatic, andthey don’t last very long. They can, however, affect abroad selection of gems such as amethyst, citrine,peridot, rhodolite garnet, and topaz. All of these arefrequent targets for self-purchases by women.

It’s the designerrunways that popu-larize various colorpalettes that, in turn,create demand fordifferent gems.

Photo courtesyJames de Givenchy.

Each gem has its own unique range ofcolor within the “World of Color”. Afew – like emerald and green tourma-line – could have the same hue, toneand saturation.

Courtesy Munsell.

COLOR For most gems, color is by far the most important C.

Many experts say this factor alone can represent half of acolored gemstone’s value. It’s certainly the one that cancatch a customer’s eye from across your showroom.

When you discuss color, you may need to explain thateach type of gem has its own unique range of color. Thatrange provides the standard for assessing quality and value.(The Colored Gemstone Compendium describes ranges forindividual gems.)

Because color ranges can overlap, it’s possible for anemerald and a green tourmaline, a ruby and a red garnet, orother gems of different kinds to have colors that look almostidentical. Each gem is judged by its own range and poten-tial, however. So, a color that’s considered “medium” foremerald might be the “best” a green tourmaline can ha ve.

Your goal in a sales presentation is to con vey the value of the gems you show in order to help yourcustomer make a purchase decision. You don’t always have to talk dollars and cents, but you do need toemphasize appropriate features and benefits. You might focus on the romance of an emerald, the once-in-a-lifetime chance to possess a Paraíba tourmaline, the fashion statement made by a rhodolite, or theversatility offered by blue topaz. The key to success lies in your ability to identify and then addresseach customer’s motives for owning or giving a beautiful gem.

Hue is obviously important, but it’s also a little more complex than theother dimensions of color. In some gems, unmixed hues (pure red, pure blue,etc) command the highest prices. With other gems, blended hues (purplish red,greenish blue, etc) are most highly prized. In the f inest emeralds, for example,a hint of blue added to the dominant green creates a color that’ s incomparablyseductive. That hue is technically described as “very slightly bluish green.”

Color Boundaries

Color always involves an interplay between hue,tone, and saturation. Slight variations in any of thecolor dimensions can make significant differences in

value. Emerald and ruby illustrate just how criticalsuch nuances can be.

Analyzing Colors

As you learned in Lesson 2, color has three dimensions:

• Hue – The color’s basic category. Hues include red,yellow, blue, and so forth, plus mixtures among basiccategories, like blue-green and orangish red.

• Tone – The color’s lightness or darkness. Sky blue(light) and navy blue (dark) are examples of tone differ-ences in a blue hue.

• Saturation – The color’s strength and purity. Slate blue(grayish) and royal blue (pure) are examples of saturationdifferences.

Although it’s a mistake to get too technical, a little e xplanation can help some customers under-stand and compare gem colors. Easiest to e xplain is saturation (or intensity). Rarity and value alwaysincrease with the degree of saturation. Pale specimens of a gem are not as v aluable as vivid ones.

Tone is important, too. Although each gem variety has a tone that is considered “ideal” for thatparticular variety (light for aquamarine, medium for emerald and medium-dark for tanzanite), thegeneral rule of thumb for tone is “not too light and not too dark” – in other w ords, not “near white” onone hand, or “near black” on the other.



The three dimensions of the color world:hue: the equator; tone: the vertical axis;saturation: the horizontal axis.

Courtesy Munsell.

Saturation

Tone

The chart above depictsthe various tones andsaturations of the bluish-green hue. The colorwheel depicts howeach hue becomes lesssaturated (duller) closerto the core.

Courtesy Munsell.

Colored Gemstones 4


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In Lesson 3, you learned that emerald is a v ariety of beryl. You alsolearned that ruby belongs to the same mineral species as sapphire (thespecies is corundum). Because of their premium values, there are defi-nite guidelines for deciding whether or not a gem can properly be calledemerald or ruby. An emerald must be medium to dark green or bluishgreen, and the color must be reasonably intense. If the color is lightor the saturation is low, it would more appropriately be calleda “green beryl”. A ruby can be a little pinkish, purplish, ororangish, but the dominant hue must be red. The overallcolor must be at least moderately dark and strong aswell. If it’s light, it appears pink and then it’s mostappropriately called “pink sapphire”. Similarly,corundum that’s not red enough for ruby might be classi-fied as purple, or orange sapphire. Neither pink sapphire norgreen beryl can command the prices of ruby or emerald.

A ruby might be a littlepinkish, purplish or orangish,but to be called “ruby”, theoverall color must be red.

From Gemstones, Quality andValue, Volume 1 by Yasukazu Suwa.

Use a mixture of science andromance when describing agem’s color. Look for inspira-tions in nature, fashion andentertainment.

Presenting Color

In presentations, an interesting mix of science, gem specif ics, andromance is usually most effective. When showing a fine amethyst youmight start by describing the color as deep purple with a “blush” ofred. You could add that the hue, tone, and saturation of this particulargem put it near the top of the range seen in amethysts. Then, to bringeverything to life, you might say something lik e, “The color remindsme of a delicious summer plum.”

You should be creative with the descriptive parts of your colordescriptions. It’s usually best to avoid trade terms like “imperial” and“Burmese.” These are listed in the Colored Gemstone Compendium foryour information, but they can cause misunderstandings. Instead, lookfor inspirations around you – particularly in the w orlds of nature, art,fashion, and entertainment. Almost anything can work, as long as itrings true for you and for your customers.

Be careful not to equate

VALUE with BEAUTY.



When it comes to color – or an y other C – there’s only one definite “don’t.” Be careful not toequate value with beauty. A gem’s color might not be judged “superior” by a dealer or appraiser , butstill appeal to your customer. In the final analysis, the color that’s “best” and “most beautiful” is theone your customer prefers.

CLARITY As with diamonds, you can define clarity as a colored gemstone’s

freedom from characteristics known as blemishes and inclusions.Blemishes are external surface irregularities such as scratches. Inclusionsare essentially internal features. To let customers know that both are partof the gem’s natural makeup, you can refer to them as “clarity characteris-tics” or “identifying characteristics.” Be careful to avoid negative-soundingterms like “imperfection” and “flaw.” (Though technically correct, even“blemish” and “inclusion” can create unfavorable impressions.)

Unless blemishes are large or numerous, they normally don’t mattermuch in assessing a colored gem’s clarity. Inclusions are the mainconcern, because they can affect beauty or durability to a greater de greethan blemishes. It’s generally considered that a blemish, unless it’s verylarge, could be polished away.

Gem Inclusions

Since colored gems are so diverse, it’s not surprising that they show awide range of inclusions. Many of these are hallmarks of geologic forma-tion. They provide a benefit by proving that the gem is natural (notsynthetic) in origin.

Without advanced training it’s impossible to identify most inclusions,and in sales presentations you usually don’ t need to be specific. There are,however, a few that you should know how to describe or discuss:

• Included Crystal – A mineral crystal that was captured within thegem as it grew. Included crystals occur in many kinds of gems, andthey can be a big help in identif ication. As you learned in Lesson 3,minute needle-like included crystals – often called “silk” – play a rolein producing cat’s-eyes and stars.

Included crystals and “silk”in an almandite garnet.

A cleavage in a gem isa very flat, straightbreak. Notice theinternal cleavage plane(bright reflection) isparallel to the externalcleavage surfaces.

Colored Gemstones 4


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• Cavity – A sizable opening that penetrates the gem from thesurface. A cavity can be left when an included crystal is e xposedin the rough gem and then pulled out during the cutting process.Cavities in rubies and sapphires are sometimes f illed with glass.Similar treatment is occasionally used on other gems.

• Feather – Named for its appearance, a feather is a break insidethe gem. There are two main types: cleavage and fracture.Cleavage is linked to crystal structure. Gems such as moonstone,tanzanite, and topaz have structures that are weaker in somedirections than in others. When too much force is exerted on oneof those directions, the crystal may separate, or clea ve, eitherpartially or completely. The cleavage plane often has a flat look.Fractures aren’t tied to crystal structure. They can be present inany kind of gem, and often have a curved or scalloped contour(like breaks in glass). Filling fractures with oil or resin is acommon treatment for emeralds. It’s also seen in other gems.From the standpoint of durability, large feathers – especially cleav-ages – are the most threatening inclusions because the y increasethe risk of further damage.

A fingerprint - named for it’sappearance - is a key identifyingcharacteristic for ruby andsapphire.

A fracture insidea gem leaves anirregular planarappearance.

2-phase inclusions are typical of topaz.

• Fingerprint – Also named for its appearance, afingerprint is a partly “healed” feather. It usuallyforms when a cleavage or fracture occurs while a gemcrystal is still growing, and nutrient fluids seep intothe break. The fluids may remain in liquid form, orlater solidify. In either case, the resulting inclusion hasa complex microscopic pattern that resembles ahuman fingerprint. This can be a key identifying char-acteristic for gems such as ruby and sapphire.

• Fluid Inclusion – A small pocket of liquid trappedinside the gem. If the pocket contains a gas bubble inaddition to the liquid, it’s known as a two-phase inclu-sion. If there’s liquid plus a bubble and a minute solidcrystal, it’s a three-phase inclusion. Fluid inclusionscan be key identifying characteristics for gems liketopaz and emerald.

3-phase inclusions are found insome natural emeralds.



TRANSPARENCY

Agem’s beauty and value are largely determined by the way it interacts with light. Colorand phenomena are examples of light interactions. Another is transparency. That’s the

measure of how easily or completely light passes through a gem.

There are three main levels of transparency: transparent, translucent and opaque.

• Transparent – Light passes throughunobstructed. In other words, thematerial is “clear as glass.”

There are also in-betweens. If a gem is almost clear, it can bedescribed as semitransparent. If a little light shines through aroundthe edges, but none comes through the middle, the gem is semi-translucent. (Although you may see these terms in reference books,you usually don’t need to be so precise with customers.)

Many popular gems are normally transparent. These include ruby, sapphire, emerald,aquamarine, amethyst, topaz and more. Clarity characteristics, structural irregularities, andeven depth of color can affect their appearance, however. Medium to low quality(“commercial grade”) emeralds, rubies, and sapphires are often translucent or opaque.Other gems can be, too. Instead of being faceted, translucent specimens are often cut intocabochons, with domed surfaces instead of facets. They may also be made into beads.

A number of gems are, by nature, never transparent. They’re always translucent oropaque. Gems that fall into this category include coral, jade, lapis lazuli, malachite, pearl,and turquoise.

As with other characteristics that affect value, every gem has its own potential withregard to transparency. That potential ultimately contributes to each gem’s unique appeal.

• Opaque – No lightpasses through.

• Translucent – Some lightpasses through, but it’s diffused.Frosted glass is translucent.


Photo courtesyChathamCreated Gems.

Photos courtesy Fai Po.

Colored Gemstones 4


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Almost all colored gemstones

contain inclusions.

Evaluating Clarity

Most diamond clarity grades are based on observations madewith magnification. For colored gems, however, the supreme judgeof clarity is usually the unaided human e ye. Dealers and otherprofessionals use microscopes to determine the nature and e xtentof clarity characteristics, but there are really only three mainconcerns:

• Are inclusions eye-visible?

• Do they affect the gem’s beauty?

• Could they have a negative impact on its durability?

• Usually Lightly Included – Minor inclusions are expected andaccepted. They have only a slight effect on value. Most coloredgems fit here – amethyst, iolite, peridot, ruby, sapphire, spinel,zircon, all of the garnets, and most colors of tourmaline.

• Usually Noticeably Included – Even fairly obvious inclu-sions don’t have a major impact on value unless they’re unsightlyor they threaten durability. Emerald is the most important example.Red and pink tourmaline are also in this cate gory.

Like diamonds, almost all colored gemstones contain inclusions. Colored gems form in man ydifferent geologic settings, however, so some species and varieties tend to have more inclusions thanothers. These differing “norms” must be considered in clarity grading.

Colored gemstone clarity “norms” can be divided into three broad categories:usually clean; usually lightly included; and usually noticeably included.

• Usually “Clean” – These gems are often virtually free of inclusions. Anyeye-visible characteristics reduce value, even if they have no effect onbeauty. Aquamarine, citrine, tanzanite, topaz, and green tourmaline are inthis category.

Clean. These gems are usuallyfree of inclusions.

Photos courtesy Barbara Westwoodand Scavia.

Lightly included. Minor inclu-sions expected and accepted.

Photos courtesy Scavia and ChathamCreated Gems.

Photos courtesy Scaviaand Barbara Westwood.

Noticeably included. Theinclusions usually don’t havea major effect on value.



Presenting Clarity

It’s often possible to put clarity into perspecti ve with just a few well-chosen remarks. As you’reshowing an emerald, you might say, “If you look closely, you can probably see the identifying charac-teristics in this gem. For an emerald, that’s considered perfectly normal. The characteristics don’tdiminish the gem’s value or the appeal of its bewitching color. In fact, it’s the identifying characteris-tics that prove this is one of Earth’s natural masterpieces.” A statement like this places the emphasisexactly where you want it: on the beauty and charm of the gem you’ re presenting.

CUT Cut includes the form, style, and quality of a gem’s fashioning. You could call it the C of human

art and skill. It unlocks the potential created by nature. Ne xt to color, cut is usually the factor with thegreatest influence on purchase decisions concerning colored gems.

Fantasy cut

Brilliant cut Forms and Styles

Colored gems offer a multitude of choices in cut, b utyou can describe most of them as four types:

• Faceted Gems – Transparent gems are most oftencut in a way that’s similar to diamonds. Classic shapesinclude round, emerald cut, oval, pear, and marquise.Triangular, square, and rectangular shapes are alsopopular. Anything other than round is considered afancy shape or fancy cut.

The basic styles of faceting are:

Brilliant cut: the facets are mostly kite-shape andtriangular in a radial pattern.

Step-cut: the facets are rectangular in parallel rows.

Mixed-cut: the facets are a combination of brilliantand step facets.

CUT encompasses the form, style, and quality

of a gemstone’s fashioning.

Photos courtesy (from thetop) Chatham CreatedGems, Constantin Wild,and Charles Kelly.

Step cut

Colored Gemstones 4


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Carved moonface on moonstone.

Photo courtesy Rare Earth Minerals.

There also exists a popular classification called fantasy cuts. These arefree-form shapes that combine flat facets and curved surfaces.

• Cabochons (CAB-o-shons) – These are sometimes called “cabs”in the trade. They’re domed, with smooth (unfaceted) polishedsurfaces. Translucent and opaque gems such as jade, moonstone,opal, and turquoise are traditionally made into cabochons. Byconcentrating light reflections from silk inclusions, the cabochonform also brings out the phenomenal effects in gems like cat’s-eyechrysoberyl and star ruby.

Cabochons are among the oldest cuts. In recent years, the y’ve beenrevived for transparent gems. The resulting look can be antique orhigh-tech depending on the jewelry setting.

• Tablets – Tablets are typically thin and flat on bottom and top.They’re preferred for opaque gems with attractive color patterns ordistinctive markings. These include agate, bloodstone, lapislazuli, malachite, and onyx. The tablet’s simplicity has earned ita permanent place in men’s jewelry. Large tablets produce boldeffects in designs for women.

• Carvings – These can be the most artistic forms of f ash-ioned gems. A long-time favorite is the cameo. It has adesign that stands up slightly from the background.Cameos are often fashioned from color-layered gems likeshell and onyx. This gives the design artistic contrast.

Another carved style is the intaglio (in-TAL-yo or in-TAG-li-o). It’s basically a tablet with a design engra ved into the uppersurface. You’ll often see intaglios with masculine motifs, lik e awarrior’s head, done in chalcedony or hematite, set into rings formen.

Some gem artists also produce more three-dimensional carv-ings that can even resemble miniature statues. Designs range from

Spotlight featuresand translate them

into benefits.

Cameo carved from shell.

Photo courtesy Enio 64.

Moonstone cabochon.


Tablet-cut onyx.

Intaglio carvedinto hematite.

Photos courtesySteven Brixner.



In proportioning, a cutter’s objective is toreveal the gem’s color at its best whileretaining as much weight as possible.Because colored gems have lower RI’sthan diamond, they are often deeper.

natural to abstract. Gems used for this purpose includeamethyst, chalcedony, citrine, jade, lapis lazuli, moonstone,opal, tourmaline, and turquoise.

Every year talented cutters and artists expand the selectionof gemstone forms. Organizations like the American GemTrade Association (AGTA) even sponsor competitions toencourage imaginative innovation. As gems with new or unfa-miliar cuts appear in your inventory, take time to identifyspecial features. Then develop effective ways of describingthem in terms of their benefit to the customer. You might, forexample, say a cabochon shows off the gem’s natural beauty,or call attention to the workmanship of a carving.

Pleasing shape outlines

Less pleasing shape outlines

Cut Quality

The aspects of cut quality that count in f aceted coloredgems are essentially the same as for diamonds. Mostimportant are proportions: the relative sizes and angles ofthe gem’s parts and facets. Additional factors aresymmetry (the precision of the cut’s execution) and polish(the smoothness and luster of surfaces). All of these areassessed with a fair degree of tolerance, however. That’sbecause a colored gemstone cutter’s goal isn’t to achievean “ideal” combination of brilliance, dispersion, and scin-tillation (as it is with diamonds). The cutter tries to revealthe gem’s color at its best, while retaining a high weightyield from the original crystal.

In a well-made faceted colored gem, you can usuallypoint to three features:

• Shape Appeal – For a round, this is a girdle outlinethat looks perfectly circular. With fancy shapes, it partlydepends on a proper relationship between length andwidth. More important, though, is the overall attractive-ness of the outline. That includes attractively beveledcorners on emerald cuts and pleasingly rounded curves onovals, pears, and marquises.

The Spectrum Award compe-tition – sponsored each yearby AGTA – invites a plethoraof creative design concepts.

Photo by John Parrishcourtesy AGTA and G.J. Designs.

Colored Gemstones 4


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• Brightness – The technical term for this is light return. Itmeans the gem’s proportions are working together to gatherlight from many directions, and then project it outward in anattractive display of color. When brightness is maximized, yousee light reflecting from everywhere in the gem. If this isn’thappening you might see a “window,” which looks like awashed-out area in the heart of the gem. In other cases therecan be dark spots – known as extinction – around the edges.

• Sparkle – This is the dance of light reflections seen as thegem, the light source, or you move. It’s like scintillation indiamonds, but includes colored glints from within the gem aswell as mirror-like flashes from the surface facets. To achievemaximum sparkle, all three cut components have to be “insync.” Proportions power the optical dynamics, symmetrycreates balance, and polish makes each note of the visualmelody crisp and vibrant.

CARAT WEIGHT For most colored gemstones – as for diamonds – the stan-

dard unit of weight is the metric carat (abbreviated mct orct). One carat equals 0.200 or 1/5 gram. In common USmeasurements, that’s about 7/1000 ounce. For greater accu-racy, the carat is subdivided into 100 equal parts called points.Thus, 1 point equals 0.01 or 1/100 carat.

Sparkle includes colored glintsfrom within the gem as well asmirror-like flashes from the facets.

Electronic scales measureweight to a thousandth of acarat (.001) but round it to ahundredth of a carat (.01).

Photo courtesy Mettler.

When brightness is maximized, thereis light coming back from everywhereinside the gem.




Weight Representation

With today’s electronic scales, gem professionals normallymeasure weight to 0.001 carat and then round to the nearest 0.01carat. For example, a weight between 0.995 and 1.004 carat isrounded to 1.00 carat. The accuracy is within 0.005 carat or 1/2point. This is the standard for ethical weight representation underUS Federal Trade Commission guidelines.

Carat weight is usually stated and written in decimalnumbers; for example, 0.50 ct. Weight can also beexpressed in common fractions – 1/4, 1/2, 3/4 ct, and soforth. Professionals use fractions approximately, refer-ring to ranges of weight rather than e xact decimal equiva-lents. So, if you use fractions with customers, you need toexplain them carefully. When showing a gem that weighs 0.48carat, you could first say “forty-eight points” or “forty-eighthundredths of a carat.” Explain, “That’s about half a carat.” Thenyou can use the fraction in the rest of your presentation.(Different firms have different policies about stating weight inpoints and fractions. Be sure to know and follow yours.)

Gem Prices

Gem prices can be expressed in two ways: per-carat price or total price.Wholesalers often quote the price per carat, and retailers usually use the total pricesof gems. Per-carat prices can, however, help customers make value comparisons.When you say one sapphire is $400 per carat and another is $600 per carat, thecustomer immediately understands there are significant differences in quality, inde-pendent of the gems’ weights.

If you have unset gemstones in your inventory, you can use these formulas tocalculate either price:

Total price = Per-carat price x carat weight

Per-carat price = Total price ÷ carat weight

Gems of a givensize vary inweight based ontheir density.Wholesalersusually price gemsper carat.

Photos courtesySPB Gems.The metric carat

equals 0.200 or 1/5 gram.

Colored Gemstones 4


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• Moderate Size Availability – Market supply is usually reliable inweights up to 15 or 20 carats. In lo w to medium qualities, per-carat prices climbsteadily with increasing weight. In top quality, the price rises are steeper. Gemsin this category are emerald, tanzanite, rhodolite garnet, and most colors ofsapphire and tourmaline.

• Large Size Availability – Some gems can be found in weights of 50carats or more. Amethyst, aquamarine, citrine, smoky quartz, blue and yellowtopaz, and common red garnets fall into this category. Per-carat prices riseslightly as weight goes up, but actually decreasefor sizes too large for jewelry. (For most gemsthat’s about 25 carats.)

Citrine quartz oftenoccurs in larger, wellformed crystalsmaking large finishedgems more available.

Photo courtesy John Betts.

Some gems – like mala-chite – occur in massiveboulders so large,finished gems are notuncommon.

Some geologic environments tend to limit growth.

Weight and Value

Like color and clarity, carat weight’s effect on value depends on naturalrarity, and different kinds of gems have differing weight potentials. That’sbecause some geologic settings tend to limit growth, while others provideconditions that are more favorable. As a result, some gems are typically a vail-able in larger sizes than others. You can use this as a basis for e xplaining weightand value.

In terms of weight potential, colored gems f all into four major categories:

• Limited Size Availability – Gems in this category are rarely seen inweights over five carats, especially in fine quality. Examples are alexandrite,ruby, and tsavorite. Per-carat prices can skyrocket as carat weight increasesdue to the rarity of size.

It’s unusual to find crystalsof corundum in very largesizes, so the sizes of thefinished gems are limited.

• Unlimited Size Availability – This categoryincludes translucent and opaque gemstones such aschalcedony, lapis lazuli, malachite, tiger’s-eye, andmost colors of jade. These occur in pieces big enoughto use for large carvings and other ornamentalpurposes. Material fashioned into cabochons, tablets, orother forms for jewelry is often priced according todimensions rather than by carat weight.



SIZE, WEIGHT, AND DENSITY

You’ve probably noticed that gems of the same carat weight can differ in phys-ical size, and vice versa. For example, a 2-carat amethyst is dimensionally

larger than a 2-carat sapphire, and an emerald that measures 8 x 6 millimetersweighs less than a ruby of the same dimensions. That’s because the gems havedifferent densities.

Density is the relationship between weight and physical size. One way ofexpressing this relationship is specific gravity (SG). That’s a number which indi-cates the weight of a gem or some other material compared to the weight of anequal volume of water. Amethyst’s SG is typically about 2.66. This means anamethyst of any given size will weigh a little more than 21/2 times the same volumeof water. Emerald’s SG is normally around 2.72. Ruby’s and sapphire’s are thesame – normally very close to 4.00.

A ruby has a much higher SG(4.00) than an emerald (2.72) soa 1 carat ruby will be muchsmaller than a 1 carat emerald.If a ruby and emerald are thesame size, the ruby will weighmore.

Photo courtesy Michael Drechsler Designs.

Density is the relationship between

weight and physical size.

The higher a gem’s SG is, the smaller thegem will appear for its weight. You may occa-sionally need to point this out in a sales presen-tation. It’s more likely to come up when acustomer needs to have a lost or damaged gemreplaced with another kind of gem. You have touse precise measurements to determine the sizeof the replacement, and there may be a differ-ence in weight from the original. If the customerwants to know why this is so, explain that it’sdue to the weights of the atoms that make upeach gem, and how closely those atoms arepacked together in the crystal.

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STAYING FOCUSEDWithout question, the subject of value is far more complex for

colored gems than for diamonds. If you calculated all the species, v ari-eties, and variables related to 4Cs, the number of possibilities w ould beastronomical. Remember, though, that the appeal of colored gemstoneslies in the fact that they offer a combination of beauty and value to suitevery taste and budget.

The appeal of colored gemstones lies in the fact

that they offer a combination of beauty and value to suit

every taste and budget. Rather than talking about allthe variables of the 4 C’s,stay focused on eachcustomer’s needs and desireswhen you present gemstones.

You don’t have to tackle the entire subject of value all at once in yourown professional development. You don’t have to cover it for any singlecustomer, either. If you prepare yourself by doing your “home work” onthe gems in your inventory, and stay focused on each customer’s needsand desires, you’ll cut through the mystery that surrounds value andpresent every gem in its own unique light.



RECAP OF KEY POINTS

• You usually don’t need a detailed discussion of pricing to present coloredgems. At the same time, though, a good e xplanation of value-related featuresand benefits can often help you clarify or reinforce a customer’ s purchasedecisions.

• The 4 Cs – color, clarity, cut, and carat weight – affect the prices of coloredgemstones, as do cultural traditions, market economics, and fashion trends.

• For most gems, color is the most important C. Each gem has its o wn colorrange, which provides the standard for value. Slight differences in hue, tone,or saturation can make significant differences in value. A mix of science,product specifics, and romance is usually the most ef fective way to presentcolor. Always remember that the “best” color is the one your customer prefers.

• Clarity is a colored gemstone’s freedom from blemishes and inclusions.Inclusions are the main concern because they can affect beauty and durability.Clarity in colored gemstones is usually judged by e ye (without magnification),considering three significant questions: Are inclusions eye-visible? Do theyaffect beauty? Could they have a negative impact on durability?

• Cut is the form, style, and quality of a gem’ s fashioning. Next to color it’susually the most important C. Almost all forms of colored gemstone cuttingcan be described as faceted, cabochon, tablet, or carving. To present these andexplain their effects on value, spotlight features and translate them into benef its.

• For most colored gems the standard unit of weight is the metric carat. Lik ecolor and clarity, carat weight is linked to natural rarity. Different kinds ofgem have differing weight potentials, and you can use these as a basis forexplaining how carat weight relates to value.

• Value is a complex subject for colored gems. If you become f amiliar with thegems in your inventory, and stay focused on your customers, you’ ll be able toexplain value in ways that make sense to customers and does justice to thegems you show.

Colored Gemstones 4


20


____ With your manager and coworkers discuss how customer concernsabout value differ for diamonds and colored gemstones. How can youdeal with these differences in sales presentations?

____ If your store uses a grading system for colored gemstones, learn thegrades and terms that are part of it.

____ Develop explanations of color, clarity, cut, and carat weight for gemsin your inventory. You need concise statements that fit smoothly into apresentation, and also more detailed responses to questions customersmight ask.

____ Spend time examining individual gems. Use the Colored GemstoneCompendium for ideas and background information. Ask your storebuyer or gemologist for suggestions. Do “trial runs” with co workers.

____ Find out your store policy regarding use of points and fractions forweight. If fractions are allowed, practice explaining them with enoughdetail to be accurate in your presentation.

Lesson 4 Self-Test











Colored Gemstones

Cultured Pearls



In This Lesson:• A World Apart

• Pearl Traditions

• Natural Pearls

• Cultured Pearls

• Value Factors

• Product Highlights

• Culturing Sales

A WORLD APART In Lesson 1 you learned that any kind of gem except

diamond is considered a colored gem. Although pearls areincluded in that broad classification, they really belong to aworld apart. Most customers recognize this instinctively,sensing a special appeal about pearls.

There are several themes you can use in a sales presenta-tion to evoke or enhance pearl’s separate place in the gemkingdom:

• Pearls are born in water. This intuitive contrast withother gems, which are dug from the ground, givespearls an aura of gentleness, freshness, and fluidgrace.

• Pearls originate from life. While most gems areminerals produced by inanimate geology, pearls areorganic. They come from living beings. Much ofpearls’ mystique arises from this connection.

• Pearls possess a beauty that’s all their own. Mostgems depend on cutting or carving to reveal theircharms, but pearls emerge gleaming from their shells.Though certain factors of pearl value are comparableto those of other gems, key considerations are unique.

Cultured Pearls

Cultured pearls are born in water andoriginate from living organisms. Theyare natural in their beauty and classicas a gem.

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Cultured Pearls

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Cultured pearls are modern forms of a classic gem. Theycombine Nature’s creative power with human art andscience. You could even say that cultured pearls show howpeople can work with the environment to make age-oldbeauty available now, and for future generations as well.

In the following pages you’ll explore these themes andfind information to help customers understand their signifi-cance. The lesson begins with the romance of natural pearls.Next, you’ll see how pearls are cultured. You’ll learn aboutfactors that affect beauty, quality, and value. You’ll also findout how these apply to different types of pearls. Finally,you’ll examine ways to guide your customers into the fasci-nating world of pearls.

Photo courtesy Cathleen Bunt.



PRODUCT KNOWLEDGE• Pearls• Disclosure• History of Jewelry• Designer & Brand Name Jewelry• Custom-manufactured Items




OPERATIONS• Merchandise Maintenance


Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Describe how cultured pearls are created.

• Explain factors that affect pearl beauty, quality, and value.

• Discuss the features and benefits of different types of pearls.

• Open customers to the possibilities of pearl wardrobing.

Cultured Pearls


PEARL TRADITIONS Since the dawn of history, pearls have been counted among the

most beautiful, magical, and valuable of gems. Early hunter -gath-erers probably found pearls during their search for food, makingpearls among the first gems treasured by humans.

Pearls have also appeared in the folktales, religions, andpopular traditions of many cultures. Here are a few examples youmight share with customers:

• For centuries, many people in Asia believed that pearlsbegan with drops of divine moisture falling from dragonsin the sky. When the drops landed in seashells and werenourished by moonbeams, they grew into pearls.

• Pearls have long been seen as religious symbols. InBuddhist art, pearls represent enlightenment. A Christianparable compares the kingdom of heaven to a pearl ofgreat price. According to Islamic tradition, every event –past, present, and future – is recorded on a vast pearl thatextends from heaven to earth.

Throughout history pearls have beenone of the most highly prized andsought after gems.

Photo courtesy Japan Pearl Exporters Association.

Cleopatra

• In the ancient Roman world, pearls were the most concentratedform of wealth. Egypt’s queen Cleopatra once bet the Romangeneral Marc Antony that she could consume the value of a wholenation in one meal. To win the wager she crushed a large pearl,mixed it in glass of wine, and drank it.

Because of their appearance and aquatic origins, pearls were associatedwith the bewitching beauty of the full moon and the life-giving power ofwater. From these natural links, pearls grew to symbolize purity and love.Ultimately, the rich traditions surrounding pearls made them birthstones forthe month of June, as well as designated gems for both the 3rd and 30thwedding anniversaries. (You’ll learn more about birthstones and anniversarygems in Lesson 12.)

Today, pearls still embody the meanings they’ve possessed for thou-sands of years. The science and magic of culturing have added new dimen-sions, too. Though you probably have only cultured pearls in your show-cases, let’s look at the original inspirations.

NATURAL PEARLS Natural pearls are produced by about two dozen kinds of mollusks,

including oysters, mussels, and other shellfish. (Pearl oysters, however , aremore closely related to scallops than to common edible oysters). Theprocess of natural pearl formation usually begins when an irritant of somekind accidentally enters the mollusk’s shell. Many people think a grain ofsand is responsible, but the “trigger” is more often a tiny worm, crab, or fish.

As a defensive response, the mollusk coats the invader with layer afterlayer of nacre (NAY-ker). This is composed mostly of microscopic calciumcarbonate crystals which accumulate like overlapping shingles. Nacre issimilar to the inner lining of the mollusk’s shell, more commonly known asmother-of-pearl. Besides protecting the mollusk, nacre is responsible forpearl’s distinctive beauty.

Natural pearls were once found in significant quantitiesaround the world. They came from saltwater bodies such as seasand oceans, and also from the freshwaters of streams, rivers, andlakes.

The most famous source of natural saltwater pearls was thePersian Gulf. This locale was fished commercially before 300BC. The pearls found there were called “Oriental” pearls andhave often been mentioned in literature and history. Much later,Columbus and the explorers who followed him discovered salt-water pearls in the New World. In the 1800s, new kinds of naturalsaltwater pearls were recovered as by-products of fishing formother-of-pearl shell in Australia and French Polynesia.

Natural freshwater pearls were available treasures, too. The emperors of China decked them-selves in pearls from the rivers of their kingdom. Freshwater pearls were also found in much of Europeand America. Old European laws decreed them to be royal property . Native tribes prized those from thewaters of the country that became the United States.

Over the centuries, natural saltwater pearls gradually disappeared. Chinese sources becamedepleted almost 2,000 years ago. Most American saltwater pearls were gone by the 1600s, and theirfreshwater kin followed in the 1800s. After more than 20 centuries, the flow of pearls from the PersianGulf dropped to a trickle in the early 1900s. In most cases the cause was overfishing, but in moderntimes, pollution became a factor as well.

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Natural pearls areproduced by severaldozen kinds of mollusks.

Throughout history, the best knownsource of natural salt-water pearls wasthe Persian Gulf.

Natural pearls are still found in limitednumbers at a few locations. You’re most likelyto see them in antique stores and estate auctions.(You may not recognize them because it takesX-ray testing to tell the difference betweennatural and cultured pearls.) For the most part,natural pearl’s ancient place in the gem kingdomhas been taken over by the cultured pearl.

Cultured Pearls


CONCH AND MELO PEARLS

The Queen conch (kahnk) is a large snail-like mollusk thatinhabits parts of the western Atlantic Ocean and the

Caribbean Sea, from Bermuda to South America. Famous forits ornate shell, this animal also produces the gems known asconch pearls.

The finest conch pearls are delicate rose to deep orangish“salmon” pink. They have a porcelain look, with a silky sheenand a surface patterning that’s described as “flame structure”.Similar pearls come from other sea snails called Melo, whichlive in coastal waters of Southeast Asia. These are goldenyellow to amber orange in color, with similar sheen andpatterning. Both types occur in other colors as well.

Conch and Melo pearls are made of calcium carbonate. They form inside a mollusk,and are as rare as natural pearls. Many dealers and gemologists,

however, say they aren’t true pearls because they don’thave a nacre coating with the shingle-like structure. In schol-arly publications they’re often called “calcareous concre-

tions” or “non-nacreous pearls”. They can be very beau-tiful, though – and amazingly expensive. At a 1999

jewelry auction in Hong Kong, a single Melopearl sold for almost $500,000. Now, THAT’S

appreciation of nature’s rarity!

CulturedPearls

NaturalPearls

It takes x-ray to tell thedifference between naturaland cultured pearls.

Conch Pearl.


Queen conch shell

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CULTURED PEARLS Natural pearls form without human help of any kind. Creating a cultured pearl,

on the other hand, involves human intervention and care. It’ s important to make thisdifference clear to customers. You might say cultured pearls depend on the same lifeprocesses, but people play a role in their formation and growth. Describing that rolecan help some customers more fully appreciate cultured pearls’ beauty and value.

Modern pearl culturing represents centuries of experiments followed by ahundred years of concentrated development. The first steps occurred in China about800 years ago. At that time, small lead figurines were placed in river mussels to becoated with nacre. The resulting objects grew attached to the mollusk’s shells, andwould today be classified as blister pearls. In the 1700s, scientists began trying toproduce whole pearls, which grow unattached to the shell. Around 1900 three Japanese researchersfinally succeeded. One of them was Kokichi Mikimoto (1858-1954), who went on to pioneer thecultured pearl industry.

Sources

Until the 1950s, pearl culturing was focused in Japan. Since then, the industryhas grown to include about a dozen producing nations. Like their natural counter-parts, cultured pearls occur in saltwater and freshwater varieties. Saltwater pearlsare cultured in specific oyster species while freshwater pearls come frommussels. Methods have been adapted to suit dif ferent environments and pearl-bearing mollusks, expanding the choices available to consumers.

Later in this lesson you’ll look at the features of dif ferent types of pearls.First, here’s a rundown of the most important sources:

Saltwater Cultured Pearls

• Japan and China – These are top producers of thepopular Akoya pearl. Akoya is the Japanese name for thesmall oyster used for saltwater culturing in both countries. (Itsscientific name is Pinctada Fucata.) This oyster is relativelysmall, growing to only about five inches in diameter . Japanhas been producing Akoya pearls for 100 years. China didn’ tbegin until the 1980s, but its output now equals Japan’ s. Onereason is that many of Japan’s Akoya oysters died in the 1990sdue to pollution and disease. In addition, China has resourcesthat Japan lacks – a long coastline with many inlets, and anextremely large workforce.

Kokichi Mikimotois known as theFather of theCultured PearlIndustry.

Akoya molluskand culturedpearl.

Cultured Pearls


• Australia, Indonesia, and Philippines – Most SouthSea cultured pearls come from these countries, while Myanmarand Thailand produce smaller quantities. The culturing mollusksare gold- and silver-lipped oysters. (These are varieties ofPinctada Maxima.) Growing to about twelve inches in diameter ,they’re among the world’s largest oysters. Australia began pearlculturing in the 1950s. Indonesia and the Philippines followed inthe 1970s. Harvests increased and the popularity of South Seapearls soared in the 1990s.

• French Polynesia – The pearls cultured in this region are namedfor Tahiti, the best-known island of the territory. Most Tahitian pearls,however, are actually grown hundreds of miles away, in the GambierIslands and Tuamotu Archipelago. The Cook Islands, which belong toNew Zealand, are another source. Tahitian pearl culturing startedaround 1970, using the black-lipped oyster (Pinctada Margaritifera).Named for the dark-colored edges of its shell, this is another lar geoyster. Like South Sea pearls, Tahitian pearls have attracted growinginterest in recent years.

The Pinctada Maxima mollusk isused widely in Australia, Indonesiaand the Philippines for pearlculturing.

Freshwater pearls are culturedinto many different shapes.

Photo courtesy Cultured PearlAssociation of America.

Freshwater Cultured Pearls

• Japan – Commercial freshwater pearl culturing origi-nated here in the 1930s, at Lake Biwa. Though Biwa’sproduction has dropped due to pollution and competingactivities like farming and land development, the nameremains linked to the product. Elsewhere in the countrythere’s just limited freshwater culturing now.

• China – Launched in the 1960s, Chinese freshwaterculturing now supplies the world with hundreds of tons ofpearls each year. Ranging from small private efforts togiant government enterprises, many farms are located ineastern China along the Yangtze River and its tributaries.Most pearls come from the triangle-shell mussel(Hyriopsis Cumingi).

Tahitian pearlgrowers use theblack-lippedmollusk whichproduces avariety of darkcolored pearls.

• United States – Since the 1980s the US has beena minor but noteworthy producer of freshwatercultured pearls. The most successful farm is inTennessee. It specializes in blister pearls and wholepearls grown in fancy shapes. The company useswashboard mussels (Megalonaias Nervosa) forculturing.

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Methods

No matter where they come from geographically, cultured pearls are theresults of scientific know-how, skilled farming, and diligent care – with lots ofhelp from Nature. Creating a cultured pearl also takes a great deal of time.

The work usually starts with breeding and raising mollusks until they’re oldenough to produce pearls. Then comes the procedure known as nucleation. Forsaltwater pearls, technicians implant spherical shell beads along with small piecesof mantle tissue from other oysters. (The mantle is the or gan that lines themollusk’s shell and envelops its body.) The number and sizes of nuclei depend onthe mollusk. Akoyas are nucleated with as many as five beads, each 2 to 6millimeters in diameter. The larger South Sea and Tahitian oysters receive asingle nucleus measuring 6 to 10 millimeters (occasionallybigger). Most Chinese freshwater mussels are nucleatedwith only mantle tissue, and they can take up to fiftynuclei. Ideally, each nucleus acts as an artificial irritantthat stimulates nacre secretion and pearl formation.

After nucleation, the mollusks are returned to thewater and tended while they grow their pearls. They’reperiodically cleaned, given health checkups, and treatedwith medicinal compounds. Many saltwater oysters arehoused in cages that can be raised, lowered, or even relo-cated to ensure optimum conditions. Some farmers usespecial nutrient formulas that accelerate mollusk develop-ment and pearl formation.

Expert technicians implant the sphericalbeads into the body of the mollusk.

Photo courtesy Paul Holewa.

The American pearl – taken from mussels offreshwater rivers – is the official state gem ofTennessee.

Cultured Pearls


At the end of the growing period – if everything has goneright – the pearls are harvested. A number of factors can nega-tively affect the outcome, though. Many mollusks reject theirnuclei or die at some point following the implant. Mollusksare also sensitive to changes in their environments. Thesechanges can come from weather events such as typhoons andtorrential rains, or less dramatic fluctuations in nutrients andwater conditions. There are also diseases, parasites, and preda-tors to worry about, and pollution is a growing problem.

Only about 20% of nucleated Akoyas produce marketablepearls, and only a fraction of those are fine quality . Successrates for Chinese freshwater pearls are around 50%, but atsome South Sea farms they reach 90%.

CULTURING TIME

To help you give customers a sense of the time it took to create the cultured pearls youpresent, this table shows average periods for raising mollusks to maturity and growing

pearls after nucleation. (South Sea, Tahitian, and Chinese freshwater mollusks can often bere-nucleated, extending the total production time.)

Pearl Raising Growing Type Mollusks Pearls

Akoya 2 years 8 months to 2 years

South Sea 2 years 2 years

Tahitian 3 years 2 years

Chinese Freshwater 6 months 2 to 6 years

Eventually, if the mollusks withstandweather, environment and disease, theyare harvested.

South Sea Baroque Freshwater

South Sea Round Akoya

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Preparation

Following harvest, cultured pearls undergo varyingdegrees of processing. This most often includes washing,followed by light polishing. For polishing, the pearls areplaced in a rotating tub filled with salt, soft buf fers likebamboo chips, and sometimes, wax. That’s about all the“cosmetics” some South Sea and Tahitian pearls receive.Most American freshwater pearls are simply washed.

A standard step for Akoyas and Chinese freshwaterpearls is bleaching. The pearls are immersed in a mildhydrogen peroxide solution under bright fluorescent lightsfor several months. This makes the color whiter and moreeven.

A further possibility is some kind of color-adding treat-ment. Akoyas can be darkened or tinted by dye or irradia-tion. Similar methods make freshwater pearls available in awide range of colors. South Sea pearls are sometimes dyed“golden” yellow. All these treatments can usually bedetected with standard tests, but advanced lab help may beneeded in certain cases.

Most cultured pearls are made into necklaces. So, drilling ispart of the preparation. Although this sounds simple, it requiresexpert work to ensure that every pearl rides properly on the string.After being drilled, the pearls are sorted and assembled intostrands.

The final step is transforming a strand into a necklace. This isanother task that takes skill and contributes to the value of thefinal product. The traditional stringing material is silk, whichmakes the necklace flexible yet strong. In many necklaces, eachpearl is individually knotted to prevent it from rubbing against itsneighbors or falling off if the string breaks. The finishing touch isan attractive clasp that holds the work of humans, nature, and timesecurely.

For most pearls, drilling is part ofthe preparation for market.

After harvest, pearls are sortedfor size, color, shape and othercharacteristics.


Akoyas are sometimes tinted bydye or irradiation.

Cultured Pearls


OTHER CULTURED PRODUCTS

In addition to whole pearls, culturing offers other productsthat maximize the recovery from farming and increase

choices for consumers:

• Three-quarter pearls – These are usually made fromAkoyas or other pearls with an obvious surface blemish.Careful grinding eliminates the trouble spot, and theremaining pearl goes into a ring, tie tack, or other jewelrywith a covered back.

• Keshi – These pearls form accidentally (without intentionalnucleation) in mollusks being used for culturing. Keshi oftenoccur after nucleus rejection. In Japanese, the word means“poppy seed,” reflecting the small size of Akoya keshi.Those from other mollusks can be quite large, however.Most keshi are irregular in shape, but they come in thesame colors as whole pearls, often with bright luster andorient.

(Because keshi aren’t nucleated, there’s been some debateabout whether or not they might be called natural pearls.Since they occur in cultivated mollusks, however, mostexperts agree they’re a cultured product.)

• Blister pearl – This is a natural or cultured pearl thatgrows attached to the shell. In cultured blister pearls, thebead nucleus can be half-round or fancy-shape (oval, heart,teardrop, etc.). Instead of being inserted into the mollusk’sbody, the nucleus is glued to the shell. Because of thisplacement, the nucleus and resulting pearl can be largerthan normal. Many blister pearls are used to make mabés(see the next entry). Others are cut to include part of theshell in an attractive outline.

• Mabé (MA-beh) – This is an assembled product madefrom a cultured blister pearl. First, the pearl is cut from theshell and the nucleus is removed. Next, the hollow nacredome is filled with epoxy resin. The inside of the dome mayalso be dyed or coated to impart color or increase luster.Then the piece is cemented to a mother-of-pearl back.

3/4 pearl.

Keshi.

Blister pearls.

Mabe pearls.


Photo courtesy The West AustralianPearl Company, Ltd.


Colored Gemstones 5

Cultured Pearls

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VALUE FACTORS Aside from the economics of supply and demand, six factors can af fect the value of cultured pearls.

These factors are size, shape, color, luster, surface, and nacre. A seventh factor – matching – becomesimportant when pearls are sold as strands or made into jewelry .

To help customers make purchase decisions, you should be able to define cultured pearl valuefactors and explain how they relate to beauty and quality as well as cost.

Although perfectly round pearlsare treasured, every shape can beinteresting and beautiful.

Photo courtesy Cultured Pearl Associationof America.

Perfectly round pearls

are rare.

• Shape – There are three general categories for thisvalue factor: spherical (round and near-round),symmetrical (oval, button, drop, etc), and baroque(irregular). Shape’s influence on value also relatesmore to rarity and tradition than to beauty or quality .Though perfectly round pearls are rare, mostconsumers picture rounds when they think of pearls.Rounds, therefore, have the highest value of theshapes (other factors being equal). Symmetricalpearls, however, can be stunning in pendants, earrings,and other jewelry styles that display them ef fectively.Off-rounds and baroques appeal to customers who liketheir unique look.

• Size – The size of a cultured pearl is measured in millimeters. This value factor isgoverned by four things: the kind of mollusk that produced the pearl, the size of thenucleus, the conditions in which the mollusk lived, and the time allowed for pearlgrowth. While large pearls are dramatic, size doesn’t directly relate to quality. A molluskis more likely to reject a large nucleus, so fine-quality pearls near the top of the sizerange for their individual type are comparatively rare and command premium prices.(Size ranges and other individual differences are described in the next section of thislesson, and also in the Colored Gemstone Compendium.)

Round Baroque

• Color – A pearl’s color can have up to three separate components.These are the basic body color, a blush-like overtone, and iridescentorient. Body color is always present, and it’s the easiest color compo-nent to judge. (Use diffused light and a neutral background.) If there’san overtone, it will add a translucent tint. Orient shows best underdiamond display lights. It resembles rainbow colors on a soap bubble.This relatively rare effect is seen most often in baroque pearls. Orient iscaused by light breaking up as it passes through layers in the nacre.

Some customers think of pearls as white,but cultured pearls come in a wide range ofnatural and treated colors. White or pinkare traditional recommendations for lightcomplexions, with cream or yellow forolive or dark complexions. Body colormatters most with short necklaces that lieagainst the skin. Much more important,however, is the customer’s preference.

Cultured Pearls


• Luster (also spelled lustre) – Simply defined, this is a pearl’s “reflectivity.” It combinessurface reflections with a deeper glow caused by light reflecting back from layers in the nacre.Luster ultimately depends on the size, transparency, and arrangement of the calcium carbonatecrystals that make up the nacre. These, in turn, are influenced by the mollusk and growth condi-tions (particularly water temperature). As a result, different kinds of pearls have differing lusterpotentials.

Luster is a critical beauty element for every pearl. The higher a pearl’s luster is, the better it will“mirror” the color on which it rests – whether that’ s the color of skin or fabric. For this reason,very high luster pearls are always complimentary.

You can demonstrate luster by gently rolling a necklace across a counterpad and calling attention tothe quality of light reflections on the surfaces. When you deal with comparison-shoppers, cautionthem to be on guard for “bargain” pearls with low luster. These will always look “chalky” – whiteand dull – on skin or fabric.

Orient resembles the rainbowcolors on a soap bubble.

Photo courtesy Hugh Powers.

Though most people thinkof cultured pearls aswhite, they come in arange of colors.

Photo by Robert Weldon cour-tesy of Rafco International.

The higher the luster ofa pearl, the better itwill “mirror” the coloron which it rests.

Photo courtesy CulturedPearl Association ofAmerica.

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14

• Surface – This factor is also called surface condition, surface quality , spotting, blemishing, andcleanliness. You might say it’s the cultured pearl version of clarity. You can most easily definesurface quality as ‘relative freedom from blemishes’. These include bumps, spots, pits, scratches,and nacre cracks. Almost all cultured pearls have some surface characteristics. These aren’t toosignificant unless they affect appearance or durability. Like baroque shapes, lightly blemishedpearls have a “natural” appeal for some customers. Conversely , you can emphasize rarity when youpresent exceptionally “clean” pearls.

• Nacre – This is the thickness of the cultured pearl’s nacre coating.It’s most often a concern with Akoyas. Tissue-nucleated freshwaterpearls are almost solid nacre, and South Sea and Tahitian pearlsusually have thick coatings. Good-quality Akoyas have about onemillimeter of nacre, which is sufficient for years of normal wear.Lower qualities, however, may have only 1/2 millimeter or less. Thinnacre shows little luster, and can wear away to expose the nucleus. Ingeneral, nacre thickness depends on how much time the oyster isgiven after nucleation to coat the pearl. One clue to thin nacre is“blinking” – the pearls in a necklace flicker lighter and darker asthey’re rotated under a bright light. This is caused by reflections frommother-of-pearl on the shell nuclei. Sometimes, in the lowest qualitypearls, the shell beads can be seen through the nacre.

• Matching – This is critical for pearls in most necklacesand many other jewelry styles. Matching normally meansselecting pearls that look alike in size, color , and otheraspects of appearance. Since no two pearls are identical, thegoal is producing a visual blend rather than exact uniformity .Matching contributes to beauty and quality, but it also affectscost due to the time and labor involved. Expert sorters mustexamine as many as 10,000 Akoya pearls to create one well-matched strand sixteen inches long. Some South Sea pearlnecklaces take years to assemble. Even in designs thatemploy intentional mismatching for creative effects, thepearls are carefully chosen.

Almost all pearlshave some surfacecharacteristics.

Photo courtesy CulturedPearl Association ofAmerica.

Good quality Akoyas haveabout one millimeter of nacre.

Photo by John Parrish courtesy of A&ZInternational.

Matching impacts pearl value becauseof the time and labor involved.Months - even years - can go into thematching of an exquisite set.

Photo courtesy Albert Asher, South Sea PearlCompany.

Cultured Pearls


PRODUCT HIGHLIGHTS Like gem species and varieties, different kinds of pearls have

differing standards when it comes to the factors that af fect beauty,quality, and value. You need to highlight these individual possibilitiesin sales presentations. Distinctive features also provide images andideas you can use to help customers appreciate each pearl type in aunique way.

• Akoya Pearls – Traditional beauty and elegance make goodthemes when you present this classic cultured pearl. The full sizerange is about 2 to 10 millimeters, but 4 to 8 is more usual, and 7millimeters (just over 1/4 inch) is the favorite. Rounds and near -rounds make up about 3/4 of Akoya production. Top-selling colorsare white and cream (or crème). Others include light pinks,yellows, greens, blues, and grays. Treatments extend the Akoyapalette all the way to black. Common overtones are rosé (pink)and green. Growing oysters in the cool waters of Japan and Chinaproduces fine-grained nacre, and luster in cultured pearls fromthese sources can be outstanding. With their almost mirror-likeshine, high-luster Akoya pearls compliment any color or texture offabric, and any skin tone.

Spectacular size and seductiveallure are the hallmark of SouthSea Pearls. White commandsthe highest price.

Photo courtesy Assael International.

• South Sea Pearls – Spectacular size and seductive allure arehallmarks of these rare and costly pearls. They normally measure 8to 18 millimeters (averaging around 13mm), but can grow to 20millimeters or more. True rounds are not common, and many shapesare “circled” with parallel ridges or grooves. Colors run from whiteand cream through silver gray, golden yellow, rose pink, and aquablue. (Currently, white South Sea pearls command the highestprices.) Overtones include rosé, mint green, and ice blue. BecauseSouth Sea pearls grow in warmer water than Akoyas, they havenacre that’s sometimes described as coarse-grained. This gives thema satiny luster instead of high gloss.

• Tahitian Pearls – Exotic is the best word for these pearls, whichare striking in appearance. Though Tahitian pearls tend to beslightly smaller than South Sea pearls – typically 8 to 14 millime-ters and averaging about 9 mm – size is still a notable feature.Circling gives many shapes intriguing individuality. Luster can bealmost metallic – and Tahitian colors are amazing. The palette

The full size range of akoyas isabout 2 to 10 millimeters. Theyare prized for their fine -grained luster.

Photo courtesy Tiffany & Company.

The choices for American freshwater pearls (which have flat bead nuclei)include bar, button, coin, navette (marquise), teardrop, and triangle. Typical sizesare about 3 to 7 millimeters, but rounds range from 2 to 14 mm, and some fancyshapes measure more than 50 millimeters (2 inches) in length. There’s a rainbowof attractive colors: white and cream through shades of rose and salmon pink,apricot and tangerine orange, creamy or golden yellow, sea green,

periwinkle blue, lavender, lilac, and mauve, as well as copper ,bronze, silver, and gunmetal gray. Some occur naturally, andothers come from treatment. Freshwater pearls are signifi-cantly less expensive than their saltwater counterparts. So,while cost is never a lead feature, it can often serve as an

exclamation mark.

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16

Unusually shaped freshwater pearlsinspire creativity and uniqueness.

Photos courtesy A & Z Pearls.

The colors ofTahitian pearls areamazing – silver-grey, golden yellow,bronze, pistachioand aubergine.

“Corn” pearls yield novel designsin row after row of uniformity.

Photo courtesy Frances Morris.

includes silver gray, golden yellow, bronze, copper, deep“cherry” red, yellow-green “pistachio,” and purple-gray “aubergine.” (Aubergine (oh-ber-zheen)is French for eggplant.) Near the top invisual impact and value is the colorknown as “peacock” – deep greenishto bluish gray with strong rosé orpurple overtone.

• Freshwater Pearls – Novelty, variety, andaffordability are strong selling points forfreshwater pearls. Chinese freshwater pearlscome in a multitude of shapes. Among themost popular are the “veggies” – rice,potato, and corn. Rounds and symmetrical shapesare also available. These latter two offer alternativesfor the traditional Akoya look at dramatically lowerprices. While an Akoya saltwater cultured pearlnecklace might sell for $1,000.00, a similar -appearing necklace of round Chinese freshwaterpearls might be only $300.00.

Circling gives many shapesintriguing individuality.

Photo courtesy Tahitian PearlAssociation.

Cultured Pearls


ABALONE PEARLS

Some of the newest and showiest additions to the pearl world comefrom abalones. Abalones are snail-like marine mollusks native to

warm and temperate waters around the world. Considered a fooddelicacy and collected for their shells, they occasionally producenatural pearls of great beauty. In recent years declining wild popula-tions have led to restrictions on commercial fishing. This spurred devel-opment of abalone farming.

Abalone pearl culturing began in New Zealand and the US in the1990s. The world’s largest farm is located on the coast of northernCalifornia. After being spawned and raised for three years, theanimals receive a single nucleus. The pearl growth period is one ortwo years. The results so far include blister pearls and mabésmeasuring about 10 to 15 millimeters. Efforts are under way to findreliable methods for producing whole pearls. (There are challengesrelated to the animal’s biology and behavior.)

Abalone pearls often display ametallic luster with vivid color and orient.The body color spectrum includes red,orange, yellow, green, blue, magenta,pink, gold, bronze, and silver. Sometimesseveral of these colors create an opal-likemixture in a single pearl.

Abalone pearls often displaythe same metallic luster andvivid colors as the lining of theabalone shell.


Colored Gemstones 5

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18

CULTURING SALES Surveys show that pearls are favorite gems for many consumers.

They also gain in popularity with age, af fluence, and sophistication.Women make two out of three pearl jewelry purchases, and half ofthose are for themselves. Though pearls were once considered femi-nine gems, there are now some attractive choices for men, too.

The diversity of cultured pearls allows you to present customerswith an almost limitless selection of beauty and value. Always infashion, right for any occasion, today’s pearl jewelry ranges fromsimple and traditional to elegant and daring. As a result, culturedpearls – perhaps more than any other gem – can inspire customers tocreate wardrobe collections.

The wardrobing concept is simple: Start with pieces that arebasic and versatile, then add accents, accessories, and extras forspecial occasions and variety.

Rene Russo in Tin Cup – Themovie that inspired the popularityof the “tin cup” pearl necklace.

While it may not be the first component a womanacquires, the centerpiece of the most essential pearl wardrobeis the necklace. For a self-purchase, the customer can try ondifferent styles and lengths to decide which she prefers. If thenecklace is a gift – and particularly when the purchaser ismale – you may need to provide suggestions and guidancebased on careful profiling.

There are many options for starters or add-ons. Amongthe most popular are solitaire pendants. Another is the stationnecklace, with pearls interspersed on a chain, cord, or wire.More elaborate necklace styles include the bib and torsade(tor-SOD). The first has three or more concentric strands. Thesecond is a multi-strand twist of small pearls, sometimesmixed with different gems.

Other wardrobe essentials are earrings, rings, andbracelets. These run from classic studs, solitaires, and single-or multi-strands to elegant combinations with diamonds orother gems in gold and platinum.

The torsade is often a blend of multi-color variety.

Photo courtesy Modern Jeweler.

Cultured Pearls


Moving beyond basics, a necklace can be upscaled with a jeweledclasp or a removable pendant known as an enhancer. Clip-on short-eners make longer necklaces more versatile. There are also specialclasps that can be added to expand or diversify the lengths of necklaces.Pins provide dramatic accents. Ornate versions of fundamental elementscan be just the right touch for special occasions.

In almost every category, customers can choose from all types ofpearls. There’s no need to stick with just one for the entire wardrobe.Creative mixing and matching makes the same jewelry look fun orformal – which is the whole idea. Build collections in silver , gold andplatinum, with and without diamonds.

Hidden clasps canexpand and diversifylength of strands.

Photo courtesy Honora.

Suggesting different pearls for different items can also help customersbalance their desires with their budgets. Akoyas provide chic that’s easilytailored for any taste or pocketbook. In traditional styles, freshwater pearls canbe remarkably inexpensive. Even opulent freshwater designs deliver unbeatabledrama for the dollar. Blister pearls and mabés create bold ef fects in pieces byimaginative jewelry designers. Even if a complete necklace of South Sea orTahitians has to stay on the “dream list,” a pendant or ring might put theirdramatic beauty within reach.

The great thing about pearls – for you as well as your customers – is thateach year, and almost every season, brings new products and new designs. Thereconstantly are new occasions and reasons for owning them, too. Once you guidecustomers into the wonders of this special realm in the gem world, you’re on anodyssey that may never end.

Creative mixing and matching makes the same

jewelry look fun or formal – which is the whole idea.

A graduated necklace of SouthSea pearls may stay on the“dream list”, but the variety ofpearls at different prices makethem accessible to everyone.

Photo courtesy Australian Pearl Centre.

• Collar – 12 to 13 inches. Very Victorian yetcompletely “now,” this style has multiple strands thatfit snugly at mid-neck. With bare-shoulder fashions,the pearl collar can be captivating, particularly onlong, thin necks.

• Choker – 14 to 16 inches. Classic and versatile,this length accents slender necks. It goes with anyoutfit, from jeans and tank top to fancy eveningattire.

• Princess – 17 to 19 inches. The most popularlength, it’s suited for both crew and low necklines.Uniform strands, with pearls close to the same size,offer a contemporary look. Those that are gradu-ated, with pearl size increasing from back to front,have a more traditional appeal.

• Matinee – 20 to 24 inches. This length has a slen-derizing effect. It’s probably the minimum you shouldsuggest for customers who wear plus sizes. Amatinee-length necklace is also a great choice forcasual or business dress.

• Opera – 28 to 34 inches. The opera is oftendescribed as the “queen” of lengths. Worn as asingle strand, it’s refined and perfect for high neck-lines. Doubled, it becomes a two-strand choker.

• Rope – Over 45 inches. Elegant and sophisticated,the pearl rope – also called a sautoir (saw-TWAR)– conjures images of Coco Chanel and high-style ArtDeco. Wearing it loosely knotted or with a shorteneradds variety. Many ropes have invisible clasps instrategic locations, which allow them to be dividedfor wearing in various lengths.

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20

NECKLACE LENGTHS

Traditional pearl necklaces come in various lengths that create different looks andflatter different customers. If your firm offers stringing as a service you may be able

to customize these, or suggest adding to previous purchases.

Collar

Princess

Opera

Choker

Matinee

Rope

Cultured Pearls


FTC GUIDES ON PEARLSSections 23.18 to 23.21 of the FTC Guides discuss

natural, cultured, and imitation pearls. Section 23.22 coversgemstone treatments. All these pages of carefully wordedtext boil down to three easy-to-understand principles:

• Identify your products clearly. Be careful not toleave customers with the mistaken idea that pearls arenatural when they’re cultured. This also holds true forimitations versus cultured pearls.

• Describe your products accurately. Usegeographic terms like “Biwa,” “South Sea,” and“Tahitian” only for the types of pearls to which theyproperly apply. “Oriental pearl” is appropriate only fornatural pearls like those from the Persian Gulf.

• Be honest about the features of your products.Don’t overstate the growing period or nacre thickness.Always disclose color-adding treatments such as dyeingand irradiation. (Some trade organizations advocatedisclosure of bleaching as well.)

For the complete versions of these and other guidelinesvisit the FTC website at www.ftc.gov/bcp/guides/jewel-gd.htm.

Identify and describe yourpearls appropriately.

Photo courtesy Mastoloni Pearls,New York.

Photo courtesy Tahiti Perles.

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RECAP OF KEY POINTS

• Although pearls are generally classified as colored gems, they’re special inmany ways. Customers recognize this instinctively. In sales presentations thereare a number of themes you can use to enhance customers’ appreciation ofpearls.

• Pearls are surrounded by rich cultural and historical traditions. They’ve longbeen symbols of love and purity. Today, pearl is the birthstone for the monthof June, and gems for the 3rd and 30th anniversaries.

• Natural pearls are produced by certain mollusks, usually when an irritantenters the shell and becomes coated with nacre. They were once found aroundthe world, but have become rare due to overfishing and pollution.

• The cultured pearl industry began in Japan almost 100 years ago, and spreadto about a dozen countries in the past fifty years. Most Akoya pearls comefrom Japan and China. Australia, Indonesia, and the Philippines produce SouthSea pearls. The islands of French Polynesia are sources of Tahitian pearls.China is the leading freshwater pearl supplier, with Japan and the US addingminor quantities.

• Natural pearls form without human help, but pearl culturing involves humanintervention and care. A key step is nucleation. The type, number, and sizes ofnuclei inserted depend on the mollusk. Saltwater pearls are bead-nucleated.Most freshwater pearls are tissue-nucleated. Growing periods and successrates vary, but every cultured pearl represents years of skilled labor andtriumph over great odds.

• After harvest, cultured pearls are processed to improve their appearance. Mostpearls are washed and buffed. Akoyas and freshwater pearls are oftenbleached, and may be color-treated. Pearls for necklaces must be drilled,sorted, and strung. Expert work adds to quality and value at each step.

• Six factors that affect the value of cultured pearls are size, shape, color , luster,surface, and nacre. Matching is important for pearls in necklaces and manyother jewelry styles. Different kinds of pearls have differing potentials withregard to most of these factors, so highlighting individual possibilities isessential in sales presentations.

• Cultured pearls and pearl jewelry offer customers endless choices of beautyand value. As a result, wardrobing is a concept that works very well withpearls. By starting with versatile basics and adding new items over time,customers can build a collection that allows them to express every mood andrise to every occasion with the timeless beauty of pearls.

Cultured Pearls



____ Make a list of the pearl jewelry in your showcases. Compare featuresof different kinds of pearls and create benefits for each feature. Thenrole-play a brief presentation for each kind. (Keep your statementspositive and non-judgmental, so the customer will be confident abouther decision, whatever it may be.)

___ Develop and practice an explanation of pearl culturing and prepara-tion. Focus on facts that build appreciation for pearls’ beauty, rarity,and value.

____ Review the full text of the FTC Guides on pearls. Discuss any ques-tions with your manager. With coworkers, role-play explaining thedifference between cultured and natural pearls.

____ Visit these websites for additional facts, images, and inspirations: Cultured Pearl Association of America: pearlinfo.comGIE Perles de Tahiti: www.tahiti-blackpearl.comSouth Sea Pearl Consortium: www.sspc.net

Lesson 5 Self-Test









Cultured Pearls

Colored Gemstones 524

Colored Gemstones

Other Organic Gems



In This Lesson:• Life’s Gems

• Amber

• Coral

• Shell

• Ivory

• Tortoiseshell

LIFE’S GEMSAt the beginning of this course you learned that or ganic

materials form a special group within the gem w orld. Thecommon factor that ties them together and sets them apart istheir origin. They all come from living organisms – in otherwords, plants and animals. Lesson 5 dealt with pearls, themost important members of the group. This lesson takes alook at some of the rest.

In addition to pearls, the organic gem family includesamber, coral, and shell. All three are prominent in today’sjewelry. It also includes ivory and tortoiseshell, which can becalled ‘historical gems’ because they’re no longer part of theretail jewelry mainstream. You might still encounter them,however, when you’re taking in repairs or appraisals. If yourstore offers antique jewelry, you may have opportunities topresent them.

Organic gems have other things in common besides simi-larities of origin. One is an early place in history . Severalorganics have been treasured by humans since the Stone Age.Another is the quality of their beauty. Instead of being bril-liant and scintillating like mineral gems, organics tend to have

Other Organic Gems

Organic gems - coral, amber, shell,ivory and tortoise shell - come fromliving organisms.

Colored Gemstones 6

Other Organic Gems

2

a subtle and sensuous allure. Perhaps deepest of all istheir “closeness” to us. While mineral gems connect us tothe powers of Earth, organics remind us of our place inthe web of Life, with all its w onder and complexity.

In this lesson, you’ll learn about organic gems otherthan pearls – those of yesteryear as well as today . You’llsee how natural beauty and cultural traditions havecreated timeless mystique. You’ll survey the choices avail-able to customers, and pick up tips for presenting themeffectively. You’ll also gain insights into some of theissues affecting the past, present, and future of “life’sgems.”

Lesson ObjectivesWhen you have successfully completedthis lesson, you will be able to:• Discuss beauty and value in today’s organics.

• Explain the status of historical organics.

• Answer customers’ questions about organic gems.

Old chinese gambling chips - madeof mother-of-pearl shell – are re-used in current fashion.

Photo courtesy Donna Chambers.



PRODUCT KNOWLEDGE• Colored Gemstones• Pearls• Disclosure• History of Jewelry• Designer & Brand Name Jewelry• Custom-manufactured Items



SELLING TOOLS OPERATIONS• Store Maintenance• Merchandise Maintenance


Other Organic Gems


TOUCHABLE GEMS

Organic gems appeal to the eyes, but they also beg to betouched. One reason for this is the way organics are used

in jewelry. Amber, coral, and shell are often made into beadnecklaces and bracelets. In such pieces, the gems make directcontact with the person who’s wearing them. Unlike rings, forexample, there’s no intervening metal.

Organic gems are often larger than mineral gemstones, too.Since they’re translucent or opaque, fingerprints and smudgesdon’t show up so plainly.

The secret really goes deeper, though. Mineral gems tend tofeel cool because their crystal structures act as heat conductors.As a result, gems such as ruby and sapphire may be warmwhen you remove them from a display lit by bright spotlights.Within moments, however, they begin to cool down.

In contrast, organic gems don’t have uniform crystal struc-tures. This makes them more like insulators, that trap and holdwarmth.

When you present organic gems, remember to demonstratethe way they feel against the skin. In many cases you can high-light the sense of touch along with the visual appeal of colorand form.

AMBERAmber is the fossilized resin (or sap) of pine trees that li ved

between 10 million and 125 million years ago. The oldest ofthose trees sprouted when dinosaurs ruled our planet. Theyoungest died around the time many scientists believe humansbegan to evolve. Over the ages since, the resin they producedgradually hardened and changed into a natural plastic-lik e mate-rial. Simple molecules joined together in more comple x struc-tures, transforming the soft gum into a lustrous gem.

Amber is the fossilized resinof trees that lived 10 - 125million years ago.


Tiny air bubbles make ambervary from translucent to opaque.

The area around the Baltic Sea has beenan amber source for thousands of years.

Map by Encarta.

The colors of amber include yellows, browns, and oranges that deepen withage. Green and blue tints are caused by fluorescence or by interference of lightpassing through tiny air bubbles. The material known as clearamber is transparent. Numerous bubbles make cloudy ambertranslucent or opaque. You might compare the various combina-tions of color and visual texture to antique ivory, golden caramel,autumn honey, or sherry wine.

The area around the Baltic Sea has been an amber source forthousands of years. This includes the modern nations of Estonia,Latvia, Lithuania, Poland, and Russia. In this re gion, sea amber isfound floating in the water or washed up on the shore. Pit amberis mined from deposits buried in the coastal sands. The world’slargest amber mine is located in Kaliningrad, a small Russianterritory separated from the rest of the country by Latvia andLithuania.

Christopher Columbus found amber on the West Indian island ofHispaniola. Today the Dominican Republic, which shares the islandwith Haiti, is the gem’s number two producer. Other sources includeDenmark, Germany, Italy, Lebanon, Mexico, and Romania. Amberhas also been found at a number of places in the US.

Amber has a very long history. Archaeologists have discoveredamber artifacts dating from 5,000 BC. Baltic amber w as widelytraded among early European cultures. The Odyssey, one of Westerncivilization’s oldest stories, mentions amber as a ro yal gift.

The Greeks believed amber to be crystallized sunlight. They called it elektron, and that name is thesource of the English word ‘electricity’. Rubbing amber produces a static electric char ge that attracts dustand other light objects. This fact has fascinated people for centuries. When pioneer scientists began

studying static electricity, they named the effect for the gem with whichit had long been associated.

Over the years, amber’s popularity has waxed and waned but neverdied. During the 1920s amber was second only to diamonds among USgem imports. Consumer interest was fanned in the 1990s by the best-selling book and blockbuster movie Jurassic Park.

In Jurassic Park, scientists grew dinosaurs with DNA obtained frommosquitoes trapped in amber. If customers ask about this, you can tellthem more than 1,000 different kinds of insects, flowers, and seeds occur

An interestingcharacteristic ofamber is itsability to emitstatic electricitywhen rubbed.These balloonsare being heldto a door bystatic electricity.

The Greeks believed amber

to be crystallized

sunlight.

Colored Gemstones 6

Other Organic Gems

4

Sun-spangled amber.

as amber inclusions. These were caught in the soft resinand encased when it hardened. Collectors pay high pricesfor such time capsules, and scientists study them to learnabout life in the distant past. DNA has been extracted fromsome specimens, but nobody really expects to resurrectprehistoric monsters.

As part of its processing, amber may under go varioustreatments. Gentle heating in oil can “clarify” cloudyamber by removing or masking air bubbles. Heating amberand then dunking it in cold water produces the smallreflective fractures known as sun spangles. Heat alone can dark en the color,and dyeing can impart different tints.

Much of the material sold as amber is actually a composite made byheating and compressing small fragments. This is sometimes called“ambroid,” but it’s properly represented as pressed amber, or reconstructedamber.

Another amber-like product is the material called copal. Though it canlook like amber, copal is a semi-fossilized resin that’s much younger – fromabout 1.5 million to only fifty years old. Africa and South America aresources. There’s also the resin known as Kauri gum. It comes from a pinespecies still living in New Zealand. Both materials have characteristics thatallow gemologists to separate them from true amber.

Because amber sometimes occurs in largepieces, it has been fashioned into functionalitems like pipestems, umbrella handles, andfurniture inlays. In the 1700s, a Germanking had an entire room of amber made for

his palace. It included a dozen 16-foot-high mosaic panels, with nearly100,000 perfectly fitted segments of carved amber.

Today, consumers can enjoy amber in the form of bead necklaces orbracelets, and as cabochons or carvings in pendants and earrings.Modern beads are usually geometric or irregular polished pieces. Inolder jewelry they’re often faceted. Big rounded beads of translucentamber are hallmarks of traditional styles from North African countrieslike Morocco, but they also appear in current designs you mightdescribe as “chunky chic.”

Other Organic Gems


The Amber Room at TsarskoeSyolo in Russia.

Contemporary jewelry made ofamber.

Photo courtesy Wendy Gell.

Kauri gum spec-imens fromNew Zealand.

The Kauri gum tree is over2000 years old.

Coral beadsrange from pink toorange.

All gem corals are built from secretions by tiny animals calledcoral polyps. Frequently described as a skeleton, coral is really morelike a scaffold that supports the colony of boneless tube-shaped crea-tures. Individual polyps measure only a few millimeters, but there maybe millions in the colony. The structures they build can grow toresemble graceful underwater trees. Precious coral reaches a height ofabout two feet, but black coral can be up to ten feet tall.

As with most other gems, treatment of coral is a possibility .Dyeing usually adds or deepens pink and red tints, b ut other colorsmay be chosen, too. Impregnation with wax or epoxy resin canimprove the appearance of color and polish.

For jewelry, coral is most often made into beads, cabochons, orcarvings such as cameos. Small branch segments have a “natural”appeal as pendants, or strung together in necklaces.

During a coral presentation you may have to deal with a commonmisconception. When most people think of this gem, the y picture trop-ical reefs dancing with sunlight and teeming with rainbo w-coloredfish. Though that image is romantic, it’s inaccurate. In reality, gemcoral usually grows its tree-like structures in more isolated areas thatare rarely seen by humans.

Colored Gemstones 6

Other Organic Gems

6

CORAL There are several different types of gem coral. The

most familiar is often called precious coral. It’s made ofcalcium carbonate. (As you learned in Lesson 5,calcium carbonate is also the main ingredient in pearls.)The colors of precious coral range from white and creamto pink, orange and deep red.

Other gem corals are made of conchiolin (kon-KYE-a-lin), a protein that gives them a horn-like texture. Thetype known as black coral, or king’s coral, is usuallycoffee brown. Golden coral occurs in shades of caramel,and akori coral can be pale to medium slate blue.

Carved coral beads withonyx and emerald.


Coral plants varytremendously in color.

Other Organic Gems


Around the world there’s growing concern over thedecline of coral reefs, which support marine ecosystemsand protect human populations from threats such as tidalwaves. If a customer raises this issue, e xplain that reef andgem corals are relatives, but they differ in a number ofways. Most significantly, gem corals don’t build the hugerock-like structures that are so critical to the en vironment.

Correcting the mental image doesn’t mean sacrificingromance, however. You can tell customers that gem coralhas been prized for its beauty and magic for thousands ofyears. Bronze artifacts decorated with coral have beenfound in some of the oldest Celtic tombs. In other cultures,coral amulets were buried with the dead to guard souls ontheir journeys to the next world. Living travelers whocarried coral were supposed to be able to calm storms andcross rivers safely. Since Roman times, people in Italy ha veworn coral charms to protect themselves from evil.

Gem corals don’t build thehuge, rock-like structures thatare environmentally critical likethe beautiful reef coral above.

The strongest symbolic link between coral and human culturehas always been with the ocean and the power of water. This stillresonates for customers, and it provides a bridge from superstitionto scientific wonder.

Though gem corals don’t have the ecological importance oftheir reef-building relatives, they’ve been affected by similar prob-lems – especially pollution and over-production. Leading suppliersnow include Japan, Malaysia, the Philippines, and Taiwan. Foralmost 2,000 years the main source was the Mediterranean Sea, butits output dropped in the 1980s. Around the same time, declinesbegan within other production sources as well. In response, go vern-ments and international organizations restricted or banned coralfishing for more than a decade. All corals are still considered threat-ened species, which means that trade is carefully re gulated. Controlmeasures have been successful, and many locations are returning tosustainable levels of production.

Coral on coral. Carved lightcoral beads with darkerbeads made from coralbranches.


Coral has beenprized for its

magic as well asits beauty for

thousands of years.

Improved recovery methods are helping, too. The traditionalmethod of coral fishing involved dragging a weighted net across theseafloor, scraping up coral and everything else. Nowadays minisubsare being used for selective, nondestructive harvesting.

For some customers, facts like these translate into benefits. Onone hand, coral’s beauty, origins, and symbolism evoke responses thatare very old. On the other, the idea of people learning to care for theworld and its resources relates to some of today’ s most pressingconcerns. When you bring the two together, coral becomes a gem thatappeals to both emotion and imagination.

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CORAL COLORS Italy has long been a center of the coral trade, and many traditional terms for

coral colors originated there. These Italian terms are often used internationally:

Brain coral makes an interestingspecimen for display.

Bianco – white

Rosa pallido – pale pink

Rosa vivo – dark pink

Pelle d’angelo – light but bright pink(literally, “angel’s skin”)

Rosso – red

Rosso scuro – dark red

Ariscuro or carbonetto – very dark red

Secondo coloro – orangish red (literally, “second color”)

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SHELL Children are always delighted to learn that seashells are the

“houses” in which little aquatic animals live. It’s impossible toknow who first made that discovery because shells were foundas part of the food search by our earliest ancestors. The impor-tant thing is that the feeling of w onder is born anew in everytoddler who visits the beach, and it never really goes away.

As a gem material, shell embodies a variety of contrasts. It’ssoft compared to most mineral gems, yet with proper care andfashioning, it’s durable enough to last for ages. Shell’s low hardness made it easy for primitive humansto shape and wear in jewelry. Its toughness explains why anthropologists and archeologists are stillfinding that jewelry today.

In the past, many cultures put forth the belief that shell had a dual nature, imparting for them greatmeaning. The belief was that shell came from water, but was made from stone. Scientists now knowthat shell is composed of calcium carbonate – much lik e pearls and precious coral. Despite this modernunderstanding, however, the age-old symbolism of opposing elements remains.

With shell, you might say there’s a mix of natural beauty, traditional associations, and childlikefascination. No matter what its type or style, shell je welry somehow manages to be pleasing, profound,and playful, all at the same time.

Over the centuries, hundreds of kinds of shellsaround the world have been made into jewelry. Manystill appear in specialty shops and tourist destina-tions. Only a few, though, are significant to the inter-national market, and thus likely to show up in yourdisplay cases:

• Mother-of-Pearl – As you learned in Lesson5, this is the inner shell of a pearl-bearingmollusk. The main sources are South Sea andTahitian oysters used for pearl culturing. Naturalcolors include white, cream, silver gray, andgolden yellow. Dyeing produces other tints.Mother-of-pearl has nacre, which gives it apearly luster. Some also displays the iridescenteffect called orient. These characteristics allowjewelry designers to use its pearl-like beauty in amultitude of ways.

Mother-of-pearlinlaid with othergems.

Photo courtesy Asch-Grossbart.

Shells are perennially interestingand popular.

Mother-of-pearl shell infashion colors.

Photo courtesy Kabana.

• Abalone Shell – Sometimes called Paua shell, this ismother-of-pearl from the snail-like mollusk scientificallyknown as Haliotis. It’s usually smoky gray or brown withbright multi-colored orient. Wild abalone populations havedeclined in recent decades, leading to restrictions oncommercial fishing. Farming in New Zealand andthe US now provides a growing supply, however.(The farms produce abalone meat and culturedpearls as well as shell.)

• Conch (kahnk) Shell – Gems fashioned fromthe spiral shell of the giant or queen conch lookmuch like fine porcelain. They come in coral-liketints of pink, often with white banding. Some sho w the flamestructure prized in conch pearls. (To refresh what you’velearned about conch pearls, review the sidebar on them inLesson 5.) Most conchs are fished from waters around theislands of the West Indies.

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Gems fashioned from conch shell looklike porcelain.

• Helmet Shell – Another large snail-type shell, this is typicallybanded in white and either brown or orange. It comes from theWest Indies and Madagascar. Helmet shell’s color banding makesit a frequent choice as the material from which cameos are carv ed.

• Ammolite or Ammonite – This is the fossilized shell ofammonite, a squid-like mollusk that lived about 400 million to 65million years ago. It’s found in many places, but some specimensfrom Canada display iridescence so strong that e xperts compare itto fine opal. Because the color layers are thin and fragile, the y’reusually stabilized by plastic impregnation, then assembled intotriplets. The fossil slice is sandwiched between a dark supportingbase and a protective transparent top.

Ammonite shell is oftencompared to fine opal.

Photo courtesy Korite USA.

Abalone is character-ized by vibrant multi-colors.

Photo courtesy Eve J. Alfillé.

Color banding makes the helmet shell

a frequent choice for cameos.

CAMEOS

Afavorite fashioning style for precious coral andshell is the cameo. In Lesson 4 you learned this is a

carving with a design that stands out slightly from thebackground. The oldest versions are made of color-layered mineral gems such as onyx. These date fromabout 300 BC. Coral became a frequent choice forcameos during the Renaissance. (The Renaissance wasa period in European history that lasted from the 1300sto the 1600s.) England’s Queen Victoria popularizedshell cameos in the 1800’s.

For more than a century, Torre del Greco, a smallcity in Italy, has been the world capital of cameocarving. Many cameos now come from industry centersin Asia and elsewhere, but Torre del Greco produceswork of the highest artistry and technical achievement.

Hand-carving a cameo takes from a few days toseveral weeks, depending on the size and complexity ofthe design. The first step is sawing or grinding the pieceto form the general shape. A skilled artisan then carvesall the details with steel engraving tools or motorizeddrills and burrs similar to those used by dentists. Overthe years a variety of motifs have been developed, butmost popular by far is the female head.

When you present this miniature work of art, callattention to the history, talent, and labor it represents.Also point out the quality of the design and execution –graceful lines, precise details, and fine polish. Incameos carved from helmet or conch shell, dramaticuse of contrasting color layers can be another note-worthy feature.

Other Organic Gems


The helmet shell is most oftenused for carving cameos.The alternating color bandsare used to give relief andcontrast to the image.

Shell cameo carvingsare miniature worksof art.

Torre del Greco nearNaples, Italy maintains anhistoric reputation for finecameo carving.

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IVORY In 1973 a new chapter in the story of an old gem be gan.

That year 125 nations signed the UN Convention onInternational Trade in Endangered Species of Wild Fauna andFlora. Better known as CITES, the treaty’s goal is to protectanimals and plants threatened with extinction by regulatingcommerce. CITES went into effect in 1975, and more than150 nations are now part of the agreement.

Until CITES, ivory had been part of the gem w orld forcountless centuries. Archeological digs in Europe have foundivory carved 30,000 years ago. Before 8,000 BC theEgyptians were producing masterpieces in ivory. Almost everycivilization since then has taken the art of ivory carving tonew heights.

Ivory is soft and workable, but very strong. It has a limitedyet attractive range of natural colors – pure white to goldenbrown – and can be stained or dyed easily . These characteristicsgave ivory the versatility to be used for things such as furnitureinlays, piano keys, and billiard balls. They also made it an idealmedium for gem artists and jewelry designers. Beyond form andfunction, ivory has always symbolized the great power of theanimals from which it comes. Unfortunately, the demand createdby all these appeal factors brought some of those animals to thebrink of extinction.

Ivory is made of dentin, a component in the teeth of allmammals. Only a few mammals, however, have teeth – or tusks– large enough to furnish usable amounts. These include thehippopotamus, narwhal, sperm whale, walrus, and warthog. Themost familiar source of ivory, of course, is the elephant.

There are two main types of elephants – Asian and African.Both produce ivory. With larger populations and bigger tusks,African elephants have been the most important sources.

African elephants with large popula-tions and big tusks had been theprimary source of ivory. Once endan-gered, their populations have increasedin recent years.

Photo courtesy Michelle Ginger.

18th century carving ofelephant ivory fromChristies Hong Kong.


CITES originally listed Asian elephants as endangered,and African elephants as threatened. As defined by thetreaty, “endangered” means currently facing extinction, and“threatened” means likely to become endangered in the nearfuture. This distinction prohibited trade in ivory and otherproducts from Asian elephants, but allowed it for theAfrican species.

The threatened listing didn’t do much to protect Africanelephants, and in the 1970s and ‘80s more than one millionwere killed for their tusks. As a result, in 1989 CITES“uplisted” African elephants to endangered. This created atotal ban on international trade in elephant i vory. Many indi-vidual nations also passed laws reinforcing the measure. Forexample, elephants are covered under the US EndangeredSpecies Act and the African Elephant Conservation Act.

African nations that depended on ivory for revenue opposed the ban, and in the early 1990s, ille galtrade continued. The ban eventually had an effect, however. In fact, by mid-decade the elephant popula-tions in some areas rose high enough to cause problems, including deforestation, crop destruction, andhuman deaths. So, in 1997 CITES moved the elephants in a few African nations back to the threatenedlist. (Elephants in other African countries are still considered endangered.) The ivory ban was partiallylifted for those nations, allowing tightly regulated trade with established quotas. Efforts to furtherloosen restrictions have been rejected due to concern about a return to uncontrolled slaughter . ThreeAfrican nations now have export quotas for elephantivory. It is, however, still illegal to import, export, or sellmost ivory products in the US because of our o wn laws.

Of gemological interest, elephant ivory often shows adistinctive characteristic called the engine-turned effect.It looks like radiating spiral curves going in oppositedirections, creating a crosshatched pattern. The effectusually appears along the end-grain direction, much lik ethe end-grain you see in wood. Lengthwise, only faintparallel lines – also resembling wood grain – might beseen. Whether or not the pattern is visible at all in afinished piece of ivory depends on how it was oriented inrelation to the original tusk.

Other Organic Gems


True elephant ivory is characterized bythe engine-turned effect.


African elephant populations inseveral countries had risen highenough by the mid 90’s to begin tocause ecological problems.

IVORY ALTERNATIVES

If you want to offer customers the look of ivory in contemporary jewelry, imitation isthe only way to go. There are, however, plenty of options from which to choose.

One of the most popular ivory alternatives is bone supplied largely by domesticcattle. It’s coarser-grained than ivory, but the resemblance is fairly close. Bone has alsobeen used as a gem material for many thousands of years.

Another animal alternative with a long history is deer antler, sometimes called staghorn. Though the color tends to be a bit brownish, deer and their kin shed their hornsnaturally each year, so there’s no pain for the animals, and no potential guilt forcustomers.

Some plants provide “veggie ivories.” The best-known of theseis corozo nut, also called tagua nut, which comes from the ivorypalm of South America. It’s soft, but visually convincing. Ivoryartists in Asia and Europe have been using it since the 1800s.Other veggie ivories include duom (or doom) palm nut fromAfrica, and binroji from a palm tree that’s native to Japan.

A more limited option is known as fossil ivory. It’s taken fromthe remains of wooly mammoths that roamed the northern hemi-sphere more than 10,000 years ago. Today these remains are

dug from permanently frozen ground in northern Canada and Russia. The material isn’tactually a fossil because the tusks aren’t mineralized. It’s true ivory, though, and oftenshows all its original beauty despite being buried since the last Ice Age. An unfortunateissue with this product is that some unscrupulous individuals will take new ivory and“age” it by staining or heating, so they can illegally sell it as antique or fossil ivory.

There’s one more stand-in that’s always available andoften surprisingly effective. It’s plastic. Plastic imitation ivorycan have a color – even a visual texture and feel – closeenough to the real thing to fool most people. (Of course,that’s not really the objective since many consumers nowshun genuine ivory.) If, however, there’s a fashion need forthe smooth surface, soft patina, and subdued palette ofivory, the best suggestion you can make may well be plastic.

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14

Corozo nut

Buttons made from corozo nuts.

Humans have been on the list of hawksbill predators for along time. Pacific Islanders, for example, ate turtle flesh andeggs, and used the bones to make tools. They also valued theshells. This appreciation was shared by cultures around the world,from Japan and China to Europe and America. Over the centuries,tortoiseshell’s warm translucence and attractive colors found it aniche in jewelry, decorative arts, and personal items like combsand hair ornaments.

In recent decades, more and greaterdangers have come to threaten thespecies. These include pollution, over-harvesting, beachfront development innesting sites, and destruction of coralreef feeding areas. One of the biggestthreats has been the shell trade. USgovernment sources estimate that

TORTOISESHELL Tortoiseshell is the gem material that comes from ha wksbill sea

turtles. The ancestors of these reptiles evolved from land turtles andreturned to the water more than 150 million years ago. Lik e the pinesthat produced amber resin, they witnessed the deaths of the dinosaursand the birth of our species.

Hawksbills grow to about three feet in length, and adults weigh up to 200 pounds. Their uppershells (carapaces) are made of large overlapping plates which are similar in composition to co w horn.They’re translucent with distinctive patterning – usually dark brown splashed or streaked on a goldenyellow background, or sometimes black on white. The lower shells (plastrons) consist of a single plate,and range from creamy yellow to pinkish orange.

Hawksbill turtles once inhabited tropical and subtropical w aters around the world. They continue tonest in parts of the Indian and P acific Oceans and the Caribbean Sea, but experts believe there arestable populations in only a few areas.

Like other animals, hawksbills have always had to contend with threats to their survi val. Tidalwaves, hurricanes, and natural predators like raccoons destroy eggs. Sharks and killer whales occasion-ally eat adults.

Other Organic Gems


Hawskbill turtle.

Hair comb madefrom tortoise shell.

Hawksbills witnessed the death of the

dinosaurs and the birth of our species.

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between 1970 and 1989 more than a million ha wksbill turtleswere killed for their shells.

During that period, the turtles’ status was well known.Officially recognized as endangered in 1970, hawksbills wereprotected by CITES and the Endangered Species Act in 1973.At the same time, illegal trade was fueled by demand in somenations and economic need in others.

In 1990, environmental groups petitioned the US govern-ment to impose sanctions on a leading importer nation. Thisproduced positive results, but challenges still remain. Somenations haven’t ratified CITES, others ignore their commit-ments, and a few exempt sea turtles from the treaty’s protec-tion. Overall the killing has decreased, though, due to betterenforcement, cooperation between governments, and consumerawareness.

Growing human numbers,global industrialization,

and modern consumer culture have created

potentially overwhelming problems for the hawksbill.

The upper shell of the hawksbillis made of thick overlappingplates with a distinctive pattern.

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ENDANGERED GEMS

It’s obviously important to know about the products you sell, but you should alsobe prepared to answer questions about those you don’t and to provide informa-

tion customers may need to appreciate their jewelry or make decisions concerning it.

You can assure your customers that there’s no logical reason why they shouldn’twear and enjoy jewelry they’ve acquired through inheritance or reputable sellers.That’s simply part of history and tradition. Gem materials from endangered species,however, are subject to legal restrictions on a number of routine activities. Theseinclude bringing the material into or out of the country (importing and exporting);carrying or sending it to another state; and selling or advertising it for sale.

The US Endangered Species Act exempts antiques and “pre-Act” items from mostrestrictions. As far as the law is concerned, antiques are least 100 years old. Pre-Actitems are made from animals taken either before the act went into effect, or beforetheir species was added to the endangered list. (The act became effective in 1973,and various species have been added since that time.) This means, for example, thatto sell an item made from an endangered species, you must know – and be able toprove – how old the item is.

Different countries and US states also have their ownlaws. This can cause complications in business transactionsor travel. If you have customers who are planning a vaca-tion, you might suggest that to avoid any potential problems,they leave ivory, tortoiseshell, and even coral jewelry athome or in secure storage.

The US Fish and Wildlife Service administers CITES andthe Endangered Species Act regulations in this country. Agood place to begin looking for further information is theService’s website. Go to http://international.fws.gov. Thereyou can find general information on the CITES treaty and theUS Endangered Species Act, plus documents on variousproducts. You can also contact the Service for answers tospecific questions.

This painted ivory fish-erman dates from the19th century.

Photo courtesy www.art-asia.

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RECAP OF KEY POINTS • Organic materials are set apart by their plant and animal origins. Other shared

aspects are long history, distinctive beauty, and a sense of closeness to us. Themost important members of the group are pearls. Others include amber , coral,shell, ivory, and tortoiseshell.

• Amber is fossilized resin from pine trees that li ved 10 million to 125 millionyears ago. It occurs in a variety of attractive “earth” colors. Most comes fromcountries around the Baltic Sea. Amber has an archeological record that goesback to early civilizations, and a place in both old and ne w popularmythology.

• Gem coral is built by relatives of reef corals, and there are several types.Precious coral ranges from pure white to deep red. Coral has al ways beenassociated with water, but was given other attributes by various cultures.Leading sources include Japan, Malaysia, the Philippines, and Taiwan.Controlled harvesting and trade provide a sustainable supply of this gem.

• The types of shell most significant to the international market are mother-of-pearl, abalone shell, conch shell, and helmet shell. Another is ammolite, afossilized shell that displays strong iridescence.

• Ivory is an ancient gem material, but its status in modern times has beenaffected by environmental issues. The most important source of ivory is theAfrican elephant, which is protected as an endangered species under US andinternational law. With only a few exceptions, there’s a worldwide ban ontrade in ivory.

• Tortoiseshell comes from the hawksbill sea turtle. The species has been recog-nized as endangered since the 1970s. High levels of illegal trade continueduntil the 1990s, when the US government pressured a leading importer nation.This produced positive results. Challenges to hawksbill survival remain, butthe chances are improving.

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____ Take a survey of the organic gems in your showcases. For each kind,review the appropriate lesson section and identify features you mightuse in a sales presentation. Then develop benefit statements to go withthe features.

____ Role-play overcoming a customer objection that wearing (or e venselling) coral jewelry is environmentally irresponsible.

____ Discuss with coworkers any experiences you’ve had with jewelrymade from endangered species materials. Also talk about related arti-cles you’ve read or seen in the news, and questions that have comefrom customers.

Lesson 6 Self-Test









Other Organic Gems


Colored Gemstones

Gemstone Jewelry


In This Lesson:• Key Components

• Gemstone Settings

• Jewelry Forms and Styles

• The Three Precious Metals

• Jewelry-Making Methods

• Designs and Inspirations

• Fine Jewelry Branding

KEY COMPONENTS In jewelry, artists have the power to transform gems into

expressions of personal feeling and identity. A fine sapphire, forexample, is beautiful in its own right, yet set in an elegant plat-inum ring, it can become a symbol of love, success, or life’ senjoyment. The same is true of any gem, or any type of jewelry .This makes identifying customers’ messages and motives acrucial step in helping them select jewelry to own or to give. Aspart of the process, you also need to ensure that an item willsuit the appearance, taste, and lifestyle of the person who willwear it.

Along with these concerns, there are two other key components that factor into any successfulgemstone jewelry presentation:

• Effective Description – Use the right words to enhance the pleasure an item of fers thesenses of vision and touch. To create desire, you have to paint an appealing verbal picture, thentranslate that image into benefits which reflect the customer ’s reasons for owning or giving thejewelry.

GemstoneJewelry


Defining emotional and psychologicalmessages is a crucial step in helpingcustomers select jewelry.

Cover photo courtesy Barbara Westwood.

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Gemstone Jewelry

2

• Explaining Value – Since value involves meaningas well as money, both head and heart must beaddressed. It’s obviously necessary to make thecustomer feel confident that an item is worth what itcosts. Just as important, though, is showing that theitem can communicate whatever the customer wishes tosay by giving or wearing it.

In Lesson 14 you’ll examine the selling process,including the skill of profiling, which enables you to iden-tify messages and motives and make appropriate sugges-tions. You’ll also learn more about articulating benefits andgetting customers involved with the jewelry you present. Inthis lesson, however, you’ll get started with a survey of thevarious features that can provide a basis for creating desireand establishing value.

Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Describe popular types and styles of gemstone jewelry.

• Discuss the materials and methods used to make jewelry.

• Highlight design as a key element of jewelry appeal.

• Integrate jewelry branding in your presentations.

It is always necessary todemonstrate that an itemof jewelry can communi-cate what the customerwants to say by givingor wearing it.

Photo courtesyJean-François Albert.


Sales Professional CertificationProgram™, this lesson presents infor-mation related to the following SkillAreas:PRODUCT KNOWLEDGE• Precious Metals• Jewelry• Colored Gemstones• Pearls• Disclosure• History of Jewelry• Designer & Brand Name Jewelry• Custom-manufactured Items

SERVICE DEPARTMENT







INVENTORY PROCEDURES

Gemstone Jewelry


GEMSTONE SETTINGS Though it might not be the first thing you point out to a

customer, a logical place to begin your look at jewelry is with thepart that holds the gems in place. This is commonly known as thesetting.

Besides having a practical function, the setting can af fect agem’s appearance and add to the design’s appeal. It may also be aconsideration in matching the jewelry with the wearer ’s lifestyle.

Gemstone settings can be divided into two broad categories –those designed for individual gems and those designed forgroups.

Prong settings leave more of thegem exposed to accidental bumps.Heavier prongs offer more protec-tion to points.

Photo courtesy Stanton Group.

Individual Settings • Prong Setting – In this setting style, slender metal

claws hold the gem. A prong setting can raise the gemabove the body of the jewelry, making it the center ofattention. That dramatic effect makes the style afavorite for transparent gems in women’s jewelry.Some designs with prong settings may, however,expose sensitive gems to accidental bumps andscrapes. A ring with an emerald or tanzanite in a highprong setting, for example, would call for a bit morethoughtful wear.


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• Bezel, Box, or Tube Setting – A raisedmetal collar or rim surrounds the gem and wrapsslightly over its edge. This protects the gem andmakes the setting a prominent element of thedesign.

• Gypsy Setting – A metal rim formed from thebody of the jewelry holds the gem. Like a bezel,this type of setting provides protection for thegem and a unique look. Gypsy settings are tradi-tional for men’s rings. A similar style, called flush setting,is used for small gems in jewelry for both men and women.The gems are set deep into the jewelry metal, so the tops oftheir tables are even (or flush) with the jewelry’ s surface.

• Tension Setting – Opposite ends of a circular jewelryform, such as a ring, hold the gem just by the force oftension. Through a special process the metal is repeatedlyheated and cooled, making it exceptionally “springy.” Thiscreates the tension that holds the gem, which appears tofloat within the design.

A favorite design for darkred pyrope or “Bohemian”garnets is the cluster setting.

Photo courtesy Bischoff.

Group Settings • Cluster Setting – A number of gems set close together in a

symmetrical pattern. The gems are secured by small prongs orbezels. This style can offer a combination of visual impact andaffordability, especially with gems whose per-carat prices risesharply with increases in carat weight. For example, a clustersetting with five tsavorite garnets weighing 1/5 carat apiecemay be less expensive but more impressive than a solitaire witha single tsavorite that weighs one carat.

Tension setting holds the gem in a waythat makes it appear to float betweentwo pieces of metal. The metal has beenannealed to make it exceptionallyspringy.

Photo courtesy Steven Kretchmer Designs.

Flush settings, similar to gypsy setting,utilizes a metal rim formed from thebody of the jewelry. The center gem istension set.

Photo courtesy Steven Kretchmer Designs.

In bezel setting, a metalcollar – or rim – surroundsthe gem.

Photo courtesy Aaron Henry.

• Channel Setting – A row of care-fully calibrated, small gems set side-by-side between parallel ridges ofmetal. The gems form bands orribbons of sparkling color that contrastwith the metal’s gleam. Gems in achannel setting must be very similar toeach other in dimension and propor-tions in order for the metal to holdthem all securely. The style can beadapted for single gems and cluster-like arrangements.

Gemstone Jewelry


Rounds and square cuts arechannel set side by sidebetween parallel ridges of metal.

Photo courtesy Chatham Created Gems.

Pink sapphires are channel-set in a dramatic arch overdiamond pave’d in platinum.

Photo courtesy Alfieri & St. John.

The technically challenging invis-ible setting is performed undermagnification.

Photos courtesy Tycoon.

• Pavé Setting – Small gems (usually round) setnext to each other across the jewelry’s surface. Theterm is pronounced pa-VAY. It means “paved” inFrench, and the appearance is like a glittering veneerof gemstone color.

• Invisible Setting – Small square gems set side-by-sidewithin a wire-like framework. The filaments of the frame fitinto grooves that have been cut into the gems’ girdles so themetal holding the gems doesn’t show from above.

Rings • Solitaire Ring – A band of precious metal set with

a single gemstone. The diamond solitaire is a popularchoice for engagements, but there are variations forgems of all kinds. Closely related styles feature smalldiamonds or other gems as accents.

• Cocktail or Dinner Ring – An ornate ring that’sconsidered most appropriate for dressy eveningevents. Cluster settings are traditional, but almostany dramatic design can be placed in this category .

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Gemstone Jewelry

6

JEWELRY FORMS AND STYLES The basic jewelry forms – rings, earrings, necklaces, bracelets, and pins – are familiar to consumers

as well as professionals. There are numerous styles, however, and using the special names for these canhelp you describe them more effectively.

• Ballerina Ring – A ring with a large center gemsurrounded by tapered baguette-cut diamonds. Thebaguettes are arranged in a radial pattern that resem-bles a dancer’s flaring skirt.

• Crossover or Bypass Ring – A ring that coilsaround the finger, with the ends of the band passingeach other on top. In some designs the ends arecompleted with pavé or channel set gems. Othershave larger gems set on or between the ends.

Cocktail rings include any ornate ring mostappropriate for a dressy evening event.


Solitaire ringsfeature a singlegem.

Photo courtesyStanton Group.

The ballerina isreminiscent of adancer’s floatingskirt.

Photo courtesy LeVian.

In a by-pass, the endsof a band pass eachother. They are some-times set with one gem,sometimes they featuretwo, plus accents.

Photo courtesy Nancy B.

Gemstone Jewelry


Earrings • Studs – Single gems or small clusters in

simple settings for pierced ears.

• Buttons – Disk-shape or slightly domedearrings, often with cluster or pavé settings.

Necklaces • Pendant – One or more gems in

a setting that’s suspended from aneck chain.

• Drop or Lavaliere (lah-vuh-LEER) – A pendant that’s suspended from theneck chain by another short chain or decorativeelement.

• Slide – A large pendant with slotted sides,made to slide on a heavy neck chain.

Citrine and peridot combinein a fashionable button-typeearring.

Photo courtesy Robert Leser.

Rainbow colored hoops with clipbacks are fun and versatile.


Corn pearlssuspended fromcoin-type buttonsform playfulearring dangles.

Photo courtesy Mignon Faget.

• Hoops – Earrings in the formof rigid metal loops. Channel-and tension-set gems are espe-cially striking in this style.

• Dangles, Drops, or Pendants – Earringswith gems or other decorative elements thatdangle. Variations range from dainty gemstonedrops to long chandeliers.

A spectacular lavaliere –golden sapphire, raredemantoid garnet, redspinel and pearl.

Photo courtesy Georgie Gleim.

The pendant – in avariety of shapes,colors and designs –is a must for everywardrobe.

Photo courtesy Hubert.

A colored gemstone slide becomesa major fashion statement on aclassic chain.

Photo courtesy Barbara Westwood.

Basic colored gemstonestuds enhance anyjewelry wardrobe.


Colored Gemstones 7

Gemstone Jewelry

8

• Bangle – A solid circle that slipsover the hand. Variations includedesigns with hinged half-circlesegments, and those with narrowgaps between the ends. Another isthe hololith, which is a completecircle carved from one solid piece ofa strong gem material like jade.(There are also hololith rings.)

• Collar or Choker– A wide necklacethat fits snuglyagainst the throat.Gems can be setwithin the frameworkor hang as pendants.

• Neckwire – A rigid necklaceof heavy-gauge precious metalwire with a central gemstonesetting.

• Lariat – An open-endednecklace that’s held togetherby an ornamental clasp infront, usually with drops ateach end.

The dangling motion ofa lariat makes it bothdramatic and playful.

Neckwires empha-size the contour ofthe neck and holdgem pendants asfocal points at thebase of the throat.

A hololith bangle oflavender jade.

Colored gem link braceletsreward the wearer withconstant colorful flashesfrom the wrist.

Photo courtesy Van Dell.

• Torsade – A multi-strand twist of smallpearls or gemstonebeads.

A torsade of pearlsis evocative ofboth nature andfashion.

Photo courtesy ModernJeweler.

Bracelets • Link Bracelet – A bracelet made of

chain-like links or small hinged panels. Thisis the most popular style for this form andthere are many versions.

RubyandPearlChoker

Photo courtesyGumuchian Fils.

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• Cuff – A wide oval-shape bracelet. It may have a hinge andclasp, or else encircle about 3/4 of the wrist with open endsthat allow it to be slipped on. The gems can be set in almostany style or arrangement.

Pins With most jewelry, form equals function. For example, rings go on fingers and necklaces around

necks. In contrast, pins – sometimes called brooches or broaches – of fer a high degree of versatility. Agemstone pin can be worn on the upper part of a dress, on a jacket lapel, at the neck of a blouse, tofasten a scarf, on a hat or cap, or even at the waist – in other words, almost anywhere on a garmentwhere the beauty of a gemstone accent is desired.

• Circle Pin – A gem pin with anopen circular design.

• Bar Pin – A pin with gems andother elements in an overall designthat’s straight and elongated.

• Design or Element Pin – Ananimal, symbol, or some otherrecognizable motif with gemstoneaccents or pavé work.

• Spray Pin – A free-form pindesigned in an open outward flow.

• Stickpin – A straight pin with agemstone setting at the top.

Cuffs can be eclectic, dramatic orseductive, but always high fashion.

Photo courtesy Paola Ferro.

Modern day barpinsresemble old barpins only inthat they’re straight and long.

By William Richey of William RicheyDesigns, Camden, Maine. Productshot by John Parrish. Photo courtesyof AGTA.

Circular shapes in pins are classicaccent pieces.

As their namesuggests, the spraypin has an open oroutward flow indesign.


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MEN’S GEMSTONE JEWELRY

For most of history, men wore as much jewelry as women – and sometimes more. Thingschanged in modern times, though. Men’s items occupy a fairly small niche in today’s

market, particularly when it comes to gemstone jewelry. Meeting the demand in that nichecan be an important and profitable adventure, however.

Some of the forms and styles for men are permanent favorites – ringswith bezel- or gypsy-set gems like hematite, jade, and onyx, for example.Others come and go with fashion cycles in office and casual attire, orbroader trends in popular culture. These include earrings, necklaces,cufflinks, tie tacks, and lapel pins.

Compared to diamonds, which tend to be understated in men’sjewelry, colored gems often stand out. At the same time, the designsthemselves are usually on the conservative side. You could describe mostas strong and bold or tailored and businesslike.

If your store carries a selection of men’s gemstone jewelry, include itin your “homework” for presentations. Every product you show deservesyour best professional effort.

French cuffs studdedwith simple, butimportant, cufflinksare a staple for theclassically dressedbusinessman.

THE THREE PRECIOUS METALS Gold, platinum, and silver are the metals from which

most fine jewelry is made. While there are big differences intheir costs, all three are valuable even in raw form. That’swhy they’re traditionally considered “precious” metals, incontrast to “base” metals such as copper, iron, and tin.

Precious metals can contribute to jewelry’s appeal inseveral ways. Whichever it may be – gold, platinum, orsilver – the metal accounts for almost all of an item’ s weight.This is significant because many customers equate weightwith value. The color of the metal can also compliment orcontrast the gems it surrounds, making the metal an impor-tant element of design. For many customers, the choice ofmetal involves personal meaning or preference as well. Allthese things make it essential to know something aboutmetals in order to present gemstone jewelry ef fectively.

The choice ofmetal ofteninvolves personalmeaning and pref-erence.

Gold and silver set withcolorful gems.

Photo courtesy JohnAtencio.

This 18k gold and sterlingwith diamond neck chainfeatures a detachablecitrine pendant andmatching earrings.


Karat Gold % Metric18K 75.00% 750

14K 58.33% 585

12K 50.00% 500

10K 41.60% 416

Under FTC guidelines, the karat rating of gold jewelry must bespecified unless it’s 24K. So, in a sales presentation you shouldn’ tjust say, “This is solid gold.” Instead, be clear and specific bysaying, “This is solid fourteen-karat gold.”

US law requires the actual gold content to be extremely close to the content indi-cated by the quality mark. Most jewelry items must be within 7/10 of 1%, or sevenparts per thousand. This means a 14K ring, for example, has to be at least 57.8% gold.(If the item has no soldered parts, like a plain gold wedding band, the tolerance iseven less – only 3/10 of 1%, or three parts per thousand.)

Gold For thousands of years, gold’s easy workability, luxurious feel, and lasting beauty have made it the

world’s most treasured metal. Ancient civilizations used gold in pure form, and some cultures still do.Pure gold, however, is soft, bendable, and costly. To produce jewelry that’s wearable and affordable,modern manufacturers combine gold with other metals in alloys known as karat gold.

The karat system comes from old metal-making recipes based on 24 parts, or equal units, ofweight. Pure gold is 24 parts – or 24/24 – gold, and it’ s designated 24 karat. (That may be abbreviated24K or 24Kt.) An alloy of 18 parts gold and 6 parts other metals is 18K, and so forth.

Instead of karats, most international jewelry manufacturers use a metric-type fineness system basedon parts per thousand. Under this system 750 means the same as 18K. (750/1000 and 18/24 both equal3/4, or 75%.) Most other metric markings also match up with stan-dard karat ratings.

This table shows karat ratings, percentages of gold by weight,and metric equivalents for different alloys:

For thousands of years,

gold’s easy workability, luxurious feel,

and lasting beauty have made it

the world’s most treasured

metal.

Gemstone Jewelry


Platinum is the mostmodern of the

three precious metals.

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12

Most gold jewelry sold in the US ranges from 10K to18K. Some designers use 22K or even 24K for its rich look,but usually as an accent, not for the entire piece. That’sbecause pure gold and most ultra-high karat alloys are tooscratchable and bendable to withstand what most customersconsider normal wear.

Generally speaking, the lower the karat rating, the harderand stronger the alloy will be. (The less expensive, too.)Explaining this can help customers make the best selectionsfor their needs. For those who are experienced in wearing andcaring for fine jewelry, 18K is an elegant option. A moredurable choice for others is likely to be 14K, especially inrings and bracelets. You can still recommend a high-karatpendant or earrings for special occasions, though.

In addition to improving wearability, alloying can impart awhite, pink, or green tint to gold. Other colors are producedby special manufacturing techniques not tied directly to karatratings. While 24K is always yellow, most other karat goldcan be almost any color depending on the other metals in thealloy and the processes it has undergone.

Platinum Platinum is the most modern of the three precious metals. A few early

civilizations occasionally used it to make small ornaments. Lar ge oredeposits and effective ways of fashioning it weren’t discovered until the1800s, however.

Platinum’s popularity soared in the early 1900s, but during World WarII (1939-1945) the US government declared it a strategic material andremoved it from the market. That action was taken because platinum hasmany scientific, technological, and industrial uses that were important to

Alloying with different metals createssubtly different colors of gold.

Photo courtesy Hoover & Strong.

Platinum jewelry – such asthese filigree pearl pins –were immensely popular inthe early 1900’s.

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the war effort. White gold was developed during that time to serve as asubstitute in jewelry products.

Even after platinum was made available again, it remained a rarity injewelry for several decades. Then, in the 1990s, platinum’s popularityboomed once more.

Despite the vogue, most customers still consider platinum dif ferentand distinctive. Many like platinum’s neutral gray-white color. Comparedto white gold and silver, which are highly reflective (or “shiny”), plat-inum has a subdued, sophisticated glow.

Platinum is exceptionally strong, too. Platinum jewelry canbe delicate yet wearable, and a platinum setting can hold a gemsecurely for decades.

You may need to explain that an item of platinum jewelrywill be more expensive than the same design done in karat gold.There are three main reasons why:

• Greater Rarity – Platinum is naturally much rarer thangold. Every year the world produces more than 2,000 tons of gold, butonly about 150 tons of platinum. Science, technology, and industrycompete with jewelry for this limited supply, so the economic law ofsupply and demand makes platinum more valuable to begin with.

• Greater Purity – Platinum is used in purer form thangold. As you’ve seen, karat gold is normally about 42% to75% pure. Platinum’s fineness is measured in parts per thou-sand, and most platinum jewelry manufactured in the US is900 or 950 platinum. That means it’s 90% or 95% pure.(Jewelry from other countries may be 850 platinum or less.)The additional metal in the alloy is usually iridium, palla-dium, or ruthenium. These are closely related to platinum –in fact, they’re known as platinum group metals – andthey’re all expensive as well.

• Greater Density – Platinum is denser, or heavier for itssize, than gold. This enhances platinum’s feeling of value. Italso means that an item made of platinum will weigh morethan a karat gold item of the same size, and precious metalsare priced by weight, not by volume.

Customers consider platinum differentand distinctive. It is exceptionallystrong yet can be delicate, too.


Platinum wasdeclared a strategicmetal during WWIIand it was removedfrom the market.

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Platinum quality marks and what they mean:Quality Mark Platinum %Platinum, Plat, Pt1000, 1000Pt, 1000Plat 100%

Platinum, Plat, Pt999, 999Pt, 999Plat 99.9%

Platinum, Plat, Pt950, 950Pt, 950Plat 95%

Pt900, 900Pt, 900Plat 90%

Pt850, 850Pt, 850Plat 85%

IRIDPLAT, 10%IridPlat 90% with 10% iridium

Platinum is heavier for its size – than gold.

The density – and subsequentweight – of platinum enhances itsfeeling of value.

Photo courtesy Chris Correia.

FTC guidelines say the term “platinum” may be used alone (without qualification) if the finenessis 950 or higher. For 900 or 850 platinum, the fineness must be specified.

If the fineness is less than 850, other metals in the alloy must belong to the platinum group.Together with the platinum, they must total at least 950 parts per thousand. They also must be individ-ually identified, and their relative amounts must be specified.

These guidelines apply to statements made during sales presentations as well as to the qualitymarks on jewelry. In most cases, however, they’re easy to follow. The platinum jewelry you sell willprobably be 850Pt to 1000Pt. If you’re showing an item that’ s 1000Pt or 950Pt, you can just say “plat-inum.” If you’re showing an item that’s 900Pt or 850Pt, you need to specify the fineness and explainwhat it means. For example, you might say, “This ring is nine zero zero platinum. That means it’s ninehundred parts out of a thousand – or ninety percent – pure platinum.” Check the fineness markingson the platinum jewelry in your store to be sure you know with certainty exactly what you’re showing.

Silver Because silver is relatively inexpensive, it isn’ t used for jewelry that features

large diamonds or the most expensive colored gems. It is, however , an option forjust about everything else.

To the ancient Egyptians, silver was actually rarer and more valuable than gold.For centuries, silver was the only “white” precious metal, and in older antique

Gemstone Jewelry


jewelry it provides a setting for gems of all kinds. After platinum andwhite gold became available, silver suffered an eclipse that lasted fordecades. Though it remained the top-seller in terms of volume, it wasmostly relegated to “fashion” status. Today silver still dominates thatbooming market segment, and it has returned to fine jewelry , too.

Silver’s cool crisp color is one of its chief attractions. Because of itshardness, it can take the brightest polish of any metal (not just theprecious ones). Most of silver ’s working characteristics are similar togold’s, which makes it easy to fashion.

In addition, silver offers two moreoutstanding features:

• Wearability – Silver is much lessdense than either gold or platinum. While “weight” is a selling point forthe other metals, “lightness” makes silver perfect for big solid designsthat would otherwise be too heavy to wear comfortably .

• Affordability – Silver is much less expensive than gold and plat-inum. This is partly due to natural abundance. Annual mine productionof silver is about 19,000 tons. Recycling and sales from governmentand private stockpiles add another 11,000 tons. Though strong globaldemand absorbs the entire supply – with the US consuming more than1,300 tons just in the form of jewelry each year – silver ’s commodityprice is only a fraction of gold or platinum’s.

Together with its beauty and workability, silver’s wearability andaffordability encourage designers and manufacturers to “experiment” withit. The results are innovative and appealing, and they’re getting a very posi-tive reception from consumers.

Like the other precious metals, silver is alloyed for jewelry purposes.Most US manufacturers use sterling silver, which is 92.5% silver and7.5% copper. The recipe was developed in England during the 1300s, andit’s harder and tougher than pure silver. Under FTC guidelines, it’s theminimum fineness for products marked and sold as silver or solid silver .You might see sterling silver stamped “sterling,” “ster ,” or “925.” The fine-ness of other silver alloys is usually indicated in parts per thousand.

The jewelry metal known as vermeil (ver-MAY) is sterling silvercoated or plated with gold.

Because of silver’s hardness, it cantake the brightest polish of any metal.

Photo courtesy DK Finds.

Silver’s commodityprice – only afraction of gold’sor platinum’s –make high fashionaffordable.

Photo courtesy Fai Poand Kim International.

While “weight” is a sellingpoint for gold and platinum,“lightness” makes silverperfect for big bold designs.


Because of the strength diestriking gives the metal, it isa good process to makesettings and findings forcolored gemstone jewelry.

Photo courtesy Stuller.

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ALTERNATIVE METALS

In recent years, designers and manufacturers have started using metals other than karat gold,platinum, and silver to make gemstone jewelry. These “alternative” metals produce fresh and

different looks or price points that appeal to certain customers. They represent a growing shareof the fashion market, and you should be able to answer questions about them, or present themif you have the opportunity. The ones you’re most likely to encounter are titanium and stainlesssteel.

• Titanium – Light as aluminum but strong as steel, this is truly a Space Age metal. (In fact,it’s a structural material for jet planes.) Titanium first appeared in fashion jewelry in the1980s, and during the 1990s it became popular for men’s watches. Today, it’s moving intothe fine jewelry mainstream. Jewelry-grade titanium is 99% pure, and has a natural colorthat’s comparable to platinum or silver. Alloying produces black, while other colors comefrom special manufacturing techniques. Most titanium designs have a high-tech look, whichmakes them perfect for customers with ultramodern taste.

• Stainless Steel – This is another metal that first moved fromtechnology and industry into watches, and has now entered theworld of fine jewelry. It combines the cool gray-white color ofplatinum and silver with exceptional hardness and strength.Stainless steel is an alloy composed mostly of iron andchromium, and jewelry is made from the highest grade avail-able. Many steel designs can be described as sleek andcontemporary. They’re available in women’s styles, but steel’sappearance and masculine connotations make it a naturalchoice for men’s jewelry.

If your store carries gemstone jewelry made from alternativemetals, be sure to do your “homework” on it. The designer ormanufacturer can probably supply useful information. For addi-tional facts and ideas, try the following website:

The Stainless Steel Information Center – www.ssina.com. Thissite focuses on the building and construction industries, but containsinteresting background information.

Gemstone Jewelry


JEWELRY-MAKING METHODS Regardless of its form, style, or materials, fine jewelry is the result of skilled labor . If you know

how an item was produced, describing the process can help customers appreciate that labor and thevalue it creates.

There are dozens of specialized ways to make jewelry , but most involveone of four basic methods: casting, die-striking, electroforming or hand fabri-cation.

• Casting – Jewelry is made by pouring or injecting molten metal into amold and allowing it to cool. The process begins with carving a modelfrom wax and imbedding it in a liquid plaster -like material called invest-ment. After the investment solidifies, it’s heated in a high-temperaturefurnace to vaporize the wax and leave a hollow mold. (Because the waxdisappears, this method is often referred to as lost-wax casting.) Themold is then filled with melted metal that hardens into the form of theoriginal model.

Step 1: Create Design

The designer’s concept ofjewelry is usually started asa sketch or a technicaldrawing.

Step 2: The Design iscarved in wax.

The wax is carved to thecustomer’s request.

Step 3: “Spruing” forCasting

The finished wax model isconnected by a “sprue”(wax tube) to a base. Theassembly will be put intoa metal flask for casting.

Step 4: Making the Mold

Investment (super-hard plaster ofparis) is poured into the flask tocompletely cover the waxmodel.

Step 5: Wax Removal

After the investment hashardened, the wax model isburned out of the flask in akiln. The investment is thensuper heated for severalhours before casting.

Step 6: Centrifugal Casting

While the flask is still super-hot, gold ismelted and then thrown by centrifugalforce into the flask where it will take theshape of the melted out wax model.

Step 7: Cast Jewelry in the Rough

The ring is taken out of the invest-ment flask while still warm.Notice the “sprue” has also beencast in gold.

Step 8: Cleaning and Polishing

The “sprue” is cut off, then the goldis polished and buffed and preparedfor gemstone setting.

Images and text courtesy Dave Jones, Engraver/Designer.

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Casting is a popular method for creating custom-made jewelry , and it can be adapted for lar ge-scaleproduction as well. Models can be duplicated by making a rubber mold of a metal prototype, andthen using that to generate wax copies. To produce multiple castings, a number of models can beattached to a central wax rod (or sprue). This forms a “tree,” which is cast like an individual piece.

• Die-striking or Stamping – Items are mass-produced by shaping solid metal with a mold, ordie, made from hardened steel. The mold has two parts, and the form of the finished piece isdefined by the interior space that’s created when the parts are joined. (The principle is similar tomaking Play-Doh shapes with a toy mold.) During the production run, sheets of precious metalalloy are placed in the mold and machine-stamped. The tremendous pressure – many tons persquare inch – actually forces the metal’s atoms closer together, increasing its density and strength.

Coins are familiar die-struck objects from everyday life. Entire items of jewelry , such as weddingbands and charms, can be manufactured this way. More often, however, die struck pieces are made ascomponents which are later assembled. Hollow jewelry is frequently made by stamping two pieces andthen soldering them together. The panels of some link-style bracelets are also stamped. Because of thestrength this process gives the metal, die-striking is a good way to make ring shanks and gem settings(specifically, the parts called setting heads).

Custom made andhand fabricatedjewelry will alwaysbe more expensivethan comparablemass produceditems.


• Electroforming – In this process, particles of precious metal alloy aredeposited on a model. The model is usually made from wax and then coated withgraphite so it conducts electricity. Next, it’s connected to the negative terminal ofa power source and placed in a chemical solution, or bath. The bath contains posi-tively charged atoms of the alloy metals. Another conductor attached to the posi-tive terminal also goes in the bath. When the power is turned on, the modelattracts the metal atoms. Metal accumulates on the model and builds a shell.When the shell is thick enough, the piece is removed, a tiny hole is drilled, andthe piece is heated, causing the wax to melt and run out. The resulting jewelry ishollow and lightweight, but strong. For this reasonelectroforming is a common method for manufac-turing large earrings, necklaces, and pins.

• Hand Fabrication – Each item is madecompletely by hand labor and manually controlledmethods. Hand fabrication starts with preciousmetal that has undergone minimal processing. Itmay have been alloyed and made into bulk stocksuch as sheets, strips, tubes, or wire, but otherwise,it’s raw material. The jewelry maker then beats,bends, draws, drills, files, or saws the entire pieceor separate components into the desired shape, and,if necessary, solders components together.

The jeweler might beat, bend,draw, drill, file or saw raw metalto make a hand fabricated item.Hand fabrication complimentsexquisite one-of-a kind gemstones.

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Hand fabrication is the oldest of the jewelry-making methods. Many of itstools and processes originated with the earliest civilizations. It can producealmost any form or style of jewelry, but each piece is one-of-a-kind. Even if apiece is copied from an existing design, there are bound to be slight dif ferencesthat make it unique. Under FTC guidelines, to be called “handmade” or “hand-wrought”, jewelry must be manufactured in this way.

Many jewelry items are assembled from components made by dif ferentmethods. For instance, a ring might have a die-struck head attached to a castshank. You can tell customers that the goal of this “mixing and matching” is toachieve the best combination of beauty, durability, and value.

You may also need to explain that the amount of individual labor that goesinto the piece is a significant factor in its cost and value. Gem setting is a primeexample. Though quality setting is always critical, styles like pavé, channel, andinvisible setting are very labor-intensive. Dozens of gems may have to be matchedfor size and appearance, and each one must be set with skilled attention. Tensionsetting demands extra time and care as well.

Different production methods also represent differing amounts ofindividual work. Die-striking and large-scale electroforming andcasting are industrial in nature. That’s not necessarily a negative,though. Mass production requires creativity, expertise, and effort, but itspreads the expense of these over a lar ge number of items, reducing thecost of each unit. In contrast, custom-designedcast or hand-fabricated jewelry offers uniqueness,but each piece must bear the entire cost of theprocess. As a result, custom-made jewelry willalways be more expensive thancomparable mass-produced items.

Any jewelry-making method can produce excellent results.What counts is the skill and care with which it’ s done. This showsin details of workmanship. In well-made jewelry, all the parts fittogether precisely. Lines are straight, angles are sharp, and curvesare smooth. There are no cracks, bumps, or weak spots. All thesurfaces are completely polished or textured. Any finish pattern isdistinct, evenly executed, and clearly demarcated. There are norough areas or pits and the inside or back is just as well made andfinished as the top or front. This level of quality costs more, but itensures lasting beauty, enjoyment, and value.

Quality setting is always criticalbut styles like pavé, channel, andinvisible settings are more laborintensive.


In a well-made piece, all parts fittogether precisely. There are noweak areas, all areas are wellpolished or textured, and theinside is as fine as the outside.

Photo courtesy Susan Sadler.

Mass production requirescreativity, expertise andeffort, but it spreads thecost over a large numberof items, reducing the costof each.


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DECORATIVE FINISHES

Decorative finishes add visual texture to jewelry. You can highlight them as aspects ofworkmanship and design.

Finishes seen in today’s gemstone jewelry include:

• Bright Polish – smooth, shiny, and mirror-like.

DESIGNS AND INSPIRATIONS Design is often the deciding factor in jewelry selection. When a customer walks in your door, she

may have definite ideas about what she wants – the form, the metal, the gems, the look. These deci-sions may also evolve with your help during the buying process. In either case, it’ s likely to be themanner in which individual features come together that makes a particular piece the perfect choice.That’s the magic of design.

It’s important to remember that each item you present began in the imagination of a talented designartist. No matter how simple it appears, good design also reflects technical know-how . Beauty might beeasy to conceive, but capturing it – even in gems and precious metals – takes great skill. Today’scomputer-aided design programs make the process user-friendly, but they don’t change its fundamen-tals or its importance to the final outcome.

• Matte Finish – grainy and non-reflective.

• Brushed Finish – tiny parallel grooves scratched into the surface.A finely textured version with soft sheen is called satin finish.

• Florentine Finish – a crosshatch patternof lines tooled onto the surface.

• Stipple Finish – tiny indentations and ridges.

• Hammer Finish – small indentationscovering the surface.

• Bark Finish – coarse texturing that resembles tree bark.Illustrations by Lainie Mann, Visual Communications.

Designers draw their inspirations from

many sources.

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Designers draw their inspirations from many sources, andbeing aware of these makes it easier to interpret jewelry’ sappeal. An item may combine elements from several dif ferentsources, but you can usually identify one or two that define its“spirit.” Among the possibilities are:

• Nature’s Forms – These are universal and timeless. Thesun and moon and stars; symbols of earth, air , fire, andwater; plants and animals; the human body and its parts –face, eyes, lips, and hands. All of these evoke the beauty andwonder of the natural world in which we live. They’ve beenrepresented in jewelry and other art by every culturethroughout time, yet each generation discovers them anew.

• Historic Periods – You might call these echoes of the past.They begin with ancient Egypt and extend through the MiddleAges and Renaissance to the Victorian, Art Nouveau, and ArtDeco eras of recent history. Each period has its own color palette,motifs, and other characteristics. Adapted by modern designers –often with gems the Pharaohs would have envied – these distinc-tive features link the meaning of the present moment with theromance of long ago.

• World Culture – The celebration of cultural identity givessome jewelry an exotic flavor. While historic influences span time,ethnic inspirations bridge distance. They conjure the allure of

Today’s computer-aided designprograms make the design processmore user-friendly.

Photo courtesy GemVision.

Nature’s forms – the sun, moonand stars – as well as plant andanimal life are triggers for designinspiration.

Photo courtesy Rare Earth Minerals.

Modern adaptations linkthe present with theromance, beauty and art oflong ago.

Photo courtesy Panos & Company.

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places that are physically or spiritually far away. Theseinclude Africa, the Orient, the Middle East, and the regionalcultures of Europe – Celtic, Mediterranean, Scandinavian –even our own Native America. Pick a spot on a world mapand you’ll probably pinpoint an artistic tradition that’smirrored in today’s gemstone jewelry designs.

• Modern Life – This is the pulse of here and now. It comes fromthe geometry of urban architecture, the sleek lines of the cars wedrive, and the ergonomic details of gadgets we use in our homesand offices. Its images stream across TV screens and computermonitors, reflecting the technology that shapes the way we live.Sometimes familiar and at other times provocative, it runs fromcontemporary to cutting-edge.

Becoming a real expert on design sources would be amajor challenge, and it’s usually not necessary. Unless yourstore deals in estate pieces, you really don’ t need to be ableto explain the technical differences between Victorian,Nouveau, and Deco – and for the most part, more contempo-rary design inspirations are a matter of observation andpersonal interpretation.

What’s important is helping customers appreciate designsthat “speak” to them. This might mean suggesting that aring’s antique look conveys a feeling of classic elegance, orpointing out that a bracelet’s sculptural swirls make it high-tech as well as high-style. The specifics of statements likethese must be based on the design and what you learn aboutthe customer. If you prepare, however, by giving advancethought to designs and their inspirations, you’ll be ready toaddress this decisive factor when your customer is.

Modern designer John Hardy drawsinspiration – and manufacturing skills– from the Balinese culture.

Photo courtesy John Hardy.

Contemporary designs drawinspiration from current tech-nology, architecture and color.

Photo courtesy Nominations.

Unless your store deals in antique or estatepieces, you don’t need to be able toexplain style differences of “period”jewelry.

Photo courtesy Armany.

A true brand is characterized by identifiable

features or components that are consistently present.

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FINE JEWELRY BRANDING In simplest terms, a brand is a product that’ s strongly

identified by name with its maker. Coca-Cola, Nike, BMW,and Rolex are good examples, and you can probably think ofdozens more. A true brand, however, is defined by certainfeatures or components that are readily identifiable andconsistently present. It’s this consistency that gives a brand itsidentity, not the marketing that goes into building a name.

The concept of branding is as old as commerce, but overthe past fifty years it has been transformed from commonsense to science. Major corporations now devote much oftheir energy to brand management, and universities of ferprograms in the subject. For many consumers, brands havegone from being assurances of value to symbols of personalidentity.

Except for watches and the creations of firms like Tiffany &Co and Cartier, branding is a fairly recent development in finejewelry. Most experts say it began with growing recognition ofdesigners in the 1970s. Several factors have added momentumsince then.

Inside the industry, promotion by trade organizations, manufac-turers and designers have made professionals more aware of brandsand their potential. Outside, there’s been a convergence betweenjewelry and the world of fashion. Today, popular magazines likeVogue cover jewelry trends along with those in apparel. Some ofthe biggest names in couture – Chanel, Dior , Gucci, Versace – havelaunched their own jewelry lines.

Most experts agree jewelry branding inthe US began with growing recognition ofcontemporary designers.

Photo courtesy David Yurman.

A true brand is characterizedby identifiable features orcomponents that are consis-tently present.

Photo courtesy David Yurman.

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When selling a brand, it’s more thanjust the name of the designer. It’s thename, the manufacturing, the compo-nents, the form and style – and eventhe service that goes with it.

Photo courtesy Jean-François Albert.

If your store offers branded jewelry, you need to identifyits “signature” in order to present it ef fectively. This is morethan the name of the designer or collection. It can include allthe features you’ve examined in this lesson – the inspirationalthemes, the way the jewelry is made, the metals that go intoit, its form and style, even the gems and how they’re set.

Going further, you can explore the personal history,artistic philosophy, and working methods that lie behind aparticular line. Many designers make this easy by furnishingpromotional literature or maintaining websites that includeinformation you can share with customers. Be sure to makethe most of such resources.

Gold and silver set with multi-colored gems.


It’s also important to find the right balance. A brand’s degree of“visibility” in your presentations can depend on your company’sapproach to merchandising in general. Some stores highlight brandedlines to set themselves apart from competitors. Others focus onestablishing and communicating their own images. This underscoresthe fact that for most of your customers, your store – its name, itsprofessional team, and all the other unique things it represents – isthe brand that counts most of all.

For most of your customers, your store – its name,

its professional team, and all the other unique things

it represents – is the brand that counts most of all.

Gemstone Jewelry


RECAP OF KEY POINTS

• When you present gemstone jewelry, you need to describe it ef fectively andexplain its value.

• The jewelry component that holds the gems in place is the setting. Besideshaving a practical function, it affects the gems’ appearance. It can also add tothe design’s appeal, and it may be a consideration when suiting a design to thewearer’s lifestyle.

• Gemstone jewelry comes in many forms and styles. The primary categoriesare rings, earrings, necklaces, bracelets, and pins. There are numerous stylisticvariations. Using special names for these can help you describe them ef fec-tively.

• Most gemstone jewelry is made from gold, platinum, or silver . These metalscontribute to jewelry’s appeal. Gold has been a favorite since ancient times. Inrecent years, platinum has become popular. Silver was once relegated tofashion status, but now has a place in fine jewelry , too.

• New entries into the ‘jewelry metals’ arena include titanium and stainlesssteel. These have become increasingly popular in recent years, particularly inmen’s jewelry. They offer lightweight styles that are highly durable andremarkably cost effective. Several prominent and popular designers have builtentire lines around the use of these metals.

• Fine jewelry is the result of skilled craftsmanship. Most jewelry is made bycasting, die-striking, electroforming, or hand fabrication. Each method canproduce excellent quality. What counts is the skill and care with which theitem is produced and finished.

• Design is often the deciding factor in jewelry selection. Good design reflectsartistic talent and technical know-how. Designers draw inspiration from manysources. These include nature’s forms, historic periods, world culture, andmodern life. Being aware of design inspirations makes it easier to interpretjewelry’s appeal.

• Branding is a growing trend in fine jewelry. To present branded jewelry youneed to identify the signature. It’s also important to find the right balance inyour presentations. For most customers, your store is the brand that countsmost of all.

Colored Gemstones 7

Gemstone Jewelry

26


____ Develop a jewelry feature checklist to use when you’re doing your“homework” for presentations. Include all the points you’ve coveredin this lesson. (You may not always discuss the entire list, but youneed to be ready to provide any information the customer needs.)

____ Work out explanations of quality and purity for the precious metalsused in the gemstone jewelry you sell. Identify features that make themetal effective as both a design and as a structural material.

____ Over the next week select one item of gemstone jewelry each day anddevelop a list of selling points related to design and craftsmanship.Work with your manager, jewelry buyer, or bench jeweler on the firsttwo or three pieces.

____ Read the promotional literature and checkout the websites for anybranded lines your store carries. Identify each brand’s signature andbuild presentations for your customers. Also talk to your managerabout how these lines fit into your overall marketing strategy .

Lesson 7 Self-Test









Gemstone Jewelry


Colored Gemstones

Natural Gemstone Origins


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In This Lesson:• Amazing Tales• Critical Conditions• Gems from Fire• Gems from Change• Gems from Water• Presenting Miracles

AMAZING TALES If gems could speak for themselves, they would undoubtedly tell your

customers amazing tales about their origins. Some would begin billions of yearsago, deep inside an infant Earth. Others could give eyewitness accounts of conti-nents colliding or prehistoric seas that have long since vanished. In one way oranother, every story would echo the power of forces that shaped our planet.

Of course, in reality gems ‘speak’ to us only through our knowledgeof their history and unique nature. Over the past two hundred years,scientists have pieced together the stories of gem creation,contributing to our better understanding of the natural worldoverall. Our newfound knowledge has helped in finding newgem sources and has also provided information that you canuse to speak on behalf of the gems you present – to tell theirstories for them.

You don’t need to memorize all the details, but knowing theoutlines and high points of these amazing tales can help you in anumber of ways. You can share them with customers who arecurious about the secrets of gems. You can also use them to illus-trate natural rarity, or to explain why each kind of gem hasunique features. Perhaps most importantly, they can increase yourown appreciation of the marvels that reside in your showcases.


If gems could talk, they would tell thestory of how prehistoric seas invadedthe Australian continent and thenvanished quickly.

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In earlier lessons you learned that most natural gemsare minerals created by Earth’s rock-forming processes.There are more than 4,000 different mineral species. Lessthan 100 have the beauty, rarity and durability to beconsidered gems, however, and only about 20 appearregularly in retail jewelry stores. Each species is definedby its combination of chemical composition and crystalstructure. Varieties within species are distinguished bycolor or phenomenon. Larger groups are made up ofclosely related species.

Now it’s time to learn some of the stories about theorigins of these mineral gems. First, you’ll look at theconditions that must exist in order for any gem to formand grow. Then you’ll examine the processes and environ-ments in which those conditions come together to createthe beauty that’s seen in the world of gems.

Lesson ObjectivesWhen you have successfully completedthis lesson, you will be able to:• Identify conditions that affect natural gem growth and quality.• Describe the processes that create mineral gems.• Explain how gem value factors are linked to formation.There are almost four thousand

mineral species but less than onehundred have the beauty anddurability to be used as gems.




PRODUCT KNOWLEDGE• Colored Gemstones• Pearls• History of Jewelry



SELLING TOOLS


BUSINESS ETHICS• Trade Practices

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CRITICAL CONDITIONS Earth’s rocky outer crust is composed almost entirely of

minerals, and although many of the minerals that are capableof producing gems are abundant, every gem is a miracle.

To understand this, start with these facts:

• The most “common” gem species are quartz and chal-cedony. They’re made of silica - the same material assand. Silica a combination of silicon and oxygen, andin various forms those two elements make up about3/4 of Earth’s crust.



The world produces literallytons of garnets every yearbut only a minute fraction ofthem are gem quality. Mostare used for abrasives likesandpaper and emeryboards.

The most "common" gem species –quartz and chalcedony –

are made of the same materialas the sand that covers

much of our planet.

• The non-gem forms of many other gem-making minerals are plen-tiful. These are often mined for their chemical ingredients.Hematite, for example, is the world’s most important iron ore.Zircon is the main source of zirconium, which is used to buildnuclear reactors. Beryl – the species that produces emerald andaquamarine – is an ore source for beryllium, a rare element thatgoes into high-tech metal alloys.

Earth’s crust is almost entirely composedof minerals. Essential ingredients arenecessary to form gems.

• Garnets are the most familiar gem group. Every year, the worldmines more than 300,000 tons of them. Only a tiny fraction of allthose garnets are gem quality, however. The rest are used forabrasives and other industrial purposes. Most of the earth’sproduction of diamond, peridot, and corundum (ruby andsapphire) is also industrial quality.

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So, what makes the difference between gems andsand, industrial abrasives, or mine ores? What naturalmagic creates the beauty, rarity, and durability of gems?

The answers to these questions lie in a set of criticalconditions:

• Essential Ingredients – For gems to be created,certain elements must come together in preciseamounts, producing the recipes for the right chemicalcompositions. Gems usually have compositions that arevery close to their “ideal” or ‘basic’ formulas. Forexample, corundum’s formula is Al2O3 (two partsaluminum to three parts oxygen), and that can account for 99% of a ruby or sapphire’ s weight. Insome cases, a gem’s most important characteristic – its color – is linked to its basic formula ingre-dients. More often, however, elements that aren’t part of the formula are necessary components forcolor determination. Pure corundum is colorless. To create the red of ruby, a tiny bit of chromiummust replace some of the aluminum. (When added to the formula for beryl, chromium creates thegreen of emerald.) To color a sapphire blue, there must be a little iron and titanium in the mix. Ifthere’s only iron, the sapphire will be green. In other gem species such as beryl, quartz, and topaz,a similar balance between formula elements and color -causing traces – you might say between“purity” and “impurity” – is crucial.

Absolutely pure corundum is absolutely color-less. It takes minute trace amounts of extraelements to cause the different colors.


• Temperature and Pressure – The chem-ical ingredients for gems can build geometriccrystal structures only under certain temperatureand pressure conditions. The most dramaticexamples of this are diamond and graphite. Bothminerals are made of carbon. At very hightemperatures and pressures – thousands ofdegrees and hundreds of tons per square inch –carbon atoms organize into a super-symmetricalstructure. The result is the unrivaled hardness andbrilliance of diamond. Under most other condi-tions the same kinds of atoms arrange themselvesin a different pattern. This produces the softblack mineral used in pencil leads. In the sameway, every gem has a specific range of tempera-tures and pressures at which it will form.

Both diamond and graphite are madeof carbon. Tremendous temperatureand pressure cause diamonds to form.Any lesser conditions will result ingraphite.

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GEMS FROM FIRE Scientists trace the origins of many gems to the

geologic process known as igneous formation. Thename comes from the Latin word “ignis,” meaning fire.The process begins with melted rock material, calledmagma, deep inside the Earth.

Only a few gem minerals actually crystallize in the hot “rock soups” of magmas, includingdiamond, peridot, and zircon. There are, however, some remarkable facts to consider concerning these‘fire-formed’ gems. Most of the world’s peridots, for example, grew about twenty to fifty miles below

the earth’s surface. Some zircons are almost two billion years old.Formed 90 to 120 miles down, and one billion to three billion yearsago, diamonds are both the deepest and oldest of all gems.

In most cases the gems that form directly in magmas are carriedto the surface after they finish growing. When magmas erupt, they’restill in liquid form (as lava from volcanoes). They cool too quicklyfor the chemical ingredients to crystallize so the only gem materialthat might result from the magma cooling is the black natural glassknown as obsidian. Nevertheless the magma is a transport mediumfor crystals that grew deep in the earth.

• Space and Time – To become large enough to be used in jewelry, gem minerals need plenty ofspace and time to grow. Many of these minerals form in geologic settings where other minerals arealso developing at the same time. Somewhat like plants in a garden or fish in an aquarium, thosethat form rapidly can crowd, stunt, or swallow up those that form more slowly . As the processcontinues, the space available for further growth becomes more and more limited, until it finallycomes to an end. Even under the best conditions, the time nature takes to make a gem variestremendously – from perhaps a single day up to a million years or more.

Outside the boundaries imposed by these critical conditions – with too many impurities, imperfectcrystallization, or inadequate size – a mineral might be beryl, corundum, quartz, or whatever . It won’tbe a gem, though. If you could calculate the chances of all the right conditions coming together , itwould be easy to see that value factors such as intensity of color , freedom from inclusions, and greatercarat weight reflect natural rarity that sometimes exists in the face of astronomical odds.

Now let’s look at the ways and places in which gem minerals beat those odds.



Formed 90 to 120 miles down, one to threebillion years ago, diamonds are both thedeepest and oldest of all gems.

The igneous process begins withmagma deep inside the earth.

Graphic courtesy Oxford Encyclopedia.

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Some magmas stop traveling before reaching the surface. Geologistscall these intrusive magmas. While still in liquid form, they force theirway into spaces and weak areas in the earth’ s crust. Then they coolslowly while maintaining high pressures. This can produce two kinds ofenvironments that are very favorable for the creation of gems:

• Hydrothermal Veins – These form when super-hot mixtures ofwater and chemical ingredients escape from the main body of anintrusive magma into cracks in the surrounding rock. The term“hydrothermal” (high-dro-THER-mal) comes from Greek “hydro”and “thermos,” meaning water and hot. As the mixtures circulatethrough the cracks, they pick up added ingredients. Eventually theysolidify into seams from a few inches to several feet in width. Underthe mountains in Afghanistan, Colombia, and Pakistan, networks ofhydrothermal veins hold some of the world’s finest emeralds. Whilethe special chemistry can create exceptional color in these gems, thecramped conditions tend to limit their clarity and size.

• Pegmatites – These produce a greater abundanceand variety of gems than any other geologic environ-ment. The richest pegmatites occur in large cavitiesafter most of an intrusive magma has solidified. Thiscan leave exactly the right conditions for the formationof gems such as amethyst, aquamarine, chrysoberyl,citrine, tourmaline, topaz, and spessartite garnet.Minerals begin forming on the cavity’s walls and growinward. This sometimes creates pockets lined withlarge, well-formed crystals. The pockets can be morethan ten feet in diameter, and their contents can beastonishing. A single pocket of one pegmatite in Brazilyielded about 8,000 pounds of various fine gem crys-tals. It held one red tourmaline crystal that was morethan three feet long and weighed 300 pounds.Comparable pegmatites have been found in EastAfrica, Central Asia, Russia, and the US. (You’ll learnmore about these and other sources in Lesson 10.)

Colored Gemstones 8


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Large pegamitecavities providejust the rightconditions forgrowing somegems like theexceptionallylarge, wellformed, topazcrystal.

The Black Canyon in southwestColorado is one of the bestexamples of how intrusivemagmas forced their way intoweak spaces in the earth’scrust and solidified there.

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GEMS FROM CHANGE After igneous formation, the most important geologic

process for creating gems is metamorphism (meh-ta-MOR-fi-zem). The term literally means going from one form toanother. You might say this process is the mineral equivalentof a caterpillar changing into a butterfly.

Metamorphism usually occurs when some event in theearth’s crust raises temperature or pressure high enough toalter the crystal structures of existing minerals, while alsomaking more chemical ingredients available. Withoutcompletely melting, as in igneous formation, the old mineralsslowly become new ones. The transformation can take millionsof years. Since it often happens under great stress – and evenin solid rock – the gems that result tend to have inclusionssuch as feathers and fingerprints. (In Lesson 4 you learned thata feather is a break inside the gem, and a fingerprint is a partlyhealed feather.)

Scientists divide metamorphism into two types:

•Contact Metamorphism – This is closely linked toigneous formation. An intrusive magma (or perhaps ahydrothermal vein or pegmatite) provides the heat and chem-istry that set the changes in motion. Gem growth takes placealong the contact zone between the molten material and thepre-existing rock. New chemical ingredients can enter theolder rock from the magma, and vice versa. This interactioncan create gems such as ruby, sapphire, and spinel. Manykinds of garnets and some emeralds are also produced in thisway. One of the most notable geographic settings for contactmetamorphism is the island of Sri Lanka. It has been a sourceof fine gems for more than 2,000 years.

With metamorphism, old minerals simplybecome new ones without completely melting.

Lapis crystal and gems courtesy Gary Bowersox.

Sri Lanka is oneof the bestknown locationsof contact meta-morphism.

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• Regional Metamorphism – This version of meta-morphism involves change on a grand scale. It typicallyhappens when continents collide, heaping up hugeamounts of rock and forming Earth’s biggest mountains.These continental “fender benders” take place at a rate ofinches every thousand years. Temperatures and pressuresin the lower rock layers climb steadily, new chemicalingredients come together, and minerals over a vast areamay be transformed. Along the east side of Africa, forexample, a billion-year series of regional metamorphicevents created a gem-rich belt that’s 150 miles wide and3,000 miles long. Gems found there include alexandrite,emerald, ruby, sapphire, tanzanite, and tsavorite garnet.

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GEMS FROM WATER In contrast to the extreme conditions of igneous and metamorphic formation, some gems were

created by the gentle yet irresistible power of water . These gems are classified as sedimentary. Theyinclude opal, turquoise, and malachite.

Familiar sedimentary rocks like sandstone are made from particles of older rocks that were brokendown by weathering. The particles were transported by erosion, deposited in layers, and then consoli-dated by pressure. Sedimentary formation of gems takes place on a smaller and more local scale,however – atom-by-atom at near-normal conditions. It often begins when the level of under ground

water (the water table) rises and falls repeatedly over long periods of time.As the water percolates through soil, rocks, and minerals, it can becomeacidic, allowing it to dissolve chemical ingredients in surrounding rock. Ifthis chemically enriched water becomes saturated – if it reaches a pointwhere it can’t hold any more dissolved chemicals – it may deposit itscontent, as gem minerals, in cracks or cavities fairly close to the earth’ ssurface.

Opal is the most popular sedimentary gem. It also has one of the mostinteresting origin stories. The world’s main source of opals is SouthAustralia. Though it’s now a desert, around 100 million years ago theregion was covered by a great inland sea. During the ages that followed,global climate changes caused the sea to gradually retreat and finallydisappear. This left what might be described as several hundred thousandsquare miles of desolate ex-beach.

A gel like solution – richwith silica leached fromsand – filteredinto cracksand faults andhardened intoopal.


Metamorphic events created a gemzone in east Africa 150 miles wideand 3,000 miles long.

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Opal is the most popular

sedimentary gem.



By about 30 million years ago, the forcesof weather and water had released enoughsilica (sand’s main ingredient) from thesesediments to create a gel-like solution. Thissolution filtered along cracks and faults inthe ground, filling them and eventually hardening.Experts say the final solidification step probably tookplace at an average rate of about 1/4 inch every fivemillion years.

That’s not the whole story, though. Opal doesn’t have theregular crystal structure that’s normally part of a mineral’s defi-nition. Instead, the silica and water form tiny spheres. (Watercan represent up to 10% of the weight of most opals.) Thesespheres are usually various sizes, and they’re haphazardlyarranged. The result is known as common opal, or potch. Itlooks like milky gray glass.

Sometimes, however – when conditions are just right – thespheres are uniform in size. They’re between four and eightmillionths of an inch in diameter, and they’re stacked in aperfectly aligned grid pattern. When that happens, the spheresbreak up white light into pure spectral hues, producing the play-of-color that makes opal one of the most magical of all gems.

Other fascinating accidents occurred when the silica-rich gelfilled the body cavities of long-dead marine animals. Abandonedon the “ex-beach,” clam shells buried in the sediment providedopening for the silica gel to enter. The result was opals formedin the shape of ancient seashells.

When the structure of opal is just right, it breaks uplight into the spectral colors we see in fine opal.

Graphic courtesy Cody Opal.

Mollusk shellsprovided readycavities for thesilica rich gelto invade.

Photo Courtesy Cody Opal.

The silica saturatedwaters settled intocracks and solidifiedas opal veins in sedi-mentary rock.

The opalizedskeleton of aprehistoricbeast.

Opalized clam necklace.

Photo courtesy Jody Ochs.


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PRESENTING MIRACLES When you first begin working with gems, they might seem to be just

“pretty baubles.” A deeper look, however, can help you recognize the miraclesgems represent. To have the right ingredients in the right place, under the rightconditions, for the right amount of time – that’ s almost incredible.

When you think of how nature achieved and sustained its creative ef fortover the vast amount of time it took to produce the sparkling objects you holdin your hand, the story of gem formation takes on a new meaning.Communicating your appreciation of that story to your customers – learning topresent miracles – can enhance their enjoyment of the gems they purchase.

When you think about how nature sustained gargantuan effort

over huge spans of time to produce the colorful little bauble

you hold in your hand, the miracle of gem formation

takes on an entirely more awesome perspective.


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RECAP OF KEY POINTS

• Stories about the origins of gemstones reflect natural forces that have shapedour planet. Knowing the outlines and high points of these stories can help youadd interest, explain value, and better appreciate your products.

• The original formation of every gem requires a rare combination of factors –essential ingredients, specific temperature and pressure conditions, adequatetime and space. Even the most common gems represent a triumph of beautyover high odds, and in some cases those odds are astronomical.

• Many gems are produced by igneous formation, which begins with magmadeep inside the earth. Only a few gems crystallize directly in magmas, butintrusive magmas create the gem-forming environments of hydrothermal veinsand pegmatites.

• After igneous formation, the most important geologic process for creatinggems is metamorphism. This occurs when changes of heat, pressure, andchemistry in the earth’s crust transform old minerals into new ones. Contactmetamorphism is linked to igneous activity. Regional metamorphism happenswhen continents collide.

• Some gems come from sedimentary formation. This takes place when waterdissolves chemical ingredients from the soil, rocks, and minerals, and thendeposits those ingredients near the earth’s surface. The most popular sedimen-tary gem is opal. It evolved from an extraordinary chain of events thatspanned millions of years.

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____ Develop origin-related statements you can use to explain gemstonevalue factors. (Lesson 4 discusses value factors.) The statementsshould be short, simple, and focused, so they’ll fit seamlessly into atypical presentation. For example, “This emerald’s clarity is a naturaloutcome of the way it formed.” or “With such an intense color, thistourmaline must have grown under very favorable conditions.”

____ Next, work out more detailed origin stories to share with customerswho want additional information. Try to keep individual stories undera minute, while covering all the high points. Role-play them withcoworkers to make sure you’re getting the right combination ofcontent and style. Start with gems you sell most frequently – or thosethat interest you most – and add to your repertoire each month. (Ifyou’d like to learn more about this subject, the short books on emer-alds, opals, and rubies and sapphires by Fred Ward are good sources.)

____ Take a look at the colored gemstones in your showcases, and thinkabout the fact that each one of them represents a miracle of beautyand rarity that took nature millions – maybe billions – of years tocreate. Then practice translating these facts into features and benefitsthat link the gems you present to your customers’ motives for owningor giving them.

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Lesson 8 Self-Test











Colored Gemstones

Gem Deposits and Mining


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In This Lesson:• Human Effort

• Gem Deposits

• Discovering Gems

• Development Variables

• Mining Around the World

• All Roads Lead to the Same

HUMAN EFFORT A gem’s value comes from its beauty, rarity, durability and

meaning. It takes human effort, however, to bring all of these elementstogether for customers. From your own experience, you know howmuch work goes into selecting, merchandising, and supporting theproducts your store sells. That’s only part of the story, too. You andyour coworkers are the final links in a network of activity thatstretches to the farthest corners of the planet. That network begins infaraway places where men and women are laboring to find and extractthe gem wealth of the earth.

As with the mysteries of mineral formation, knowing how gemsare discovered and mined can build your appreciation for your prod-ucts. Since these topics are part of the human story of gems, they cangive you a better sense of how you personally fit into the “greatscheme of things” in our industry. You probably won’t need to sharemany of the details with most customers. Still, a few words on thesubject might help you add interest or create images that complete thepicture of value in a way that nothing else can.

GemDeposits and Mining

The vast network of thegem trade starts in themountains and jungles offar away places.

Photo courtesy Modern Jeweler.

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In the last lesson you looked at the criticalconditions and special environments in whichnatural gems are created. In this lesson you’llsee what happens after that – how gems cometo be in the places where they’re found andhow people locate those places. You’llexamine the factors that affect mining devel-opment, and see examples of mining opera-tions around the world.

Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Explain how different types of gem deposits form.

• Discuss ways in which gem deposits are found.

• Identify variables in gem resource development.

• Describe typical mining methods for natural coloredgems.

Mining usually involves diggingholes and, in some places, it’sunsophisticated, unorganized,and dangerous work.

Photo courtesy Modern Jeweler and GemKey.



PRODUCT KNOWLEDGE• Diamond Jewelry• Colored Gemstones• History of Jewelry




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As you learned in Lesson 8, gem minerals come fromigneous, metamorphic, and sedimentary processes. In mostcases the larger rock formations in which these processesoccurred are the sites, or hosts, of primary deposits. Forexample, pegmatites in Brazil are primary deposits for gemssuch as topaz and tourmaline. Belts of metamorphic rock inEast Africa are primary deposits for tanzanite. Exceptions tothis rule involve diamond and peridot. Both gems crystallizeddeep inside the earth, and volcanic eruptions delivered them tothe surface after they finished growing. The remnants of thoseeruptions are also classified as primary deposits.

Sedimentary gems such as opal and turquoise formed closeto the earth’s surface. Most igneous and metamorphic gemsformed several miles underground (but not nearly as deep asdiamond or peridot). Events like mountain uplift, earthquakes,and landslides sometimes helped bring these gems withinhuman reach. The most important force, however, was erosion.Over millions of years, air and water, heat and cold, even plantsand animals slowly broke down and stripped away tons of over-lying soil and rock, leaving primary gem-bearing formations onor near the top of the ground.

Erosion didn’t always stop there. In many locations itcontinued its work, eventually breaking down the host rocks,freeing the gems they held, and creating secondary deposits.Occasionally the gems simply settled into the weathered debrisof the host rocks. This kind of accumulation is called an eluvial(ee-LOO-vee-al) deposit. More often, however, rainwaterwashed the gems into streams and rivers where they accumu-lated in alluvial (a-LOO-vee-al) deposits. These might be milesfrom the primary sources.



GEM DEPOSITS A deposit is a natural accumulation of minerals, and for gems there are two main types:

• Primary Deposits – Places where gems formed or first came to the earth’ s surface.

• Secondary Deposits – Places where gems were carried by erosion.

Alluvial deposits formed in when rainwaters washed gems from their originallocation and deposited them in riversand streams.

Pegmatites are primarydeposits for mininggems.

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As erosion did its work, excavating and transportinggems, two more things happened:

• The gems were concentrated. – In somepegmatites, many gem minerals formed closetogether in a small space. In most other primarydeposits, the gems grew as isolated crystals scatteredthroughout the host rock. In much the same way thatgravity can funnel rain that falls over a wide areainto a central lake, erosion often gathered gems frommultiple primary sources into a single secondarydeposit. Thus, an eluvial deposit might hold gemsweathered from hundreds of vertical feet of rock. Analluvial deposit can represent a comparable“sampling” spread over many square miles.

• The gems were sorted. – Primary and eluvial depositscontain gems as they originally grew, often as well-formedcrystals of all sizes and qualities. As water carried gems toalluvial deposits, they rolled and tumbled, bumping againstrocks and churning in abrasive gravels. Gems that weren’ thard and tough, and those with structural imperfections orlarge inclusions, usually broke apart and disintegrated. Thisprocess is called river sorting. Because of it, alluvialdeposits tend to contain higher percentages of good qualitygem material than primary or eluvial deposits. Since there’ s a“tug-of-war” between gravity and the carrying force of thewater in a stream or river, heavier gems also accumulatecloser to their points of origin than lighter ones. So, alluvialgems are sorted by size and weight, too.

Today, both primary and secondary deposits are importantmine sources for natural gems. The differing characteristics ofthese deposits – their geologic settings and the concentrationsand qualities of gems they hold – are often deciding factors inhow they’re discovered and developed.

The cache from alluvial depositsoften appears “tumbled”.

Primary and eluvial deposits often contain gems aswell formed crystals.

Photo courtesy Gordon Bleck.

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DISCOVERING GEMS In places like Colombia, Myanmar, and Sri Lanka, gem deposits have been known and worked for

centuries. Facts about the original discoveries are lost in legends. Even recent finds are often romanti-cized with stories that contain a great deal of fiction. It’ s safe to say, however, that virtually all gemdiscoveries have been the result of the human quest to explore and utilize the natural environment.

Modern gemstone prospecting can take avariety of forms, depending on who’s looking andwhat’s known about the region. In establishedproducing areas of Africa, South America, andSoutheast Asia, local residents are often on thewatch for gems. They may run across surfacedeposits in the course of daily activities likefarming, herding, and hunting.



Sri Lanka furnishes good examples of actualprospecting through old and simple methods.Large parts of the island are sprinkled with allu-vial deposits, and gem mining has been a way oflife for more than 2,000 years. Many deposits liein the gravels of old riverbeds which are now dryand covered by a layer of soil. Guided mainly byexperience, hopeful locals pick a likely spot anddrive a long steel rod or pipe into the soft ground.When they hear (or perhaps feel) the steel strikegravel, they start digging.

At the other end of the prospecting spectrum, in some partsof the world, the advanced tools and methods of geophysicsare used to locate gem deposits. This kind of high-techapproach was once limited to the search for diamonds. Inrecent years, however, it has entered the realm of coloredgems, too. The effort frequently involves major miningcompanies and the governments of developing nations. It canbe aimed at finding large deposits of industrial- and ore-grademinerals as well as gems.

Sometimes gems are discovered in the course ofroutine activities.

Piles of dirt in theSri Lankan junglegenerally meanthat mining isgoing on.

Gem bearing gravels inSri Lanka may be thirtyfeet under the top soil.

Mining operations in developed nationsare much more sophisticated than inunderdeveloped countries.

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Data from remotesensing devicescan be converted to a perspective showing thedistribution of different minerals.

After gathering and evaluating preliminary informa-tion, teams of geologists and other specialists go in for aclose-up look. If they’re lucky, they find clear indicatorson the surface. These can include outcrops of mineral-ized rock, colored pebbles in streambeds, or maybe smallcrystals brought up by ants and other burrowing animals.Talking to the “natives” can also help, and even vegeta-tion can be significant. In East Africa, for example,rubies are found in association with limestone deposits.So, prospecting teams watch for certain plants that growin lime-rich soil. In many locations, however , what’sneeded is expert analysis of landscape details pointing togeologic conditions that might have been favorable forgem formation.

Looking turns into labor when a promising site isfound. The team marks off the area in a grid pattern anddigs small pits at regular intervals across the entire grid.Next, the material taken from these “proving pits” is

Colored Gemstones 9


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A scientific search usually begins with identifyingregions that have the right geology for gem production.The identification might be based on historical explo-ration, similarities with other known gem-producingareas, or systematic resource surveys. As a first step,prospectors look for any features – other minerals, traceelements, or vegetation – that might indicate the pres-ence of a certain gem. The next step is narrowing thepossibilities in a specific target area. Airplanes, heli-copters, and even satellites can aid this part of theprocess. Remote sensing devices, high-resolutioncameras, and global positioning systems also helppinpoint clues to Earth’s hidden treasures.

Satellite data delineatesgeological characteristics tobe considered in mineralexploration.

From data collectedthrough electromagneticpulse generation, 3-Dimages are created to helpgeologists map sub-surfacegeology.

In systematically working apotential deposit, the tractis marked and cleaned.Then the gravels are gath-ered and sorted, meter bymeter. The yield from eachmeter is analyzed for indi-cations of gems.

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Many gem sourcesare located in

remote and inhospitable places.

• Site Specifics – These include the geologic setting of the deposit – forexample, whether it’s in solid rock or loose gravel – as well as its size,contents, and life expectancy. Such factors have an impact on the work ittakes to exploit a find, and on what that work is worth. Alluvial depositscan be rich and easy to mine, but they might be exhausted in a fewweeks or months. On the other hand, hard-rock environments likepegmatites and metamorphic formations pose more challenges, but theymay produce gems for decades.

• Geography and Climate – A deposit’s geographic and environ-mental setting matters, too. Many gem sources are located in remoteplaces with harsh climates. Isolation limits access, and weather restrictsactivity. Most opals, for example, come from a desert in South Australia.Summer temperatures there can top 120° Fahrenheit. Afghanistan and



sifted, sorted, and recorded. Then all the data is entered in acomputer and a three-dimensional model of the deposit is gener-ated. This makes it possible to estimate the deposit’s size andpotential value.

DEVELOPMENT VARIABLES Throughout much of the world, colored gemstone

prospecting and production are small-scale enterprises. Theyinvolve individuals, groups, and perhaps communities. That’s the way things have been since the dawnof history. Today, however, providing a steady supply of gems to a global industry calls for lar ge-scaleoperations wherever possible. In the next section of this lesson you’ll see examples of gem mining thatillustrate these contrasts. First, let’s look at some of the variables that can af fect what happens to adeposit after it’s discovered.

Many gem sources arelocated in remote andinhospitable places suchas the rugged mountainsof Afghanistan.

Photo courtesyGary Bowersox.

Systematic analysis maylead to the discovery ofthe vein or shaft.

Photo courtesy J. MichaelAllbritton.

Gems found in solidrock pose moremining challenges butthe deposits may lastfor years.

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Pakistan hold rich deposits of emerald, ruby, topaz, tour-maline, and other gems. They’re buried in mountainsalmost 20,000 feet high, though. Even in East Africa andSoutheast Asia, which are hubs of gem production,seasonal monsoons can slow or stop mining operationsfor months at a time.

Colored Gemstones 9


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• Infrastructure and Resources – Possibilities fordevelopment often depend on roads, electrical power, andother systems that support the work of mining. In placeswhere basics like food and water must be backpacked formiles over difficult trails, major production isn’t likely. Thefinancial resources of the stakeholders – individuals, corpo-rations, or nations – are also crucial. There’s a big differ-ence in what poor villagers can accomplish with picks andshovels, compared to a multi-national mining company thatcan bring in trucks, bulldozers, and other heavy equipment.

The opaldeposits inCooper Pedy,Australia are ina climate soextreme thatmost people liveunderground.

The difficulty in accessing many miningareas precludes large-scale mining.

Photo courtesy Janice Mack.

• Social and Political Conditions – These are thecultural factors that govern human and business life.On a day-to-day level they include working conditionsand wages, which translate into labor costs. There arealso customs and laws concerning issues like owner-ship, taxation, and environmental responsibility. Atextremes, the same factors are reflected in seriousbreakdowns caused by poverty, disease, and war.

• International Market Demand – Due to thelaw of supply and demand, the preferences of yourown customers (and others around the world) mayinfluence what happens in gem deposits thousands ofmiles away. Popularity and high prices can guaranteethat some gems are focal points of exploration andmining, while others stay in the ground.

Labor costs are certainly lower in developingnations but, in turn, mine owners may take ona host of social and economic responsibilitiesfor a local work force.

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Alluvial Digs in Sri Lanka

Mining in Sri Lanka is fairly typical of the work done withalluvial gem deposits in developing countries. The operationsrange from isolated spots worked by two- or three-person teams,to large areas pock-marked by whole communities. The minersnormally dig pits, just large enough for one or two people tostand in, straight down into the ground. Simple as that sounds, itcan be dangerous because the soil is loose andprone to caving in. To prevent this, the minersdrive bamboo poles down the sides of the pit asthey dig deeper. Crossbars lashed to the polesprovide extra support and also serve as ladders.



MINING AROUND THE WORLD With all the variables that come into play, it’s not surprising that gem mining shows almost as much

diversity in methods as it does in final products. In some places, those methods haven’ t changed muchin the last 2,000 years. In others, know-how, machinery, and organized manpower have come togetherto create modern industry. Frequently, too, old and new are next-door neighbors.

Each location is unique, but the following “snapshots” of mining around the world will give you asense of how gems begin their journeys to your showcases:

Water seepage is a constant problem. Some pits have to beabandoned because they fill so quickly the workers can’ t bailfast enough. More successful miners buy gasoline-poweredwater pumps and manage to stay ahead of the water .

Digging continues until the miners reach the gravel layerthat contains the gems – maybe ten to thirty feet below thesurface. Scooped into shallow baskets woven from bamboo,the gravel is hauled to the surface, washed, and sorted for gemcrystals. The mixture might contain alexandrite, cat’s-eye,garnet, ruby, sapphire, spinel, tourmaline, and more in thesame location.

Mining in Sri Lanka variesfrom isolated pits to largerareas pock-marked withdiggings.

Photo courtesy Janice Mack

Water seepage is a constant problem atthe pit’s floor.

Photo courtesy J. Michael Allbritton.

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Word spreads fast if an area starts producing sizablequantities of gems. Some claims need to be registered andstaked. Often, the scene becomes a “free-for-all.” Moreand more people move in, digging pits right next to eachother or combining them into bigger excavations. Theminers stand waist-deep in small ponds around the area,swirling their baskets of mud and gravel in the water ,looking for a glimpse of color. The hot, humid jungles, fullof mosquitoes and leeches, make this hard and dirty work.The excitement attached to the quest for gems is infec-tious, however, and the potential rewards keep the minerscoming back generation after generation.

In areas where deposits are proven, labor is or ganized, andcapital is available, open-pit mining is more industrial. Pumpedfrom nearby rivers, high-pressure streams of water blast away thevegetation, soil, and loose rock. Gravel washed to the bottom ofthe pit is vacuumed up with hoses powered by suction pumps, anddeposited into sluices. (Sluices are large troughs with slats alongthe bottom to trap gems as water carries the other material away .)This imitates nature’s way of concentrating and sorting gems inalluvial deposits.

The gem bearing gravel is scooped intoshallow baskets, washed and searched forvaluable gems.

The quest for gems is infectiousand when a deposit is proven,more and more people move in.

The fiery red-orange “imperial” topaz comesfrom Ouro Preto in the southeast part of Brazil.

Photo courtesy Marin Mineral.

Pegmatites in Brazil

In southeastern Brazil, pegmatites scattered over about fifty squaremiles are leading sources for the fiery red-orange gem known as“imperial” topaz. These primary deposits have been worked for morethan a hundred years. They’re also nested in one of the world’s mainiron-producing regions. The combination of top-value product, depositsize, established history, and ready access to expertise and equipmenthas created the right recipe for industrialization.

ˆ

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The largest mine in the area is a huge open pit more than 100 feet deep. It covers almost twentyacres, and is operated by about fifty workers. Bulldozers rumble around the floor of the mine, heapingup piles of soil, rock, and gem-bearing ore. Giant buckets called drag-scrapers descend from steelcables overhead to scoop up the piles and carry them topside. From there the material goes to awashing area where water cannons turn it into a muddy slush. This is run through a series of screens toseparate valuable ore from worthless debris. A conveyor belt carries the remaining mix of gems andgravel past sorters who pick out the topaz by hand.

Each month, the mine processes more than 8,000 tons of ore, and recovers a total of about thirtykilograms (or 66 pounds) of rough topaz. Only about half a kilo is good enough to be cut into facetedgemstones, however, and just a small fraction of that is fine quality .

In the midst of all the activity, the machinery sometimes falls silent. Trusted employees follow eachbulldozer as it works back and forth across the bottom of the pit. When a fresh pocket is uncovered,these workers carefully search it using jackknives as their only tools. This saves some of the largestand finest crystals from being broken into pieces by the rough handling the rest of the deposit’ s gemsreceive.

Underground in Tanzania

The East African nation of Tanzania has deposits of morethan fifty different gem species and varieties, but much of thefocus is on tanzanite. This is one of the world’s top-sellingcolored gems, and the country is the only known source.

Despite its natural wealth, Tanzania is one of the poorestplaces on Earth. Despite a weak economy, the government hasalso imposed a number of regulations on mining. These condi-tions have limited the type and scope of resource development.

The main tanzanite deposit is in metamorphic rock thatruns through a low hill for a distance of about three miles. Inpart of this area, thousands of independent miners have dugtunnels averaging a few feet in diameter, up to a mile or morein length. Standard equipment used includes picks, shovels,headgear made of flashlights strapped on with thick rubberbands – and lots of dynamite.

The tanzanite mines in Tanzania arenot new to controversy. Plagued bypoor working conditions and safetyhazards, miners dig for gems usingrudimentary equipment.

Photo courtesy GemKey Magazine.

Standard equipment includes picks, shovels, headgear made of

flashlights strapped on with thickrubber bands –

and lots of dynamite.

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The mine tunnels typically go down at a steep angle and then transi-tion to about a 30° slope. Workers descend the first hundred feet by rope,then crawl headfirst the rest of the way down. Some operations havepumps that force in fresh air, but most are unventilated holes filled withchoking dust. When miners reach the hard rock of the primary deposit,they pulverize it with explosives. No attempt is made to recover anylarge crystals that might be there. Afterwards, some members of the teamform a chain to pass heavy bags filled with debris up the shaft. Otherslook for gems in the newly exposed mine walls.

At its best, the work is hard and hazardous. There’s no centralizedplanning or supervision. As separate groups of miners follow the gem-bearing rock, their tunnels often run into each other , creating a danger ofcave-ins. Sporadic blasting adds to that danger. On average, a few peopleare killed in accidents each week.

Within the last few years, things have improved in one section of the tanzanite area. A miningcompany from outside Tanzania has developed a modern operation that’s safer and more efficient.Shafts in this mine measure about six by nine feet, and they’re supported by timber and concrete.

Adequate ventilation is provided, workers wear proper safety gear , andblasting is strictly controlled. The recovery system has also been mechanized.All this has resulted in much better working conditions for the miners. It hasimproved gem production, too.

Colored Gemstones 9


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Despite it’s moderate durability,tanzanite has quickly becomeone of the most popular gems.

Photo courtesy Chris Correia.

In the Mountains of Colombia

Long before Columbus discovered America, native cultures fromMexico to Chile prized emeralds from the Andes Mountains inColombia. Today these mountains are still top producers of one of theworld’s favorite colored gems. The biggest mines are well-funded jointventures between the government and international corporations. Theyexist side-by-side with the hunt for gems in its oldest forms, however .

The Muzo district is about seventy miles north of the capital ofBogatá. Beneath its rugged landscape, hydrothermal veins containingemeralds crisscross the dark gray rock of which the mountains are built.One of the principal mines in the district – Cosquez – may have beenworked 1,000 years ago. For almost all of its history , primitivetunneling was the main method for recovering the gems. In the 1970s,new government policies attracted outside investment. That change,

The rugged mountains ofColombia are top producersof emeralds – the world’sfavorite gemstone. TheCosquez mine is the mostimportant mine today.

Photo courtesy Mark Lurie.

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plus high prices for emeralds, transformed the way things were done.Over the next three decades, bulldozers systematically excavatedpromising areas, creating a large opencut operation.

In recent years, Cosquez has begun transitioning to under grounddevelopment similar to the neighboring Muzo Mine. That mine alsohas a long history. Until the mid-1990s it was Colombia’s leadingproducer.

The operations at Muzo cover almost 500 acres, and consist oftwo main vertical shafts about 400 feet deep. Those shafts areconnected by a network of horizontal tunnels totaling more than amile in length. To create new tunnels and proceed with mining,workers use explosives to loosen the mountain rock. Then they shovelthe rock into ore carts to be hauled to the surface for processing.When they find a vein, they drill it out with jackhammers, watchingcarefully for gems as they work. Muzo is relatively quiet now , but atits peak it employed a workforce of about 350, each day processingthirty tons of ore and recovering around 3,000 carats of emeralds.

At the Muzo mines, veins ofemerald crisscross through thehard rock.

Photo courtesy Mark Lurie.

Ironically, the machines and methods of modernmining help to sustain the ancient ways, too. Althoughexplosives and bulldozers have made recovery much moreefficient, they can’t capture every last gem. Inevitably, asmall percentage of gems are among the tons of wasterock and processed ore that are pushed down the hillsidessurrounding Cosquez and Muzo. Rainwater falls andwashes the gems into the streams that run into the valleysbelow. There, local villagers patiently look for them. So,even in the shadow of all that expertise and technologycan accomplish, among the mountains of Colombia thesimple search for gems goes on, much as it always hasand always will.

Inevitably, somegems are lost to thethe rivers andstreams below themines where thelocal villagers seektheir own opportuni-ties for wealth.

In the shadow of expertise and technology,

simple mining continues.

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ALL ROADS LEAD TO THE SAME If you traveled the world in search of gems, you’d find

slightly different mining and recovery methods in almost everylocation. The basics, however, would always be the same.Minerals and gems form in rocks. The rocks might have to beblasted apart or crushed to get at the gems inside. They mightbe vacuumed from the bottom of a muddy pool or scooped fromthe bottom of a pit or riverbed. However it happens, the firststep is to gather the rocks.

The next step is washing away the dirt. This might be donewith sophisticated washing processes, high powered hoses in asluice box, or simply by swirling in a basket in a stream orpool. In any case, water is important.

The final step is sorting. The gems needto be picked out of the worthless gravel.More often than not, this is done by hand.The only difference may be whether thesorter is sitting in a comfortable chair in theoffice of a major recovery unit, or on a rockby a pond under a bamboo plant.

Admittedly, the basic outline of “real-life” gem mining isn’t very romantic. The details,however, are interesting to some customers. If youlearn to share these details effectively, you’ll bebetter able to tell the story of gems in full.

Gem mining is always basicallythe same three steps: dirt androcks are taken from the deposit,washed, then sorted. The prize isthe quest.

Photos courtesy Janice Mack.

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RECAP OF KEY POINTS

• Discovery and mining are part of the human story connected with gems.Knowing how gems are found and extracted from the Earth can enhance yourappreciation of your products and help you add interest to sales presentations.

• There are two main types of gem deposits: primary and secondary . Primarydeposits are where gems formed or first came to the Earth’ s surface.Secondary deposits are locations to which gems were transported and some-times naturally sorted by erosion.

• Humans have always discovered gems as part of their quest to explore andutilize the natural environment. In established producing areas, residents areon the lookout for gems. Sometimes they find deposits during routine activi-ties, or through simple prospecting methods. In other parts of the world,advanced tools and techniques are used in scientific exploration.

• A number of variables can determine what happens to a gem deposit after it’ sdiscovered. Geologic setting, size, contents, and life expectancy have a directimpact on the effort dedicated to a source. Geography and climate also matter .Infrastructure and resources, as well as social and political conditions, mayeither limit or expand possibilities for development. Outside market demandcan make some gems the focal points of mining.

• In some places mining methods haven’t changed much for thousands of years.In others, know-how, machinery, and organized manpower have createdmodern industry. Even where expertise and technology dominate, however ,the timeless processes of nature and human endeavor continue to do their partin bringing gems out of the Earth.

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____ Discuss the lesson information with your coworkers. Focus on how itcan help you add interest or underscore gem value for customers.Develop and role-play simple statements concerning deposits, explo-ration, and mining that you might use in presentations.

____ Choose a gem in which you’re interested. Look up information onwhere it comes from and how it is mined. You can find this kind ofinformation in books or on the Internet.

____ Start keeping a file of clippings and copies of articles related to thetopics covered in this lesson. These appear regularly in trade publica-tions. Focus on the gems you sell often. As you run across new factsor interesting descriptions, work them into your presentations.

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Lesson 9 Self-Test











Colored Gemstones

Gem Sources and Trade



In This Lesson:• Faraway Lands

• World Sources

• Industry Centers

• Wholesale Trade

FARAWAY LANDS To most of your customers, gems are rare and beautiful trea-

sures from faraway lands. In addition to color and form, they of ferexotic images of the places from which they come. As a result,sharing information about a gem’s geographic origin can add to itsappeal. You could say a Brazilian topaz reflects the mystery of theAmazon rain forest. You might suggest that a sapphire fromMadagascar captures the romance of a tropical island. Even ifyou’re less specific – by stating, for example, that a ruby may havebeen mined in Asia or Africa – you can still spark customers’imaginations.

Gem geography affects value as well as appeal. Many gemshave multiple sources which can help ensure steady supply andcompetitive prices. Other gems come from only a few places, andsome from just one or two. Limited sources often translate intogreater rarity and higher value. This is especially true when thegems have exceptional beauty.

Regardless of the number of sources, gem deposits are finiteand sooner or later they become depleted. The gems they producethen vanish into history unless new sources are found. Thus,current availability of a gem like tanzanite, tsavorite, or Paraíba(pa-ra-EE-ba) tourmaline may represent a chance to own a futurelegend.


Gems offer the emotionalimages and psychologicalscents of the exotic locales fromwhich they come.



2

It’s also important to recognize that gem mines and yourstore are connected by a network of global trade. Providinga glimpse of this network can help you establish trust, buildinterest, or underscore value. You might, for example, assurecustomers that your firm uses only suppliers who adhere tohigh ethical standards. You can express your enthusiasmabout a “find” your buyer brought home from a gem show ,or you could emphasize that your products embody the laborand talent of people and organizations around the world.

In the last two lessons you looked at the beginnings ofgems and the effort it takes to recover them from the earth.In this lesson you’ll see where gems come from, and followthe journeys that bring them to your store. The informationyou gather here will further enhance your ef forts to presentthese rare and beautiful treasures from faraway lands.

Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Identify leading sources of colored gems.

• Describe industry centers and their activities.

• Explain the functions of the wholesale sector.

Gems from limited sources likeParaiba tourmaline may representan opportunity to own a legend.

Photo courtesy Gary Roskin.

Remote mines and your own showcases

are connected by a network of

global trade.



PRODUCT KNOWLEDGE• Precious Metals• Colored Gemstones• Pearls• Disclosure• History of Jewelry




SELLING TOOLS



More than 50 countries hold

deposits of appreciable economic

significance.



WORLD SOURCES There are gem deposits in almost every nation on

Earth. Most of these, however, are of interest only toscientists and collectors. More than fifty countries dohave deposits of significant value. About twenty areimportant producers, and six stand out as world leaders.

Gemstone minerals occur in almost everynation on earth, but relatively few are ofeconomic significance.

Trade journals are the bestway to keep up with currentinformation.

Sources for individual gems are listed in the ColoredGemstone Compendium, which came with this course. Keepin mind that sources can change, though. Some produce forcenturies while others last only for a decade or two, ormaybe just a few years. New ones might be discovered anyday. Stay current by reading trade publications that coverthis topic. Among the best are Colored Stone, Gems &Gemology, Instore, Jewelers’ Circular-Keystone, JewelersQuarterly, Modern Jeweler, National Jeweler, andProfessional Jeweler.

Remember, too, that it’s often impossible to tell where aparticular gem came from once it has been mined and cut. Ifyou’re not certain about the origin of a gem you’re showing,keep your remarks general to avoid misinforming customers.



4

Experts say Brazil suppliedmore than half of all coloredgemstones in the 1990’s.

The Leaders

Because of the volume, quality, or variety of their produc-tion, six countries are currently the leading sources of coloredgems. They are Brazil, Colombia, Madagascar, Myanmar, SriLanka, and Tanzania.

• Brazil – Brazilian gem discoveries began with Portugueseexploration in the 1500s. They’ve continued right up to thepresent, and output has boomed over the last fifty years. Brazil isthe top source for amethyst, citrine, and topaz production in theworld. Along with Sri Lanka, it’s the main producer of alexan-drite and cat’s-eye chrysoberyl. Much of the world’s aquamarineand tourmaline come from Brazil as well. The state of MinasGerais (MEE-nas zha-RISE) has a major deposit of imperialtopaz, and a few mines in Paraíba yield vivid blue and green tour-maline that commands premium prices. Brazil is also a significantproducer of emerald, garnet, iolite, and opal.

Beryl, tourmaline and topaz arethree gems produced by Brazil.

• Colombia – Colombia is the world’s leading source offine emerald. Deposits in the Cordillera Oriental (part ofthe Andes Mountains) have been worked for centuries.The most important mines are Chivor, Cosquez, La Pita,and Muzo. All four are in the northern part of thecountry. Muzo is famous for the lush colors of its finestgems. (Like any other mine, however, it produces arange of qualities.) In the 1990s, the recovery methodsused at Colombian mines were modernized to increaseyield. Dwindling reserves at the existing mines spurredexploration, and in recent years new deposits have beenfound. Colombia also has minor deposits of ruby andsapphire.

Colombia is stillthe world’s prin-ciple source offine emerald.



• Madagascar – This island nation joined the group ofleading producers in the 1990s. There are about fiftyknown gem deposits scattered throughout the eastern halfof the country. The region around Ilakaka and Sakaraha inthe south is among the most active. Sapphires were discov-ered at Ilakaka in 1998, and large quantities have beenmined from that locale. The colors are mostly blue andpink. They tend to be light, and heat treatment is often usedto deepen them. Ilakaka-Sakaraha also produces significantamounts of alexandrite, cat’s-eye, and spinel. Severaldeposits make Madagascar an important source of topazand tourmaline. Emeralds are mined at Mananjary, on theisland’s southeastern edge. Further north, in the province ofToamasina, there are large ruby deposits. Amethyst, citrine,garnet, iolite, opal, and zircon are also found in Madagascar .

• Myanmar (MYAN-mar) – Until 1989 thisSoutheast Asian country was known as Burma,which is another famous name in the gem world.For hundreds of years the Mogok region of centralMyanmar has produced rubies. Some of these areconsidered the finest in the world. Their intense redcolor is traditionally described as “pigeon-blood.”In the 1990s, Mong Hsu (mong SHU) in easternMyanmar became a major ruby locality. Many ofthe gems found there have a violet core, and they’reheat treated to create a more uniform color. Verylarge quantities have already been recovered, andthere appear to be vast reserves for the future, too.In northern Myanmar, the Uru Valley holds theworld’s only commercial source of high-qualityjadeite jade. Other places in the country produceamethyst, chrysoberyl, citrine, garnet, iolite, peridot,sapphire, spinel, topaz, tourmaline, and zircon.

Within the lastdecadeMadagascar hasleaped to promi-nence in thegem producinghierarchy.

Enormous quantitiesof blue and pinksapphires havebeen mined inMadagascar.

Photo courtesy Alfieri &St. John.

Myanmar is knownprimarily for it’s incred-ible rubies and finegreen jadite.




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Myanmar’s gem output has fluctuated in recent decades due to political andeconomic factors. In 2003, the US banned all imports of gems and other productsfrom Myanmar. This action was taken because of human rights abuses by thecountry’s military government.

• Sri Lanka – This country is located on an island of f the southerntip of India. Once known as Ceylon (say-LON), it has been animportant gem producer since at least 500 BC. Mining areas extendfrom the south near Ratnapura (“City of Gems”) northward toElahera. Sri Lanka supplies the world with more than forty gemspecies and varieties, with sapphire topping the list. Substantialquantities of blue and pink material are recovered, (the color isusually intensified with heat treatment), and other colors ofsapphire – as well as star sapphires - are also found. Sri Lanka isone of the world’s main sources of alexandrite and cat’s-eye. Itproduces significant amounts of ruby (including the star variety),plus moonstone, spinel, topaz, tourmaline, and zircon. Other SriLankan gems include amethyst, citrine, garnet, iolite, peridot, and along list of less familiar names like apatite, kornerupine, scapolite,sinhalite, sphene, and taaffeite.

Sri Lanka is a legendary source of fine pastel sapphiresas well as two legendary phenomenal gems - cat’s-eyechrysoberyl and star sapphire.


• Tanzania – This East African nation emerged as agem production leader in the 1960s. More than fiftygem species and varieties in over 200 occurrenceshave been identified. Most important is the country’sgemstone namesake – tanzanite. The world’s onlycommercial deposits of this gem lie among theMerelani Hills in the Arusha region of northeastTanzania. From the Umba Valley, on the border withKenya, come sapphires in many colors. Numerouslocalities produce amethyst and tourmaline. There aremore than a dozen sites for ruby, with the mostproductive being at Morogoro in the east and Tunduru

Tanzanite is Tanzania's most famous contribu-tion to the gem kingdom.

Photo courtesy Gemtech International Corp.

in the south. Tunduru also supplies large quantities ofgarnet along with alexandrite, cat’s-eye, spinel, and blueand pink sapphire. Most of these gems can be found inadditional, smaller pockets around the country. There’s alarge tsavorite deposit in Lindi Province at the country’ ssoutheast corner. Other Tanzanian gems include aquama-rine, emerald, opal, peridot, spinel, topaz, and zircon.



THE TANZANITE PROTOCOLS

With an attractive palette that runs from pale purple todeep blue, tanzanite is one of the world’s favorite

colored gems. In recent years, however, some news sourceshave reported that there’s a connection between tanzaniteand the al Qaeda outlaw network. (Al Qaeda was respon-sible for the terrorist attacks of September 11, 2001.)According to the reports, al Qaeda smuggled gems out ofTanzania and sold them to support its criminal activities.

To deal with this issue, leading trade organizations andthe government of Tanzania created the Tanzanite Protocols.This is a system of regulations and warranties that guaranteetanzanite follows legal market channels all the way from themine to the final retail outlet. The US government alsoconducted an investigation and found no link betweentanzanite and terrorism.

Most consumers aren’t aware of the news stories. So, thisis not a topic you need to bring up in sales presentations. If acustomer asks, though, be ready to provide answers andassurance.

Most Umba sapphires are darker orless saturated than their Sri Lankancounterparts.

Photo courtesy Talisman Unlimited.Tsavorite is another relativenew comer to the gem worldfrom the bounty of East Africa.


Key Regions

The countries around Myanmar in Southeast Asia andTanzania in East Africa form two of the world’s key gemmining regions. A third region with great potential is inCentral Asia.

• Southeast Asia – In addition to Myanmar, thisregion includes Cambodia, Laos, Thailand, and Vietnam.For decades, Southeast Asia dominated ruby andsapphire production. It’s still significant, and will staythat way into the foreseeable future. Cambodia andVietnam supply both gems, but Laos is notable mainlyfor sapphire. Although Thailand was a leading source inthe 1970s and 1980s, most of its known deposits arenow depleted. The country has become a top tradecenter, however, retaining its position of importance inthe industry. Southeast Asia also produces amethyst,aquamarine, citrine, peridot, spinel, and zircon.

• East Africa – Geographically, this region includes Kenya,Malawi, Mozambique, Tanzania, Zambia, and Zimbabwe.From a geologic (or gem formation) standpoint, the islandof Madagascar is part of it as well. Over the last 40 years,East Africa has amazed the world with one gem discoveryafter another. The outlook going forward is promising, too.Kenya supplies large quantities of ruby and tourmalinealong with amethyst, citrine, garnet (including tsavorite),and sapphire. Malawi is known for its ruby deposits.Mozambique is an important source of tourmaline and high-quality aquamarine. Its other gems include amethyst, citrine,emerald, garnet, and ruby. Zambia holds some of theworld’s largest emerald deposits. It’s a significant producerof amethyst and tourmaline, as well as aquamarine, garnet,and opal. Zimbabwe furnishes a steady supply of small buthigh-quality emeralds, plus some ruby and sapphire.



8

Over the last 40 years, East Africahas amazed the world with onediscovery after another.

Grape garnet ®

Photos courtesy TinoHammid.

Zambian emerald



• Central Asia – This region includes Afghanistan,Pakistan, Kazakhstan, Kyrgyzstan, and Tajikistan.Development so far has been limited by the region’sremoteness, lack of infrastructure, and political unrest.Experts believe it could, however, one day become aworld leader in gem production. The area actually beginsin Kashmir. From the late 1800s to mid-1900s, thisnorthern territory of India produced some of the finestblue sapphires ever seen. Mining has now almostcompletely stopped, though. Neighboring Pakistancontains deposits of high-quality emerald, peridot, andtopaz, in addition to garnet, ruby, sapphire, and tourma-line. Afghanistan supplied the ancient world with lapislazuli and continues to be a major source of fine qualitylapis today. For the modern world, new discoveriesbeginning in the 1970s have included fine emerald andsignificant amounts of tourmaline, plus amethyst, citrine,garnet, ruby, sapphire, and spinel. Similar deposits extendnorthward to the other countries of the region.

Kashmir sapphire


Fine Afghan lapis andAfghan tourmaline.

Photos courtesy Gary Bowersox.



10

Other Sources

Aside from the leading nations and regions,five other countries are noteworthy sources ofcolored gems:

• Australia – This island continent is theworld’s top opal producer in both quantity andquality. In the 1980s Australia was a majorsource of sapphires, and its production is stillsignificant. Australia supplies minor amountsof emerald, garnet, ruby, topaz, and zircon, too.

• China – Serious development began in Chinawith a nationwide geologic survey in the1980s, and this country may become a produc-tion leader in the next few decades. There’salready appreciable output of peridot, sapphire,and turquoise, and other known depositsinclude amethyst, aquamarine, garnet, ruby,topaz, and tourmaline.

• India – India produces amethyst, citrine,emerald, garnet, iolite, sapphire, topaz, andtourmaline. Most is “commercial” quality,but a few locations yield fine alexandrite,cat’s-eye, and ruby. India’s northeastneighbor, Nepal, has minor deposits ofsapphire and tourmaline, and it may be asignificant ruby source in the future.

• Nigeria – Since the 1980s this WestAfrican nation has produced an increasingarray of beautiful gems. First came deepblue aquamarine (unlike aquamarine frommost other sources, the color is natural – thatis, untreated), followed by a significantoutput of blue sapphire. In the mid-1990s,

China is likely to become asignificant producer of severalgems such as aquamarine.


Australia is the world’s topopal producer. It alsoproduces large quantities ofblue and fancy sapphires.



emeralds were found in the central part of thecountry. Toward the end of decade, spessartite garnetand pink-to-red tourmaline joined the list. Mostrecently, a deposit in western Nigeria begansupplying tourmaline that can be heat-treated to vividblues and greens. Some of these are comparable tothe gems from Paraíba, Brazil.

Highly sought after by collectors,demantoid garnet is characterizedby an inclusion that resembles ahorse’s tail.


• Russia – Russia’s Ural Mountains were the original sourceof alexandrite, though they now supply only limited amounts.Deposits of ruby and sapphire may be important one day . (Sofar, there’s been minor production.) One area in the UralMountains around Yekaterinburg produces the finest exam-ples of the rare green garnet known around the world asdemantoid (de-MAN-toid). Other Russian gems includeamethyst, aquamarine, emerald, citrine, iolite, jade, lapislazuli, peridot, spinel, topaz, tourmaline, and zircon.



12

AMERICAN GEMS

The United States has never been an important gemsource by world standards. Over the years, however,

it has produced more than sixty gem species and varietieson a commercial scale.

Most US deposits are small. Much of the mining is doneby hobbyists, collectors, and local lapidaries. Large busi-ness ventures are often hampered by limited output, highoverhead, and foreign competition. Still, there are anumber of possibilities you might have opportunities topresent, or at least discuss.

The US is the only source for two very rare and beautiful gems.One is benitoite, which can combine sapphire’s blue and diamond’sfire. The other is beryl with a deep red color. (Mineralogists call thisbixbite.) Benitoite comes from San Benito County in centralCalifornia. The Wah Wah Mountains of southwest Utah are home tored beryl. Both gems are in short supply, so they’re not really part ofthe market mainstream.

There are four gems for which the US is a primary source:

• Peridot – The San Carlos Indian Reservationin southeastern Arizona is one of the mainproducers of this golden-green gem. In thepast, up to 95% of the world’s peridot camefrom San Carlos. Though Arizona remains inthe forefront, China and Pakistan are nowimportant sources, too. Others includeMyanmar, Russia, Sri Lanka, and Tanzania.

Peridot

Red beryl

Unusual 6-ray star garnet

Benitoite

The stunning “Candelabra”Tourmaline was mined by PalaGems at the Tourmaline Queenmine in San Diego county in1972. Today it is on display atthe Smithsonian.

Photo courtesy Smithsonian Institution.

• Star Garnet – The mountains of central Idaho yield agarnet variety that’s dark red to purple in color and shows astar when cut into the domed cabochon form. (The star mayhave four or six rays.) Besides India, Idaho is the only loca-tion that produces significant amounts of this gem.

Red beryl

Photos courtesy Paul Gross.

• Sunstone – This is a variety of feldspar that displays glit-tery reflections from metallic inclusions. (The effect is techni-cally known as aventurescence.) Sunstone has longcome from Canada, India, Norway, and Russia. A newtype found in southeastern Oregon has become the stan-dard of excellence, though. Oregon sunstone colors includerich oranges and reds. Its aventurescence ranges from asilky sheen to bold bright spangles.

• Turquoise – Associated with native cultures of the south-western US, turquoise is widely regarded as the mostAmerican gem of all. Egypt and Iran are historical sources,and China now has sizable output, but the world’s leadingturquoise mines are still in Arizona, Nevada, and NewMexico.



Yogo sapphire

Montana multi-colored sapphires

NorthCarolinaemerald

Oregon sunstone

Oregon picture Jasper

Photo courtesy Firebird Gems.

California tour-maline

The US is also a minor but noteworthy sourceof some “big name” gems. A recent emeralddeposit discovered in 1998 near Hiddenite, NorthCarolina, has produced several thousand carats ofhigh-quality material. Opals have been found inNevada’s Virgin Valley since 1900, and the bestrival those from anywhere in the world. Tourmalinemines in San Diego County, California, have beenoperating on and off since the 1800s, and stillyield remarkable gems. Several deposits inMontana hold sapphires in a rainbow of beautifulcolors.

Dozens of US gem occurrences are locally,regionally, or even internationally famous. A goodplace to start learning more about these is the USGeological Survey website. (Go towww.usgs.gov, search for “gemstones.” Thenselect “Overview of Production of Specific USGemstones.”) Gem guidebooks for most states areavailable in many bookstores, and local gem andmineral clubs can help, too.

INDUSTRY CENTERS The colored gems in your showcases probably

came from many points around the world. It’s diffi-cult to trace individual paths, but from the placeswhere they’re mined, gems typically go first tomarkets in nearby towns. From there, they head tolarger cities in their country of origin, and on to internationalcenters of the gem industry.

Some of these centers are near sources of supply while othersare closer to retail outlets. Most focus on certain kinds or qualitiesof gems. Such specialization can be af fected by a number of factors.These include relationships with producers, capital resources, laborforce skills, availability of technology, and access to downstreammarkets. As a result, different grades of gems often travel indifferent directions soon after coming out of the ground.



14

Primary trade centers for the colored gemstoneindustry are found in Thailand, India, Hong Kong, andSwitzerland.

• Thailand – Bangkok is the capital of Thailand, andit’s also the capital of the country’s gem trade. Expertsestimate that more than 100,000 people in the city areinvolved in trade-related activities. These includetreatment specialists, cutters, jewelry manufacturers,and gem and jewelry wholesalers. Hundreds of thou-sands more people are active in the gem tradethroughout the country. Most gems from SoutheastAsia flow through Thailand, as do many from EastAfrica and Australia. Thailand is the leading exporterof cut ruby and sapphire. It also supplies lar geamounts of other gems. According to US governmentsources, Thailand currently accounts for about 28% byvalue of all colored gems imported into the UnitedStates. (The US buys about 1/3 of the world’ s coloredgems for consumption, so it provides an accuratepicture of the overall market.)

Bangkok is a bustling, crowded,highly cultural gem center.

More than 100,000 people are involved in thegem trade in Bangkok alone.



• India – Jaipur, New Delhi, and Mumbai (formallyknown as Bombay), are among the gem cities in thiscountry. India has traditionally cut its own inexpensivegems as well as lower-quality material from othercountries. In the 1990s, however, the Indian gemindustry began to diversify with a focus on new gemslike tanzanite. It also upscaled with modern equipmentand stricter quality control. As a result, export valueshave increased dramatically. India is now the world’snumber one exporter by value of cut colored gemsother than emerald, ruby, and sapphire. It’s also insecond place for emerald, and in third place for ruby .The country’s total share of US colored gem imports isabout 17%.

• Hong Kong – This special administrativeregion of China has a strong list of advantages:close ties to mines; access to the mainland’slabor pool and production facilities; decades ofexperience in gem cutting, jewelry manufac-turing, and trade; and business connections toeverywhere in the world. Compared toThailand and India, Hong Kong supplies fewercarats but higher qualities of emerald, ruby,and sapphire. Hong Kong is the number threeexporter of other gems. In terms of value, thiscenter provides about 7% of US colored gemimports.

India is the world’s#1 exporter offinished emeralds.

Hong Kong has decadesof experience in the inter-national gem trade.

Within the lastdecade, Indiahas upscaledwith modernequipment andtechnology andstricter qualitycontrol.



16

• Switzerland – This small European nation is farfrom most gem mines, but it’s close to consumermarkets in the West (including the US). That positionhas made it a relatively “big player” in the gem world.In cities such as Geneva, Lausanne, Lucerne, Lugano,and Zurich, there are savvy traders, expert cutters,high-end manufacturers, and prestigious auction housesthat sell fabulous gems both old and new. With morethan 2,000 exhibitors from over forty nations, theBaselWorld Watch and Jewelry Faire sets trends everyyear. Overall, Switzerland accounts for about 6% of UScolored gemstone imports, with the highest per-caratprices of any major center. Swiss-exported emeralds,rubies, and sapphires made up less than 1% of weightfor these gems, but about 9% of value.

Added together, the four main centers supply almost60% of US colored gem imports. Most of the rest isdivided between Colombia, Brazil, Sri Lanka, Israel, andGermany. Colombia sends the US its emeralds. Brazil is acenter for African gems as well as its own. Sri Lankaprocesses sapphires from its deposits, and many fromMadagascar. Israel gained world status through qualitycutting and active trading over several decades. Itfocused on African emeralds in the 1960s, tanzanite inthe 1980s, and Madagascar’s sapphires most recently.Long famed for precision cutting, Germany’s Idar-Oberstein specializes in amethyst, citrine, tourmaline,and other gems from Africa and Brazil.

Agate bowl carvedfrom Brazilian agate.

Photo courtesyLawrence Conklin.

Heron carved fromruby by GerhardBecker.

Photo courtesyLawrence Conklin.

The Basel Fair hosts more than 2,000exhibits from over forty nations.

Geneva plays akey role in theinternationalhigh style gem,jewelry andwatch world.

Idar-Oberstein.

Experts estimate theworld gemstone tradeat the export level tobe between $2 and$6 billion. Retailfigures would beseveral times that.



WHOLESALE TRADE Many individuals play a part in bringing gems

and jewelry to your store. Their knowledge,creativity, and hard work constitute much of thevalue of the products you present. Circling the globeis a professional chain that joins you and yourcustomers with miners in remote locales. Among itsfirst links are buyers of rough, who sometimesoperate in situations that might have come straightout of an adventure movie. Others are treatmentspecialists and cutters who transform lifeless pebblesinto beautiful gems. Closer to home the people andtheir activities become more familiar.

Circling the globe is a professional

chain that joins youand your customerswith miners in the

most remote locales.



18

GARY BOWERSOX, GEM TRADER

In many ways, Gary W. Bowersox is a classic example ofthe independent traders who’ve always been part of the

gem world. Like a modern-day Marco Polo, he bringsAmerican jewelers and their customers multi-hued treasuresfrom the heart of Central Asia. That’s only part of the story,however.

This personal and professional adventure began aboutthirty years ago when Bowersox went to Afghanistan to helpdevelop its gem resources. The country had long been aproducer of fine lapis lazuli, and exciting new finds wereoccurring fairly often. International demand for colored gems was booming, and thefuture looked bright.

Then Afghanistan descended into chaos. First, the government toppled. Then, in1979, the Soviet Union invaded and tried to subdue the country through a decade ofwar. After the Soviets left, civil conflict spread and the infamous Taliban regime rose topower.

Through it all, Bowersox kept coming back – and gems ended up playing a positiverole in the nation’s history. During the Russian war, Afghan freedom fighters boughtweapons and other supplies with money from gems they mined between battles. Later, thegroup known as the Northern Alliance used gems to finance anti-Taliban resistance. (In2001, the US and its allies came to Afghanistan to wipe out terrorists along with theTaliban government that sheltered them.)

Today, Bowersox is confident that gems can be part of a better tomorrow forAfghanistan and its people. In addition to buying and selling, he works with Afghanminers to develop this source of jobs and revenue. He stimulates interest at home througha variety of educational efforts, and he’s extending his sights to other nations in theregion. To some extent this is all part of an age-old profession. It also reflects a 21st

century vision that’s expressed in the motto Bowersox chose for his company: “Byunearthing the past, lighting the way to the future”.

Gary’s travels take him to someof the most remote, primitiveplaces in Central Asia.

(To learn more about Gary Bowersox and hisactivities, visit his company website at

www.gems-afghan.com.)



Jewelry Manufacturers

Most of the colored gems you sell probably passed throughthe hands of jewelry manufacturers. These professionals form avaried segment of the wholesale industry. They include designartists, craftspeople, and experts in mass production. The largestmanufacturers produce complete lines of diamond and coloredgemstone jewelry. Others offer narrower selections of nationallybranded items, and some are organized around the work of singledesigners.

In Lesson 7 you examined the gemstone jewelry available totoday’s consumers. Besides adding value to gems throughartistry, workmanship, and precious materials, jewelry can haveits own geographic interest. A high percentage of jewelry sold byUS retailers is manufactured in other countries. The leadingshare comes from Italy, which has a jewelry-making traditionthat’s almost 3,000 years old. Italian manufacturers have well-deserved reputations for elegant style and excellent quality. HongKong, India, and Thailand are also leading manufacturers. Theyspecialize in midrange to high-priced items. Other sourcesinclude Brazil, Turkey, and the nations of Western Europe.

US manufacturing is focused in New York, Los Angeles, andother metropolitan hubs, though there’s healthy activitythroughout the country. The US has a giant consumer marketthat’s highly competitive yet also demanding and appreciative ofindividuality. For this reason, American jewelry manufacturersexcel at combining beauty and innovation with quality and value.

Award winning design bySuna Brothers.

Italy is known for elegant style andexcellent quality; Hong Kong andThailand for mid-range to high-price styles.

Manufacturers include a range fromindependent, imaginative artists tomass production specialists.

Italy

Hong Kong

Thailand



20

Dealers

The professionals known as wholesale dealers operate indifferent ways and serve a variety of needs. Some are indepen-dent. Others work within large organizations. They all sell prod-ucts and provide services, but from the standpoint of structureand function, they bridge gaps.

In the past, wholesale dealers were all-round middlemen.Full-service wholesalers connected cutters and jewelry manufac-turers with retailers. Somewhat like old-fashioned generalstores, they sold expensive diamond rings, low-cost imitations,and everything in between. In the last few decades things havechanged dramatically. More direct connections between majorproducers, cutters, jewelry makers, and retailers have stream-lined market flow.

Wholesalers have responded by creating niches for themselves. Somestill sell wide assortments of gems and jewelry. Most, however, concen-trate on particular types and qualities, or specific brands. One might of ferpopular gems in affordable sizes and grades; another, rarer and costliergoods for a more restricted clientele. As a group, though, wholesaledealers can fill almost every conceivable need. These are the sources yourstore buyer is likely to contact in order to purchase loose gems for inven-tory or to meet special requests for your customers.

Dealers today offer more directconnections between producers,cutters and retailers.

Photo courtesy JCK Shows.

Dealers sell products, provide services

and bridge gaps.

Today’s wholesalers, likedesigner Chris Correia(second from left), fillcarefully defined niches.

Photo courtesy JCK Shows.

Photo courtesy LeVian.



INDUSTRY FORUMS

In the gem industry, communication and exposure are essential for success. To fulfill theserequirements, colored gemstone professionals take advantage of three main forums:

• Associations – In every trading center there are professionalorganizations dedicated to promoting the industry. Active on aglobal level is the International Colored Gemstone Association(ICA), which is made up of miners, cutters, and dealers fromaround the world. In the US and Canada there’s the AmericanGem Trade Association (AGTA). Its 1,000-plus members includecolored gemstone and cultured pearl dealers who adhere tothe highest professional standards. The AGTA GemologicalTesting Center (AGTA GTC) provides gem identificationservices. The association sponsors the AGTA Spectrum Awards,an annual competition in jewelry design and the lapidary arts.It also promotes consumer awareness of colored gems.

• Shows – Combining education, recreation, and business,trade shows bring together every segment of the industry. Theworld’s biggest show for colored gems occurs each yeararound the beginning of February in Tucson, Arizona. It’s actu-ally a constellation of more than two dozen separate showsthat attract thousands of dealers, buyers, and gem lovers. Oneof the cornerstones is AGTA GemFair Tucson. Other majorannual events are held in cities such as Las Vegas, New York,Munich, and Vicenza. Many regional or state jewelers organi-zations also produce shows for their members.

• Internet – Many firms in the wholesale sector maintainwebsites to attract customers or stay in touch with them. Thoseknown as business-to-business networks have become nonstopcyberspace gem shows. These sites are open only to profes-sionals, and they screen visitors carefully. The largest may havethousands of gems listed at any given time. Besides specifyingkey value factors, some provide photo images and extra infor-mation. Additional features include directories, trade news,discussion groups, and links to other useful sites.

Trade shows combine educa-tion, recreation and business.

Photo courtesy JCK.

Many businesses in the whole-sale sector now maintainwebsites to serve customers.



22

LESSON 10 FOLLOW-UP CHECKLIST ____ Develop statements that can help you add geographic interest to the

colored gems you present. Remember to keep remarks general unlessyou’re certain of origin. For example: “Many fine emeralds comefrom Colombia. Other sources include Brazil and Africa.”

____ Discuss with your coworkers ways in which you might use the storyof a gem’s journey from the mine to your store to achieve variousobjectives in a presentation.

____ In the coming months, watch for TV programs, magazine articles, andwebsites that will help you “spice up” descriptions of gem sourcesand industry centers.

____ Ask your manager or buyer for specifics about key jewelry lines orbrands your store offers – where they come from, biographical infor-mation about designers, and so forth. Then role-play using this infor-mation to help paint an even more detailed picture for yourcustomers.

RECAP OF KEY POINTS • Sharing information about geographic origin can add to a gem’ s appeal.

Geography also affects gem supplies and prices. Giving customers glimpsesinto the gem trade can help you establish trust, enhance interest, and under-score value.

• The leading producers of colored gems are Brazil, Colombia, Madagascar ,Myanmar, Sri Lanka, and Tanzania. Countries around Myanmar in SoutheastAsia and Tanzania in East Africa make those two regions even more impor-tant.

• From the mines, gems flow to industry centers as they begin their journey toyour showcases. Top centers for colored gems are in Thailand, India, HongKong, and Switzerland. Each of these specializes in certain kinds and qualitiesof gems.

• Many individuals play a part in bringing gems and jewelry to your store. Theirknowledge, creativity, and hard work constitute much of the value of the prod-ucts you present. Key components of the wholesale sector include jewelrymanufacturers and wholesale dealers.



his lesson also includes a Self-Test that’s designed to help you gauge your comprehension of the lesson material. The test is an important part of the learning process, so be sure to complete it.








Lesson 10 Self-Test

T

Colored Gemstones

Gem Identification



In This Lesson:• Critical Assurance

• Clues to Identity

• The Testing Process

• An “Ident” Scenario

• Lab Assistance

CRITICAL ASSURANCE In previous lessons of this course you’ve learned that different kinds

of gems can look alike. So, you may have wondered, how is it possibleto tell one species or variety from another? Occasionally, a customermight ask, “How do I know it’s what you say it is?” Even if that ques-tion isn’t verbalized, it could still be present in the customer’ s mind.That’s not an unreasonable concept, either. Many consumers today havetheir guards up when they buy anything. The greater the cost and theless familiar the product or seller, the higher the defenses are likely tobe.

As far as your customers are concerned, the issue ultimately comesdown to trust. For this reason, everything you say and do in a presenta-tion must communicate your knowledge and integrity. Every aspect ofyour store operation should also reinforce that message. A good way tostart is by showing genuine interest in customer’s needs. It’s importantto share information confidently. Handling merchandise with propercare is essential. You can explain guarantees and return policies as well.All these details – and many others – help you build trust.

Look for opportunities to “sell” your store. You might, for example,mention that your company does business only with reputable suppliers,or you could indicate that your quality-control department is staf fed by

Gem Identification

“How do you tell one fromanother?” is a question bothyou and your customersmay have.

expert gemologists working with the latest instruments.Similar assurance is critical when you take in jewelry forrepair or appraisal. Making such points at the right time, inan appropriate way, creates a positive impression of profes-sionals safeguarding customers’ interests.

For customers who still have reservations, you may needto go a step further. Without getting too technical, you shouldbe able to describe the basic principles and methods of gemidentification. In other words, you sometimes need to tellcustomers how buyers and sellers throughout the jewelryindustry distinguish between various gem products – natural,treated, synthetic, or imitation. This lesson will give youinformation you can use for that purpose.


Gem Identification

2

Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Define properties that are important in gem identification.

• Discuss the way gemologists approach testing.

• Describe a typical gem identification scenario.

• Explain the role of trade labs and advanced tests.

Selling yourself and your business is oftenan important part of selling fine jewelry.



PRODUCT KNOWLEDGE• Colored Gemstones• Disclosure• Designer & Brand Name Jewelry• Custom-manufactured Items


SERVICE DEPARTMENT



SELLING TOOLS



Gem Identification


CLUES TO IDENTITY In previous lessons you learned that it’s the combination of chemical

composition and crystal structure that defines a mineral species. Any gem’sidentity depends on its atomic recipe and the w ay the atoms are arranged.While scientists can assess these factors directly, gemologists use indirectmethods. They identify gems by observing or measuring properties that areproduced by composition and structure. To help customers understand this,you might point out that medical labs can test DN A to identify a person, butmost of us rely on traits like height, weight, complexion, and facial features.

Natural ruby, heat-treatedruby and synthetic ruby allhave the same compositionand structures – and thusthe same properties.

Photo courtesy Michael Beaudry.

Gem properties by themselves don’t always provide a complete identification,though. Natural ruby, heat-treated ruby, and synthetic ruby, for example, all havethe same composition and structure, and therefore, the same properties. To separatethem, gemologists must look for other identifying characteristics.

Over the years, researchers have compiled a long list of gem properties andcharacteristics. Some are mainly of technical interest. Others – lik e hardness andtoughness – normally apply more to care than testing. (You’ll take a closer look atthem in Lesson 13.) Here, however, is an overview of those that are most useful inidentifying colored gems:

• Color – This is the top factor in appeal and value, but it’s not always reliablein testing. One reason is that different kinds of gems can have the same color.Many gems also occur in more than one color , and treatments can give somegems almost any color. In preliminary assessments, though, color still suggestssome possibilities and eliminates others so it mak es a good starting point. Asyou’ll see below, instruments can reveal details about color that are more “diag-nostic” as well.

Gemologists identify gems by observing or measuring

properties that are produced by composition and structure.


Gem Identification

4

• Other Visible Features – Besides color, some of the mostobvious and helpful visible features are phenomena – asterism,chatoyancy, play-of-color, and so forth. Distinctive markings orpatterns, like those you see in agate and malachite, can be useful,too. Transparency and luster sometimes point to identity, as do thedifferent appearances of components that make up assembledproducts.

• Refractive Index – Refraction is the slowing and bending oflight in materials like gems and water. You can’t see the slowing,but you can sometimes see the bending. A familiar example is adrinking straw that appears to bend in a glass of w ater. Refractiveindex (RI) is a numerical way of expressing this effect. Each gemhas a unique refractive index which is a measure of its opticaldensity. The higher the RI, the greater the strength of the refrac-tion. RI is one of the most constant gem properties, and it’ smeasured with an instrument called a refractometer.

• Birefringence – Because of the way in whichtheir crystal structures interact with light, manycolored gems have two RI’s. These gems are classi-fied as doubly refractive (DR). The differencebetween the two RI’s is known as birefringence (by-ree-FRINJ-enss). Technically defined as “the strengthof double refraction,” birefringence is even moreconstant than RI. The lowest and highest RI’s ofperidot, for example, are normally around 1.654and 1.690. That makes the birefringence .036.(1.690 – 1.654 = .036) Both RI’s can vary some-what, but if the lowest reading goes up or down,the highest reading will go up or down the sameamount. So, the birefringence stays the same. Whenthe RI and birefringence are considered together,they identify peridot.

The presence of any phenomenonwill limit the possibilities of the ulti-mate identification.

Photo courtesy Michael M. Scott collection.

Refractive index is one of themost constant gem properties.Measured on a refractometer, itappears as a demarcationbetween shadow and light on anumerical scale.

The appearance that an object“bends” when it enters water iscaused by refraction.

Refractive index is one of the most constant

gem properties.

• Optic Character – This property is also linked to crystalstructure’s interaction with light. Gems with just one RI are clas-sified as singly refractive (SR). When light enters them it onlyslows and bends. In doubly refractive (DR) gems – those withtwo RI’s – light is also polarized, or split into separate rays. Thisis what produces the two RI’s. In addition, gems like chalcedonyand jade are made up of many tiny crystals that scatter lightrandomly. This is known as an aggregate reaction. A gemologistusing a polariscope can determine if a gem is SR, DR or aggre-gate. Thus, the test supplies clues to the gem’s internal structure.

Gem Identification


• Pleochroism – Added evidence about structure can come from a gem’s color. In Lesson 2 youlearned that color is usually caused by selective absorption. When a DR gem polarizes light, theseparate rays may undergo differing absorption and take on different colors. This property is knownas pleochroism (PLEE-oh-crow-ism). There are actually two versions of pleochroism. Dichroic(DYE-crow-ik) gems show two colors. Trichroic (TRY-crow-ik) gems show three. When you lookat a gem under normal conditions, you usually see a blend of an y pleochroic colors that are present.To see the colors separately, you need an instrument like the dichroscope. However, in a few gems– for example, iolite and tanzanite – the effect is so strong you may see dif ferent colors dependingon your viewing direction.

The polariscope is used by gemol-ogists to determine if a gem issingly refractive, doubly refractiveor an aggregate structure.

Ruby

Iolite

Tanzanite

A gemologist uses a dichroscope to seepleochroism in a gem.

Pleochroism

The characteristicpleochroic colors ofruby, iolite andtanzanite as seen in acalcite dichroscope.

• Specific Gravity – In Lesson 4 you learned that specificgravity (SG) is the weight of a material compared to theweight of an equal volume of water. The easiest way to esti-mate this property is by placing a gem in liquid chemicals –called heavy liquids – that have been “calibrated” to variousSGs. This test works on a simple principle. If the gem’s SGis higher than the liquid’s, the gem will sink. If the gem’sSG is lower than the liquid’s, the gem will float. If the gem’sSG is the same as the liquid’s, the gem will remainsuspended wherever it’s placed in the liquid. SG is morevariable than some other properties, and it can’ t be deter-mined at all if the gem is mounted, so it’ s usefulness intesting is limited.


Gem Identification

6

• Absorption Spectrum – This is another way ofanalyzing selective absorption that can supply informationabout chemical composition. Using a spectroscope, it’spossible to spread light that shines through a gem into arainbow pattern. A colored gem will absorb some of thelight. So, instead of a complete spectrum, there might bedark bands or lines in certain hues. These represent absorp-tion caused by specific chemical elements. For example,chromium – the element that colors ruby and emerald –produces sharp lines in the orange or red part of the spectrum. Iron – a coloring agent for man ygarnets and sapphires – causes bands in the blue and green. The absorption in many gems is toosubtle to see with a standard spectroscope, b ut some have distinctive patterns that provide a rapidway of narrowing possibilities or making conclusive identifications.

Some gems display a very characteristicabsorption spectrum. Gemologists canuse it to aid in identification.

A gem isimmersed inSG liquid.

If the gem sinks,its density isgreater than theliquid. If it rises,its density is lessthan the liquid.

Specific gravityliquids measure therelative physicaldensity of a gemmaterial.

SG can not be determined if the gem is mounted.

Gem identification begins with a

healthy balance between

open-mindednessand

common sense.

Gem Identification


• Fluorescence – Fluorescence is the visible glowthat some gems emit when they’re exposed to ultravi-olet (UV) light. It occurs in sunshine and under fluo-rescent lighting because both contain high amounts ofUV. Gemologists use special lamps and viewing cabi-nets to make the effect stand out clearly in testingsituations. The presence and strength of fluorescencecan be influenced by a number of f actors. In mostcases, testing for fluorescence gives supplementalinformation that helps to confirm other tests.

• Inclusions – Clarity characteristics such as fingerprints, fluidinclusions, and included crystals can hurt a gem’s beauty, dura-bility, and value. Because they’re hallmarks of geologic origin,however, they can also provide important clues to a naturalgem’s identity. Synthetics, imitations, and treated gems oftencontain their own microscopic clues to the processes thatcreated or transformed them. Of all the tests used in gem identi-fication, this one takes the most expertise. It also requires agemological microscope that provides accurate images, highmagnification, and specialized lighting.

THE TESTING PROCESS You can tell customers that gem identif ication is essentially

“detective work.” It’s based on a process of observation, testing, anddeduction. It also requires a balance between open-mindedness andcommon sense. Anything is possible, but some things are morelikely than others. This attitude keeps good gemologists fromjumping to conclusions, yet at the same time, it helps them a voidwasting their efforts.

What a gem tester looks for can depend on the situation. Ajewelry store’s buyer, for example, is typically concerned with spot-ting synthetics, imitations, and treatments that weren’ t disclosed bysuppliers. An appraiser who’s evaluating family heirlooms mightrun across any material that’s been used as a gem in the last fe whundred years or more.

Seeking identifyinginclusions requires thehighest level of exper-tise and experiencefrom a gemologist.

Inclusions are the hallmarks ofeither natural or man-made origin.

In any case, the goal is to reach a positi ve conclusion – or proof – concerning the gem’s identity.This usually means methodically whittling down a list of possibilities. There are different ways to goabout it, but the first step is always careful examination. After that comes a variable selection of instru-ment tests aimed at obtaining key information, narrowing choices, and arriving at the final decision. Asingle test is almost never enough, and so far, all attempts to invent a “magic black box” that automati-cally identifies gems have failed.


Gem Identification

8

During the sorting-out stage, constant optical properties (thoseconnected with light) are generally the most useful. These include RI,birefringence, optic character, and pleochroism. Less dependable, butoccasionally important, are other optical properties such as absorptionspectrum and fluorescence. Inclusions and additional characteristicsseen through a microscope are often crucial in separating natural fromsynthetic and treated gems. SG (a physical property) can help separateimitations and natural look-alikes. As you’ve already learned, however,testing for SG isn’t possible if the gem is mounted.

Jewelry mountings can restrict optical testing, too. To measure RIand birefringence, the gem must be in direct contact with the refrac-tometer. For reliable results with a polariscope or dichroscope, you’vegot to shine light through the gem from se veral directions.

Flexibility and resourcefulness are often necessary. If one way ofobtaining needed information is blocked, another must be found.Unmounting the gem is a last resort because it tak es extra time, labor,and expense. It also involves a certain amount of risk, because even ifthe work is done with great care, the gem might be chipped or brok en.

The only option that’s always ruled out is any form of destructivetesting, such as scratching the gem’s surface or applying heat or acid.Destructive tests can leave the gem’s beauty and durability impaired.

Few people can memorize all the properties, characteristics, andtests for every gem, so most gemologists rely on references forspecifics and “navigational aid.” The simplest are charts that present agreat deal of data in a highly condensed form. These can be hard tointerpret without in-depth training, however. Detailed manuals providemore user-friendly guidance. A number of books cover the methods,instruments, and scientific background of gem identification. Todaythere are also computer programs that can “w alk you through” theprocess from start to finish.

Jewelry mountings can restrictoptical testing.

GIA’s A-stone property chartprovides much of the basic dataa gemologist needs to identifycommon gems.

Photo courtesy GIA.

Gem Identification


Any professional concerned with testing ona regular basis is likely to have files containingnotes and clippings or copies of articles fromrespected trade journals. This reflects the factthat new testing challenges are continuallyappearing in the gem world.

AN “IDENT” SCENARIO Now you’ve seen the pieces of the puzzle and the basic approach to

solving it. Running through a hypothetical gem “ident” scenario mighthelp you get a sense of how everything comes together. Let’s say you’rethe gemologist doing the testing, and you’re looking at a transparent redfaceted gem set in a ring. Your clues are in italics.

The moment you lay eyes on the gem your brain shifts into “identif i-cation” mode. Two facts – transparent and red – eliminate everythingthat’s never both. This leaves plenty of possibilities, however. One of thefirst that springs to mind is ruby (natural, treated, or synthetic). A redgarnet like almandite or pyrope is also very possible. To make sure youdon’t miss anything, you check a chart for gems that could be both redand transparent. You see that other “maybes” include spinel, topaz, tour-maline, glass, plastic, synthetic cubic zirconia, and an imitation of somekind. “Outside chances” are beryl, fire opal, zircon, and natural orsynthetic alexandrite. There’s also diamond. Red is an extremely rarecolor for natural diamond, but it’s available in the treated and syntheticversions.

After this preliminary search and list making, it’s time to get down tobusiness:

Test 1: You examine the gem thoroughly, first with only youreyes, then with the microscope set at low power. (Most gemolo-gists start at 10x.) The gem has a high luster. This suggests afairly high RI. It isn’t conclusive, however. You notice some inclu-sions, but it’s too early to pay much attention to them. You alsoswitch from incandescent to fluorescent lighting. There’s no color-change. So, you can mark off alexandrite and synthetic alexan-drite due to the absence of their hallmark phenomenon, changeof color. Otherwise, there are no giveaways and you proceed.

This red gem could be ruby,garnet, spinel, zircon, tour-maline – or several others.It may also be synthetic orassembled. The high lusterindicates it has a fairly highrefractive index and alsogood hardness.

New testing challenges are continually

appearing on the horizon of the gem world.


Gem Identification

10

Test 2: The ring setting doesn’t extend above the top ofthe gem. This allows you to use the refractometer. Thefaceted cut is another plus because you can obtain a solidRI. (If the setting was too high, you’d probably go with thedichroscope or spectroscope. If the gem was a cabochonor carving, your RI reading wouldn’t be quite as reliable.)

You determine that the RI is about 1.76. This is amajor clue because it eliminates almost all the gems onyour starting list. What’s left are natural, treated, andsynthetic ruby. Some type of assembled product is stillpossible. So are almandite and pyrope garnet. (Althoughan RI of 1.76 is low for almandite and high for pyrope,it’s within the variation ranges for both.)

As a first step with the refractometer, you simplydetermined the RI. Now, you look for double refractionby rotating a polarizing filter over the refractometereyepiece. You see a second RI reading, which indicatesthe gem is DR. You confirm this by making additionalreadings as you rotate the gem on the instrument. Thistakes a few minutes but it pays off. For the most accuratepossible results, you use special filtered lighting withyour refractometer. You determine that the gem has amaximum RI of 1.770, a minimum RI of 1.762, and a bire-fringence of .008.

These results eliminate singly refractive garnets andcut the “prime suspects” down to natural, treated, orsynthetic ruby. Other possibilities are a doublet assem-bled from two pieces of natural ruby, or one made with anatural sapphire top and a synthetic ruby bottom. Neitherof these assembled products is commercially manufac-tured as a legitimate imitation, however. They’re bothmade to deceive.

With a refractiveindex of 1.76, agemologist wouldeliminate zircon,spinel and tourma-line. But this gemcould be a garnetor a type of ruby.

Continued testing shows a secondRI at 1.77. The gemologist knowsthis is corundum – natural,synthetic or assembled.

Gem Identification


Test 3: You’re in the home stretch, but you stillhave some challenging separations to make. Afterconsulting your references, you decide that magnifi-cation is your best bet. You increase the magnifica-tion on your microscope – to maybe 30x or 40x –and take a good close look. As you explore thegem’s interior for the last clues to this puzzle, yousee included crystals and needle-like inclusions.These indicate that the gem is of natural origin,and eliminate synthetic ruby as a possibility. Uponcloser examination, you see that the included crys-tals are surrounded by stress fractures, and theneedles appear “broken” or “segmented.” Theseare signs of heat treatment. The stress fractures arethere because the included crystals expanded morethan their gem “host” did during the treatment. Thebroken needles mean that the “silk” partiallydissolved at high temperature.

Your final identification, then, is heat-treated ruby. Yes,it was one of the first items on your list, and it w as alwaysamong the most probable – but now you’re certain.

In cases where you can’t reach a confident decision, itmight be time to call in additional assistance.

Included crystals indicatenatural origin. Stress frac-tures around the crystalsindicate heat treatment. Thegem is not synthetic.Examination reveals noseparation plane soassembly is also ruled out.

In challenging separations,

magnificationis your best bet.

Mistaken identificationcould have serious consequences

for both your wallet and your reputation.


Gem Identification

12

LAB ASSISTANCE A decade or two ago, a trained gemologist could use

standard tests to identify almost every product in the gemworld. Those days are now gone – probably forever. Onereason is the increase of sophisticated treatments andsynthetics in recent years. Another is the demand for moreinformation. It was once enough to determine that anemerald was fracture-filled. Today, people want to knowabout the material that makes up the filling.

As a result, trade laboratories and their testing services ha ve astrategic place in the jewelry industry. This is especially true when thestakes are high. The scenario in the previous section serves as a goodexample. If there were no inclusions or other distincti ve characteristics,you could have a melt synthetic worth fifty cents, or a fine natural rubythat might fetch $100,000 at auction. A mistaken identification couldhave serious consequences for both your wallet and your reputation, sothe extra time and expense required to submit the gem to a qualif ied labwould be justified.

For most of their work, trade labs use the same tools and proceduresthat in-store gemologists use. Lab gemologists get lots of “practice, ”however. They encounter a wide variety of gems, have access to informa-tion and other resources, and the combined e xperience of their profes-sional team may add up to centuries.

The proliferation of increasinglysophisticated treatments and natural-looking synthetics sometimes call forgem lab services.

Through constant practice,lab technicians developexceptional proficiency ingem identification.

Photo courtesy AGTA.

Gem Identification


When necessary, a trade lab can also pull out “big guns” in theform of advanced instruments. These can perform tests with tongue-twisting names like spectrophotometry, Raman spectroscopy, andenergy dispersive x-ray fluorescence. Most deal with basically thesame properties as more traditional instruments, but they greatlyexpand the range and precision of the data that’ s collected. Forexample, a standard spectroscope shows relatively intense absorp-tion of visible light. A spectrophotometer measures absorption allthe way from infrared to ultraviolet, and prints out the results on agraph that reveals even the subtlest details.

The final report issued by a reputable trade laboratory can be aneffective presentation tool, provided you are prepared to use it. Youmust become familiar with the layout of any reports or similar docu-ments you plan to show customers. You also need to understand –and be able to explain – the information they contain and to discussthe qualifications of the organization behind the testing. Many labsmaintain websites or publish promotional literature that’s useful forthis purpose.

Always remember that you are the expert advisor for yourcustomer and that your firm stands squarely behind the products thatyou sell. In the final analysis, those facts are the real basis for trust.

You’re the expert

advisor for your customer

The report issued by a reputabletrade lab can be an effectivepresentation tool if you know howto present it.

Photo courtesy AGTA.

A spectrophotometermeasures absorption allthe way from the infraredto the ultraviolet.

All forms of energy – visibleand invisible – are part of theelectromagnetic spectrum.


Gem Identification

14

RECAP OF KEY POINTS

• Customers are cautious when purchasing expensive products like gemstonejewelry, so everything about the sales interaction must inspire trust.Emphasizing the reliability of your suppliers and the qualif ications of yourstaff can help, but you may also need to explain how gems are identified.

• Gemologists identify gems by observing or measuring properties that pro videclues to composition and structure. In some cases, additional e valuation isnecessary for complete identification. The properties and characteristics mostuseful in identifying colored gems are color and other visible features, refrac-tive index, birefringence, optic character, pleochroism, absorption spectrum,specific gravity, fluorescence, and inclusions.

• Gem identification is based on observation, testing, and logic. It begins withan open, yet reasoned, assessment of possibilities, then proceeds from carefulexamination, through selected instrument tests, to f inal proof of identity.During this process, constant optical properties are most useful. Limitationsimposed by factors such as jewelry mountings must be overcome. Destructivetesting is not an option.

• Trade laboratories help gem and jewelry professionals meet testing challengescreated by synthetics and treatments, and the growing demand for full productinformation. For most of their work, trade labs use traditional instruments andprocedures with great proficiency, resources, and experience. Advanced testingexpands the range and precision of information. Lab reports can be ef fectivepresentation tools, but you and your firm provide the ultimate basis forcustomer trust.

Gem Identification



____ Practice simple reassurances concerning your firm’s quality controlthat you might use in sales presentations.

____ Talk to your manager or buyer about the instruments and tests yourfirm has available for gem identification. If possible, arrange somedemonstrations. Then work out and rehearse short descriptions youcan use to build trust or answer customers’ questions.

____ If you have gems that have been identified by a trade lab, becomefamiliar with the reports. Discuss additional information you mightneed – for example, background on the lab – with your manager .Then role-play using lab reports in presentations.

Lesson 11 Self-Test









Gem Identification


Colored Gemstones

Gem Magic and Romance



In This Lesson:• Meanings and Messages

• Stories Behind the Names

• The Language of Color

• History, Myth, and Lore

• The Birthstone Tradition

• Anniversary Gems

• Gems and Celebrities

• The Fashion Connection

MEANINGS AND MESSAGES When you present colored gems, you need to identify your prod-

ucts clearly, explain their value, disclose any treatments they’veundergone, and provide guidance on care. For added interest, youmight share a little information about topics such as gem formation,mining, or sources. All these factual components are important, but totruly meet a customer’s needs, it’s essential to focus on the ideas andemotions that sparked the desire to own or give a gem in the firstplace. These often involve gem “magic and romance” – in otherwords, the meanings gems hold and the messages they convey .

There are many reasons for purchasing gemstone jewelry. One ofthe most frequent is expressing affection. Others include celebrating aspecial occasion, making a fashion statement, or simply enjoyingbeauty. Each of these reasons can combine emotion and psychology .Even decisions that seem routine often reflect deeper sentiments. Acustomer might tell you she’s just looking for an item to accessorize anew outfit. At a certain level, however, she’s aware that her choicewill make a statement to anyone who sees her wearing it. As a result,

Gem Magicand Romance

In professional selling, it’smost important to focus on theemotions that motivate a cus-tomer to own or give a gem.

Cover photo courtesy Library of Congress.

a critical step in the selling process is identifying the statementshe wants the jewelry to make. This is part of the skill knownas profiling.

Through profiling you can discover a customer ’s realmotives for making a purchase. Then you need to build onthose motives in order to assist in making the perfect choice.With practice, it’s possible to use the information you gather ina sales conversation to ensure that every fact (or feature) youmention links with a benefit that’s significant to the customer.History, folklore, tradition, famous personalities, and fashionare among the varied elements that can connect a customer ’spersonal events with magical gemstone moments.

In Lesson 14, you’ll analyze the selling process step-by-stepand you’ll learn about profiling and translating features intobenefits. At this point, it’s time to look at some of the sourcesyou can use to help customers appreciate gem meanings andmessages.



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Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Use history and lore to sell gemstones.

• Name the birthstones for each month.

• Suggest gems for any and every anniversary.

• Add celebrity “sizzle” to your presentations.

• Make fashion an effective part of your presentations.

Expressing emotion or makinga fashion statement are amongthe most frequent reasons forpurchasing gemstone jewelry.


Sales Professional CertificationProgram™, this lesson presents infor-mation related to the following SkillAreas:PRODUCT KNOWLEDGE• Colored Gemstones• Pearls• History of Jewelry• Designer & Brand Name Jewelry• Custom-manufactured Items






STORIES BEHIND THE NAMES In some cultures, people believe that saying the name of a

mystical force or being will summon its power. That’s worthremembering when you present gems. Take, “emerald,”“ruby,” and “sapphire” for example. These names instantlycall up a host of romantic images. Even gem names that areless familiar – like peridot, tanzanite, and tourmaline – soundexotic to many customers. Keep this in mind when you firstidentify a gem you’re showing. Recognize that you’re makingan important introduction, and do it with appropriate flair .

A number of lesser-known gems have names that aren’t asfamiliar or melodious, however. You might put tsavorite(SAVV-oh-rite) and alexandrite on this list. Others includecitrine, garnet, quartz, spinel, and zircon. For these gems, youoften need to go into a more detailed introduction, perhapsadding the story behind the name and a few interesting factsto build appeal.

You could say, for example, that tsavorite wasnamed for Kenya’s Tsavo National Park. Explainthat Tsavo (SAVV-oh) is one of the world’s great-est wildlife preserves. It’s filled with the animalsthat make Africa a top destination for naturelovers. It’s also located near the world’s only majorsource of this magnificent gem. Then you’re readyto pop the surprise that the bright green gem is agarnet.

To set the stage for alexandrite and its color -change, youcould tell a customer this rare gem was named for a Russianprince. You could add that it was supposedly discovered inRussia’s Ural Mountains on the day Crown Prince Alexandercame of age in 1830. (The prince later became CzarAlexander II.) Besides having a lucky discovery date, the gemdisplayed an unusual phenomenon. It appeared green in day-light, but red in the incandescent glow of candles – and thosewere the colors of the imperial family!

When you introduce a gem,

do it with appropriate

dramatic flair.

Tsavo National Park in Kenya –the namesake for tsavorite – isteeming with wildlife and nativeculture.

Getting more elaborate, you might find chances to share the2,000-year-old story of how a favorite purple gemstone obtainedits name: Once upon a time, Bacchus, the Roman god of wine,was in a foul mood and decided to vent his anger by ordering hispet tigers to attack the first person he met. That turned out to bea young girl who was going to pray at the shrine of Diana, god-dess of the forest. As the beasts lunged for the maiden, she criedout to the goddess for help. Diana responded by transforming herinto a statue of sparkling crystal. Stunned by the miracle,Bacchus was sorry for his cruelty and poured an of fering of wineover the petrified form, staining it deep purple. The name of themaiden – and the gem created by her transformation – wasAmethyst.



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When you introduce gems to customers, think of it asintroducing friends to other friends. Imagine being with agroup of old friends when another acquaintance comesalong. You might start the introductions with, “Jim, this isJoannie, Peter, Amanda, and Ray. … Everyone, this isJim.” If you stop there, the names may not be remem-bered. The people you just introduced also won’ t havemuch appreciation for each other. On the other hand, ifyou mention a little about each person as you introducehim or her – she’s a nurse, he’s a fireman, she’s an accountexec, we went to college together – the individuals take onmore significance.

Introducing gems is much the same. Don’ t stop withthe name. Tell a little about the gem so you can help yourcustomer recognize that each gem has its own personality .Regardless of whether the introduction is short or long,your goal is to make the moment your customer encoun-ters each gem a memorable one – to capture her attention,help her truly see what you’re presenting, and to make alasting impression.

Legend associates amethyst withBacchus, the god of wine. Thisring depicts the legend carved instone.

Photo courtesy J. Michael Allbritton.

Each gem has as distinct a personalityas each person you know.

Photo courtesy Akiva-Gil.

THE LANGUAGE OF COLOR Besides being the top factor in beauty and value for most gems, color is also a major

component of gem magic. It’s impossible to know when gem colors first took on deepermeanings, but color symbolism was probably among the earliest products of human imagi-nation. In some prehistoric cultures – more than 50,000 years ago – black may have signi-fied death while red (the color of blood) stood for life. Over the ages since, symbolism andcivilization have evolved together. Today the language of color is part of modern life.

In Lesson 4 (on value factors) you learned that a mixture of scientific precision andromantic imagery is the most effective way to describe a gem’s color. You also saw thatyou can be inventive with the romance portion of your descriptions. Almost anything willwork, as long as it rings true for your customer .

It’s often best to anchor associations in familiar aspects of history or culture. Askingthe customer if a color has special significance is a good way to obtain clues. If a customerexpresses a color preference, reinforce it. Find out what the color means to him or her (orthe person who’ll be wearing the gem), then choose your words to bring out that meaning.



For inspiration in this area, here are some ofthe images, emotions, and ideas associated withdifferent colors:

• Red – life force, the heart, heat, intensity,courage, nobility, active power, emotionalforce, joy, passionate love.

• Orange – sunset, glowing embers, autumn,cheerful warmth, strength, friendliness, celebration.

• Yellow – sunshine, summer, the intellect,enlightenment, radiance, honor, richness,generosity, happiness.

• Green – nature, spring, hope, rebirth,youth, fertility, growth, vitality, creativity,emotional balance, security, comfort domestic love.

•• WWhhiittee – the moon and stars, light, life, purity,innocence, openness, integrity.

• Black – night, mystery, drama, gravity, dignity,elegance, sophistication.

• Gray – cloud, shadow, winter, rock, machinery,ingenuity, intelligence, wisdom.

• Brown – earth, wood, solidity, dependability,home.

Keep in mind that these associations aren’ t “set instone.” They’re simply possibilities to fuel your cre-ativity. Be careful not to limit yourself – or customers –with them. Instead, rely on friendly rapport and ef fec-tive communication to reveal the secrets of this gemmagic ingredient.



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• Blue – water, sky, heaven, infinity, the spirit, royalty,quality, achievement, coolness, sincerity, serenity, peace,transcendence, secret love.

• Violet – evening, hidden energy, complexity, depth offeeling, spirituality.

• Purple – self-assurance, pleasure, indulgence, wealth,luxury, sensuousness, intoxication.

• Pink – dawn, freshness, expectancy, faith, femi-ninity.



HISTORY, MYTH, AND LORE Stories about history, myth, and folklore can make a gem memo-

rable when you introduce it. At other points in a presentation, youmay also find these elements helpful:

• Building Interest – This is important with gems that lackname recognition. Iolite serves as a good example. Iolite’ s colorcan rival sapphire or tanzanite. It’s much less expensive. Mostcustomers have never heard of it, though. One of iolite’ s notablefeatures is strong pleochroism. From certain directions it looksblue or violet; from others it’s almost colorless. The crystal“magic” that produces this effect is connected with some interest-ing history, too. The Vikings were the first Europeans known tohave visited the New World, and they used thin pieces of iolite asnavigational tools. Like Polaroid sunglass lenses, the gem sliceseliminated haze and glare. By looking through them, the sailorscould determine the sun’s position and chart their course on over-cast days (which are frequent in the North Atlantic). So, it’s safeto say that iolite may have played a role in the Viking discoveryof America.

• Underscoring Value – A great deal of gem lore concernscolor, and you can sometimes use this when you discuss value.To emphasize the intensity of a ruby’s blood-red hue, for exam-ple, you could tell customers that warriors in ancient Burmaactually inserted rubies into their flesh. They believed thiswould make them invincible in battle. (If you’re concernedabout weak stomachs or children, just say the warriors worethe rubies.) For an intriguing light on fine peridot’ s bright lime-green tint, you might share the old story that prospectorslooked for this gem at night. Supposedly, the peridot crystalswere located by their eerie glow. The superstition that opal isunlucky was spread by the novel Anne of Gerstein, written bySir Walter Scott around 1830. The central character died afterher opal lost its color. Other legends, however, say opal is theluckiest and most magical of all gems. That’s because it showsthe colors of all other gems combined.

The Vikings may have usediolite during the quest forthe new world. Today it isa popular fashion gem.

Photo courtesy Robert Leser, Leser Enterprises.

The pleochroism ofiolite is one of itsunique personalityfeatures.

Both peridotand opalhave interest-ing legendaryassociations.

Photo courtesyAlfieri & St. John.

From Gemstones, Quality andValue, Volume 1by Yasukazu Suwa.

• Emerald attracts wealth and power. This makes it a greatgift or self-purchase choice for most professionals.

• Amethyst brings success in war. You could update that tobusiness, sports, or any competitive activity.

• Garnet protects travelers. Tradition says Noah used a gar-net as a light to guide the Ark. That could be an excellentbenefit for someone with an on-the-go lifestyle.

• Aquamarine creates harmony between individuals andensures a long, happy marriage. What a perfect gift for afriend, spouse, or partner!

• Bloodstone guarantees that its owner will receive anythinghe or she asks for. Who wouldn’t love a gem with thismagical power?

• Reinforcing Purchase Reasons – This is an easy andentertaining way to use folklore. All you need to do is listen toyour customers and personalize or modernize beliefs that havebeen around for centuries. Here are a few possibilities:



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• Adding Perspective – Lore can even come inhandy when it’s time to discuss issues like treatment.Earlier in this course you learned that tanzanite is rou-tinely heat treated. The process transforms the origi-nal gem material (called zoisite) from dull brown tothe beautiful violets, blues, and purples of tanzanite.To put this disclosure into perspective, you might tellcustomers that the possibility of treatment was sup-posedly discovered when zoisite crystals were bakedby a lightning-caused wildfire in the hills of Tanzania.Whether or not the story is factually accurate, itmakes the point that tanzanite treatment duplicatesconditions that could occur naturally. (You do need tomake sure the customer understands the tanzaniteyou’re presenting was treated by man, however.)

Modern belief suggests that emeraldattracts wealth and power.


Tanzanite is routinely heat treated tochange its color from green, brown or lightpurple to bewitching blue and violet. Thetreatment essentially duplicates a processthat could occur naturally.

Photo courtesy Gemkey Magazine.

To supply this kind of information, every entry in theColored Gemstone Compendium has a section on history andlore. Another good book on the subject is The Curious Lore ofPrecious Stones by George F. Kunz. You can find similar mate-rial on many gem-related websites. Two of the best belong tothe American Gem Trade Association (www.agta.org) and theInternational Colored Gemstone Association (www.gemstone.org).Both sites include profiles of top-selling gems.

Printed and internet references usually present a variety of storiesand legends for each gem. This gives you lots to work with, but youneed to use it selectively. Most customers prefer moderate amounts offolklore, and some don’t like any at all. So, pay close attention to howa customer reacts, and take your cues accordingly.



THE BIRTHSTONE TRADITION The birthstone tradition has its origins in the dawn of his-

tory. Early cultures associated various gems with the sun andmoon, the visible planets, and the constellations of the zodi-ac. In later periods, designations shifted to the months of theyearly calendar. There have also been gems for the four sea-sons, the days of the week, and even specific hours.

At first, people probably wore certain gems at certaintimes – for example, January’s gem in January andFebruary’s gem in February. They believed this would maxi-mize the benefit from each gem’s magic powers. Eventually,a bond was forged between the gem for the time and the per-son born at that time. This created the birthstone tradition asit now exists.

With differing gem resources, beliefs, and histories, dif-ferent cultures developed different birthstone selections.

George Frederick Kunzgave us many legendsof gems in his classicbook of 1913.

Use lore andmagic sparingly

and gaugeyour customers

interest.



10

Although birthstones didn’t become popular in Europe until the1700s, scholars trace many Western birthstone choices to theBible. The book of Exodus describes a sacred breastplate thatcontained twelve gems symbolizing the twelve tribes of Israel.That is considered the original source.

Over the years, a number of birthstone lists have been usedin the US. The most current one is at the right:

MONTHJanuary

February

March

April

May

June

July

August

September

October

November

December

GEMGarnet

Amethyst

Aquamarine orBloodstone

Diamond

Emerald

Pearl, Moonstone, or Alexandrite

Ruby

Peridot or Sardonyx

Sapphire

Opal or Tourmaline

Topaz or Citrine

Tanzanite,Turquoise, or Zircon

January

February

March

April

May

JuneJuly

August

September

October

November

December

Topaz or Citrine

Garnet

Amethyst

Aquamarine orBloodstone

Diamond

Emerald

Pearl, Moonstone, or Alexandrite

Ruby

Peridot or Sardonyx

Sapphire

Opal or Tourmaline

Tanzanite,Turquoise, or

Zircon

BIRTHSTONES

This list is based on older versions, with addi-tions that appeal to modern customers. Althoughit’s widely known, you may run across variationsfrom different sources, particularly if they’re olderor were published outside the US. Since customersassume that all jewelry professionals know thebirthstones, you need to memorize this list.



Some fine jewelry retailers try to avoid the birthstone tradition in salespresentations. They do this because they feel it limits the number of poten-tial customers for a gem, or the number of potential gems for a customer .Other jewelers think talking about birthstones is acceptable, as long as itincreases opportunities rather than reducing them. The two sides of thisquestion often reflect differing approaches to merchandising. Discuss it withyour manager and be sure to follow your company’s philosophy.

If presenting gems as birthstones is an optionin your store, make the most of it. This is a logi-cal place to start when a grandparent or someother relative is selecting a gift for a young per-son. (If the gift is for a child and the primarybirthstone requires special care, you may want tosuggest an appropriate alternate – perhaps even asynthetic or imitation.) Birthstones are also goodstarting points for self-purchases and for gifts tofriends or spouses. You can easily expand thepossibilities, too. You might, for example, suggestthe birthstones of children and grandchildren asgifts for parents and grandparents.

Occasionally you’ll run into the “I hate my birthstone” objection. Whenthis is based on a misconception – like the assumption that all garnets arered and all sapphires are blue – you may be able to overcome it by present-ing color alternatives (say, green garnets or pink sapphires). You could alsorecommend alternate choices such as gems of the zodiac. These are listed inthe Colored Gemstone Compendium. Be careful not to push, however. Ifyou sense resistance, forget about birthstones and choose a dif ferentapproach.

In many cases, it’s best to focus on the color, not the gem. You might,for example, ask self-purchase customers about their favorite colors. Besure to ask questions your customers can answer , though. Don’t put anyonein the position of having to respond with, “I don’ t know.” (You’re almostcertain to get that answer if you ask a gift buyer about the recipient’ sfavorite color.) Instead, ask gift-purchase customers what colors they mostlike to see on gift recipients. This is a great way to explore suitable choices.

Some gems have surprising color alternatives, like gar-nets for January.

Photo courtesy Omi Gems.



12

ANNIVERSARY GEMS Although domestic partners have received and exchanged

presents since the earliest societies, official gift lists foranniversaries didn’t appear until the 1800s. Older versionsbegin with items like paper and cotton, reserving gems forlater years. Many modern adaptations – which include plastics,clocks, and appliances – aren’t much better from the stand-point of romance. (How passionately does a toaster oven say ,“I love you”?)

Recognizing that every anniver-sary is perfect for giving gems andjewelry, industry organizations andretailers now endorse the list below.

Though you’re certainly not limit-ed to these suggestions, they do pro-vide a roadmap for a lifetime of waysto celebrate an enduring relationship.

1 Gold Jewelry 2 Garnet 3 Pearls 4 Blue Topaz 5 Sapphire6 Amethyst 7 Onyx8 Tourmaline 9 Lapis Lazuli10 Diamond Jewelry11 Turquoise

12 Jade13 Citrine 14 Opal 15 Ruby 16 Peridot 17 Watches18 Cat’s-Eye19 Aquamarine20 Emerald21 Iolite22 Spinel

23 Imperial Topaz24 Tanzanite25 Silver Jubilee30 Pearl Jubilee35 Emerald40 Ruby 45 Sapphire50 Golden Jubilee 55 Alexandrite 60 Diamond Jubilee

The most effective sales

approach might be starting with the

color itself.

Anniversaries are a perfect reasonfor giving gems and jewelry.



There are also some enduring – or at least predictable –aspects of sales presentations connected with anniversaries:

• Customers are usually husbands shopping by them-selves. The message they want to send is simple butdeep: “I love you. I’m glad I married you, and I’d do itall over again.” The symbol you help them select mustreflect this message, but it should also capture the sig-nificance of THIS year and THIS point in their lives. Justas all gems are unique, so are each of the various mile-posts of a relationship.

• Customers appreciate your assistance in making thepurchase decision. When you’re working with estab-lished clients you can often rely on information you’vegathered on previous occasions. With new customers,it’s important to profile carefully and take good notes inorder to get a clear sense of the lifestyle and prefer-ences of the person who’ll be receiving the jewelry. (Besure to keep your notes and build a profile that willhelp you better serve the client in the future.)

• Customers need reassurance that they’ve made the rightchoice. This begins with statements you might make dur-ing a close – “Based on everything you’ve told me abouther, she’s going to love this!” It also involves conscien-tious follow-up after the sale. Keep in mind that the recipi-ent must be as pleased as the purchaser. Anniversaryjewelry is given to mark a special occasion and make asignificant statement. If it goes straight into a jewelry boxand stays there, the buying experience will be spoiled.True satisfaction – for giver and recipient – depends ongood profiling.

In Lesson 14 you’ll learn more about providing assistance andreassurance. For now, recognize that fulfilling desire in ananniversary presentation means keeping the spotlight on romanceand the message of love.

Each anniversary gift should be asymbol of this year and this pointin time.

Customers need assurance thatthey’ve made the right choice.That happens when they getthe reaction they hoped for.

GEMS AND CELEBRITIES People and personalities have always been elements of gem magic

and romance. For centuries, wearing fine gems was a privilege thatbelonged only to kings, queens, and other aristocrats. This created aregal aura that still lingers in the minds of customers.

In recent times, members of the world’s best known royal familyhave added to the glamour of colored gems. When Britain’s PrinceCharles and Lady Diana Spencer became engaged in 1981, the futureprincess received a ring set with a lar ge blue sapphire. A few yearslater Charles’ brother, Prince Andrew, presented Sarah Ferguson witha ruby engagement ring. These events captured headlines and roman-tic fancies around the world. They also made jewelersand customers aware that diamond isn’t the onlychoice for the most important of all gemstonemoments.



14

Motion pictures and the “pop” royalty they produce havedone their parts as well. Though the main interest in a goodmovie is human, gems often symbolize themes or provide focalpoints. For example, in The Wizard of Oz, Dorothy’s initial desti-nation is the Emerald City, where dreams are supposed to cometrue. After realizing “There’s no place like home,” she taps herruby slippers together to get back to Kansas.

Reality can mirror cinematic fiction, too. The ruby slippersthat appeared in The Wizard of Oz were really covered in redsequins. To celebrate the movie classic’s 50th anniversary, TheHouse of Harry Winston produced a pair of slippers covered withthe real thing – 4,600 rubies weighing a total of 1,350 carats.

Every year the Emmys, Golden Globes, and Oscars areamong the most-watched shows on TV, and gems always glitterin the spotlights. To make sure they do, major salons like FredLeighton and Harry Winston loan attending celebrities millionsof dollars worth of jewelry.

Blue sapphire was the choiceof Prince Charles and LadyDiana as a symbol of theirengagement in 1981

The “Heart of the Sea” – a large,dark blue diamond – was a focalpoint in the blockbuster Titanic.



Diamonds usually have the highest profiles, but colored gem sightingsin recent years include:

• 2000 Golden Globe AwardsRussell Crowe – Nominee, Best Actor in a Motion Picture Drama, The Insider – Ruby and diamond studs.Kevin Spacey – Nominee, Best Actor in a Motion Picture Drama,American Beauty – Ruby and diamond studs and cufflinks.Portia de Rossi – Attendee (co-star of Ally McBeal) – Tahitianpearl necklace; black pearl and emerald drop earrings.

• 2000 Academy AwardsBurt Bacharach – Musical Director – Sapphire, emerald, anddiamond studs and cufflinks. Queen Latifah – Performer – Ruby and diamond ensemble,including ring, necklace, and earrings.

• 2001 Golden Globe Awards:Sarah Jessica Parker – Winner, Best Actress in a Musical or Comedy Television Series, Sex and the City – Three ruby and diamond brooches.Ellen Burstyn – Nominee, Best Actress in a Motion Picture Drama, Requiem for a Dream – Diamond earrings with emerald drops.Sting – Attendee – Emerald and sapphire studs and cuf flinks.

• 2002 Academy Awards:Whoopi Goldberg – Host – 25-carat pink sapphire ring.Jennifer Lopez – Presenter – South Sea pearl necklace; South Sea pearl and diamond earrings.Sidney Poitier – Honorary Oscar Recipient – Emerald and sapphire studs and cuf flinks.

Kathrine Baumann created a handbagmemorializing Dorothy’s slippers.

Photo courtesy Kathrine Baumann.

• 2003 Emmy AwardsJoe Pantoliani – Winner, Best Actor in a Supporting Role, The Sopranos – Sapphire stud earring; sapphire studs and cuf flinks. (Pantoliani chose sapphire because it’s his birthstone.)

• 2004 Academy AwardsBilly Crystal (Host) – Sapphire and “crystal” studs and cuf flinks.Shohreh Aghdashloo – Nominee, Best Supporting Actress, House of Sand and Fog – 14-carat ruby ring; ruby and diamond Deco bracelet;ruby and diamond line bracelet; ruby and diamond stiletto earrings.

(For more info about who wore what where, check “The Talk” section of the Harry Winston website atwww.harry-winston.com.)



16

For some customers, hearing names like these helps totie the heritage of the past to current events and themotives for purchasing gems. After all, gems are part of anever-ending story that surrounds each of us. The mostimportant thing to recognize is that increasing your aware-ness of the traditions associated with gems, and then shar-ing these with customers, enables you to communicate themeanings and messages of products you present with allthe depth and flair they deserve.

THE FASHION CONNECTION Making the connection between gemstone jewelry and fash-

ion is critical in today’s style-oriented marketplace. Even if thisdoesn’t come naturally to you, it’s possible to learn the essen-tials quickly and easily. Magazines, television shows, and web-sites can help you become conversant and stay current on thistopic.

Fashion magazines are among the best resources to help yourecognize trends in color, apparel, and accessories. Simply flip-ping through some of the leading publications will give you agood idea of the latest “looks” and the jewelry that plays a partin creating them. While you’re browsing, watch for visual cues– the latest palettes, decorative details, and silhouettes (the over-all “shapes” of clothes as they fit the body). Take time to readfeature stories on jewelry and those with titles like “TrendForecast,” “What’s Hot,” and “Fashion News.” Hair styles andnecklines are also important because they can af fect the wayjewelry is worn. Even cosmetic colors can have an impact onwhich gem colors are “in” this season.

Linking gems with personal fashion isan important strategy for colored gem-stone sales to female self purchasers.

TV gives you more of a feelfor how fashion looks andmoves and how to wear it.

Photo courtesy Kathrine Baumann.

Photo courtesyJudith Ripka.

Identifying trends in these publications can help you fine-tune yourstore’s merchandise and image. Clip out important fashion, jewelry , orcosmetics features on a regular basis. Keep an eye out for color , tex-ture, and style that will appeal to your customers, then coordinate it allback to your jewelry. You might take an issue apart and frame photosor editorial pages that tie into your inventory. Perhaps make a collageof striking photos for your window displays, or use it at the counter asa backdrop to dramatize a particular color palette.

In addition to magazines, check your local TV listings for fashion-related programs. These may beboth entertaining and educational. Television can give you an excellent feel for the way fashion looks,how it moves, how to wear it, and how to best to accent it with jewelry . Even home shopping shows –your alternate outlet competitors – can provide valuable opportunities to learn fashion terminology ,identify emerging trends, find out about new designers, and glean suggestions for projecting a person-al fashion image. If shows aren’t conveniently scheduled, tape them to watch later orshare with coworkers during store meetings.

Above all, keep in mind that customers look for direction, advice, andsometimes, permission, in selecting the right jewelry to wear or give.They want to know that the items they purchase will have significanceand give lasting pleasure, too. Your knowledge and confidence onthe fashion front can go a long way toward assuring that kind ofsatisfaction.



Some of the top fashion magazines and their main areas of focus are:

Publication FocusIn-Style Celebrity shots; monthly jewelry feature

Elle Fashion information; monthly jewelry feature

W Celebrity shots; fashion photography;regular jewelry features

Town & Country High end fashion and jewelry

Vogue Fashion information; make-up colors

Harper’s Bazaar Fashion information; make-up colors

Lucky Fashion and décor information

Keep an eye out for color, tex-ture and style in current fashionpalettes.



18

RECAP OF KEY POINTS

• The motives for purchasing gemstone jewelry often involve magic andromance. To highlight these motives, reach out to the realms of history , tradi-tion, and fashion. Tie key facts to personal events that have the potential tobecome the customer’s own magical gemstone moments.

• One of your objectives is making the moment your customer encounters eachgem memorable. Telling the story behind the gem’s name, or a little about it,can help you accomplish this.

• Color is a major ingredient in gem magic. When you understand what afavorite color means to a customer, you can tailor your description to bringout that meaning.

• The birthstone tradition has its root in the dawn of history . Whether or not thetradition has a place in your presentations may depend on your store’ sapproach to merchandising. Every gem professional should know the birth-stone list by heart, however. Customers expect it.

• Any and every anniversary is a perfect occasion for giving gems and jewelry .In sales presentations connected with anniversaries, you usually need to pro-vide guidance and reassurance. Fulfilling desire means keeping the spotlighton romance.

• Famous people have always contributed to gem magic and romance. Royaltycreated much of the aura that surrounds gems today . Movies and moderncelebrities have done their parts, too. For some customers, these associationstie the heritage of the past to current purchase motivations.

• Fashion is often an important factor in gemstone jewelry purchases. You canstay aware and up-to-date on this topic by reading popular magazines andwatching fashion shows on television. Use visual reinforcement from suchsources to help customers make the connection between fashion and the jew-elry you present.




____ Think about the ideas and emotions that gems represent for you per-sonally. What makes gems “magic” for you? Remember: It’s okay toshare these meanings with customers.

____ Begin developing a collection of historical anecdotes and lore for pre-sentations. Start with the Colored Gemstone Compendium, but checkother sources, too. Work on one gem per week. With coworkers, brain-storm ways to update and personalize the information. Role-play untilyou can make these elements of magic and romance work ef fectively.

____ Ask your manager about using the birthstone tradition in your presen-tations. In any event, memorize the of ficial US birthstone list.

____ Brainstorm ways to tie-in current fashion themes from magazines andother media with the jewelry in your showcases. Identify options thatbest fit your store image, clientele, and selling style. Then followthrough and put these ideas into action in the coming weeks.

Lesson 12 Self-Test











Colored Gemstones

Gem and Jewelry Care









In This Lesson: • The Deciding Factor

• Durability and Dangers

• Cutting Down Worries

• Keeping Gems Clean

• Professional Follow-up

• Take-In for Repairs

THE DECIDING FACTORAlthough the beauty of a gem can last for centuries, it can also

be damaged or destroyed in an instant. The deciding factor betweenlongevity and disaster often comes down to proper care. For thisreason, every jewelry professional must know how to protect gemsfrom harm, and be able to apply that kno wledge effectively. In aretail setting, this normally means two things:

• Handling gems and jewelry safely while they’re yourresponsibility.

• Teaching customers how to take care of their purchases.

Proper care begins with learning to recognize and avoid threats.In many of your daily activities – like opening and closing the store,managing displays, and cleaning merchandise – keeping gems safeis fairly straightforward. Routine procedures like putting merchan-dise out in the morning or securing it in the e vening usually havebuilt-in precautions, and it’s your responsibility to follow them care-fully. Understanding why certain steps are necessary can k eep youfrom making costly mistakes.


It’s important you conscientiouslyfollow the procedures to safeguardgems during store opening andclosing.

Care should be a central theme in your interactions withcustomers. You can show appreciation for your products by theway you handle and describe them, but you also need to discusscare in specific terms as well. All gems require a reasonabledegree of care, and some require more than others. Customersmust have this kind of information in order to mak e educatedchoices, and it’s your duty to provide it – without losing sight ofthe emotions that motivate purchases.

Your obligations in this area don’t stop when you close thesale. To help customers enjoy their jewelry, you can offer adviceon regular follow-up care or work with them to establish sched-ules for professional maintenance. Most of all, you can let themknow you’re available any time there are questions or concerns.By serving as a basis for continuing contact, care then becomesa way to build long-term relationships and transform customersinto clients.



2

Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Provide proper care for the gemstone jewelry in your store.

• Help customers select wearable gemstone jewelry.

• Develop after-the-sale service programs.

• Take in jewelry for needed repair work.

As a sales professional you need to adviseyour customers about the proper care forthe jewelry they buy. Although tanzaniteand sapphire sometimes look alike, theyhave much different durability ratings.



Sales Professional CertificationProgram™, this lesson presents infor-mation related to the following SkillAreas:PRODUCT KNOWLEDGE• Precious Metals• Jewelry• Colored Gemstones• Pearls• Disclosure• History of Jewelry• Designer & Brand Name Jewelry• Custom-manufactured Items


SERVICE DEPARTMENT



SELLING TOOLS



RISK MANAGEMENT• Security• Safety



TEAMWORK• Team Effort• Creating a Competitive

Advantage

INVENTORY PROCEDURES

Corundum:Hardness 9

Quartz:Hardness 7



DURABILITY AND DANGERSEarly in this course you learned that durability, along with beauty and

rarity, is one of a gem’s essential attributes. Durability is technicallydefined as resistance to damage of all kinds. From a practical standpoint,you could say it’s a gem’s ability to be worn and enjoyed.

Durability is actually a combination of three separate properties:hardness, toughness, and stability. These are largely determined by agem’s basic makeup – its chemical composition and crystal structure.Individual features like clarity characteristics and treatment can also ha vean effect.

The easiest way to understand durability is to examine its threecomponents.

Hardness Hardness is resistance to scratching. This property is most often

measured on the Mohs Hardness Scale, which w as developed by Germanmineralogist Friedrich Mohs in the 1800s. Mohs pick ed ten commonminerals and ranked them according to their hardness or “scratchability.”He used a scale that runs from 1 to 10, with 10 being hardest.

Diamond

Corundum

Topaz

Quartz

Orthoclase

Apatite

Fluorite

Calcite

Gypsum

Talc

10

9

8

7

6

5

4

3

2

1

A gem’s durability means itsresistance to damage of allkinds. It includes hardness,toughness and stability.


The Mohs Hardness ScaleCalcite:Hardness 3



4

It’s important to understand that Mohs hardness numbersdon’t represent standardized measurements or uniform steps.They only reflect what you might call “comparati ve scratcha-bility.” In other words, a mineral can scratch another mineralof the same or lower hardness. One specimen of a mineralcan also scratch another specimen of the same mineral. Thisis true for gems, jewelry metals, and other solid materials,too.

The Colored Gemstone Compendium lists Mohs hardnessnumbers, but it’s best not to emphasize them with customersbecause they can easily be misunderstood. If a customerlearns that sapphire (corundum) is 9 and topaz is 8, shemight assume there’s not much difference. On a more precisescale, sapphire is almost twice as hard as topaz.

Mohs numbers are useful as guides for generally describinggems as “hard,” “medium,” or “soft”. You also need to be awareof two facts related to Mohs numbers and hardness:

• Many everyday materials can scratch gems and jewelrymetals. Glass and steel typically rate about 6 on the Mohsscale. Quartz – a major ingredient in sand and dust – rates7. A number of gems rate 6 or lower, and so do allprecious metals. As a result, these gems and metals tend topick up scratches in the course of normal wear. The lowerthe hardness and the greater the exposure to abrasives, thefaster the scratches will accumulate and the more significantthey’re likely to be.

• When gems or jewelry items rub together, they scratch eachother. This is valuable information for customers who mightbe guilty of tossing their jewelry together into a jewelry box,travel case, or plastic bag. Harder gems can literally cut intosofter ones, and most gems can gouge any of the preciousmetal alloys used in jewelry. Even those metals, however,can scratch soft gems such as amber, coral, and pearls.

The numbers on the Mohs scale don’t repre-sent uniform steps. Sapphire (9) is almosttwice as hard as topaz (8).

When gems and jewelry rubtogether, they scratch each other.This commonly happens injewelry boxes when items arejumbled together.

Toughness In the gem world, hardness and toughness are very different

properties. While hardness is resistance to scratching, toughness isresistance to breaking. (Less severe damage, in the form of chipping,also comes under the heading of toughness.)

To understand the distinction between hardness andtoughness, think about a flexible plastic bowl and an iron-stone china plate. The plastic bowl is so soft you canscratch it with your fingernail, yet so tough you canbounce it off the kitchen floor. In contrast, the ironstoneplate will stand up to the sawing of a steak knife, butbreak if you drop it in the sink.

There are no Mohs-type numbers for toughness. Instead, this property is rated as“exceptional,” “excellent,” “good,” “fair,” or “low.” Rather than “low” some referencesuse “poor,” but that’s a negative-sounding term which you should avoid withcustomers.

In the Colored Gemstone Compendium you’ll see toughness entries such as “Goodto fair resistance to chipping and breaking.” That’s because toughness can fluctuatefrom one gem to the next, even in the same species or variety. There are severalreasons why:



• Basic Makeup – Chemistry and structure determine every gem’s poten-tial for toughness. In many cases, it’s good or even excellent, but individual“quirks” can make a difference. Some emeralds, for example, are fragile dueto internal strain. The chromium atoms that give them their color don’t fitexactly right in their crystal structures. On the opposite end of the toughnessscale, jade is composed of multitudes of tin y interlocking crystals, and thiscan create exceptional strength.

• Cleavage – In diamond, iolite, moonstone, tanzanite, and topaz, plussome less familiar gems, certain crystal directions are signif icantly weakerthan others. Much like wood tends to split along the grain, these gems breakrelatively easily if they’re struck in a weak direction. This property is knownas cleavage (and so is an actual break that results from it).

Plastic and ironstonerepresent the basic differ-ences between hardnessand toughness.



6

• Inclusions – In Lesson 4, you learnedthat a cleavage break is an internal claritycharacteristic, or inclusion. A fracture isanother kind of break, and it can occur inany gem. Large cleavages and fracturesreduce a gem’s toughness because overtime they can grow – much like a crack ina car’s windshield. When other types ofinclusions are big enough to be seenwithout magnification, they also mayaffect toughness.

• Cutting Features – Some cuttingfeatures can make gems prone to chippingor breaking. Shapes with points – likepears and marquises – are more suscep-tible to this kind of damage than roundsand ovals. If the shape is thin and thesetting exposes the point, the riskincreases. Sharp corners pose similarconcerns. Besides adding visual appeal,this is one reason for putting beveledcorners on emerald cuts. Some styles of cutting make gems prone

to breaking if not set properly.

Photo courtesy Columbia Gem House.

Because high temperatures canruin most colored gems, jewelersmust often remove them beforeundertaking repair work.

Photo courtesy Trenton Jewelry School.

Stability Stability is a kind of catchall term for resistance to damage that’ s

not directly related to hardness or toughness. It co vers an assortment ofthreats:

• Excessive Heat – The high temperatures involved in somejewelry repairs can ruin many gems. That’s why bench jewelersremove most colored gems from their settings before doing w orkwith a torch. Organic materials like pearls, amber, coral, and shellare especially heat-sensitive. So are fracture-filled emeralds andother gems that have been infused with oil. Even the relatively lowheat from direct sunshine or in-case display lights can w arm up theoil and cause it to seep out, lea ving the fractures more visible.

Cubic(3 cleavages, 6 faces atright angles; e.g. halite)

Octahedral(4 cleavages, 8

faces; e.g. fluorite)

Dodecahedral(6 cleavages, 12

faces; e.g. sphalerite)

Rhombohedral(3 cleavages, 6faces not at right

angles; e.g. calcite,dolomite)

Prismatic(2 cleavages, 4 faces of manypossible angles; third side frac-tures irregularly: e.g. pyroxene,

amphibole, feldspar)

Basal(1 cleavage, 2

faces; e.g. biotite,muscovite, chlorite)

Some minerals break easily in directions parallel to crystalfaces. This is called cleavage. Any gem with cleavage is notconsidered particularly tough. Cleavage is classified relativeto crystal faces, as noted above.



• Temperature Changes – Sometimes it’s not the heat that causesharm, but a rapid change in temperature. The result is called thermalshock, and it takes the form of cleavages or fractures. Emerald, garnet,opal, peridot, tanzanite, and tourmaline are vulnerable to thermal shock.Any gem with large breaks or liquid inclusions is, too. Most often thiskind of damage occurs during repair, but it can happen in other situa-tions as well. A story is told of a woman who cleaned her jewelry bysoaking it in near-boiling water. Everything was fine until she rinsed thejewelry in cold running tap water. Then she heard her large fine peridotgo “pop.” Although the gem withstood the heat while soaking, it w assensitive to the temperature change and shattered when rinsed.

Kunzite may fade if exposed tointense sunlight.

• Intense Light – In addition to being a source of heat, light is amild but effective form of radiation that can adversely affectcertain gems. Some amethyst and some brown topaz will fade ifexposed to bright light for a long period of time. Intense light mayalso discolor fracture-fillings and cause dyes to fade. Such changesare normally slow and subtle, but not always. The light pink gemknown as kunzite is a good example. It looses color quickly indirect sunlight, and is best recommended for eveningwear only.

Peridot is extremely sensitive torapid changes in temperature.

Photo courtesy Alfieri & St. John.

• Moisture Loss – For a couple of gems, water is a vitalingredient. As you might expect, pearl is one of them.Another is opal, which is typically about 5 to 10% w ater byweight. Moisture loss in pearls and opals can ha ve seriousconsequences. If a pearl dries out, its nacre may crack andpeel. An opal may develop a network of cracks known ascrazing. Heat from repair work or display lights can triggerrapid moisture loss. Gradual drying can occur in an aridclimate, or during extended storage in a low-humidity envi-ronment like a safety deposit box.

• Chemical Attack – The strong acids and other chemi-cals employed for various purposes in the repair departmentwill damage many colored gems. A bigger concern for youand your customers, however, are chemicals used in thestore, office, and home every day. They include bleach- andammonia-based cleansers and detergents, and many other

Opal may develop a networkof cracks if deprived ofnormal humidity.

Common household productsand cosmetics can damagesome gemstones.

products that might seem harmless – acetone, colognes, cosmetics,hairsprays, lotions, and rubbing alcohol – to name a fe w. Thesewon’t hurt most transparent gems, but they do cause problemswith porous gems like pearls, amber, coral, ivory, lapis lazuli,shell, and turquoise. All of these gems can be discolored by liquidsthey absorb, and some are easily attacked. Pearls, coral, and shellare sensitive to any kind of acid, even in dilute form. Surprisingly,so is the transparent gemstone peridot.



8

CUTTING DOWN WORRIES Now you’ve got the list of hazards: scrapes, b umps, heat,

temperature changes, light, dryness, and chemicals. Your missionis to avoid them for gems and jewelry in your store, and helpcustomers do the same for their purchases. That might sound likea challenge, but it’s really not so difficult. Developing carefulhabits cuts down worries. A little forethought enables you to spotpossible trouble and take preventive steps that are appropriate invarious circumstances.

In-Store Situations Since many gems flow through a retail store, it’s not

surprising that damage occasionally happens there. The mostlikely – and understandable – place is the repair department.That’s because some repairs involve a certain degree of risk.

Most bench jewelers do their best to avoid mishaps, so whenyou’re at the take-in counter, you can assure customers that yourfirm stands behind its repair work. You can also do your part byfollowing take-in procedures that minimize problems. You’lllearn more about these later in the lesson.

In other areas, you’re more directly responsible for care.Damage is almost always preventable. Here are four examples:

At the take-in counter, do yourpart in avoiding mishaps byusing careful take-in procedures.

When putting jewelry away at night,be sure to wrap it so it doesn’t scratchagainst other pieces.

Be aware of how much heat is gener-ated inside well-lit showcases and takeprecautions to protect sensitive gems.



• Storage – Most stores use special trays for storingmerchandise overnight. These are usually cloth-lined, andsome have individual compartments for keeping itemsseparated. As you’re putting things away, be sure to placeeach item in its own space. If a tray doesn’t have compart-ments, use pieces of soft cloth as dividers. That way yourgems and jewelry won’t become scratched as a result ofthis daily routine.

• Displays – When you set up displays and show-cases, think about heat, light, and dryness, andarrange your merchandise accordingly. Be carefulabout what you put in windows that receive directsun. Cases with inside lighting – even if it’s “cool”fluorescent – and those lit by intense spotlightswarrant extra thought, too. Try to position sensitivegems where they’ll be seen and appreciated but notbaked.

• Counterpads – Always use a counterpad whenyou show jewelry or unset gems. The pad creates astage, keeps the customer focused, and provides acushion in case something is dropped. Place the paddirectly in front of the customer, or between a coupleshopping together, on their side of the showcase.When you present an item, extend your hand directlyabove the pad.

• Cleaning and Buffing – Occasionally you mightbe expected to clean and spruce up store inventory.That could involve various cleaning methods as wellas buffing. The cleaning options are discussed in anupcoming section of this lesson. Be aware, however,that the compounds used to buff precious metal canscratch some of the softer gems, especially or ganics.

A counter pad creates a stage as wellas provides a cushion.

Ultrasonic cleaners are safe formany colored gems – but not all.

Buffingcompoundcan scratchsome softergems.

Steam canshatter somegems.

• Gem Preferences – Hard, tough, and stable is obviously a good combi-nation, and a number of gems offer it. Ruby, sapphire, alexandrite, aquama-rine, citrine, and spinel all qualify. You could also add amethyst and jade,as well as most garnets and tourmaline, because their durability concernsare limited. If these aren’t first picks, keep them in mind as alternates.

• Type of Jewelry – Because of where they’re worn on the body orclothing, rings, bracelets, and cufflinks are more exposed to accidentalscrapes and bumps than earrings, necklaces, pins, and tie tacks. F or ayoung or active person who doesn’t have much experience wearing andcaring for fine jewelry, one of the safer choices is often best.



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You can probably think of several more instancesthat arise every day – and that’s exactly what you needto do. Proper care starts with awareness. Anytime you’rein a situation that brings gems or jewelry together withsomething on the hazard list, caution warnings shouldgo off in your head. If you’re not sure about the dura-bility factors for a specific gem, stop and check theColored Gemstone Compendium before going further.

Choosing with Care To give self-purchase customers a head start on care,

you can help them select jewelry that fits their lifestyles.For gifts, the goal is helping customers choose itemsthat will suit the recipients. Gathering the informationyou need to make such suggestions is part of prof iling,which you’ll learn about in the next lesson. For now,you need to recognize that there may be se veral factorsto consider:

Help yourcustomers selectjewelry that’ssuitable to theirlifestyles.

Photos courtesyStomel Advertising.

The types of gems, setting styles and metals areall wearability considerations with coloredgemstone jewelry. Rings and bracelets are moreexposed to scrapes and bumps.


• Setting Style – This can be very importantfor rings and bracelets. In bezel and gypsysettings, the metal rim that surrounds the gemacts as a shock-absorbing bumper. While othersettings styles are dramatic, they call for morecareful wear. (Bezel settings are more secureand protective, but it’s more difficult and riskyto set gems this way.)



• Precious Metal – High-karat gold alloys, like 18K and 22K,have a luxurious look, but they’re easily scratched and bent. Formany people, 14K is a more wearable choice. Platinum and ster-ling silver are also great options.

• Expected Wear – A key question is: Where and how oftenwill the jewelry be worn? There are big differences between thegems and other features that are appropriate for special-occasionitems, and those for frequent office or casual wear.

Try to keep all these variables in mind as you and the customerwork to arrive at the perfect choice. Solid rapport and good commu-nication almost always make that possible. If you truly feel an itemisn’t “right,” don’t be afraid to recommend alternatives. After all,that’s part of giving your best professional service. Just make surecustomers know you’ve got their interests at heart, and rememberthat the customer has the final say.

At-Home Guidelines Most customers appreciate advice on jewelry care. They

understand that your recommendations show you’re genuinelyinterested in their needs. Be sure to pro vide any information thatshould be weighed in a purchase decision. After closing a sale,you can share added details as you’re doing the paperwork orwrapping the gift.

If your store has brochures on the subject of care, be sureevery customer receives one. Recommend reading it, keeping itfor future reference, and contacting you if there are an y questions.

Offer personal suggestions, too. You can find specifics in theColored Gemstone Compendium, but here are some general guide-lines that can apply to all gems:

• Wear – Avoid rough wear and chemicals. When gettingdressed, put on jewelry last – after cosmetics, fragrance, andso forth. (Besides avoiding damage from chemicals, this helpskeep jewelry clean.) Also be sure to take off vulnerablejewelry (i.e. rings, bracelets, etc.) before cooking, householdchores, and similar activities. More active pursuits, includingsporting activities and swimming, along with hot tubs, suntan

The chlorine in swimming poolsand hot tubs can damage gold,silver and some gems.

Remind customers that jewelry shouldbe put on as the final touch – aftercosmetics and perfume.



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beds, saunas and steam rooms, require jewelry removal, too.Chlorine or other chemicals in the water (or even extreme dryheat) can attack both gemstones and jewelry metals.

• Storage – Whenever jewelry isn’t being worn, it should be putaway someplace safe. Cloth- or plush-lined jewelry boxes withindividual compartments are ideal. Pieces can also be wrappedseparately in soft cloth. If your store pro vides pouches or cush-ioned boxes for jewelry, suggest using these on a permanentbasis. They heighten the importance of the purchase, encouragecustomers to store jewelry properly, and remind them where itcame from. Caution customers to NEVER wrap their je welry infacial tissue, however. Many people forget they did it and throwaway the wadded tissue – along with the valuable jewelry itcontains.

• Maintenance – As time goes by, keep an eye on jewelry tomake sure the settings aren’t becoming worn down and the gemsaren’t getting loose. Before cleaning jewelry, examine it closelyfor signs of damage. Recommend that customers return to you asoften as they’d like – but at least every six months – to have theirjewelry professionally inspected.

KEEPING GEMS CLEAN Keeping gems and jewelry clean in your store is part

of good care. In order for you to sell your products, or forcustomers to be proud of their purchases, gems andjewelry must look their best. Ironically, however, cleaningis a frequent cause of damage. Be sure to use methods thatare safe as well as effective, and teach them to yourcustomers.

Recommend your customers bringin jewelry for cleaning andinspection regularly. Call them toremind them.

Jewelry should be cleaned

and inspected at least every six months.

Caution customers to NEVERwrap jewelry in facial tissue –it’s too easily thrown away.

When doing maintenance or settingup and taking down displays, wearwhite cotton gloves.



Grime Prevention You’ve probably noticed that smudges appear as if by magic on items

in showcases and displays. This is an aggravating mystery, but it’s easyto explain. When gems are touched – even slightly or momentarily – theypick up skin oils. The oils then attract dust and dirt, and undesirablethings start to happen. While the gems’ color, life, and sparkle growdimmer, their clarity characteristics stand out. Any cutting deficienciesalso become more noticeable.

Although the problem is impossible to eliminate completely, thereare ways to minimize it:

• Handle small unset gems (and all unset diamonds) with tweezersor a gem holder. It’s customary – and safer – to hold largecolored gems with your fingers, but it’s easier for customers toexamine small gems in a secure holder of some type. Remember

Be sure to wipe gems and jewelrywith a cleaning cloth before andafter showing them.

that most holders are metal, though, so use caution to avoid acci-dental chipping or scratching. Whether using a holder or yourhands, be sure to wipe gems with a cleaning cloth before andafter showing them.

• When you’re doing routine maintenance, like setting up or takingdown displays, wear white cotton gloves. Remember to do a finalcheck after you’ve got everything in place for the day. Make surethere’s no lint on the jewelry or display props.

• Keep a fresh cleaning cloth handy at every showcase. Before youpresent jewelry, give it a light buffing. This removes smudges andcommunicates the importance of care. It also heightens the

Keep a freshcleaning cloth handy at every showcase.

To avoid putting a fingerprint on a gem,hold a ring by the sides.



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emotion of the moment and allows you to say a few words tointroduce the piece.

• Avoid touching mounted gems yourself, and try to keepcustomers from doing it, too. Many people hold rings at the topand bottom to put them on. That puts a fingerprint on the gemwhen it’s about to be admired. It’s cleaner – and more dramatic– if you hold the ring by the sides, and slide it onto thecustomer’s finger.

Cleaning OptionsNo matter how careful you and your customers might be, sooner or

later jewelry gets dirty. When that happens, there are a number of optionsfor cleaning:

• Steam Cleaners – These are for use by trained professionals only. Steam cleaners removeencrusted dirt with high-pressure blasts of super-hot water. They work well for most diamonds, butcan be disastrous for many colored gems. The steam jet’s force can blow gems out of tweezers andjewelry out of your fingers, resulting in chips and breaks – and possibly shattering a gem. (It alsoscalds skin.) The sudden blast of heat and pressure can also cause or enlar ge fractures. The chem-ical residue that builds up in some steam cleaners can be forced into e xisting fractures, turningthem dark and making them more obvious.

Steam cleaning is generally considered acceptable for ruby, sapphire, jade, and a few other gems,but inclusions and treatments can make it dangerous even for these. Before you attempt steamcleaning, ask your manager to teach you how. For loose gems, always use special holding tweezersor a closed mesh basket. When you’re cleaning jewelry, check to see that all gems are tight in theirsettings. If there’s a rubber sink liner or a pad that goes under the cleaner , make sure it’s in place.

• Ultrasonic Cleaners – The primary cleaning methodin most retail stores is the ultrasonic cleaner. Commercialmodels work by sending high-frequency sound wavesthrough a detergent solution. The combination of vibrationand cleaning solution dissolves oil and removes dirt fromeven hard-to-reach places.

There are significant limits to the ultrasonic’s use withcolored gems. Ultrasonics can damage chemical- andvibration-sensitive gems. These include amber, coral,emerald, iolite, ivory, lapis lazuli, moonstone, opal,

Steam cleaning is usuallyacceptable for ruby andsapphire, but not for mostother gems.

Ultrasonic machines are used in most retailstores, but should be used cautiously.They can damage or loosen gemstones.

pearls, peridot, shell, tanzanite, topaz, tourmaline, and turquoise –plus any other gem with sizeable feathers or liquid inclusions.Ultrasonics occasionally shake gems loose from their settings, too.Before placing jewelry in an ultrasonic cleaner, gently prod the gemswith tweezers while you watch them under 10x magnification. If thegems move, they need to be tightened before cleaning (or furtherwear).

Several manufacturers also make consumerversions of ultrasonic cleaners available to thepublic. Most of these rely on simple vibration,rather than sound waves. Customers should becautioned when using them not to allow jewelryto jumble together and not to use harsh chemicalcleaning solutions in them.

The gem cloth is designed specificallyfor gems. Keep the cloth folded tominimize it being soiled by skin oils.

Most liquid jewelry cleaners aresafe for most gems, but convinceyour customers to rely on you forcleaning and inspecting theirjewelry properly.



• Liquid Cleaners – Many stores sell some type of liquidjewelry cleaning solution, and give away small jars with certainpurchases. Liquid cleaners are effective with a little effort, andthey’re also safe for most colored gems. The main exceptionsare fracture-filled gems that have been infused with oil, andabsorbent materials such as amber, coral, ivory, lapis lazuli,pearls, shell, and turquoise.

One of the active ingredients in many liquid cleaners isammonia. You can tell customers that if they need an “emer-gency” cleaning at home, they can use ammonia-based house-hold cleaners. They should choose a clear product (rather than acloudy one), and dilute it one part cleaner to three parts w ater.After using any ammonia-based cleaner, they should rinse thejewelry thoroughly in clean water to avoid skin irritation.

It’s always best to urge customers to take advantage of yourprofessional services for cleaning their jewelry properly on aregular basis. Suggest that they use liquid cleaner for in-between maintenance.

• Cleaning Cloths – There are two different types of cleaningcloths in most stores. The one that’s usually called a jewelrycloth is best for metals only. (Selvyt is a well-known brand.)

The selvyt cloth is best for metalsand general jewelry.

Although detergent mixed with water is generally a safe cleaningmethod, there’s a short list of do’s and don’ts:

DO plug the sink or use a plastic bowl as a washbasin (or both) in casethe piece is dropped or a gem comes loose from its setting.

DO use a light touch on emeralds; channel, pa vé, or invisible settings;and any piece that has a textured decorative finish or delicate metal-work.

DO check the piece after washing – and before letting out the w ater – tomake sure all the gems are still in place.



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Some jewelry cloths are imbedded with polishing compounds that aren’ t good for many gems. Thecompounds won’t hurt nonabsorbent gems, but they leave a film that temporarily dulls the appear-ance. Most jewelry cloths are not designed to remove grease and lint from gems.

The other type of cloth – called a gem cloth – is lint-free, usually with a fuzzy te xture on one sideand a woven texture on the other. It is designed specifically to remove lint and grease from gems,not to clean jewelry. A gem cloth is normally kept folded, with the fuzzy side in. To clean an unsetgem, lift the corner of the cloth, insert the gem between tw o fuzzy sides, and rub it from the outside.Try not to touch the fuzzy side with your f ingers. It will soak up skin oils and redeposit them ongems you’re trying to clean.

Never immerse pearl strandsin liquid. Instead, wipe witha damp cloth.

Photo by John Parrish courtesy of A&ZInternational.

You can also suggest that customers use a soft, lint-free cloth athome for routine light cleaning. A chamois is a good choice.Tell them it’s a good idea to give their jewelry a careful wipebefore and after every wearing.

• Detergent and Water – A safe way to deep clean almostall gems and jewelry is gentle scrubbing with a soft toothbrushand a mix of mild detergent and warm water. For best results,use distilled water and plain, clear liquid detergent. (Additivessuch as conditioners, fragrances, and skin moisturizers – all ofwhich may be in bar soap – lea ve a film.) Other useful cleaningtools include a toothpick, unwaxed dental floss, and an oralirrigator like the Teledyne WaterPik®. These help clean dirtthat’s stuck in places the toothbrush won’t reach. Afterwashing, rinse the piece in fresh water. Ethanol – pure ethyl orgrain alcohol – is also good for rinsing nonabsorbent gems.Always dry the piece with a clean, soft, lint-free cloth.

Photo courtesy the Stanton Group.



DON’T use toothpaste, toothpowder, or abrasive cleansers.They’ll scratch soft gems and jewelry metals.

DON’T use household cleaners that contain chlorine.They’ll pit karat gold and sterling silver, and damageabsorbent gems.

DON’T use rubbing alcohol for the final rinse. Itcontains oils and leaves a coating.

For pearl and other bead necklaces: DON’T immersethe necklace and soak the string. Instead, wipe the beadswith a damp cloth. If some moisture gets to the string, laythe necklace on a soft towel to dry, and DON’T wear ituntil the string is completely dry.

Tell customers a good cleaning schedule is abouttwice a month for most jewelry that’s worn frequently,with touchups any time they’re needed. Remind them tomake damage inspection part of the routine. Pearl and otherbead necklaces should be wiped after every wear. Theyshould be restrung every few years if they’re wornfrequently.

PROFESSIONAL FOLLOW-UP Professional follow-up is a step in the selling process and a component of acti ve client develop-

ment. Done right, customer care – or service – is the primary focal point of an y follow-up effort.Before saying goodbye after a sale, remind the customer that your store tak es great pride in providingoutstanding service, and encourage him to bring the je welry back to you for regular check-ups andcleaning. Suggest every six months, but emphasize that the piece should be brought in immediately ifloose gems, damage, or signs of excessive wear are ever noticed. It’s also helpful at this point to letthe customer know that you’d like to make contact in the future to remind her of service times, and getpermission to do so.

Don’t leave responsibility for remembering check-ups with the customer. Instead, make a“reminder service” one of your customer care of ferings. Maintain a tickler file based on purchasedates. For each entry, include the customer’s name, contact information, and a brief description of theitem. As a buyer adds to a jewelry wardrobe (either for himself or for a particular gift recipient),consolidate schedules to keep the process convenient.

At the end of every sale,remind the customer tocome back for regularcleaning and inspection.A “reminder” call forcheck-ups should bepart of your service.

A week or so before it’s time for a visit, remind the customer. Although a card might be easier foryou, many customers treat cards as junk mail. A phone call – brief and to the point – is more ef fective insecuring a commitment for the customer to bring in the je welry. Remember, too, that many purchasesare not kept by the purchaser. Whenever possible, secure the recipient’s name and communicate directlywith that person.

When the customer comes in, be sure to greet him by name and chat for a fe w minutes. (It’s easierto remember names when you’re following up regularly and setting appointments for service.) Yoursincere interest and friendly attention will go a long w ay toward enhancing the client relationship. Thefirst item of business is checking the jewelry’s condition. Always do this before cleaning.

Things to look for include:• Loose or missing gems.• Chipped or broken gems. • Bent, worn down, or broken prongs.• Worn down sides on bezel, gypsy, and channel settings.• Bent, thin, badly worn, or cracked shanks on rings.• Clasps that don’t work on necklaces, pins, and bracelets.• Bent, broken, or stretched links on necklaces and bracelets.• Pitting, deep scratches, or unusual discoloration in the jewelry metal.

Some of these will be obvious to anyone who takes a close look, but the best source of informationand confirmation about these and less apparent problems is your bench je weler. Ask her or him to show

you examples of damaged or dangerously worn jewelry as they come intothe repair department. An excellent reference for your own learning and forcustomer demonstration is the JA® Professional’s Guide to Fine JewelryCraftsmanship. This is available from Jewelers of America. Contact JA atwww.jewelers.org or 52 Vanderbilt Avenue, 19th Floor, New York, NY10017, (800) 233-0673.

If you find any cause for concern, point it out to the customer anddiscuss appropriate remedies. Otherwise, proceed with the cleaning.

While you’re examining items and cleaning them, take the opportunityto do some rapport building. Seek customers’ opinions about new merchan-dise that has arrived, and (if appropriate) urge them to try it on. Also ask ifthere are any special occasions coming up. Make customers feel valued andhelp them have a little fun in the process. At the very least you’ll help yourcustomers enjoy their jewelry and demonstrate that you care about theirneeds. Providing service that surpasses expectations often leads to impulsesales, too.



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The JA® Professional’sGuide to Fine JewelryCraftsmanship will helpyou understand how toadvise your customer onmost repair work.

Always check the conditionof jewelry before cleaning.

Photo courtesy Hacker Jewelers.



TAKE-IN FOR REPAIRS Almost all jewelry eventually requires some kind of repair

work to restore its beauty or f it it to new needs. The day maycome decades after the purchase when the original o wner or anheir wants a ring resized. Then again, it could be tomorrow, asthe result of an unfortunate accident. Whatever the need, andwhenever it occurs, customers should know they can turn toyou.

Common repairs include ring sizing, tightening gems inexisting settings, retipping prongs, replacing setting heads,fixing broken ring shanks, and restoring decorative finishes.Although your repair department performs these tasks, you maybe responsible for accepting – or taking in – the je welry. Thatmight sound simple, but it’s an important job. You’re serving asthe link between the person who needs the service and the onewho provides it. The customer may have concerns that must beaddressed. You also have an opportunity to underscore the relia-bility of your entire store operation.

Common repairs you may need toadvise on include sizing, retipping,resetting and restoring finishes.

To prepare for this role, learn which repairs your storeoffers and try to find out how they’re done. If possible, makearrangements to watch your bench jeweler at work. (You canalso use the JA® Professional’s Guide to Fine JewelryCraftsmanship to understand common repairs.) Pay attentionto the procedures for various tasks, and the ways in whichthey’re adapted to suit the durability specif ics of differentgems and jewelry items.

When you’re working at the take-in counter, use thesame level of professionalism you would in a sales presenta-tion. Many customers see their jewelry as priceless and irre-placeable, and you must treat it that w ay. Some people areafraid their gems will be switched. Others don’ t understandwhy jewelry breaks. Most worry about the cost of the repair,the time it takes, or the quality of the work. You need to dealwith such concerns convincingly and professionally in orderto ease customers’ minds and build their trust in you andyour team.

You are the front line expert andneed to be able to explain the needand the process of jewelry repair.



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Always remember that you’re acting as the expert, and you have aresponsibility to exercise good judgment. If a customer insists that onlyminor work is required, and you see signif icant problems, you should beassertive – but tactful – in explaining the need, the process, and theconsequences of failing to take proper action. In the long run it’s best tobe cautious, even a little overprotective, with your customer’s jewelry.

There are also some things you can do to mak e customers feel morecomfortable about leaving jewelry to be repaired:

• Treat every customer and every piece you take in with respect.There’s no price tag on goodwill or sentimental attachment.

• Take an appropriate amount of time with each customer. Neverrush.

• Use a microscope or other instruments to show customers howthey can recognize their own gems and jewelry.

• Describe how the repair will be done. Ask another teammember to do this if you aren’t familiar with the procedure.

• Explain any repair warranties your store provides. Emphasizethat these represent a commitment to customer satisfaction.

Take-in Steps When you take in jewelry for repair or other services, a methodical

approach makes your work easier, and also protects both your customer andyour firm. Showing careful attention to detail inspires conf idence that therepair will be done correctly.

Most stores have take-in procedures that are designed to maximize ef fi-ciency and minimize problems. It’s essential to learn and follow the proce-dures used in your own store.

To help you get a sense of how things usually go, here’s a rundown oftypical steps for take-in:

1. Record complete and accurate contact information for the customer. Thisincludes name, address, phone numbers (home, work, cell) and e-mail.Someone else will have to read this information, so write le gibly.

Careful take-inprotects bothyour customerand your store.



2. Prepare the appropriate number of forms and thepackaging. Most stores require a separate form foreach item that’s going to be repaired. This helpsthe bench jeweler plan the workload. Package eachitem separately, and mark the envelope or bag withthe customer contact information. You might alsonote that it’s “1 of 4,” “2 of 4,” etc.

3. Use nonspecific descriptions for gems and metalsunless they’re tested and verified. For example,write “red faceted oval cut” rather than “ruby,” or“yellow metal” rather than “gold.” This helps toprotect your store from possible charges that gemsor jewelry items have been switched while in yourpossession. In some situations, it might be accept-able to include a note like, “Customer states gem isa ruby” unless you know that’s not true. In thatcase, don’t allow the customer to remain unin-formed, and involve your store manager, owner orgemologist.

4. Record as many specifics as you can. Note the type of je welry (forexample, “woman’s solitaire ring”); the color, number, shapes, anddimensions of gems; fineness stamps and manufacturer’s marks onthe jewelry metal; and anything else that identifies the piece. Takeand record exact measurements for major gems.

5. Determine the item’s condition. Whenever possible, use a gemscopefor accuracy, efficiency, and professional impact. If a gemscope is notavailable, use a loupe. Start with the problem identif ied by thecustomer, but make a complete examination, too. Look for the samethings as you would during a regular follow-up inspection. Alsowatch for signs of treatment and clarity characteristics that af fectappearance or durability. Remember: If you miss something now thatwill surface in a short time, your customer w on’t think of the nextrepair as something else that went wrong. He’ll think of it as some-thing that wasn’t done correctly on this visit.

Use non-specific descriptiveterms and clear instructionson repair forms.



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6. Show the customer what you find and discuss the work that’sneeded. Be sure to point out the possible consequences offailing to make recommended repairs and write down what thecustomer decides to have done. Keep instructions to the repairdepartment short, clear, and logical. Make sketches if they’llhelp. If a customer declines work you recommend, note that ina separate section of the form. Be careful to distinguishbetween work instructions and notes containing informationthat’s for reference only.

7. Provide an estimate of the repair charges. Be sure to have alist of repairs your store can perform and the current prices forthem. Explain any steps that might not be obvious. If there arevariables that may affect the cost – such as removing andresetting gems – discuss them and base your estimate on thehighest figure that’s likely. (It’s better to surprise customerswith a lower charge than to ask for more money after the workis done.) Remember to add up all the separate char ges forevery feature that will be repaired, and give an accurate total.

The Jewelers of Americarepair envelope iscommonly used in retailstores.

8. Agree upon the values of any items left in your possession.Your store should have this information for its liability andinsurance protection. You can usually arrive at a value byasking the customer if he knows the original price. If thefigure given seems unrealistically high, or if the customerhas no idea of the value, try showing a comparable newpiece from your inventory, and work toward agreementfrom there. You could write, “Customer states the value tobe…” but that doesn’t really meet the objective. You need arealistic, agreed-upon value in case of damage or loss.

9. Let the customer review the form, and answer any ques-tions. Then obtain a signature as written approval of theinformation, value, and estimate.

Be careful to distinguish between

instructionsand notes containing information that’s for

reference only.



10. Give a realistic promise date. Allowing one or twodays more than you actually expect the work to takegives you a reasonable time margin to insure properquality control. Tell customers you’ll contact themimmediately if there are any unforeseen concerns ordelays, and be sure to follow through. On the otherhand, if the work is finished sooner, call and let themknow. They’ll be delighted that you exceeded theirexpectations.

When a customer returns to pick up repaired je welry,take advantage of the opportunity to highlight yourservice and products. Show the finished work with pride,and point out the improvement. Link the repair to abenefit, as you would a feature in a sales presentation. Letthe customer try it on. Make sure he’s satisfied. Theninvite him to look at your selection of ne w or complimen-tary pieces. With that, you’ve completed the cycle of careand taken the next step forward.




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RECAP OF KEY POINTS

• Every jewelry professional must know how to care for gems and jewelry, andput that knowledge to use. In a retail sales setting, this means handlingmerchandise safely, and teaching customers how to take care of theirpurchases.

• Durability means resistance to damage, and it’s one of a gem’s essential attrib-utes. Overall durability is the result of a gem’s hardness, toughness, andstability. These properties are determined by the gem’s basic composition andby individual features like clarity characteristics and treatment. Potentialhazards to durability are scrapes, bumps, excessive heat, temperature changes,intense light, moisture loss, and chemical attack.

• Developing careful habits cuts down worries, and forethought makes itpossible to prevent most damage. Beware of any time a store situation bringsgems or jewelry together with a potential hazard. To give customers a headstart on care, help them select jewelry that fits their lifestyles. After closing asale, provide details and advice on routine care.

• Cleaning is part of care, but it’s also a frequent cause of damage. Use methodsthat are safe as well as effective, and teach them to customers. Some optionsare risky for certain colored gems. An effective way to deep clean almost allgems and jewelry is gentle scrubbing with a soft toothbrush and a mix of milddetergent and warm water.

• Care is a focal point of professional follow-up. After closing a sale, work withthe customer to establish a regular schedule for inspection and cleaning. Urgecustomers to bring jewelry back to you every six months, but emphasize thatthey should come in immediately if there are problems. Mak e a reminderservice for check-ups part of your customer care protocol.

• Almost all jewelry eventually requires some kind of repair work. Your repairdepartment does the work, but you may be responsible for take-in. To preparefor this role, learn which repairs your store of fers and find out how they’redone. When you’re at the take-in counter, use the same professionalism youwould in a sales presentation. Follow your own store’s procedures conscien-tiously.




____ With one of your coworkers, role-play helping a customer selectjewelry that’s appropriate for her or his lifestyle.

____ Become familiar with the cleaning equipment in your store, and learnto use it safely.

____ If you don’t already have one, develop and implement a system forregular inspection and cleaning follow-ups with customers.

____ Find out what repairs your store offers. If possible, arrange to spendtime in the repair department in order to see ho w things are done.

____ Learn your store’s procedures for taking in jewelry. Be sure to discussany questions with your manager.

Lesson 13 Self-Test











Colored Gemstones

Selling Gems and Jewelry



In This Lesson:• Doing It Even Better

• People Who Buy Gems

• Greeting Your Customer

• Building Solid Rapport

• Emotional Profiling

• Presenting for Commitment

• Objections and Trial Closes

• Asking for the Sale

• Making Add-On Sales

• Follow-Up for Success

DOING IT EVEN BETTER Few shoppers today are truly “just looking.” Most people who take the

time to visit a jewelry retailer have some intention of buying. Maybethey’ve already decided to make a purchase, or at least they’re open to thepossibility. Whether that purchase actually occurs, however – and whetherit’s in your store rather than a competitor’s – can depend on how skillfulyou are at creating sales.

At its best, a retail sale is a communication process in which a profes-sional identifies a consumer’s needs, shows how certain products or ser-vices meet those needs, and actively assists the customer in making a satis-fying purchase decision. The key to the whole process is a professionalwho’s committed to his or her craft, dedicated to continued learning andgrowth, and motivated by challenge as well as success.

By participating in this course and coming this f ar, you’ve shown thatyou’re committed, dedicated, and motivated. You’ve acquired a great dealof information, and you’ve had opportunities to practice the skills you need

Selling Gemsand Jewelry

Most people who saythey’re “just looking” real-ly have some intention ofbuying something, eventhough they may not real-ize it themselves.

to use that information effectively. Now it’s time to move up tothe next level by analyzing the selling process itself – to break itdown, examine its components, and see how it works. It’simportant to recognize, however, that selling skills should bedeveloped and polished continuously. No matter how good youare at creating sales, you can always learn to do it even better.

This lesson will start the analysis by e xamining jewelry cus-tomers and what makes them “tick.” Then it will take youthrough the selling process step-by-step.



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Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Move through the selling process confidently.

• Establish solid relationships with customers.

• Make connections between people and your products.

• Close sales and bring customers back in the future.

There’s no single script for success-ful selling, but it’s possible todevelop and polish key skills.



PRODUCT KNOWLEDGE• Colored Gemstones• Pearls• Disclosure


SERVICE DEPARTMENT



SELLING TOOLS





GOALS TEAMWORK• Team Effort• Creating a Competitive

Advantage

PEOPLE WHO BUY GEMS Every customer is unique and so is every sale. Each year, however, around eighteen million Americans

buy gemstone or pearl jewelry. Taking a look at the “big picture” of all these purchasers can help youunderstand their behavior as individuals and become better at managing your interactions with them.

The following points are based on a nationwide consumer surv ey conducted at the end of the 1990s:



Most people are not confi-dent buying expensive jew-elry and if the salespersonis rude, indifferent or lack-ing in knowledge, the cus-tomer will feel vulnerable.

Women are the most fre-quent customers of pearland gemstone jewelry.

• Gemstone jewelry customers tend to be educatedand mature. Almost half of all jewelry buyers have collegedegrees. Another quarter have some kind of advanced education ortraining. Preference for colored gems is highest among 35 to 54 year -olds. For pearls, the peak is 55 and older.

• Women are the most frequent customers. They make58% of pearl jewelry purchases and 70% of gemstone jewelry pur-chases. They most often buy for themselves, too.

• Male customers are usually looking for gifts. This isthe case 82% of the time with pearl je welry and 79% with gemstonejewelry.

• There are good prospects for future sales. Half of gem-stone jewelry customers will make at least two purchases in this cate-gory during a year, and about 20% will make three or more. Theymay buy other kinds of jewelry as well.

• You’ve got competition. Most people buy fine jewelry in tradition-al outlets, but 58% of gemstone jewelry customers visit more than onestore before purchasing, and 38% visit three or more stores. The numberof customers looking for gemstone jewelry in non-traditional outlets (i.e.TV and internet sources) continues to grow as well.

These numbers don’t mean you should write off anyone as a potentialbuyer, or ignore any sales opportunity. They do, however, provide a sketch ofthe customers and circumstances you can expect to encounter most often.

The consumer survey also revealed some common characteristics you cananticipate. Regardless of gender, age, or other individual factors, top cus-tomer concerns regarding jewelry purchases include product quality and thestore’s reputation. Also important are the salesperson’s honesty, knowledge,and advice. Most people aren’t confident about buying expensive jewelry. Infact, many feel vulnerable or even suspicious. While jewelry is often pur-

chased for happy occasions, the survey indicated that that few cus-tomers actually enjoy their buying experiences.

Of course, jewelry professionals understand that each customer’sunique personality and character are critical elements, too. Physicalfeatures such as build, complexion, and hair color often play a big partin purchase decisions. So do personal history and taste. On the emo-tional and psychological side, some people make decisions with theirheads, and some with their hearts. Some are v ery independent in theirthinking, but most are influenced by others – from f amily and friendsto fashion gurus and celebrities. In your capacity as a trusted profes-sional, you are also among the influences.

Almost all these factors can take on multiple configurations in thesame customer. For example, the differences in a man’s mindset whenhe’s buying cufflinks for himself, a pin for his mother , or a necklacefor a new love interest can make a major difference in the dynamics ofthe transactions.

Your primary objective, then, is to prepare for what you can foresee and whate ver you might dis-cover during a presentation. This includes developing ways to accent positives, overcome negatives,tune-in to each customer’s thoughts and feelings, and make the buying experience truly satisfying fromstart to finish.



4

GREETING YOUR CUSTOMER For the sake of analysis, it helps to look at v arious aspects of

the selling process as separate steps. It’s important to realize,though, that most of them don’t necessarily follow a set order.They can also overlap or repeat, with the process moving backand forth between steps. As a result, selling is usually more lik ea dance than a march. Paying close attention to your customerwill help you determine the direction in which you should mo veat any point.

Every selling opportunity begins with the greeting. Manysales professionals feel this is the easiest step in the process, b utmost agree that it has a critical impact on the rest of the presen-tation. In the first few seconds after initial contact, the customerforms an opinion about you. If it’s negative, the chance of a suc-cessful interaction is small. If it’s positive, you have an opportu-

A male customer will have completelydifferent mindsets when contemplatinga purchase for himself as opposed tohis mother or new love interest.

Every selling opportunity begins with agreeting. The customer forms an opin-ion about you immediately.

nity to use your knowledge and skills. The per-sonal chemistry between you and the customercan also begin to develop with this first contact.

Since your goal is to create a friendly rela-tionship with each customer, you need to beginencounters with customers as you would withfriends. Let them know you’re sincerely happyto see them. Don’t try to dive into presentations.Instead, take your time, be sensitive to the flowof the situation, and make an effort to fine-tunethis crucial step.



The best way to start is with a genuine smile and direct e yecontact. This kind of warm, friendly approach instantly sendsmany positive messages: You enjoy what you’re doing. You’reproud of your products and your store. You like the customer.You’re going to give your very best effort.

As you greet customers, pay attention to your body language,too. Leaning forward slightly with your shoulders squarely facingthe customer, looking alert and aware, extending your hand or sub-tly waving in welcome – these can reinforce the positi ve messagesyour smile sends. Your tone of voice will also brighten naturally ifyou begin encounters in a positive way. All of this opens the doorto comfortable communication. Don’t forget to make eye contact.In the split second before you smile, catch the customer’ s eye andhold it.

Then what do you say? The time-honored standbys – “Goodmorning!” “Hi there!” “Welcome!” – usually work just fine. Whatyou don’t say is, “How are you?” “May I help you?” “What bringsyou in today?” or “What can I show you?” Standard openingsinvite polite brush-offs. If you sound like every other salesperson,the customer will treat you like every other salesperson. Thinkabout how you can set yourself apart while getting the customer’ sattention in a polite, upbeat, and sincere w ay.

Your body language speaks volumesof your service attitude. It should bepositive, welcoming and open thedoor to communication.

The best way to start is always with agenuine smile and direct eye contact.



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When should all this happen? As soon as you see the cus-tomer, even if she’s twenty feet away. After all, it would berude to wait until she’s at the counter to acknowledge herpresence. If the customer isn’t looking at you on her way intothe store, smile and raise your voice appropriately in greeting.You’ll make eye contact and receive a response that begins theprocess.

When you’re busy with paperwork or other chores and acustomer enters, stop what you’re doing and give her yourcomplete attention. (You can put things away once you’vemade the customer feel welcome.) Never make a customerfeel as if she’s an interruption, or that the tasks you’re doingare more important than she is. If you’re with another cus-tomer and there are no other associates a vailable, divert yourattention just long enough to smile and mak e eye contact withthe newcomer. Then tell her politely that someone will be withher right away.

Always greet cus-tomers with your shoul-ders toward them –even if you are work-ing on something elsewhen they enter.

The presence of children isalways a natural starting pointfor conversation.

Photo courtesy Stomel Advertising.

BUILDING SOLID RAPPORT The next selling step involves putting the customer at ease and

assuring her that you’re genuinely interested in her and in herneeds. Creating a working basis of comfort and trust – a strong per-sonal bridge across the counter – is the professional goal in build-ing solid rapport.

After your greeting, it’s best to behave as you would at a socialgathering, and engage in a little “icebreaking” chitchat. You might,for example, make a comment about local events, seasonal activi-ties, the weather, or even traffic. Since people like to talk aboutthemselves, you can often use obvious openings to get the conversa-tion rolling. If the customer is wearing jewelry, you might compli-ment it and then offer to give it a professional inspection and clean-ing. The presence of children is also a natural starting point (b utdon’t guess about the age or gender of a baby). In other w ords, youcan talk about almost anything except politics, religion, “personal”subjects and purchasing your products.

Whenever it feels right, introduce yourself by giving both yourfirst and last name. The customer will usually respond in kind. If

Break the ice with

conversation.



not, go ahead and ask. Pay attention to how the customer prefersbeing addressed. “I’m Mrs. Jones” probably indicates a desire tobe treated formally. To help yourself remember the name, try touse it right away. Then repeat it periodically – but not too often –during the rest of the encounter.

If it’s physically convenient and seems appropriate, offer toshake hands. A warm handshake is a powerful tool for buildingtrust. As a professional, you should work on perfecting yourhandshake. It should be solid and conf ident, but not bone-crush-ing. A hesitant handshake gives the impression that you lack con-fidence. Practice with your coworkers to develop a hand shakeand approach that’s comfortable for both you and your customers.

When it feels right – early in theconversation – introduce yourselfand offer a firm handshake.

During the “rapportbuilding” stage, listencarefully, be sincereand maintain eyecontact. No jewelryshould be shown atthis stage.

Throughout the rapport building step – and throughout the whole sellingprocess – keep the tone positive. If you make a compliment, be sincere.Make sure you’re genuinely interested in the questions you ask and theanswers you receive. Demonstrate this by maintaining eye contact andusing body language or gestures that indicate you’re listening. Connect yourcomments and questions to the information your customer pro vides.

Remember that rapport-building conversations should be revealing. Forthis reason, try to ask open-ended questions – those that can’ t be answeredwith Yes, No, or a straight fact. Leading statements that start with phraseslike “Tell me about” “Describe how” or “I’d really like to know” also workwell. Listen carefully to the details of answers and responses. Ev erythingyou learn can be useful.

The time it takes to build solid rapport is variable – more with a newcustomer or a regular who’s feeling chatty, less with one who’s in a hurry orknows exactly what she wants. As a rule, be prepared to spend about threeminutes on this step before you try to shift the subject to je welry. Stay alert,however, for clues that indicate your customer is ready to mo ve on.Whenever you get the signal, direct the conversation to business. You knowyou’ve done a great job if the customer mak es the transition unprompted,by telling you where her interests lie.



8

EMOTIONAL PROFILING In order to decide what to show and how to present it, you have to

find out what the customer truly needs. This involves the skill known asprofiling. Your goal in this selling step is to gather the information youneed in order to suggest the right merchandise and present it in a w aythat addresses the customer’s deepest reasons for making the purchase.To do this, you have to ask focused questions, listen carefully to theanswers, pay attention to nonverbal clues, and make appropriate connec-tions.

A logical place to begin is by finding out whether a customer is buy-ing for him or herself, or for someone else. It also helps to kno w if thepurchase is for a special occasion. After you have these preliminaryfacts, there are two possible routes to take. One is objective, or mental.The other is subjective and emotional.

Objective profiling typically involves a series of questions such as:What kind of gem were you thinking of? What type and style of jewelryare you looking for? Do you prefer yello w or white gold, or platinum?

This objective approach, while sure to provide elementalfacts, often leaves important information off the table. If theselection is for a gift, the facts may fit the buyer but not therecipient. Objective profiling also leads directly to the ques-tion “How much does it cost?” When that happens, the inter-action almost always bogs down and dead-ends with the cus-tomer making a statement like, “I need to look around somemore.” The problem is that the customer loses contact withthe feeling that motivated the purchase in the first place.

Emotional profiling gathers the same information – andmore – but keeps customers in touch with their feelings. Ifyou’re helping a male customer select an anni versary gift forhis wife, emotional profiling questions might include:

“Tell me all about her. … What kind of work does shedo? … How about her outside interests and activities? …Would you say her taste in clothing and home décor is tradi-tional or contemporary?”

Profiling effectively requiresposing focused questions andlistening carefully so you caninterpret responses.

Collect information by starting a direct con-versation then listening carefully. Use openended questions to draw out informationand explanations from the customer. Resistpulling out jewelry before you have enoughinformation.

“I’d like to know about other jewelry that she owns. … Is thereanything she loves and wears all the time? … Ha ve there been pre-vious gifts that were especially successful? … How about any thatdidn’t quite get the reaction you were hoping for?”

“Now tell me about your plans for giving the jewelry to her. …What do you want her to say or do when she f irst sees it? … Whatkind of expression do you want to see on her face – in her eyes? …How do you want to feel? … What do you ultimately want the jewel-ry to “say” – both to her and to the rest of the w orld?”

When you take an emotional approach to profiling, it’s essential tobuild adequate rapport in advance. You won’t get honest emotionalresponses if the customer doesn’t trust you. During the conversation,be careful not to make the customer feel as if you’re interrogating him,or filling out some sort of standard form. Just as when you’ re buildingrapport, questions should be open-ended, and they often work best ifthey’re phrased as conversational statements. Instead of, “What did youhave in mind?” you might try, “I’d like to hear some of the ideasyou’ve been kicking around.”

Be sure to listen actively to the customer’s responses. Stay alert for meaningful nuances of v ocal toneand body language. Let the customer know you’re paying attention by maintaining eye contact and nod-ding and smiling in agreement. Keep the revelations coming by injecting an occasional “Oh?” “How so?”“I see.” “That’s interesting.” or “Tell me more.” It’s a good idea to jot down key facts on a note pad, soyou don’t forget them. (Later, transfer these to your client book for permanent reference.)

When it’s your turn to speak, restate what the customer hassaid in your own words, and empathize with any feelings or con-cerns that have been expressed. Draw on the information you gath-ered to help you steer the process. P ause briefly after you makekey statements to let them sink in and gi ve the customer opportu-nities to react or interrupt. Never interrupt the customer, however.

During the interchange, begin formulating the list of items youplan to show and the selling points to go with them. Resist thetemptation to pull anything out of the case before you ha veenough information. Repeatedly asking “How about this?” can put

the customer in a position of repeatedly saying “No” – and that’ snot good for the process. Don’t attempt to take the next step untilyou have a clear idea of what you should sho w and why.



When profiling a customer, listenactively and note nuances ofbody language and vocal tone.The key is to engage the cus-tomer and lead them to relax andopen up.

When it’s your turn to speak, re-statewhat you’ve learned from the customer.Your tone and pace should make proper emphasis.

Listen actively.



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THE PLACE OF FASHION

Throughout history, there’s always been a link between fashion and jewelry,and it’s stronger today than ever before. As a result, fashion has a place in

almost every gemstone jewelry presentation. Women make most of the purchasesin this product category, and they’re definitely “tuned in” to fashion. Men whoare buying gifts for women also need to be aware of the ‘fashion impact’.

Because levels of fashion savvy differ from onecustomer to the next, you have to be prepared toserve as a tutor, mentor, or strategist as needed.Some customers need basic tips on how jewelry canaccent apparel and make a personal statement.Others could use suggestions on creating or expand-ing a jewelry wardrobe. Avid fashionistas seekexpert input on gems and designs to go with the lat-est looks. Almost any customer will appreciateadvice on balancing style considerations with theinvestment that fine jewelry represents.

Skilled profiling enables you to determine theemphasis a customer places on fashion, and whichrole to play in each presentation. With someonewho’s making a self-purchase, the assessments arereasonably simple because the concerned party isstanding right in front of you. For a gift, you need toknow both the person who’s giving and the onewho’s receiving. If the giver (and buyer) happens tobe a man who’s clueless about his wife’s taste, somedetective work may be required.

To discover the customer’s motivations, talk aboutthe occasion and the significance he attaches to it.Also ask about his wife. A simple “Tell me abouther” will often give you much of what you need toknow. The first few facts may help you point him in



the right direction. Let’s say your customer is looking for a ring, and hetells you his wife is tall, blonde, and an accountant. You might start bysuggesting a gem with an elongated shape (flattering to long fingers), ina white metal mounting (a good look on a blonde, fair-skinned woman),with conservative style (a reasonable guess for an accountant). At thevery least, your customer can use this recommendation to clarify his ownthinking and give you further direction. Keep in mind that true satisfac-tion will only occur if she likes the piece as much or more than he does.

To sell fashion, you’ve got to stay current. Websites, magazines,movies, television, and your own shopping experiences can all help withthat goal. So can trade publications that cover the subject from ourindustry’s perspective. Just remember that you need to speak fashion’slanguage as well as recognizing its visual elements. Pay attention to arti-cles and photo captions in printed material, plus the narration in fashion-oriented TV programs or advertising. Listen especially for trendy buzz-words, then use them yourself to articulate this age-old but ever-presentcustomer concern.

Keep in mind that true satisfaction

will only occur if SHE likes the piece

– not necessarily if only HE does!

Photo courtesy Stomel Advertising.

PRESENTING FOR COMMITMENT When you’re finished profiling, you should be ready to present a

selection of appropriate items and obtain the customer’s commitmentto purchase one of them. Even if you’re sure you know the perfectpiece, always be prepared to offer alternatives. Having choices helpscustomers feel comfortably in control.

Unless the customer has stated a budget, don’t allow price to dic-tate your suggestions. Never judge purchasing power by appearance, orinvite limits by asking how much someone plans to spend. Instead, pre-sent the items that best satisfy the needs and moti ves you identified inprofiling.

Customers often spend less than they’re willing to, simply because they aren’t offered more expen-sive choices. If your initial suggestions are truly out of the customer’ s price range, she’ll let you know. Inthat case, the worst that can happen is that you showed some beautiful jewelry, shared your enthusiasm,and complimented her about what you thought she’d like and could afford.

When a customer expresses a price objection, acknowledge it and assure her that you can satisfy herneed. “I understand your concern. The good news is that the vibrant color you’re seeking is available in avariety of gems and designs. So let’s look at something that might be a bit more comfortable for you. ”

Whatever you show, you must establish its value and createthe desire to own or give it. Always try to do this before the cus-tomer asks the price. If you wait till afterwards, everything yousay will simply sound like a justification.

In order to establish value and create desire, you need to getthe customer involved with an item – physically, mentally, andemotionally.



12

Don’t allow price to dictate yoursuggestions unless a budget hasalready been stated. Remember,with the right piece and the rightpresentation, customers will oftenspend more than they say at first.

When profiling is complete,you’re ready to present a selec-tion of items that are appropriateto what you learned.


• Creating Physical Involvement Encourage the customer to touch the jewelry, holdit, and try it on. If the item is for a self-purchase,try placing it on the customer instead of handing itto her. If it’s for a gift, ask someone in the store tomodel the piece so the customer can see it inaction and anticipate the pleasure of giving it. Usethe props you have available as well. Place a coun-terpad close to the customer to convey a sense ofownership and focus attention on the piece. Keep a



It’s important that the customer touch andfeel each piece of jewelry. It creates aphysical connection and promotes thevalue of the piece.

Choosing the right pieces to showdemonstrates you’ve been listening.When you cite the features of eachpiece you can turn them into “benefits"you deducted from your profiling.

To a self purchaser, use terms that willcreate a positive mental connectionbetween her and the piece.

polishing cloth handy, and give the item a gentle buffingbefore you present it. While you’re doing this, say a fewwords of introduction to heighten the drama and mak e themoment memorable.

• Creating Mental InvolvementThe best way to get a customer mentally involved is todemonstrate that you’ve been paying attention. Choosingthe right pieces to show says a lot, and translating featuresinto benefits reinforces that message. You can use almostany fact about a gem or the jewelry in which it’s set as afeature. A benefit, however, is something positive the fea-ture means or does specifically for that customer. The mosteffective features and benefits relate to emotions. For addedimpact, try linking the two with the word “so.” “This pinksapphire has excellent wearability, so you have a very femi-nine color in a gem that’s tough enough to enjoy for a life-time.” Gauge the customer’s response as you state each fea-ture-benefit pair. If it’s positive, keep moving in that direc-tion. If not, try another approach.

• Creating Emotional InvolvementEmotional involvement is what every customer seeks whenpurchasing jewelry. This is also where your sincere enthusi-asm really counts. To create this kind of involvement, chooseyour words to mirror the emotions you identif ied in profil-ing. For example, when you present jewelry for a gift, useromance words like breathtaking, captivating, enchanting,mesmerizing, or timeless. For a self-purchase that’s intendedto make a personal statement, effective terms might includesmart, chic, classic, distinctive, sophisticated, bold, and sen-sational. In addition, try to paint a mental picture of the cus-tomer owning or giving the piece. You can begin this kind ofguided imagery with a phrase like “Just imagine…” or“Picture this….” Then tie into specific aspects of satisfactionthat the customer expressed when you were profiling.

OBJECTIONS AND TRIAL CLOSES When customers raise objections, don’t panic. Quite often,

objections are buying signals. They’re part of the decision-making process for many customers. If customers object,they’re obviously weighing the pros and cons of purchasing.

Overcoming objections can be as simple as one, tw o, three:

1. Clarify the objection by asking questions andlooking for nonverbal clues. Try to determinewhether the customer really doesn’t like the item, or justwants additional information or validation. (If you do aneffective job of linking benefits to statements the customermade when profiling, any objections will probably be veryspecific.)

2. Put the customer at ease by expressingunderstanding and empathy. Don’t argue. Even ifyou’re going to offer a counterpoint, begin with somethinglike, “I understand how you feel” “I’m glad you told methat” or “I appreciate your concern.” This let’s the cus-tomer know you’re listening, and you care about what she’ssaying.

3. If the objection isn’t a rejection, try to resolveit by reviewing features and benefits, thenadding one or two more. Remember to focus onwhat you’ve learned about the customer, and to emphasizebenefits that target the emotions motivating the purchase.



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Look for clues – verbal andnon-verbal – as to whetherthe piece is the right one.

Offer counterpoints without being defen-sive and resolve hesitation by reviewingor adding features and benefits.

Presenting for commitment comes easy once you master the art of getting the customer in volved.Don’t think of her as the audience for your professional performance. Instead, mak e her an active par-ticipant in the experience, with the two of you working together to make the perfect choice. If you takethis approach, you’ll find the commitment that will make both you and the customer happy.



Provide technical information conciselyand accurately.

If you can’t answer a customer’s questionor resolve their concerns, ask for helpfrom a colleague.

Resolving an objection is an opportunity

to close the sale.

You can alternate these steps, depending on what seemsappropriate in the situation. Be sure to co ver them all, however,and to stay in engaged in the conversation. Say what comesnaturally, and what the customer needs to hear. If you’re askedfor technical information, provide it accurately and in as muchdetail as the customer wants, always linking facts and featuresto benefits.

When you don’t know the answer to a question, be honestand admit it. Never bluff or risk misrepresenting your products.If the information appears to be critical, try to f ind it immedi-ately by checking a reference or asking another member ofyour team – but do it without interrupting the flow you’veworked so hard to establish.

Always use the resolution of an objection as an opportunityto close the sale. Trial closes can – and should – occur through-out the selling process. They give you a sense of how you’redoing, and how much further you still have to go.

Formulating a trial close is fairly easy. As you sum up yourresponse to the customer’s objection, you can turn a natural, posi-tive comment into a question. For example, “This pendant has theclassic beauty and exceptional quality that you want to expresswith this gift. ... Don’t you agree?” This prompts the customer torespond with “Yes,” “No,” or some other statement that guidesyou to your next step.

Asking questions at key points during the presentationsecures the customer’s approval of important features and bene-fits, confirming that you’re on the right track. On the other hand,it can also allow the customer to express disapproval comfort-ably, without a feeling of confrontation. Best of all, these littletrials can lead comfortably and directly into the f inal close.



16

• Papers – Unset gems are often kept in small foldedenvelopes called gem papers. There’s an aura of mysteryabout these, and as you open one up, customers oftenfeel as if they’re getting a peek into a secret world. Thateffect is spoiled if you fumble, though, so ask your man-ager or a senior coworker to demonstrate how to openand close a paper, then practice until you can do it withprofessional flair.

• Holders – The same is true for devices used to holdgems. These include tweezers, spring-operated pincers,and “plungers” with retractable jaws. You need to learnto manipulate whatever type your store has, and, again,the best person to teach you is an experienced teammember.

• Cloths – Another accessory is the gem cloth, which youlearned about in Lesson 13. Remember: to keep the clothfrom becoming soiled, keep it folded – fuzzy side in.When you want to clean a gem, lay the folded cloth onthe countertop, lift a corner, insert the gem between twofuzzy sides, and rub firmly holding the smooth sides. Likepapers and holders, using a gem cloth effectively takes alittle practice. Once you learn how, you can make it dra-matic as well as functional.

Even though a customer can’t try on an unset gem, you can get her physically involvedby letting her hold it. If the gem is large, allow her to use her fingers. That’s both customaryand safe. It’s better to place smaller gems in locking tweezers or some other secure holder.If you use locking or spring-loaded tweezers, be sure not to clamp down too hard or fast ona fragile gem and use caution to avoid chipping or scratching.

When the gem is going to be set in a ring, there’s another good option. You can havethe customer hold her hand over a counterpad, palm-down with fingers together, and place

the gem between the middle and ring fingers. To help her feelcomfortable with this, place the gem on your own hand first andthen ask if she’d like to see how it looks on hers.

Whatever tools or techniques you use, be sure to keep a coun-terpad under the gem at all times. You’ll make the customer feelmore secure and you’ll minimize damage if the gem is accidentallydropped.

SHOWING UNSET GEMS

Although most of your presentations will probably involve finished items of jewelry, youmay also have occasion to show unset gems. In that case, you’ve got a few extra props

and skills to master.



ASKING FOR THE SALEOften a customer won’t make a purchase simply because a sales

professional fails to ask for the sale. It’s not that the customer didn’tsee what she wanted, or that the price was too high. The person onthe other side of the counter just didn’ t ask if she wanted to buy it, ordidn’t advise that she should.

Asking for the sale is a frequently o verlooked step in the sellingprocess. This mistake usually occurs because the associate is afraidof seeming “pushy” or “high pressure.” You’re really acting as anadvisor, though. If you’ve been conscientious in working through allthe selling steps – if you’ve built solid rapport, profiled completely,presented your suggestions effectively, and responded to any objec-tions – it’s natural for your customer to expect your advice regardingthe final choice.

When all the reasons for making the purchase are “out there” andthe customer is obviously interested in owning the jewelry you’vepresented, don’t wait for her to beg you to take her money. The cus-tomer is probably waiting for you to call for a commitment. Ask forthe sale, or advise her to make the purchase.

It’s important to develop the skill to read customers’ buying signals, aswell as the timing to take this step effectively. You need to be alert for buy-ing signals throughout your interaction with a customer. These signals canbe as subtle as a quiet customer becoming talkati ve, agreeing enthusiasti-cally with what you’re saying, nodding and smiling, or hesitating to hand apiece back to you. They can also be more obvious – asking to see a pieceagain, stating a preference between two pieces, or inquiring about paymentoptions.

Whenever you think you’ve spotted a buying signal, try asking for thesale. There are a number of specialized approaches, or closing techniques,that you can use. You’ll undoubtedly develop and polish your ownfavorites, but some of the time-tested methods include:

• Assuming the Close – This often works well with indecisive cus-tomers. You actually set the stage from the be ginning of the presenta-tion by assuming that the customer will mak e a purchase. Then yousimply assist by helping to identify the best item. Along the way, youtransfer ownership by describing the jewelry as “yours,” “his,” or

It’s important to recognize buyingsignals and develop the timing toclose effectively.

Sometimes, with indecisive customers, you just have tomake an assumption that thepiece is right and it’s theone they need.

“hers” instead of “ours.” Finally, when the moment feelsright, you ask a question that assumes the sale: “He’ s reallygoing to love this! Shall I gift-wrap it for you?” “From allyou’ve told me, this is the perfect choice. When are yougoing to give it to her?” “I can have the ring sized by tomor-row morning. What time would you like to pick it up?”

• Alternate Choice Close – It’s best to use this approachwhen the customer has narrowed the possibilities to twoitems, or you’re confident the time has come to move intopurchasing mode. When that happens, try offering someoptions: “Which of these two best expresses the ‘wow’ you’relooking for?” “Would you like to wear it now, or shall I put itin a box?” “Do you prefer the ring in yello w or white gold?”

• Summary Close – This involves recapping the featuresand benefits to which the customer has responded most f avor-ably, with a little reinforcement of how the item meets the customer’s needs: “The fiery orange ofthis topaz accents your fall fashion palette, yet the ring’s design has a timeless elegance. The settingalso provides ample protection, so you can feel comfortable wearing it to the of fice every day. It alladds up to current chic, classic appeal, and e veryday wearability. I’d say you’ve found exactly whatyou’re looking for!”



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• Suggestive Close – Sometimes it’s appropriateto come right out and urge the customer to makethe purchase. You may need to provide a little extrarationalization, but you’re essentially saying whatthe customer is thinking: “I can see it in your e yes.You love this ring. You’re really going to lovewearing it, too.” “You should have this. ... Youdeserve it!”

Remember that your confidence at the momentyou ask for the sale is critical. The customer will senseand respond to uncertainty. Even if you encounter anobjection at this point, however, don’t be discouraged.Treat it like any other objection, then ask again. Themore sales you bring to a successful close, the moreskilled and comfortable you’ll become at doing it.

If a customer responds favorablyto features and benefits, summa-rize them and ask for the sale.

When you’ve built the right rapport but thecustomer needs a nudge for rationalization,be their advisor and suggest they buy it.



MAKING ADD-ON SALES Most sales associates are so glad to close a sale, the y don’t

think about anything else the customer might need. One moreitem, however, might complete the look a woman making a self-purchase is trying to achieve. A man who’s just bought his wife’sanniversary gift may have forgotten about his mother’s birthdaytwo days away. In many cases, you’re actually doing the customera service by suggesting added possibilities.

After closing a sale, the momentum is on your side. You’veestablished rapport. The customer is in buying mode. She’s feel-ing great about what she just bought – and she’ s already in thestore. Even if she doesn’t buy now, with holidays and personalevents like birthdays and anniversaries on every calendar, anotherjewelry-buying occasion is bound to be coming soon.

Successful add-on sales usually occur just after the first itemis closed, but the foundation is laid earlier. You might set the stagefor add-on by mentioning a piece that matches or coordinates withthe jewelry you’re presenting. After that, focus on the first sale.Then return to your add-on suggestion once the customer hasmade the initial purchase decision.

It’s natural to add earrings, for example, onto a necklace.“This tourmaline pendant is absolutely stunning. Every woman inyour office is going to be green with envy. What earrings are youplanning to wear with it? … You know, we have a pair of danglesthat would make the perfect complement. Take a look at these.”

There are countless scenarios for add-ons. All you need is cre-ativity and a little self-confidence. After all, you can’t make add-on sales if you don’t try. At the very least, the customer will leaveyour store with inspirations for future purchases. There are countless scenarios for

add-on sales, but the best formula isto start early, then ask for the add-onright after the first item is closed.

Photo courtesy Mastoloni Pearls, New York.



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FOLLOW-UP FOR SUCCESS Many associates think the last step in the selling process is closing or

adding on. If you have an “eye to the future,” however, you know the finalselling step is following up. In fact, this step is likely to be one of the decid-ing factors in your long-range success. Reaching out to people you meet onthe sales floor can produce a number of desirable results. It can ensure satis-faction with purchases, enhance your professional image, b uild stronger rela-tionships, attract repeat business, and generate great word-of-mouth advertis-ing.

Because it’s such a crucial step, you should follow up with everyoneyou assist, even if they didn’t find the perfect piece to buy on their lastvisit. Thanking customers who don’t make purchases for their time andattention in visiting you creates favorable impressions and will bringthem back in the future.

With customers who do make purchases, there should be at least tw ofollow-up contacts – a thank-you note and a satisfaction call.

• Thank-You Note – Within a week after the purchase, send a per-sonal, handwritten thank you note to the customer. (Use the contactaddress she specified when she made the purchase.) Thank the cus-tomer for visiting you and trusting you to help her with an importantdecision. Also confirm that she made a great choice. End with abrief comment that reminds the customer of your in-store con versa-tion. For example, “I’m betting the new pendant was a perfectaccent for the banquet and the award you received.Congratulations!” This follow-up contact helps to eliminate thebuyer’s remorse that tends to accompany a sizable purchase. It alsostrengthens the relationship you’ve established by letting the cus-

Follow-up ensures satisfaction, builds relationships

and attracts repeat business.

Speak personally to customers.Don’t leave messages thatspoil surprises or compromisesecrets. Use a service mentali-ty, not a sales mentality.



tomer know you were paying attention and were truly inter-ested in her.

• Satisfaction Call – Make this call about a month afterthe purchase. The primary aim is to ensure that the customeris completely satisfied with what she bought. Was a gift asuccess? Are any adjustments required? How about ques-tions on care and cleaning? If you unco ver problems, doyour best to correct them. While you’re at it, thank the cus-tomer once more for her trust and conf idence, and invite herto visit you again.

These and other follow-up activities can mean the differencebetween life-long customers who return to you for all theirfuture jewelry needs and those who are eventually lost to yourcompetition. When you combine post-sale contacts with the kindof service-oriented follow-up you learned about in Lesson 13,you have the basis of a strong program for client development– one that will bring customers back to you, their professionaljewelry consultant and friend.

Make follow-up a daily activityand keep a tickler file to jogyour memory.

Make satisfaction calls thirty daysafter a purchase and additionalcalls every six months. Adjust forspecial occasions.

Follow-up can mean the difference between

lifelong clients and customers who are lost

to competitors.



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A RESOURCE FOR SELLING The Colored Gemstone Compendium that comes with this course can be one of your most

important resources for selling. Designed to complement what you’ve learned in course lessons,the Compendium covers topics that interest customers. It also identifies features you might dis-cuss, and helps you interpret facts about the gems you show.

The main section contains profiles of individual gems. Each profile outlines history and lore,value factors, common treatments, background science, geographic sources, and characteristicsto consider in selection and care. Another section includes birthstones, anniversary gems, gemcolor choices, and a comprehensive list of treatments.

The compendium works well in combination with lessons, your inventory, and your own cre-ativity. To do your “homework” for presentations, first read a profile. For more on the points itcovers, review appropriate lesson material. Next, sit down with jewelry you’ll be showing anddo some brainstorming. Select outline points about which you feel confident and that you knowwill appeal to customers. Match them with specific features of your gems, and formulate benefitsthat target various motives. Then practice putting it all together. Ask coworkers to help you gener-ate ideas and role-play to try them out.

The compendium can also come in handy during presen-tations. If you don’t know the answer to a question, you canoften find it in one of the profiles or reference charts. Youcan use the profile outlines as talking points, or even showthem to customers. This is a good way to explore areas ofinterest, and it adds authority to what you say. Men (inparticular) often respond to this approach because it quan-tifies and qualifies facts about gems in a way they findreasonable and comfortable. It also gives them tidbits ofinside info they can share when they give a gift.

As with any tool, the more you use the Compendium,the better you’ll become with it. So, make it a regularpart of your program for professional development.



RECAP OF KEY POINTS

• At its best, a sale is a communication process in which a professional identi-fies a consumer’s needs, shows how products or services meet those needs,and assists in a satisfying purchase decision. Selling skills should be de vel-oped and polished continuously.

• You need to prepare for what you can foresee and whate ver you might discov-er in a sales presentation. This means developing ways to accent positives,overcome negatives, tune-in to each customer’s thoughts and feelings, andmake the buying experience satisfying.

• Greeting your customer is the first critical step in the selling process. Aneffective greeting combines several elements – your smile, eye contact, bodylanguage, facial expression, gestures, and a verbal signal that invites a positiveresponse from the customer.

• Rapport building creates a working basis of comfort and trust by putting thecustomer at ease and assuring her that you’re interested in her and her needs.To succeed at this step, be yourself and strik e up a friendly conversation. Keepthe tone positive, and be genuinely interested in the questions you ask as wellas the answers you receive.

• In profiling, your goal is to obtain the information you need to suggest theright merchandise and present it in a w ay that targets the customer’s motives.Using an emotional approach to profiling gathers information while keepingcustomers in touch with their feelings. The more you learn during this step,the better prepared you’ll be to make suggestions and bring the sale to a suc-cessful conclusion.

• When you present jewelry, you need to establish its value and create the desireto own or give it. To do this you must get the customer physically , mentally,and emotionally involved. Let the customer hold or try on the je welry.Translate features into benefits. Choose your words to reflect the emotionalmotives you identified in profiling.

• Objections are part of the decision-making process for man y customers. Whenyou encounter an objection, clarify it, put the customer at ease, and then try toresolve it. Trial closes should occur throughout the selling process.



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• Whenever you think you’ve spotted a buying signal, try asking for the sale.If you encounter an objection, don’t be discouraged. Resolve it and thenask again.

• By suggesting add-on possibilities you’re providing the customer with avaluable service. Momentum is on your side. Ev en if you don’t make thesecond sale, the customer will leave with inspirations for future purchases.

• A successful close isn’t the end of the selling process. F ollowing up can bethe deciding factor in your long-range success. After a sale is made, the fol-low-up should include a thank you note within a week and a satisf actioncall in about a month. Post-sale contacts combined with service-orientedfollow-up provide the basis for a client development program.




____ Within the next week, rehearse each step in the selling process. Takeone step at a time. (Don’t try to go through the whole process all atonce.) For each session, ask a coworker to help you set a scenario andto role-play it with you. Ask others to observe and critique your per-formance.

____ Select a piece of gemstone jewelry from your inventory, and practicetranslating features into benefits. Start by listing features of the gemsand setting. Next, identify three customer “types,” buying situations,and underlying emotions you frequently deal with (for e xample, pro-fessional woman making self-purchase to celebrate success; manlooking for a 10th anniversary gift to express renewed love). Thencome up with benefits that link the features, customers, emotions, andoccasions.

____ If you don’t already have one, develop and implement a regular sys-tem for following up with customers. With your manager and cowork-ers, discuss ways to make this critical selling step as effective as pos-sible.

Lesson 14 Self-Test











Colored Gemstones

Representation and Disclosure



In This Lesson:• Simple Principles

• The FTC Guides

• Laws and Insights

• Identifying Products

• Disclosing Treatments

• Describing Value Factors

• Speaking Trade Language

SIMPLE PRINCIPLES When you close a sale it’s important to feel certain the customer

will remain happy with the purchase. In one way or another, everystep in the selling process can contribute to that objective. Early in theprocess, rapport building and profiling allow you to establish trust,identify the customer’s motives, and make appropriate suggestions.Following up after the sale will help ensure that there are no unre-solved problems. As you present merchandise, you can create phys-ical, mental, and emotional involvement. In addition, however, youmust fulfill your professional obligations concerning representationand disclosure. That means following two simple principles:

• Everything you say must be accurate.

• You must provide the information the customer needs to makean educated decision.

Both principles are obviously valid, but they imply certain respon-sibilities. As a professional, you must acquire and maintain solidknowledge about your products, make a firm commitment to personalintegrity, and be familiar with the rules and standards that apply toyour work.

Representationand Disclosure

The principles of representationand disclosure dictate that youmust provide all the informationneeded for the customer tomake an educated decision.

Building on these basics and adapting them to everyday sit-uations will require your ability to put yourself in someoneelse’s shoes. Start with the question, “What would I want toknow if I were considering this purchase?” Keep in mind thatwhile customers need all the pertinent facts, they also desirethe romance that gems embody. As you’re supplying requireddetails, it’s essential to stay focused on the reasons for owningor giving gems. You’ll need to put a good deal of thought andcreativity into preparing for presentations, and pay close atten-tion to the customer throughout the sales interaction.

This lesson begins with a look at legal, ethical, and prac-tical aspects of representation and disclosure. Then it examineshow these issues apply to three areas that are vital in sellingcolored gems: identifying your products, disclosing treatments,and describing value factors. (Durability and care, which youlearned about in Lesson 13, are also part of representation anddisclosure.) The final section offers guidelines on using tradelanguage to communicate clearly and effectively with your cus-tomers.



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Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Follow ethical guidelines for representation and disclosure.

• Introduce and reinforce the identities of gemstone products.

• Make disclosing treatment a positive element in presentations.

• Achieve the right balance in discussing factors that affectvalue.

• Use trade language to help customers understand and appre-ciate gems.

When contemplating how todisclose information to acustomer, consider what youwould want to know if youwere purchasing the piece.


Sales Professional CertificationProgram™, this lesson presents infor-mation related to the following SkillAreas:PRODUCT KNOWLEDGE• Precious Metals• Colored Gemstones• Pearls• Disclosure• Designer & Brand Name Jewelry• Custom-manufactured ItemsSERVICES AND GUARANTEES• Warranties and Guarantees• Store Service ProgramsSERVICE DEPARTMENTCUSTOMER SERVICE• Initiating Customer Contact• Building Customer RelationsSELLING PROCESS• Customer Needs• Building the Sale• Closing the SalePOINT OF SALE PROCEDURES• POS Record Keeping• POS Customer DevelopmentRISK MANAGEMENT• SecurityPROFESSIONAL STANDARDSAND EXPECTATIONSBUSINESS ETHICS• FTC Guidelines• Trade Practices



THE FTC GUIDES The Federal Trade Commission (FTC) is the US government agency that’s responsible for pro-

moting free and fair commerce in the American marketplace. One of its primary activities is settingrules for business and industry. Over the years, there have been several sets of FTC regulations cov-ering gems and jewelry. Since 1979, these have been officially known as Guides for the Jewelry,Precious Metals, and Pewter Industries. Most professionals simply call them the FTC Guides.

The FTC Guides apply to all jewelry products, all claimsregarding those products, and individuals as well as firms at alllevels. They reflect an ongoing dialogue between the governmentand our industry. Different versions of the Guides have addressedchanging conditions in the trade and changing attitudes in society.

In their present form, the FTC Guides include 27 sections (num-bered 23.0 to 23.26). One of the first sections sets the tone:

Section 23.1 Deception (general).It is unfair or deceptive to misrepresent the type, kind,

grade, quality, quantity, metallic content, size, weight, cut,color, character, treatment, substance, durability, serviceability,origin, price, value, preparation, production, manufacture, dis-tribution, or any other material aspect of an industry product.

Successive sections build on this premise. One dealswith misleading illustrations in advertising and other promo-tional material. There are seven on metals and jewelry, cov-ering topics such as gold and silver content and use ofwords like “platinum” and “handmade.” Seven more aredevoted to diamonds. Four discuss pearls (these were sum-marized in Lesson 5). The last five are mainly about coloredgems.

This lesson will focus primarily on the final five sec-tions, but it’s important to know what the others say, too.You can find the complete document on the FTC’s websiteat www.ftc.gov/bcp/guides/jewel-gd.htm.

You can access the complete rendition ofthe FTC Guides on your computer.

The FTC states clearly that it isdeceptive to misrepresent anymaterial aspect of an industryproduct.

Photo courtesy Comex.



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LAWS AND INSIGHTS Federal trade laws target acts that affect national commerce. For this reason, federal agencies aren’t

likely to prosecute individuals or small firms that don’t follow the FTC Guides. Nevertheless, theGuides help to set ethical and legal standards for all gem and jewelry professionals. Most industryorganizations include the Guides in their rules of conduct for members. The Guides also serve as thebasis for many state laws.

As you saw in Lesson 6 (on organic gems), laws concerningissues such as endangered species and environmental protectionalso apply to our industry. So do those governing personal behaviorand business activity in general. In all fifty states, consumer-protec-tion laws allow customers to sue retailers for unfair practices. Inmost states, giving false information – or misrepresentation – isillegal, even if you do it unknowingly. The knowing omission ofmaterial facts – failure to disclose – is also illegal. (A material factis anything that might reasonably influence a customer’s decision tobuy.)

Staying within the letter of the law may not always be enough.Customers have to trust professional guidance when they purchasegems or jewelry. A charge that this trust has been betrayed can carrya lot of weight with a judge and jury. As a result, consumers some-times win court battles despite claims that seem unreasonable tojewelry professionals.

A retailer can also be judged in the court of public opinion.Even if an angry customer doesn’t pursue legal action, he may useother means to avenge a real or imagined wrong. Taking the story toa local TV reporter could spawn an exposé featuring you and yourfirm. At the very least, the customer is certain to voice his com-plaint to family, friends, and anyone else who’ll listen. This cangenerate a toxic ripple through the community that is certain todamage a business reputation.

The best tool you have for dealing with such possibilities is con-tinuous professional development. Make a personal commitment tobeing honest and knowledgeable, so you can rightfully earn cus-tomer trust. When you don’t know the answer to a question, admit

In all fifty states, consumer protec-tion laws allow customers to sueretailers for unfair practices. Aknowing omission of facts is alsoillegal.

The jewelry industry’scredibility has been dam-aged numerous times byaggressive TV reporterslooking for a story.

it. Try your best to establish and maintain a friendly profes-sional relationship with each person you serve. Becomefamiliar with the FTC Guides, and collect related informationas you run across it. Keep up-to-date on general facts aboutyour products, and know the specifics regarding items in yourinventory. Use what you learn in this course and through otherreliable sources to hone your selling skills.

Be scrupulous about following your store’s policies andprocedures, too. These were designed to protect your cus-tomers, your firm, and you. They represent the combinedwisdom of your entire organization and its advisors in handlingimportant issues. Whenever you have a question, ask your man-ager or talk it over with coworkers whose opinions you respect.Ultimately, the shared experiences and insights of others onyour team may prove to be the surest guides of all.



IDENTIFYING PRODUCTS Three sections of the FTC Guides discuss terms you might use

to identify colored gems. Here’s a summary of what they say:

• Section 23.23 Misuse of the words “ruby,”“sapphire,” “emerald,” “topaz,” “stone,”“birthstone,” “gemstone,” etc.When used alone, names like emerald, ruby, and sapphirerefer to natural gems. The same is true of words like birth-stone and gemstone. Synthetics and imitations must be clearlyidentified as such. To qualify as synthetic, a material musthave essentially the same properties as its natural counterpart.Acceptable alternates for synthetic are “laboratory-grown,”“laboratory-created,” and “[manufacturer name]-created.”(“Chatham-created emerald” is an example of the last option.)Instead of “imitation,” you can say “simulated.” (One of thesections on pearls prohibits using terms like “faux” and“fashion” alone to describe imitations. To be safe, follow thisfor other imitations, too.)

Continuous professional development –partially acquired through regular staffmeetings – is a key to knowledgeableand honest representation.

This Chatham–created emerald –which has essentially the sameproperties as a natural emerald –must be identified as laboratory-grown or laboratory-created.


The message in these sections is plain: The customer must understand exactly what you’re offering.Meeting that standard is fairly easy if you keep a few things in mind. First, it’s often necessary to usenames or terms that may be unfamiliar to nonprofessionals. Be careful to explain these. Many cus-tomers have never heard of chalcedony, for example. If you use the term, explain that chalcedony is atranslucent mineral related to quartz. (We’ll talk more about this in the last section.)

Remember that there are likely to be lapses of attention in any presentation. Since a customer maynot “catch” every word you say, reemphasize key terms periodically. “Earlier I mentioned …” “One ofthe things this can do for you is …”

Also remember that memory works by connecting information. If you want a fact to stick, createlinks for it. Going back to the chalcedony example, you might tell the customer, “Like quartz, this is adurable gemstone - yet the color is a feminine, dreamy look because of the way light passes through itsunusual crystal structure.” When you take this approach, you’re selling – and disclosing information –clearly.

In the last lesson you learned that it’s important to make the moment memorable when you firstshow a gem. To do this, choose the words you use to identify – or introduce – the gem to the customercarefully. You might decide classics like emerald, ruby, and sapphire have enough recognition to standon their own, but take a few seconds to highlight any name that might not be familiar. For example:“This is tourmaline. It’s one of the most colorful natural gems created by the earth.’



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• Section 23.24 Misuse of the words “real,” “gen-uine,” “natural,” “precious,” etc.None of these terms, or any like them, should be used for any mate-rial that’s produced artificially. This includes all synthetics and man-made imitations.

• Section 23.25 Misuse of the word “gem.” This word shouldn’t be used to describe any example of a naturalmaterial that doesn’t have the beauty, rarity, and value to be consid-ered a true gem. The main part of the section allows use of the termfor synthetics when it’s properly qualified (for example, “laboratory-created gem”). The accompanying note, however, recommendsavoiding this because “few synthetics possess the necessary qualifica-tions.” It says imitations shouldn’t be described as gems, either.

To refer to cubic zirconia as“real” or “genuine” wouldbe considered by the FTC tobe misleading because it iscreated in a lab. Therefore,it is appropriately calledsynthentic cubic zirconia

The customer must understand exactly what you’re offering.



Synthetics and imitations often require more elaboration. Manycustomers see the two types of products as the same, and considerboth “fake.” You may want to clarify the difference, especially ifyou’re showing an expensive “luxury” synthetic. “This is a laboratory-created emerald. It’s not an imitation, but a human-made reproductionof the natural gem – right down to the atomic ingredients.” For animitation, you might need to explain both function and nature. “Thisis imitation peridot. The material is actually synthetic spinel with agolden green color that resembles natural peridot.”

In lesson 3 you learned the difference between synthetics and imi-tations. Take a few minutes to review the definitions. Be sure youunderstand and can explain the distinction. Then ask your manager toclarify which artificial gem materials in your showcases are true syn-thetics, and which are correctly called simulants or imitations.

When you introduce any gem, synthetic, or imitation,be ready to answer questions and supply as much informa-tion as the customer wants. As you move forward in thepresentation, it’s acceptable to vary your terminologysomewhat in order to keep from sounding repetitive. Avoidsaying anything that might be confusing, however.

To make sure the customer is clear on the final deci-sion, include the identification in closing statements(along with appropriate benefits). “I think the syntheticsapphire is a great choice. Its vivid color and budgetfriendliness are the combination you’re looking for.” Thenput the identification in writing on the sales receipt andany other paperwork, such as insurance documentation,you provide with the purchase.

Customers often think “imitation”and “synthetic” mean the samething. Clarify the difference,especially with luxury synthetics.


Be ready to answer questions and furnishadditional information if the customerneeds it.

Try to avoid using terminology that

might be confusing.

MISNOMERS

Amisnomer is an inaccurate or misleading name. In the centuries before science-basedidentification and active consumer protection, gem misnomers were common. One very

“high class” example is the “Black Prince’s Ruby”. It has been part of the British CrownJewels for more than 600 years – and it’s actually not a ruby at all, but a red spinel.

Modern gemology, education, and ethics have made misnomers relatively rare in themainstream jewelry industry. They continue to flourish around its edges, however. At a gemand mineral show you might see hematite being sold as “black diamond,” or pyrope garnetas “Arizona ruby.” Most dealers will be glad to tell you the true identities of the gems orspecimens when you ask, though.



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A more serious concern in today’s industry is the preva-lence of misnomers in some international locations where reg-ulation is weak or non-existent. A traveler who visits one ofthese places might come home with “topaz” that’s really cit-rine, “jade” that’s actually serpentine, “emerald” that’s moreaccurately described as pale green beryl, or almost any“gem” that is, in fact, a cheap imitation. A misnamed productthat’s often purchased in Latin America and the Middle East is“alexandrite.” This is almost always inexpensive syntheticsapphire that shows a color change under different types oflight. (It’s appropriately called synthetic alexandrite-like sap-phire.) If the traveler is a customer of yours, you could befaced with delivering some unwelcome news.

The Colored Gemstone Compendium lists misnomers for pop-ular gems. It’s best not to bring these up in sales presenta-tions because they can confuse customers, though discussingthem at other times can be a plus. If a customer brings in a“water sapphire” she inherited or received as a gift, she maybe interested to hear that she actually has an iolite. Explainthat the misnomer – or you might say “old-fashioned name” –comes from the fact that this gem appears deep blue oralmost colorless, depending on the direction from which it’sseen. Demonstrating iolite’s strong pleochroism would then bethe perfect way to help her appreciate her gem (and yourexpertise).

The “Black Prince’s Ruby”is actually a red spinel.

Synthetic alexandrite–like sapphire– a man-made corundum – isoften called “Alexandrite”, whichis actually a variety of a com-pletely different mineral –chrysoberyl.



DISCLOSING TREATMENTS For jewelry professionals, the consequences for failing to disclose gem

treatments can be serious. They range from embarrassment, unhappy cus-tomers, and lost sales to lawsuits, bankruptcy, and ruined careers. The disclo-sure cloud does have a silver lining, however, and it’s easier to find than youmight think. With the right information and approach, you can present treat-ment as a benefit and use disclosure as a way to build trust.

The first step is developing a positive attitude for yourself. To do this,you need to recognize that treatments have a vital role in today’s jewelryindustry. They make gems more beautiful, durable, available, and affordable.Some are basically no different than weather-sealing a sundeck, polishingyour car, or tinting your hair. Others are technical methods for doing whatNature might have done on its own. So, there’s nothing wrong with or uneth-ical about most treatments – as long as customers know what they’re buying.

The next step is finding out what to disclose. On that topic the FTC Guides say this:

Section 23.22 Disclosure of treatments to gemstones.It is unfair or deceptive to fail to disclose that a gemstone has been treated if:

(a) the treatment is not permanent. The seller should disclose that the gemstone has beentreated and that the treatment is, or may not be, permanent;

(b) the treatment creates special care requirements for the gemstone. The seller should disclosethat the gemstone has been treated and has special care requirements. It is also recom-mended that the seller disclose the special care requirements to the purchaser;

(c) the treatment has a significant effect on the stone’s value. The seller should disclose that thegemstone has been treated.

Some treatments are basi-cally no different thanweather-sealing a deck orpolishing your car.

From Gemstones,Quality and Value, Volume 1by Yasukazu Suwa.

Some treatments are just technical methods for doing

what Nature could havedone on its own.

These guidelines require disclosure ofmost treatments. Some industry organiza-tions go a step further and say customersshould be informed of any treatmentwhatsoever. The important thing is toknow and follow your company policy ondisclosure.



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Once you’re clear on policy, make sure you under-stand the different methods of treatment that are used ongems. You learned about these in Lesson 3, but to refreshyour memory and link treatment with disclosure, we’llcover them again here. Remember that almost any artifi-cial process that improves a gem’s appearance or dura-bility qualifies as treatment. The most common treat-ments, their effects, gems on which they’re performed,and reasons for disclosure are listed in the followingtables. For more details, particularly on care andcleaning, see the Colored Gemstone Compendium.

The silver lining in the disclosure cloudis that treatments can make gems morebeautiful, durable, available andaffordable.

Photo courtesy Columbia Gem House.

Bleaching – Using chemicals like hydrogen peroxide, chlorine bleach, or acid to lighten orremove color or dark surface blemishes.

Gem Benefit Reason to Disclose

Cultured Pearls Improves color and Affects value.reduces blemish visibility.

Jadeite Jade Improves color. Requires special care and affects value.

Cavity Filling – Filling relatively large surface openings with some sort of liquid material thatlater hardens (usually glass or plastic). This makes the cavities less obvious, and can also addweight.


Ruby Improves clarity appearance. May not be permanent, requiresspecial care, and affects value.

Sapphire Improves clarity appearance. May not be permanent, requiresspecial care, and affects value.



Coating – Applying a thin layer of some substance to a gem’s surface, usually to improve orchange the color. Coating can also make the polish look better, and either imitate or intensify a phe-nomenon such as asterism. Substances used for coatings include oil, wax, paint, varnish, plastic,foil, and metallic compounds like those used for mirrors and camera lenses.


Manmade Imitations Creates a desired color, appearance, Not permanent and requires or phenomenon. special care.

Natural, pale gems Improves color appearance. Not permanent and requires (e.g., green beryl special care.imitating emerald)

Diffusion – Heating a gem to very high temperature while it’s in contact with a mixture of care-fully selected chemicals. The chemicals penetrate the gem and actually become part of the crystal,changing its color in the process.


Sapphire (light colored) Creates a better color appearance May not be permanent. (Might than the gem actually has. be damaged by repolishingOccasionally creates a shallow star or recutting.)effect. Affects value.

Dyeing – Adding a chemical coloring agent to improve or change color.


Amber Improves or changes color. May not be permanent and requires special care.

Chalcedony Improves or changes color. May not be permanent and requires special care.

Coral Improves or changes color May not be permanent and (usually to red or pink). requires special care.

Cultured Pearl Improves or changes color. May not be permanent and affects value.

Jade Improves or changes color. May not be permanent and (Jadeite and Nephrite) affects value.



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Lapis Lazuli Improves color. May not be permanent and affectsvalue.

Opal Darkens base color and May not be permanent, requires heightens play-of-color. special care, and affects value.

Shell Improves or changes color. May not be permanent and requires special care.

Tiger’s-eye Improves or changes color. May not be permanent and requires special care.

Turquoise Improves or changes color May not be permanent, requires special care, and affects value.

Fracture-filled gems Improves color. May not be permanent, requires(e.g., emerald) special care, and affects value.

Fracture Filling – Filling breaks that reach the gem’s surface to make them less visible. Fillersinclude colorless oils, natural and synthetic resins, and sometimes glass. (If color is added to thefiller, the treatment is also considered dyeing.)


Emerald Improves clarity appearance. May not be permanent, requires special care, and affects value.

Ruby Improves clarity appearance. May not be permanent, requires special care, and affects value.

Sapphire Improves clarity appearance. May not be permanent, requires special care, and affects value.

Heating – Using high temperature, usually to improve or change color. In ruby and sapphire, carefullycontrolled heating is a common method for eliminating needle-like inclusions to improve the clarity. Lessoften it’s used to make the same kind of inclusions grow in order to create or intensify a star effect.


Amber Darkens color. Heating in oil may May not always be permanent and improve transparency. Heating sometimes requires special care.followed by immersion in liquid creates small fractures known as sun spangles.

Amethyst Improves color; drives out less Improves value.desirable secondary colors.



Aquamarine Improves color; drives out less Improves value.desirable secondary colors.

Carnelian Produces the color. Improves value.

Citrine Produces the color. Improves value.

Ruby Improves color; drives out less desirable secondary colors; may Improves value.improve clarity.

Sapphires Improves color; drives out less (various colors) desirable secondary colors; Improves value.

may improve clarity.

Star Ruby Intensifies star. Improves value

Star Sapphire Intensifies star. Improves value

Tanzanite Produces or improves color. Improves value.

Tiger’s Eye Changes color. Improves desirability.

Topaz Produces or improves red or pink Improves value.color; drives out less desirable secondary colors.

Tourmaline Improves color; drives out less Improves valuedesirable secondary colors.

Zircon Produces or improves color. Improves value

Impregnation – Applying oil, wax, plastic, epoxy resin, or similar substances to fill pores andsmall surface openings. Low heat or other methods may be used to improve penetration. (If a col-oring agent is added, the treatment is also considered dyeing.)


Coral Improves color and polish appearance; May not be permanent, mayconceals blemishes and cracks; may require special care, and affects also improve durability. value.

Jade Improves color and polish appearance; May not be permanent, may (Jadeite and Nephrite) conceals blemishes and cracks. require special care, and affects

value.



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Lapis Lazuli Improves color and polish appearance; May not be permanent, may conceals blemishes and cracks; may require special care, and affects also improve durability. value.

Malachite Improves color and polish appearance; May not be permanent, mayconceals blemishes and cracks; may require special care, and affects also improve durability. value.

Opal Improves color, polish appearance, May not be permanent, may and play-of-color; conceals blemishes require special care, and affects and cracks; may also improve durability. value.

Turquoise Improves color and polish appearance; May not be permanent, may conceals blemishes and cracks; may require special care, and affects also improve durability. value.

Irradiation – Exposure to high-energy radiation or bombardment with subatomic particles tochange color.


Cultured Pearls Changes or improves color. Requires special care and affects value.

Rose Quartz Improves color. Requires special care.

Smoky Quartz Produces or improves color Improves desirability.

Blue Topaz Produces the color May not always be permanent and (followed by heat) affects value.

Tourmaline Changes or improves color May not be permanent and affects (pink, red and purple) value.

The first step in disclosingtreatments is to recognize that treatments

have a vital role in today’s jewelry industry.



Concentrate on the gems in your store and learn about thepath they’ve taken from the earth to your showcase. Ask yourmanager or buyer for information and guidance, then work outexplanations that are understandable and brief, but accurate andpositive. It’s good to brainstorm ideas with other members ofyour team. Additional reading material can help you prepareyourself with extra background for answering questions oradding perspective.

Work on your timing as well. It’s best to make the initialdisclosure when you’re discussing a feature that’s affected bythe treatment (usually color or clarity). The statement can be assimple as, “This sapphire’s deep blue color is partly due toexpert heat treatment.” That puts the information in a logicalcontext and links it with a benefit (creating the gem’s visualappeal).

Follow the same approach with all of the points thatare part of full disclosure – permanence, special care, andeffect on value. Cover each one where it makes sense andfits smoothly in the overall flow of your presentation.Remember to accent positives, too. Many treatments pro-duce permanent results and most have little effect on rou-tine care. Some – like the heat treatment that producestanzanite’s color – create almost all the gem’s value. Inany case, you can say that with proper care the improve-ment added by the treatment will last. You can also high-light the benefit of beauty for a more attractive price.

Don’t become defensive if customers seem suspicious.Acknowledge the validity of their concerns and welcometheir questions. (After all, if you were buying a treatedproduct like wood for your deck, siding for your house, orcarpet for your living room, wouldn’t you want to knowabout the treatment and its benefits?) Cite your company’sdisclosure policy as a commitment to honesty and ethics.Point out that this is another reason why it’s important to

Timing is important. It’s best to makethe initial disclosure when you’re dis-cussing a factor that has been affectedby the treatment, such as the color.

Learn about the gems inyour own showcases andhow to best explain what– if anything – has beendone to them and why.




16

buy from a reputable firm. If you have a return or refund policy,offer it as an additional guarantee. Explain benefits and makecomparisons with everyday life. Emphasize that treatments areintended to improve gems, not to deceive consumers.

As with product identification, you should make a full dis-closure of treatment verbally during the presentation, then makeit again in writing on receipts and other documents you provideat the time of purchase. For a sapphire, the written version mightread: “This gem has undergone heat treatment to improve itscolor. The treatment is normally permanent, and requires nospecial care.” A written disclosure like this serves two impor-tant purposes: it ensures that the customer has the information,and proves that you supplied it.

Welcome questions abouttreated products. Relate it toother consumer products suchas pre-treated carpeting anduse it as a platform to men-tion your store’s ethics.

To avoid forgetting anything in the flurry of end-of-the-sale details, prepare written disclosure statements inadvance. This is a good way to do your homework forverbal disclosures. You also need a convenient way ofinserting statements where they belong. (If you put themon separate sheets of paper, they may get lost.) Somefirms make the process hassle-free by programming theircomputer systems to automatically print disclosures onreceipts.

Entries in the Colored Gemstone Compendiuminclude all the facts you’ll need to construct effective dis-closures. Be sure to work closely with your managementon every aspect of this issue.

The AGTA requires its sup-plier members to disclosetreatments on invoices toretailers.

Photo courtesy Talisman Unlimited.



ENHANCEMENT

For many years the terms “treatment” and “enhancement”have meant about the same thing in the jewelry industry. In

a report that accompanied the 1996 version of its Guides, how-ever, the FTC stated that treatment is more accurate andenhancement is often deceptive. The Commission reasoned that“enhancement” implies a permanent change, while many of themethods used to improve the appearances of gems are not per-manent, or they create special care requirements.

The FTC’s statement triggered a debate among profes-sionals. Many feel the two words are truly synonymous. Somemake a distinction between traditional enhancements andmodern treatments (for example, between heat and diffusion).Others advocate strict adherence to the FTC’s position. Stillothers argue that “treatment” should be dropped because itsounds negative, and a growing number are switching to theterm “processed.”

Since the original FTC opinion wasn’t part of the officialguidelines, it doesn’t have the same status as other regulations.The most recent Guides version, which took effect in 2001, usesonly the term “treatment.” In other FTC publications, however,the term “enhancement” appears alongside treatment.

Like other questions about disclosure, discuss using the term“enhancement” with your manager. Make sure everything yousay is in line with company policy as well as ethical profession-alism.

Photo courtesy Jeffrey Roberts.



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DESCRIBING VALUE FACTORS Besides knowing a gem’s identity and whether it’s treated, customers

need a clear assessment of the factors that affect its value. In Lesson 4 youlearned that these factors include the 4Cs – color, clarity, cut, and caratweight.

One section of the FTC Guides specifically addresses quality factors inconnection with colored gems:

• Section 23.26 Misuse of the words “flawless,” “per-fect,” etc.This prohibits using the term flawless for any gem “that discloses blem-ishes, inclusions, or clarity faults of any sort when examined under a cor-rected magnifier at 10-power, with adequate illumination, by a personskilled in gemstone grading.” It says the term perfect, or anything similar,shouldn’t be used to describe a gem unless it’s flawless and also is notinferior in color or cut quality. Neither term should be used for an imitation.

There are three sections on diamonds that you should follow for other gems, too:

• Section 23.15 Misuse of the term “properly cut,” etc.It’s deceptive to use this term or others like it to describe a diamond with cut proportions thatdetract from its beauty.

• Section 23.16 Misuse of the words “brilliant” and “full cut.”When used alone, terms like these refer to round diamonds with at least 32 facets plus the tableon the crown, and at least 24 facets on the pavilion. (In other words, standard round brilliants oradaptations with more facets.) A note to this section allows such terms to be used for fancyshapes that meet facet requirements, if the shape is included in the description (for example,“oval brilliant”).

The customer needs a clear

assessment of the factors that affect

a gem’s value.

A gem may appearexceptional but cannotbe called “flawless” or“perfect” if it has anyvisible inclusions orblemishes under 10x.

From Gemstones, Qualityand Value, Volume 1by Yasukazu Suwa.



It’s also important to remember that the FTC Guides cover all forms ofrepresentation and disclosure, including media advertising, displaylabeling, and face-to-face interactions. Sometimes wording that’s effectivefor one of these can be awkward for another, or makes no sense at all.

To follow the guidelines on weight representation, a brochure mighthave a statement such as “75 points or 0.75 carat.” or “Weight is not exact;1/3 ct = 0.30 to 0.35 ct.” In a sales presentation you’d handle things dif-ferently. If you want to talk about weight in points, define the term whenyou first mention it. You can also say something like “The weight is thirty-two hundredths of a carat, or about one-third carat.” Then you can use thefraction. Different firms have different policies about stating weight inpoints or fractions, and you need to follow yours. You can, however, allowreasonable flexibility in observing certain FTC guidelines if the result isfaithful compliance with their spirit and better communication with yourcustomers.

Occasionally, you may employ standards higher than those set by theFTC. A literal reading of Section 23.26 might allow someone to rationalizedescribing a gem with flawless clarity as perfect in quality, so long as itdoesn’t have poor color or cut. To most consumers, however, “perfect”means superior in every way. Since your goal is to establish relationshipsbased on integrity and trust, you need to set a higher standard for yourselfin this case. Never be tempted to use technicalities as excuses for mis-leading customers.

While someFTC Guidelines

are specific,others leave

room for interpretation.

• Section 23.17 Misrepresentation of weight and“total weight.”If weight is stated as a decimal number, it must be accurate to 1/2point. If weight is stated in points, it must also be stated in dec-imal numbers. If weight is stated as an approximate fraction,you must disclose that the fraction isn’t exact and explainthe range it covers.

Some of these guidelines are clear and specific, but othersleave room for interpretation. That makes it necessary to considerthe intent of the Guides, the way your customers see things, andwhat’s appropriate in a particular situation.

The total weight of the gems in aring must be expressed as a decimaland accurate to .005ct. (1/2 pt.).



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The same standards apply to any statement about quality andvalue, even if it’s not spelled out in the FTC Guides. Today’sconsumers are bombarded with exaggerated claims. Ads on tele-vision and labels in grocery stores provide lots of examples. Youmay have noticed others on home shopping programs or websitesthat sell gems and jewelry. Think about how these make you feel.If that’s not the emotion you want to evoke in your customers,develop a clearer, more direct way of communicating.

Remember that you don’t have to trade accuracy for effec-tiveness. With a little thought it’s possible to combine ethicalobjectivity with a positive perspective and significant benefits. “Agrader would say the color of this ruby is medium-grade becauseits tone is a little dark. I think the depth of color creates a kind ofsmoldering fire. That seems to symbolize the feeling you’retrying to convey. It certainly makes the gem more affordable.”The key is being sincere in whatever you say.

SPEAKING TRADE LANGUAGE Like every industry, the gem and jewelry trade has a language of its

own. Among professionals, that language makes communication easier. Toconsumers, it can be either a barrier or a bridge. During sales presentationsand other interactions, you need to make it a bridge. In fact, the FTCGuides say clarity of language is a critical consideration in representationand disclosure.

If you say “three-carat trilliant-cut tsavorite in an eighteen-karat soli-taire ring,” almost any jewelry professional will understand what you’retalking about. The same phrase could baffle many consumers, though. Morethan half the words – carat, trilliant, cut, tsavorite, karat, and solitaire –might be unfamiliar. Even the numbers aren’t meaningful.

If that’s all you say, you’ve built a wall that blocks appreciation of yourproduct and separates you from your customer. On the other hand, if youtake the time to give each term some “space” of its own, you add dimen-sions of emotion and imagination. To do this, you need to spotlight the fea-ture the term represents, then explain it and translate it into a personalizedbenefit. That way, you use language to create a bridge into the gem world.

The key to representing and dis-closing effectively and comfortably isto be sincere and honest in whateveryou say.

Develop an honest and

simple way of

communicating with your customer.



Many professionals have a tendency to slip into jargon, creating problems for themselves andmisunderstandings with customers. On occasion, there may be some good reasons for using simple,clear trade language, though. They include:

• Making Yourself Clear – Many trade terms are indis-pensable. Synthetic and imitation (or acceptable alternatives)are good examples. So are treatment, clarity, cut, and caratweight, as well as the names for gems. You can’t get throughany presentation without some of these.

• Avoiding Repetition – Other terms may not be essential,but they can save you from wordy repetition. In this categoryyou could put mineral classifications like species and variety,the names for gem phenomena and treatments, and the compo-nents of color (hue, tone, and saturation).

• Adding Interest – Some terms help you give customers aglimpse into the secrets of gems. Most of these could be con-sidered “technical” – chemical composition and crystal struc-ture, the names of specific clarity characteristics, the geologicprocesses of formation, and properties used in identification.(These are best used sparingly, unless the customer is espe-cially curious.)

The difference between building language barriers and bridgeslies in your own awareness of the communication process. Thisbegins with identifying potential “trouble” terms when you’repreparing for presentations. If you make written notes, these termsare easy to spot. You can also ask someone to sit in as an observerwhen you’re rehearsing or role-playing. For an overall critique,your manager or a coworker is a good choice, but the best personfor this particular job is a non-professional family member orfriend. The less familiar with gems and jewelry, the better.

After flagging a potentially troubling term, decide whether ornot you can do without it. If it serves a valid purpose, keep it.Otherwise, find a way of saying the same thing in plain English.

Be mindful of the trade terms youuse when presenting gems.Translate them so the customercan understand what you’rereally saying.

The differencebetween building

bridges and building barriers begins with yourown awareness of the disclosure

process.



22

For the “keepers,” work out brief definitionsthat fit smoothly in the presentation, withoutinterrupting your flow or focus. As with any otherinformation you use, develop more detailed expla-nations to be ready for any level of interest a cus-tomer shows. (The Colored Gemstone Glossary isa good place to start, and the course lessons canhelp, too.) An effective way to iron out wrinklesis role-playing with coworkers portraying cus-tomers with different attitudes – say, complacent,curious, confused, and concerned.

During presentations, play things safe bydefining any trade term the first time you use it.Knowledgeable customers won’t mind, and thosewho aren’t knowledgeable will appreciate this. Ifthe customer signals a desire to know more,simply respond. Anytime you see that “you justlost me” look on someone’s face, stop, backtrack,restate or rephrase, and be sure to reconnectbefore going on. That way you’ll meet yourresponsibility for representation and disclosure inthe most positive sense. You’ll use knowledge andlanguage to reveal the value and appeal of thegems you show. You’ll also know you’ve doneyour best to make sure every customer’s purchasewill provide lasting satisfaction.

To be ready for customers with explanations andsmooth statements about gemstones, practice withyour coworkers.

Play things safe by

defining tradeterms when

you use them.



RECAP OF KEY POINTS

• To fulfill your professional obligations concerning representation and disclo-sure, everything you say in a presentation must be accurate. You must alsoprovide the information the customer needs to make an educated purchasedecision.

• The FTC Guides help to set ethical and legal standards for representation anddisclosure. It’s also necessary to obey the law, develop your professionalism,and follow company policies.

• The goal in identifying products is to make sure the customer understandsexactly what you’re offering. Take time to do this when you first introduceeach item, then avoid saying anything that might be confusing. Include theidentification in closing statements, and on sales receipts or other documentsprovided with the purchase.

• With the right information and approach you can present treatment as a ben-efit, and make disclosure a way to build trust. The first steps are developing apositive attitude, finding out what to disclose, and learning specifics for gemsin your inventory. Work out explanations that are understandable and brief, butaccurate and positive. Discuss the points of full disclosure where they makesense, and remember to accent benefits.

• For an informed purchase decision, the customer needs a clear assessment ofvalue factors. To provide this, it may be necessary to consider the intent of theFTC Guides, the way customers see things, and what’s appropriate in the situ-ation. It’s almost always possible to combine ethical objectivity with a positiveperspective and appropriate benefits.

• Clarity of language is a critical consideration in representation and disclosure.Jargon is a barrier to understanding, but thoughtful use of trade language canhelp you achieve important goals. The difference is the awareness you bring tothe communication process.



24


____ Obtain a copy of the FTC Guides and read them from start to finish.Also review your company policy on treatment disclosure. Discussany questions you have about these with your manager.

____ With some of your coworkers, brainstorm common “treatment”processes for everyday consumer products. Then match them withgem treatments. (For example, finishing wood and impregnation.) Tryto come up with a good comparison for each type of treatment youmight need to disclose.

____ Make up and then complete your own Follow-Up Checklists for thelast four sections of this lesson (Identifying Products, DisclosingTreatments, Explaining Value Factors, and Speaking Trade Language).Ultimately, developing your professionalism is your responsibility,and this kind of creative thinking is part of the process.

Lesson 15 Self-Test











Colored Gemstones

Jewelry Displays



In This Lesson:• Hardworking Components

• Layout Strategy and Savvy

• Decisions About Design

• Setting the Stage for Jewelry

• Maintaining Display Impact

HARDWORKING COMPONENTSJewelry displays never speak a word or budge an inch from wherethey stand. Yet they’re hardworking components of your store’smarketing effort, and they contribute to its success in importantways:

• Together with advertising, décor, and your professionalteam, displays play a vital role in projecting the image ofyour business.

• Effective displays promote the products you have to offer.They can make those products look their most appealing,and suggest or reinforce reasons for purchasing them.

• From their overall floor plan to the individual arrangements of jewelry they hold, displaysdirect and focus customer movement within your store – mentally and emotionally as wellas physically.

Displays also help you achieve key goals in your own sales presentations. They attract potentialbuyers, build interest in your merchandise, and support the logic of the decision-making process.

To capitalize on all these assets, you need to begin by understanding the generic recipe for gooddisplays. Then you have to know the specific thinking behind the displays in your store. Whether or

Jewelry Displays

Your displays should make yourjewelry appealing and suggestreasons for purchasing it.

Photo courtesy Chippenhook.

Cover photo courtesy Tivol.

not you’re responsible for managing your store’s displayprogram, you’ve got to do your part to keep your displayssharp, clean, and inviting.

Experts in retail design say displays shape critical firstimpressions of your store. Displays are just as likely,however, to be the last things customers notice as they’releaving. Thus, displays can frame the snapshot of thebuying experiences – and perhaps plant the desire forfuture purchases. That makes this topic appropriate for thefinal lesson of this course.

In the following pages you’ll see how jewelry displaysfunction. You’ll start with layout strategies. After thatyou’ll look at design choices, variable elements, andongoing concerns. Along the way, you’ll learn how tomake displays a highly effective tool in your sales effort.


Jewelry Displays

2

Lesson Objectives When you have successfully completedthis lesson, you will be able to:• Link displays to merchandising strategy and sales.

• Identify options for meeting practical display goals.

• Recognize essentials for effective display staging.

• Implement a program for maintaining your displays.

Whether or not you’re responsible formanaging your store’s display program,you’ll always play a part in keepingdisplays sharp, clean and inviting.


Sales Professional CertificationProgram™, this lesson presents infor-mation related to the following SkillAreas:PRODUCT KNOWLEDGE• Precious Metals• Jewelry• Colored Gemstones• Pearls• Designer & Brand Name JewelrySERVICES AND GUARANTEES• Warranties and Guarantees• Store Service ProgramsSERVICE DEPARTMENTCUSTOMER SERVICE• Initiating Customer ContactSELLING TOOLSOPERATIONS• Store Maintenance• Merchandise MaintenanceRISK MANAGEMENT• Security• SafetyPROFESSIONAL STANDARDSAND EXPECTATIONSTEAMWORK• Team Effort

Jewelry Displays


LAYOUT STRATEGY AND SAVVYYour store’s plan for success is based on a number of elements, including the store’s identity, the

customers it serves, and the products it sells. These elements are reflected in every aspect of your oper-ation, and are especially apparent in your approach to merchandising.

Among traditional jewelry retailers there are three general approaches to merchandising. They canbe identified by analyzing the layout and organization of displays:

• Boutique Merchandising – Displays and merchandise areorganized around designer or manufacturer brands and collections.This model takes advantage of the name-recognition created throughadvertising and other forms of exposure. It also highlights unifying“signature” elements like design themes.

Each of these merchandising approaches has its own distinct advan-tages. What’s essential is recognizing the one your store has selected,and tuning-in to its vision. This simplifies the task of displaying yourproducts in a way that reinforces your underlying marketing strategy.

Layout savvy also helps in the selling process. For instance, much like you’d show new friendsaround your home, you can give new customers tours of your store. A great response for those who saythey’re “just looking” is: “Thank you for choosing to look with us. Let me give you an idea of ourlayout, so finding what you’re looking for will be a little easier.” Then guide them around yourdisplays. While you’re at it, take time to build rapport and begin profiling. Watch for signs of interest,and pause to explain or show anything that catches their attention.

• Mass Merchandising – Windows and showcases are usuallyfilled wall-to-wall with jewelry laid out in symmetrical arrangements.Prices are often prominent. Products are organized by type – rings inone section, earrings in another, and so forth. The main message thissends is affordability and wide selection.

• Category Merchandising – Displays in different areas of thestore are dedicated to specific product categories. Typical categoriesare diamond bridal jewelry, diamond fashion jewelry, watches, pearls,and gemstone jewelry. This organization emphasizes the occasions andmotives for which customers frequently purchase jewelry.

If you understand yourstore’s layout strategy, youcan use it to break the icewith customers who saythey’re “just looking”.

Photo courtesy Panowicz Jewelers.

Boutique merchandising displaysare organized around designeror manufacturer brands andcollections.


Jewelry Displays

4

Once you have the information you need to make sugges-tions, knowing your layout enables you to put customers in theright place for your presentation. Wandering from case to casetrying to spot items you’ve decided to show is a sure-fire wayto confuse and lose customers. If you familiarize someone withyour layout, lead them to the section that holds what they’reseeking, and explain how everything is arranged, they won’tfeel there might be something they’re missing. Then you’llhave their complete attention.

Layout can set the stage for add-on sales as well. Ifyour products are organized by category, earrings in thegemstone jewelry section are likely to be within view ofother items with which they’ll coordinate. In a boutique-style layout, pieces of matching design are normallydisplayed as ensembles. Either arrangement allows you toinitiate an add-on easily and naturally: “If you decide onthis necklace, we have these earrings to go with it.” Thepieces of an ensemble practically beg to be taken hometogether – or at least put on the list for future purchases.

If you’re not sure you understand the layout of yourstore, the organization of items in each section, and thestrategy that governs both, discuss these things with yourmanager. Many stores have graphic diagrams – or“planograms” – of how selling space is allocated. Ifthere’s not one for your store, try developing it yourself.This will be a good learning experience for you, and agreat training tool for new team members who follow.During the process you might find ideas for improvingyour existing setup.

If you know your merchandisinglayout, you don’t have to gofrom case to case trying to spotcertain items and your customerswill feel less like they’re “missingsomething”.


It’s easier to add onsales when productsare arranged bycategory or byboutique label.

Photo courtesy Moretti FineJewelers, San Antonio, TX.

MAKING THE MOST OF FLOW

The layout of your displays affects the flow of customers through yourstore. The primary channel usually runs from the front door to the

service counter. Certain product groups – like engagement rings or trendydesigner lines – can attract traffic as well. Many jewelers place such“magnets” far from the entrance, to lead customers past other merchandiseon the way in and out. Others put high-traffic groups up front, so there’s aninstant connection between the store, its products, and customer activity.

Take a close look at your store’s traffic patterns and learn to make themost of them. For example:

• When you’re not serving a customer, position yourself for a clear view ofthe main pathway. New arrivals will see you, and you’ll be ready togreet them.

• If you meet a repair customer at the front, escort her to the servicecounter. While you’re at it, do a little rapport building and call attentionto merchandise that might spark interest in a purchase.

Jewelry Displays


• If a product category isn’t moving as wellas you think it should, consider (orsuggest) moving it closer to the main-stream of traffic. Sometimes that’s all ittakes to heighten attention, appeal, andsales.

• With merchandise that requires greaterconsideration – like costly designerpieces – make sure customers aren’tdistracted. This is why most sit-downcases are placed away from high-trafficpaths.

The primary path of traffic inmost jewelry stores is a straightline from the front door to theservice counter. Make the mostof your displays along the way.

Symmetrical Design

In symmetrical displays, two sides of an imaginary center linemirror each other in shape, size, and positioning. Products are usuallylined up in rows, with minimal space between them. This type ofdisplay allows you to fit the greatest number of items into any givendisplay area.

Symmetrical display has a couple of weaknesses, however. One isthat it can be visually dull. The other involves the human eye’stendency to scan objects in rows.

Most Americans scan from left to right. (We acquire the habitwhen we learn to read.) In symmetrical displays it’s hard to overcomethis response and have any single item stand out in the customer’sfield of vision. People don’t stop scanning unless they see exactlywhat they have in mind. Even if it’s there, they may miss it.


Jewelry Displays

6

DECISIONS ABOUT DESIGN Good displays have visual, mental, and emotional impact.

Creating this effect involves lighting and other “stage” elements,which you’ll examine in the next section of this lesson. Theeffort begins, however, with some practical decisions aboutdisplay design and product arrangement.

One of the main goals of display is to show as much of yourinventory as possible, while giving every piece the distinction itdeserves. Each merchandise group receives only a certainamount of display space. It may take skilled planning, as well aspatient effort, to arrange the items in a group so everything fitswithout looking either cramped or scattered. You also need tomake sure your displays balance. You don’t want all the largepieces at one end of a case, and all the small ones at the other.The objective is to capture and hold viewer attention as the eyemoves from one piece to another.

There are two basic design options that can get the job done:

Good displays have visual, psychologicaland emotional impact.

Each merchandise group isallotted a certain amount ofdisplay space and it may takeplanning and effort to arrangeitems so they all fit yet haveindividual distinction.

In symmetrical displays, twosides of an imaginary centerline mirror each other.

Graphic courtesy GIA.

Jewelry Displays


To interrupt scanning and add interest, it’s neces-sary to break things up visually. You can accomplishthis with props, signage, or strategically placedasymmetric arrangements. How you do it can varyas long as you stop the eye, draw attention, andproduce the desired effect.

Years ago, jewelry products weren’t as diverseas they are today, and symmetrical displays werestandard throughout the industry. Many retailers(including category and boutique merchandisers)still employ this style, but in limited doses. The secret is using symmetry where it serves a purpose. Agood example would be a showcase in which you have a large number of similar items to display in asmall space. If you choose the symmetrical option, however, you need to take the extra steps to make itwork effectively.

Asymmetrical Design

Asymmetrical display isn’t conventionally balanced, but it’s nothaphazard either. It uses a three-part grouping in a triangle with sides ofdiffering lengths. This is a centuries-old artist’s technique for controllingeye movement and attention.

To understand how asymmetrical display works, start by visualizing atriangle that’s leaning backward and to one side or the other. The toppoint is highest and farthest back. The second point is lower and closer tothe front. The third is lowest and closest.

When you arrange jewelry according to this principle, the primaryitem – corresponding to the top point – is largest and most important. Theintermediate item is smaller, and compliments the primary item. The thirditem is smallest and least important visually, but it completes the triad.

Using the asymmetrical triangle as the basis for display designproduces movement, focus, and interest by providing clues for a viewer’seyes to follow. With symmetry, there’s the urge to scan, and in a trulychaotic display the eyes move randomly. When there’s a clear visual path,however, the eyes and brain work together. They take a series of mentalphotos, pausing at each stop for understanding. Asymmetrical designleads a customer’s attention from the main piece to the others – in orderof importance – and then back to the starting point.

To interrupt the “scanning” mechanism, symmetricaldisplays should be “interrupted” with asymmetricalarrangement.


Asymmetrical display isbased on a triangle withsides of differing lengths.Organizing merchandise inthis pattern controls eyemovement and forces focus.

Graphics courtesy GIA.

By adapting the concept, you can use triangular design in differentways. Instead of single items, the points can be small groupings. Youcan position a single item at the main point, a grouping at the secondpoint, and another grouping at the third. In a big, boxy window youmight repeat the pattern over and over: triangles withintriangles within triangles. For a long, linearwindow or showcase you can set up a series ofvisual stations. Asymmetry allows you to givedisplays a sense of appealing dynamics in awide variety of circumstances.


Jewelry Displays

8

SETTING THE STAGE FOR JEWELRY In theatrical terms, displays are the stages on which your prod-

ucts first appear before their audience. Thinking of things this waymakes some of the goals and challenges of display design clearer. Onone hand, you want your gems and jewelry to look their absolutebest, and you need to help them tell their “stories.” On the other,you’ve got to keep the focus on the merchandise (not its surround-ings), and you don’t want to make mistakes that cause your stars toflounder or fall.

The elements you have to work with are also much like those fora theater stage or movie set. Lighting is crucial and the use of colormust be strategic. Props and accessories of various sorts supportthemes or supply details. Making all the elements work together isthe key to a successful show.

Light

From a technical standpoint, light is the most complex aspect ofdisplay – especially for colored gems. To get the results you want,there has to be a happy balance between several competing factors:

• Position of Lighting – It’s obviously important to have enoughlight for your jewelry to be seen and admired. Lighting specialistssay displays should be anywhere from two to ten times brighterthan the rest of the showroom, depending on the level of drama youwant to create. The higher levels of illumination can be produced

In each of the examples youcan visualize how the trian-gular placement of merchan-dise has been utilized insingles or multiples.

Photos courtesy Chippenhook.

Displays are like stages on whichproducts make their debut.Lighting, positioning and props areall important.

Photo courtesy Visual Reference Publications.

Very much like this carpet store,the light in your jewelry storeneeds to highlight each item inthe best possible way.

Jewelry Displays


by external spotlights or by fixtures inside cases. Positioning iscritical for both. The ideal angle for spots is about 30 to 40° fromstraight above the jewelry, on the customer’s side of the case. If thelights are too far in front, customers cast shadowson the merchandise. If they’re directly overhead orbehind the case, they cause glare. For showcaseinteriors, light strips along the front are most effec-tive. Light from the back can make gems lookwashed-out. That means if your cases are backlit,you may need spots for added frontal illumination.You may also need to take gems out of the case toshow them at their best.

• Color of Lighting – In Lesson 2 you learnedthat “white” light normally includes a mix of colors, and minor differences in color contentcan be significant. Incandescent sources – like spotlights – tend to put out a highpercentage of yellow, orange, and red. Most fluorescents are weighted toward blue andgreen. To look their best, gems must be shown in light that has compatible color content,that is, light with predominant componentcolors that compliment the gem’s overallcolor. You can determine which light ismost compatible by viewing gems underdifferent lighting conditions in your store.Commercially available lights are becomingmore color-balanced, but so far there’s nosingle choice that’s exactly right for allcolored gems. As a result, most jewelers usea combination that covers the entire spec-trum. The lights in your store were probablychosen with this in mind, so it’s importantto replace each bulb with the same color type when they burn out.

• Focus of Lighting – In addition to color variations, there are differences in the focus oflighting. While the light from fluorescent tubes is diffused (or scattered), incandescentbulbs project light in cones or beams of various shapes and intensities. A wide light cone iscalled a “flood;” a narrower one, a “spot;” and a very narrow beam, a “pinpoint spot.”Many jewelry stores use floods over walkways and spots over showcases. (High ceilingsrequire stronger light or more intense focus.) Getting plenty of focused light on displays is

According to specialists, displays should betwo to ten times brighter than the rest of the store.

To look their best, gems must

be shown in lightthat has compatible

color content.


Jewelry Displays

10

important because it makes faceted gems sparkle. It alsobrings out the optical effects in opals, cat’s-eyes, and stargems. Your store probably buys at least two types ofreplacement lamps, but the packaging is often similar. Forthis reason, you may need to confirm that lamps are in thecorrect locations.

• Durability of Gems – For some colored gems, display lighting canpose a durability threat. Pearls, amber, coral, and many fracture-filledemeralds are sensitive to relatively mild heat. Opals may craze due tomoisture loss. Amethyst, brown topaz, and dyed gems sometimes fade.All these dangers are greatest in windows that receive direct sun.Displays with in-case lighting – even “cool” fluorescent – and those litby high-intensity spots warrant extra caution, too. If the interior of acase or window feels warm when you open it, remember that the heatcould damage sensitive gems. Be aware of this and avoid putting sensi-tive gems in showcases that hold too much heat. (For more on dura-bility, review Lesson 13.)

Major changes in your lighting system may not be practical. To makethe most of what you have, stand back, take an objective look at your store,and ask yourself a few questions: When you walk in, do your displays standout? Does the jewelry in each display “reach” for the customer’s eye? Aregems of various colors under lights that are compatible? Are there hotspots

or dead zones in showcases? Is anythingin a dangerous place as far as durabilityis concerned? Then use the answers –along with some ingenuity and experi-mentation – to make needed adjustmentsor improvements wherever possible.

Bright, direct sunlightin your store windowscan be a threat tosome gems.

Stand away from your cases and look at them objectively.Does your jewelry “reach out” to the customer?

Incandescent lamps produce variouslight cones and are called “floods”,“spots” or “pinpoint spots”.

Color

Color is a display tool that’s both powerful and versatile. Itcan enhance the visual appeal of your products and its symbolismor psychology can trigger deep responses from customers. Colorcan also communicate without words and make strong thematicconnections.

Color can be incorporated into your displays through the useof background, props, display elements, signage, trim, or accents.To put this multipurpose component to work in your displays,follow three steps:

1. Identify Any Limits – Decide when you want to add color toyour displays and identify the themes you want to create by doingso. You might, for example, want to add thematic colors forValentine’s Day, 4th of July or the year-end holidays. Each ofthese is associated with certain colors – red or pink for Valentine’sDay; red, white and blue for 4th of July, etc. At graduation timeyou may want the local high school colors. If you’re spotlightingfashion, the season’s hits could be a good choice. Any colors youuse, however, must integrate with your normal display and décor.There are bound to be colors that won’t work in your store or yourdisplays. In particular, you need to avoid colors that clash with theinteriors of your cases or with the display elements that hold thejewelry. If these are truly neutral (white, gray, or black), there’s noworry. If they’re not, they may limit your additional display colors.

Jewelry Displays


Use of color in display can bepowerful and can triggerresponses to symbolism.


Neutral case colors makeit easier to choose coloraccents that work.


If you have colored elements,avoid use of other colors that willclash. Choose coordinating orcontrasting colors.


2. Pick Your Palette – After determining the possibilities, select varia-tions of the theme hues that will work in your store. If your showroomhas burgundy (bluish red) accents, choosing orangish red for Valentine’sDay will clash. So, look for red props that are bluish red, or a coordi-nating lighter pink. If the colors in your store are generally subdued, it’ssafest to use theme colors that are also subdued. Around the Fourth ofJuly, for example, rather than bright red, white, and blue, you might gowith rose, cream, and slate. For a classic look, stay in one hue with amonochromatic set like red and pink. You can also use spectral neighbors– say, blue and green – or be more daring with complementary (visually


Jewelry Displays

12

opposite) pairs. These include red and green,orange and blue, or yellow and purple. Be sureto consider tone and saturation as well as hue,however. Strong colors can easily overpowergems. Limit your palette to two or three colorsthat will create the theme and give yourdisplays depth without making them too busy.

3. Find the Right Balance – Once you’vechosen your colors, it’s time to choreographthe visual balance. This normally means using one color as the backgroundand the others as accents. Accent colors should be strongest, and professional display designers saytheir physical area should equal about 10 to 15% of the background. If you select red and pink foryour Valentine’s Day scheme, pink is the background, red the accent, and for every square foot ofpink you want about 15 to 20 square inches of red. (Of course, you don’t have to be mathematicallyprecise.) For enough power to stop passersby and draw them into your store, windows can useliberal splashes of color. Be sure to carry your window theme into your showcases, too. They prob-ably have less space for decoration, but using the same color scheme as in your windows is a greatway to tie the two together – and give customers a smooth transition from browsing to buyingwhile they focus on your products, not your backgrounds.

Displayers

Displayers, or display elements, are the devices that actu-ally hold jewelry in position for viewing by customers. Somehave simple minimal lines; others are more elaborate and deco-rative. Generally speaking, the elements in a store should besimilar in style, so they coordinate with each other.Manufacturers offer a wide variety of colors, and those you useshould be consistent with your interior décor and displaythemes.

There are many options available in almost every kind ofdisplayer. For rings they include cylindrical “fingers,” slottedtrays, ring sticks, and fabric fans. Ramps, stand-up pads, andbars of various heights and lengths are among the choices forearrings. (Most come in both clip-back and pierced styles.)There are also neckforms and all sorts of pillows and cushions.Some companies offer mannequin-type display elements – forexample, hands and arms in different positions, or neck-face-ear combinations.

After choosing colors, it’simportant to choreographthe visual balance.


Displayers are the many and varieddevices that hold jewelry for viewing.


Jewelry Displays


Base pads for display cases can be recovered when they becomeworn and tattered, but it’s almost impossible to effectively repair tiredor damaged display elements. Since replacing them is expensive, besure to handle and care for yours properly.

Here are some tips for making display elements last longer andlook better:

• Don’t force thick rings into thin slots.

• Don’t put thick chains into narrow slits.

• Don’t force clip-back earrings onto pierced elements (or vice-versa).

• Don’t bend or contort forms beyond their natural design.

• Store elements carefully – wrapped in tissue or individuallybagged – when they’re not in use.

Props

Props and other accessories add personality todisplays. Your store’s regular collection of these stagepieces may include backdrops, floorboards, pedestals,ceramic forms, and so forth. You may also have items likemineral crystals, wood branches, silk flowers, fabrics, andribbons. Since most stores regularly create seasonalthemes, you’re likely to have an assortment of props forthat purpose, too.

With all these things, it’s important to be consistentand coherent. Don’t mix themes. Make sure any decora-tive touches fit the organization, visual design, and colorscheme of the display as a whole. Besides establishingthemes, you can use props and accessories to fill blankspaces, break up symmetrical displays, and adjust thepositioning of items in asymmetric groupings.

“Lifelike” accessories – hands,necks, wrists or ears – givedisplays an added dimension.


Props add personality and theme to yourdisplay. Don’t mix themes and make sure theprops fit the store’s personality.


Always inspect your display components before putting them in place.Because they’re often used year after year, they become tattered, chipped,and frayed. They can get dusty and moth-eaten just from being stored.Props and accessories in poor condition send negative messages aboutyour jewelry and your entire store operation.

When choosing props, keep gemstone durability in mind –specifically, threats related to hardness. Remember that glassand steel will scratch many colored gems and alljewelry metals. Mineral crystals can do that as well.Even relatively soft materials, like wood or plastic,can scratch or tear floor pads, elements, and fabrics.Wherever there’s contact between props and otherparts of the display, add a little extra cushioning to prevent damage.

Signage

Another important display consideration is signage. The typeand quality of signs you use play a big part in defining yourstore’s image. Price signs larger than the jewelry, for example,say that price is the priority. On the other hand, elegant callig-raphy can reflect formality and dignity. There are many possibili-ties in between, as well as some simple rules for achieving thedesired results:

• Be consistent with signage. Try to use the same formatthroughout the store.

• If it is your store’s policy to do so, make sure anyfeatured brands are distinguished with the designer ormanufacturer’s logo and other appropriate signage, suchas the collection name, in a consistent manner.

• If you have lots of browser traffic, try using signs tocreate curiosity and interest. Something like “GemstoneRainbow” or “African Treasures” can cause customers tostop and take a closer look or, better yet, ask questions.

• Avoid handwritten signs. Professionally made signs arebest, but even those printed from a PC (using goodquality photo paper) usually convey a more polished


Jewelry Displays

14

If you sell brands or collections, makesure the signage is appropriately andartfully included in the display.

Props and accessories fill inblanks, adjust positioning andadd interest.


Jewelry Displays


image than those done by hand. If you must write,pay attention to neatness and spacing. There’s noexcuse for sloppy penmanship.

• If you’re a category or boutique merchandiser, useprice signage strategically. The occasional pricehere and there is a subtle way to say, “You canafford to shop here.” For instance, a displaygrouping might include a spectacular necklace and fabulousearrings along with a simple ring. While the more expensive itemsmight cost thousands of dollars, perhaps the only price shownwould be $499 for the ring.

In every window and showcase, your store name should be visible. Don’tassume customers will remember where they’re shopping when it’s time todo the paperwork after you close a sale. (Don’t risk embarrassing them,either.) Make sure each item that catches their eye is followed by a reminderof who’s providing it.

MAINTAINING DISPLAY IMPACT Your merchandise is placed in and removed from your

displays every day, and you have to make a constant effort tokeep everything looking its most appealing. This meanseveryone on your team must know the store’s plan and followit consistently. Cooperate and critique each other so yourdisplays represent everyone’s best efforts at all times.

Remember that housekeeping details are also everyone’sresponsibility. After each case is set up in the morning, walkaround to the front and judge the results. Make sure everypiece is visible, well lit, and oriented toward customers.

Absolute cleanliness is essential. Many stores requireemployees to wear cotton gloves when setting up and puttingaway merchandise. A jewelry cleaning cloth should always behandy to remove fingerprints and give a quick polish to eachpiece. Soft paintbrushes are great for sweeping out cases,fluffing up floorboards and display elements, and giving afresh, well-kept look to every display every day.

Paint brushes are a great way forsweeping out cases and fluffingup floor boards.

Housekeeping details areeveryone’s responsibility.


Your logo shouldbe visible in everywindow and show-case.

If displays are working,

your merchandiseis turning.


Jewelry Displays

16

Countertops should be cleaned every morning, and thenfrequently through the day. Don’t forget about the fronts ofshowcases, especially after you’ve had visits from customerswith children. Your glass is frequently bumped from theinside when you’re removing or replacing merchandise, soevery few weeks clean your case glass on the inside, too. (Ifyou let this go too long, a dingy film will bake onto theglass, and you’ll have to call in a professional to remove it.)

Watch for ink marks on floorboards, elements, and props,and clean them immediately. Contact the manufacturer ofyour display items to learn the best methods for upkeep andmaintenance. Recognize when your elements are worn andtattered and replace them.

If your displays are working, your merchandise isturning, but you also need to set a schedule for rotating yourdisplays. Moving the merchandise around every few monthsmakes it appear new, even if it isn’t. Window displays shouldbe changed at least once a month – more frequently in hightraffic areas. Case displays should be rearranged every fewmonths.

There are lots of details to cover, but cooperating withyour teammates and developing a regular routine make itpossible to keep your displays working at top levels. Theresults – for your store, your team, and your customers – willbe well worth the effort.

Countertops should be cleanedevery morning and frequentlythrough the day. Don’t forgetthe front.


Jewelry Displays


RECAP OF KEY POINTS

• Jewelry displays project the image of your business, show your productsattractively, and guide customer movement in the store. They also help youachieve key objectives in your sales presentations.

• A jewelry store’s marketing strategy is reflected in its displays. Among tradi-tional retailers there are three general approaches: mass merchandising, cate-gory merchandising, and boutique merchandising. It’s essential to recognizethe one your store has selected, and understand its vision.

• Goals for display include showing merchandise, distinguishing each item,maintaining balance, and commanding viewer attention. The basic options formeeting these objectives are symmetrical and asymmetrical design.

• Thinking of displays as stages for your products makes goals and challengesclearer. The elements you have to work with include lighting, color schemes,displayers, props, and signage. Making all of these work together is the key tosuccessful display.

• Light is the most complex aspect of display. To obtain the results you want,you need to balance the requirements for illumination, color compatibility,focused lighting, and durability.

• Color is a powerful display tool. To use it effectively, first identify any factorsthat limit your choices. Then select your palette and establish a balancebetween background and accent colors.

• Ensuring that merchandise and displays always look their best takes teamworkand constant effort. Cooperation and developing a routine make it possible tokeep your displays working their hardest.


Jewelry Displays

18


____ Analyze the layout and organization of your store’s displays. Discussany questions about them with your manager. If your store doesn’thave a planogram, work with your manager to develop one.

____ Examine your displays and identify examples of symmetrical andasymmetrical design. Think about where symmetry is appropriate, andhow to make it effective. For one of your asymmetric displays, workout two or three grouping variations.

____ Take a survey of your display lighting, and ask yourself the questionslisted in the lesson section on that topic. Talk to your manager aboutany concerns or ideas for improvement.

____ Select a product group, one of your windows or showcases, and atheme (seasonal or otherwise), then come up with a color scheme thatwill produce an effective display.

Lesson 16 Self-Test









Jewelry Displays



Colored Gemstones

Final Review








Final Review

In This Review:

• The Last Step

• Exam Options

• Grading and Completion

• Studying for the Exam

• Lesson Checklists

THE LAST STEPCongratulations! You have come to the final review for The

Colored Gemstone Course. The time and effort you’ve invested inthis phase of your career training will soon be formally recognizedwhen you are Colored Gemstone Certified by the DiamondCouncil of America.

Your DCA certification identifies you as a true gem profes-sional, and confirms that you’ve achieved some very importantobjectives:

• You’ve gained product knowledge and selling skills thatestablish a solid foundation for success in gem and jewelryretailing.

• You’ve demonstrated your commitment to integrity andexpertise in your work, valuable contribution to your firm’soperations, and quality service to your customers.

• You’ve shown that you can learn by combining organizedindependent study, the training resources available throughyour store, and your own experience.

Now it’s time to take the last step in this course: to prepare forand pass The Colored Gemstone Course Final Examination.

This review is designed to sendyou into your exam well-informedand confident.


Final Review

2

If you’re among the sizable percentage of adult learners who feelsomewhat anxious at the prospect of structured testing, relax. You’vealready done a great job on the 16 Lesson Self-T ests and the fourLearning Evaluations. You can expect to do equally well on the exam.

If you think you may have forgotten how to study for tests, you’renot alone in that, either. This review will walk you through the processand give you some helpful guidelines. When you’ve finished, you’ll beready for a successful examination.

EXAM OPTIONSWhen you have successfully completed all four

Progress Evaluations, you are eligible to take the FinalExamination. The exam consists of multiple-choice ques-tions just like the ones on the Learning Evaluations. Thetesting procedure and the number of questions depend onhow you decide to take the exam, and there are two basicoptions:

• Open-Book Exam – You take the exam withoutsupervision and you can look through the course to findanswers. If you choose this option, the exam will have150 questions. Open-book exams may be taken onlineor by mail.

• Closed-Book Exam – You take the exam under thesupervision of a proctor designated by your company,and you cannot check the lessons or other references. Ifyou choose this option, the exam will have 100 ques-tions and you will receive special recognition fromDCA. Closed-book exams can only be taken by mail.

Most students take the exam open-book. If youcompleted your Learning Evaluations online, you’ll begiven access to the online version of the open-book exam.If you completed the Learning Evaluations by mail, DCAwill send you a printed (hardcopy) exam.

Your review will help you organize your study,identify the main points of each lesson, andrecognize areas that need further attention.

Final Review


However, you may take an open-book exam whichever way you prefer .If you completed the evaluations online and want a hardcopy exam, or youcompleted the evaluations by mail and want an online exam, you cancontact DCA and all the arrangements will be made.

You will also need to notify DCA if you want a closed-book exam. Youcan do this by signing the Request for Closed-Book Exam that is at the endof Training Evaluation 4, or you can contact DCA and make the request.

GRADING AND COMPLETIONThe Final Examination is graded like the Learning Evaluations.

The grade you receive will be a percentage based on correct versustotal answers.

There are two limits on course completion that you need to keepin mind:

• Academic Limit – The minimum grade target for the FinalExamination is 75%. If your grade is less than that, you mayretake the exam once. If you do not reach or exceed the tar geton the second attempt, you must re-enroll in order to completethe course.

• Time Limit – All of the coursework, including the FinalExamination, must be completed within 12 consecutive monthsfrom the date of enrollment. If you do not meet the time limit,you must re-enroll in order to complete the course. (Yourcompletion deadline is noted on The Colored Gemstone CourseInstruction Sheet that came with your printed course materials,and on the "Welcome" page of the online Student TestingCenter. You can also obtain the date from DCA.)

After you successfully complete all course requirements – allfour Progress Evaluations and the Final Examination – you willreceive formal recognition from the Diamond Council of America,marking this important achievement. If you took the FinalExamination closed-book, you’ll have the added distinction of being recognized "With Honors."


Final Review

4

STUDYING FOR THE EXAM You’ve probably been using many things you

learned in the course. Normally, you don’t need tostudy what you already know, so your review should gofairly quickly. You might need to re-read a few lessonsclosely, and you’re likely to discover some facts youoverlooked when you first studied the material.

There’s no substitute for being prepared for yourexam. “Cramming” the night before probably won’ t domuch more than rob you of a good night’ s sleep. Thisreview is designed to send you into the exam wellinformed and confident. It will help you or ganize yourstudy, identify the main points of each lesson, andrecognize areas that need further attention.

Before you start, let’s recap some of the study tipsyou received in Lesson 1:

• Set your review schedule and stick to it.

• Pick a quiet, comfortable place to study.

• Whenever your attention begins to lag, take ashort break.

The next section includes checklists of key termsand facts for every lesson in the course. The bestapproach is to review one lesson at a time. If you’regoing to take the exam open-book, you might aim atcovering four lessons per study session. That wayyou’ll complete the review process in four days. Ifyou’ve decided to take the exam closed-book, it’s prob-ably better to tackle two lessons per session, so yourenergy and retention stay high.

You’ve probably already been usingthings you learned in this course.

Final Review


A good way to begin the review of eachlesson is to run down the checklists and markoff items you’re confident you know. Then goback to the lesson and look up anything you’renot sure about. Make brief notes or highlightthe material to reinforce your memory. Be sureto review your Self-Tests, LearningEvaluations, and the Learning EvaluationFeedback you have received. Give extra atten-tion to any questions you answered incorrectly.

If you’re taking the exam open-book, yourmain concern is knowing where to find infor-mation. If you’ve chosen the closed-bookoption you need to continue through the check-lists until you’ve marked off everything andyou’re able to respond to each item withoutlooking back at the course material. For extrapractice, you might give this review to acoworker or friend and ask them to quiz you.

If you have questions or concerns about theFinal Examination or any other aspect of yourcoursework, please contact DCA.

Diamond Council of America

3212 West End Avenue, Suite 202

Nashville, TN 37203

Phone: 615-385-5301

Fax: 615-385-4955

Email: [email protected]

Website: www.diamondcouncil.org

A good way to begin the review of each lessonis running down the checklists of “Terms toKnow” and “Facts to Know” and marking offitems you’re confident you understand.


Final Review

6

LESSON CHECKLISTS Because some terms and facts are discussed in more than one lesson, they

may be duplicated in the following lists. To get the complete “picture” of anyterm or topic, check all the references when you’re reviewing for the finalexam, or refreshing your memory after finishing the course.

LESSON 1: The World of Gems

Terms to Know:

assembled product

colored gem

imitation

mineral gem

organic gem

synthetic

treated gem

Facts to Know:

• Three reasons why colored gems are vital to the jewelry industry .

• The main categories of gemstone products.

• Which products most consumers think of as “natural gems.”

• What’s included in the category of organic gems.

• What fraction of colored gems is now being treated.

• How natural gems and synthetics are alike.

• The three essential attributes that all true gems share.

• The typical focal points in presenting colored gems to retailcustomers.

Final Review


LESSON 2: Color and Gems

Terms to Know:

hue

pleochroism

saturation

selective absorption

tone

Photo courtesy R.A. Bentley.

Facts to Know:

• The key elements of the color equation.

• How common sources of white light dif ferin terms of color content.

• A simple explanation of how selectiveabsorption works.

• One popular gem that shows pleochroism.

• The three dimensions most colors possess.

• Ways in which colors may affect body,mind, and emotions.

• How the cultural symbolism of colorevolved.

• How color, fashion, and gems areconnected.


Final Review

8

LESSON 3: Gemstone Products

Terms to Know:

Facts to Know:

• Three categories under which gem mineralsmay be scientifically classified.

• The mineral species to which aquamarine,emerald, ruby, and sapphire belong.

• The two factors that define a mineral species.

• Characteristics that usually distinguish vari-eties.

• The most familiar gem mineral group.

• Phenomenal gems and the special effectsthey show.

• Why treatments are vital to the jewelryindustry.

• Common treatments for colored gems, andthe gems on which they’re often used.

• The two main categories into which mostsynthetics can be divided.

• Which type of synthetic is often used forinexpensive imitations, and which typeincludes luxury “created” gems.

• The essential distinction between imitationsand synthetics.

• The materials most often used for imitations.

• The three main types of assembled products.

• How opal doublets and triplets areconstructed.

asterism

bleaching

cat’s-eye effect

change-of-color

chatoyancy

chemical composition

coating

crystal structure

diffusion

doublet

dyeing

filling

flame fusion

flux synthesis

group

heating

hydrothermal synthesis

imitations

impregnation

irradiation

mineral

moonstone effect

phenomenal gem

play-of-color

pulling

species

star effect

synthetic

treatment

triplet

variety


Final Review


LESSON 4: Colored Gemstone Values

Terms to Know:

Facts to Know:

• How the 4Cs relate to colored gems.

• Which value factors are linked tonatural rarity.

• How tradition, economics, andfashion can affect gem values.

• The most important value factor formost gems.

• The significance of a gem’s colorrange.

• How hue, tone, and saturation canaffect value.

• The main concerns in assessing acolored gem’s clarity.

• One important benefit inclusions canprovide.

• The most threatening type of inclusionfrom a durability standpoint.

• The three clarity “norms” for coloredgems, and how they relate to value.

• The basic styles of gem faceting.

• Three key features of a well-madefaceted gem.

• The standard unit of weight for mostcolored gems.

• The standard for ethical weight repre-sentation under FTC guidelines.

• How to calculate total price from per-carat price, and vice versa.

• The four categories of “weight poten-tial” for colored gems, and how theyrelate to value.

• The relationship between specificgravity, weight, and physical size.

blemish

brilliant cut

cabochon

cameo

carat

carving

cavity

clarity

cleavage

density

faceting

fancy shape

feather

fingerprint

fluid inclusion

fracture

included crystal

inclusion

intaglio

mixed cut

opaque

per-carat price

point

specific gravity

step cut

tablet

three-phase inclusion

total price

translucent

transparent

two-phase inclusion



Final Review

10

LESSON 5: Cultured Pearls

Terms to Know:

Facts to Know:

• Symbolism, folklore, and popular tradi-tions associated with pearls.

• The primary distinction betweennatural and cultured pearls.

• Important sources of saltwater andfreshwater cultured pearls.

• How natural pearls form.

• A general outline of pearl culturing andprocessing.

• How different types of cultured pearlsare nucleated.

• Success rates for different types ofpearl culturing.

• The six factors that affect the value ofa cultured pearl.

• The main categories into which pearlshapes are divided.

• The three components a pearl’s colorcan have.

• Conditions that can affect a pearl’ssize, luster, and nacre.

• How pearls are matched, and howmatching contributes to the quality andvalue of pearl jewelry.

• How many pearls must be sorted tocreate one well matched strand.

• How Akoya, South Sea, Tahitian, andfreshwater pearls compare in size andother characteristics.

• The names and typical measurementsfor pearl necklace lengths.

• Essential points of the FTC Guides onpearls.

Akoya pearl

baroque

blister pearl

cultured pearl

freshwater pearl

graduated strand

keshi

luster

mabé

matching

nacre

natural pearl

nucleation

nucleus

saltwater pearl

South Sea pearl

surface

Tahitian pearl

three-quarter pearl

uniform strand

whole pearl

Final Review


LESSON 6: Other Organic Gems

Terms to Know:

Facts to Know:

• History, folklore, and symbolism associated with the gems discussed in thislesson.

• How amber and coral form, and their most important sources.

• The distinction between amber and look-alikes such as copal and Kauri gum.

• How the various types of gem coral dif fer in composition and appearance.

• Factors that have affected coral supply, and how they’ve been dealt with.

• The main kinds of shell used for jewelry, as well as their chief characteristicsand main sources.

• The animal sources and current legal status of ivory and tortoiseshell.

• Materials used as alternatives for ivory in new jewelry .

abalone

ammolite

ammonite

cameo

CITES

clear amber

cloudy amber

copal

engine-turned effect

Kauri gum

mother-of-pearl

Paua shell

precious coral

pressed amber

sun spangled


Final Review

12

alloy

ballerina ring

bangle

bezel setting

bypass ring

casting

channel setting

cluster setting

cocktail ring

crossover ring

cuff bracelet

dangle earrings

die-striking

dinner ring

electroforming

flush setting

gypsy setting

hand fabrication

hololith

invisible setting

karat gold

lariat

lavaliere

link bracelet

neckwire

pavé setting

prong setting

slide

solitaire ring

stamping

sterling silver

stud earrings

tension setting

torsade

Facts to Know:

• Which settings protect gems, and which may call for extra care.

• The leading forms and styles of jewelry for women and men.

• The primary metals from which most fine gemstone jewelry is made.

• How metal can contribute to jewelry’s appeal.

• The karat and metric systems for rating gold content.

• How karat gold alloys compare in hardness and strength.

• Why platinum jewelry is more expensive than comparable gold jewelry .

• How the fineness of platinum is measured.

• Silver’s chief attractions as a jewelry metal.

• The methods and typical end products of the four basic ways for making jewelry .

• Important sources of inspiration for gemstone jewelry designs.

• Elements that may be included in the signature of branded jewelry .

LESSON 7: Gemstone Jewelry

Terms to Know:

Photo courtesyBarbara Westwood.

Final Review


LESSON 8: Natural Gemstone Origins

Terms to Know:

chemical composition

igneous formation

hydrothermal vein

pegmatite

metamorphism

contact metamorphism

regional metamorphism

sedimentary gem

Facts to Know:

• Factors that can affect natural gem growth and quality.

• Gems colored by elements that aren’t part of their chemicalformulas.

• The three main kinds of processes that produce gem minerals.

• Why intrusive magmas create favorable conditions for gemformation.

• Which geologic environment produces the greatest quantityand variety of colored gems.

• Triggering events for the two types of metamorphism.

• The most popular sedimentary gem, and how it forms.


Final Review

14

LESSON 9: Gem Deposits and Mining

Terms to Know:

alluvial deposit

eluvial deposit

primary deposit

river sorting

secondary deposit

Facts to Know:

• How different types of gem deposits form.

• Two things that may happen to gems in secondary deposits.

• Variables that can affect what happens to a gem deposit after discovery .

• Typical prospecting and mining methods for colored gems.

Final Review


LESSON 10: Gem Sources and Trade

Terms and Places to Know:

Facts to Know:

• The six countries that are the foremost sources of colored gems.

• The gems for which Brazil is the top source.

• Which country is the leading source of fine emerald.

• The gems for which Madagascar is most noted.

• The Southeast Asian nation that holds two major ruby locales and the only commercialdeposits of high quality jadeite jade.

• Why gems cannot be imported into the US from Myanmar .

• Which leading source nation has been an important gem producer since at least 500 BC.

• The East African nation with the only commercial deposits of tanzanite.

• The world’s most important opal producer.

• The industry center that’s the leading exporter of cut ruby and sapphire.

• Which industry center is the leading exporter of cut colored gems other than emerald,ruby, and sapphire.

• Key elements in the wholesale network and how they function.

• The site of the world’s biggest trade show for colored gems.

Brazil

Central Asia

Colombia

East Africa

Ilakaka-Sakaraha

India

Hong Kong

Madagascar

Merelani Hills

Mogok

Mong Hsu

Muzo

Myanmar

Paraíba

Southeast Asia

Sri Lanka

Switzerland

Tanzania

Thailand


Final Review

16

LESSON 11: Gem Identification

Terms to Know:

Facts to Know:

• How gemologists identify gems.

• Why color isn’t a reliable basis for identification.

• The instruments used to determine refractive index, optic character , pleochroism,and absorption spectrum.

• Which properties are linked to crystal structure, and which one supplies informa-tion about chemical composition.

• Why specific gravity’s usefulness in gem testing is limited.

• What is always the first step in gem identification.

• The role inclusions play in gem testing.

• Why unmounting a gem is usually a last resort in testing.

• Which avenue is always ruled out when it comes to identifying a gem.

• The advantages and resources trade laboratories of fer in gem testing.

absorption spectrum

birefringence

dichroic

doubly refractive

fluorescence

heavy liquids

optic character

pleochroism

refractive index

singly refractive

specific gravity

trichroic

Final Review


LESSON 12: Gem Magic and Romance

Terms to Know:

There are no Terms to Know for this lesson.

Facts to Know:

• The gems named for an African wildlife preserve, a Russian prince,and a mythical maiden. The name of the wildlife preserve andwhere it’s located.

• Images, emotions, and ideas associated with dif ferent colors.

• Which gem may have played a role in the Viking discovery ofAmerica, and why.

• Which gem was once considered the most magical because it showsthe colors of all others combined.

• The book and author responsible for spreading the superstition thatopal is unlucky, and when this occurred.

• The birthstones for the months of the year.

• Which royal celebrity popularized sapphire as a choice for engage-ment rings.

Photo courtesyLibrary of Congress.


Final Review

18

LESSON 13: Gem and Jewelry Care

Terms to Know:

Facts to Know:

• The three properties that determine a gem’s durability.

• What Mohs hardness numbers mean.

• Hardness considerations in wearing and caring for gems.

• Factors that can affect a gem’s toughness.

• Gems that have the property known as cleavage.

• Which gems are vulnerable to heat, thermal shock, intense light, moisture loss, andchemical attack.

• What kind of storage is unsafe for pearls and opals.

• Procedures for avoiding in-store damage to gems and jewelry .

• Care-related factors to consider when selecting jewelry.

• Precautions for minimizing cleaning problems.

• Professional and at-home options for cleaning gems and jewelry .

• Conditions to check for during follow-up inspections and repair take-ins.

• Assurances that help customers feel comfortable about leaving jewelry for repair .

• Typical steps of the take-in procedure for jewelry repairs.

cleavage

crazing

durability

gem cloth

hardness

jewelry cloth

liquid cleaner

Mohs Hardness Scale

stability

steam cleaner

thermal shock

toughness

ultrasonic cleaner

Final Review


LESSON 14: Selling Gems and Jewelry

Terms to Know:

Facts to Know:

• Who are the most frequent customers forgemstone and pearl jewelry.

• The purpose for which men most often buygemstone and pearl jewelry.

• The top customer concerns regarding jewelrypurchases.

• Typical steps in the selling process, what they’reintended to achieve, and the special skills theyinvolve.

• Conversation topics and question styles to use or avoid when building rapport.

• The characteristics and advantages of emotional versus objective profiling.

• Effective techniques for getting customers involved with jewelry.

• The relationship between a feature and a benefit.

• What objections often represent, and three steps for overcoming them.

• Four methods for closing sales and their distinguishing characteristics.

• Valid reasons for attempting to make add-on sales.

• The two types of post-sale follow-up contact, and the reasons and timeline formaking them.

alternate choice close

benefit

feature

profiling

satisfaction call

suggestive close

summary close

thank you note


Final Review

20

LESSON 15: Representation and Disclosure

Terms to Know:

disclosure

FTC

FTC Guides

material fact

misnomer

misrepresentation

trade language

Facts to Know:

• The two principles to follow in representation and disclosure.

• The FTC’s role in regulating trade and establishing professional standards.

• To what and whom the FTC Guides for the jewelry industry apply .

• Appropriate terms for identifying natural gems, synthetics, and imitations.

• Important points to cover when disclosing treatment.

• FTC guidelines on representations concerning value factors.

• Valid reasons for using trade language in sales presentations.

Final Review


LESSON 16: Jewelry Displays

Terms to Know:

Facts to Know:

• How displays contribute to a jewelry store’s success.

• The three merchandising approaches generally used by jewelry retailers.

• How layout savvy can help during the selling process.

• Practical objectives in display design and product arrangement.

• Basic options for display design, including their characteristics and purposes.

• The weaknesses of symmetrical display, and strategies for overcoming them

• The best method of display to direct eye movement and attention.

• Critical factors in lighting displays for colored gems and gemstone jewelry .

• Gems for which display lighting can pose a durability threat.

• The steps involved in creating an ef fective color scheme.

• Key considerations for displayers, props, and signage.

• Important points for maintaining displays.

asymmetrical display

boutique merchandising

category merchandising

display element

displayer

mass merchandising

planogram

props

signage

symmetrical display

Photo courtesy Tivol.


Compendium

Colored Gemstones

THE COLORED GEMSTONECOMPENDIUM

INTRODUCTION

The appeal and value of any gem are multidimensional. Perhaps most obvious is the visualallure produced by an enticing color, intriguing form, or captivating play of light. What wesee, however, is just the beginning!

Natural gems evoke an underlying sense of Earth’s creative power. Many embody theromance of distant lands and bygone times. Others conjure images of exotic cultures orprovide glimpses into the marvels of modern science. Some have been prized since the dawnof civilization, and most have long histories interwoven with rich threads of imaginativetradition. There are also recent discoveries that show the world still holds fresh wonders.Above all, every gem uniquely celebrates the human love of beauty.

This handbook is designed to give you access to these dimensions within the glitteringgalaxy of colored gemstones. The main section contains individual profiles of gemstonesyou’re likely to see in today’s retail jewelry industry, including diamond. Each profile outlineshistory and lore, primary value factors, key background science, and geographic sources. Inaddition, there are descriptions of the treatments commonly used to improve appearance orwearability, plus checklists of characteristics that need to be considered in selection and care.

After the profiles is a section of handy general references. It’s titled “Charts, Lists andGemstone Treatments.” It includes birthstones, anniversary gems, world sources, gem choicesfor various colors, and a comprehensive table of treatments.

For you as the professional, and for the person who simply enjoys owning and wearinggems, the information in the following pages is intended to help you better understand andappreciate the multiple dimensions of gemstone appeal and value. With that goal in mind,this work is dedicated to you.

DIAMOND COUNCIL OF AMERICA

Colored GemstonesTABLE OF CONTENTS

COLORED GEMSTONE COMPENDIUM

Agate ...................................................................................1

Alexandrite..........................................................................3

Almandite Garnet................................................................5

Amber..................................................................................7

Amethyst..............................................................................9

Aquamarine .......................................................................11

Bloodstone.........................................................................13

Carnelian ..........................................................................15

Cat’s-eye............................................................................17

Chalcedony .......................................................................19

Citrine ...............................................................................21

Coral ................................................................................23

Diamond............................................................................25

Diopside ............................................................................29

Emerald.............................................................................31

Garnet ...............................................................................33

Hematite............................................................................35

Iolite ..................................................................................37

Jade - Jadeite ....................................................................39

Jade - Nephrite .................................................................41

Lapiz Lazuli.......................................................................43

Malachite ..........................................................................45

Malaya Garnet..................................................................47

Moonstone.........................................................................49

Onyx ..................................................................................51

Opal...................................................................................53

Pearl..................................................................................57

Peridot...............................................................................61

Rhodolite Garnet...............................................................63

Rose Quartz.......................................................................65

Ruby ..................................................................................67

Sapphire - Blue .................................................................71

Sapphire - Fancy...............................................................75

Sardonyx............................................................................77

Shell...................................................................................79

Smoky Quartz....................................................................81

Spessartite Garnet.............................................................83

Spinel.................................................................................85

Star Ruby...........................................................................87

Star Sapphire ....................................................................89

Tanzanite ...........................................................................91

Tiger’s-Eye ........................................................................93

Topaz .................................................................................95

Tourmaline ........................................................................97

Tsavorite Garnet .............................................................101

Turquoise.........................................................................103

Zircon ..............................................................................105

CHARTS, LISTS & TREATMENTS

Gem Species & Varieties.................................................109

Gem Color Choices and Symbolism................................111

Birthstones.......................................................................113

Anniversary Gems ...........................................................113

World Gem Sources .........................................................114

Gem Misnomers ..............................................................117

Gem Treatments...............................................................118

TABLE OF CONTENTS (continued)

Colored GemstoneCompendium

GEM PROFILES

AAGATE

Colored Gemstone Compendium 1

AGATEHISTORY & LORE• Valued as a gemstone since the days of ancient Egypt, more than 3,000 years ago.

• Named for the Achates River (now called the Drillo) in Sicily, which was once a source.

• Traditionally considered a lucky gem that attracts favor and protects its wearer from harm.

• Birthstone for Gemini.

VALUE FACTORS• Color: Often features bands of different colors, or patterns with descriptive names like "eye,"

"moss," and "landscape." Fire agate displays iridescent colors against a brown background.

• Clarity: Translucent to opaque.

• Cut: Cabochons, carvings, tablets, and beads in a wide assortment of shapes.

• Size/Weight: All sizes are available. Many types occur in pieces big enough for large carvings andother ornamental purposes. (Normally not priced or sold by carat weight.)

TREATMENTOften dyed, and in many attractive colors. The treatment’s effects are usually permanent, and it createsno special care requirements for gem owners.

Photo courtesy www.thaigem.com

2 Colored Gemstone Compendium

GEMOLOGY• A variety of the mineral species

chalcedony. Other chalcedony varietiesinclude bloodstone, carnelian, onyx, andsardonyx.

• Composed mostly of silicon and oxygen;chemical formula SiO2. (Essentially thesame as quartz, but made up of individualcrystals so tiny they can’t be seen withouthigh magnification.) Natural colors causedby various metallic elements.

GEOLOGYOften grows in cavities that exist within larger rock formations. Crystallization may occur inconcentric layers (somewhat like tree rings, but formed from the outside in). This produces thecharacteristic banding.

SOURCESLeading producers include Brazil, India, Madagascar, and Uruguay, but there are deposits throughoutthe world. Fire agate is found only in Mexico and the US.

CAREAgate generally has good wearability.

• Hardness: Moderate scratch resistance. Rates 61/2 to 7 on the Mohs Hardness Scale.

• Toughness: Good resistance to chipping and breaking.

• Stability: If dyed, color may eventually fade. Otherwise, no routine concerns for gem owners.

• Cleaning: Liquid cleaner, or detergent and water. Ultrasonic is usually safe.

AAGATE

Fire Agate

AALEXANDRITE


ALEXANDRITEHISTORY & LORE• Reportedly discovered in Russia’s Ural Mountains on the day Crown Prince Alexander (later Czar

Alexander II) came of age in 1830. The gem was named for the prince. It also displayed aremarkable phenomenon, appearing green in daylight but red in candlelight – and those were thecolors of the imperial family.

• In finest quality, alexandrite is among the world’s rarest and costliest gems.

• Birthstone for June and gem for the 55th wedding anniversary. (Moonstone and pearl are also Junebirthstones.)

VALUE FACTORS• Phenomenon: Shows a distinct change of color in different types of light.

• Color: Green in daylight or fluorescent light. Red in incandescent light. The colors tend to bemuted, and never reach the intensities that emerald and ruby can. But fine alexandrite does adramatic switch from bluish green to "raspberry" red.

• Clarity: Often lightly included. Minor clarity characteristics are accepted.

• Cut: Usually faceted in traditional shapes and styles. Must be carefully oriented to show the colorchange most effectively when cut.

• Carat Weight: Seldom over 5 carats, especially in fine quality.

TREATMENTAlexandrite is one of the gems for which there are no established treatments.



GEMOLOGY• A variety of the mineral species chrysoberyl. The species more commonly occurs in transparent

yellow, green, and brown. Another chrysoberyl variety is cat’s-eye, and there is also a very rarecat’s-eye alexandrite.

• Composed primarily of beryllium, aluminum, and oxygen; chemical formula BeAl2O4. Colorcaused by trace amounts of chromium (which also colors emerald and ruby). The gem’s specialchemistry causes it to change color according to the spectral content of the light in which it’sviewed.

• To see the color change at its best, use cool-white fluorescent and incandescent light separately.Don’t mix the two types.

• Alexandrite is the best-known color-change gem, and the phenomenon is often called thealexandrite effect. Other gems that can exhibit a similar change include garnet, sapphire, spinel,and tourmaline.

GEOLOGYAlexandrite usually forms in pegmatites – pockets within the earth’s crust where gems and otherminerals crystallize from melted rock material and hot chemical-rich fluids. Pegmatites produce agreater abundance and variety of colored gemstones than any other geologic environment.

SOURCESRussia was the main producer until the early 1900s, but now supplies only limited amounts. Today’sleaders are Brazil and Sri Lanka. Others include India, Madagascar, and Tanzania.

CAREAlexandrite generally has excellent wearability.

• Hardness: High scratch resistance. Rates 81/2 on the Mohs Hardness Scale.

• Toughness: Excellent resistance to chipping and breaking.

• Stability: No characteristic concerns.

• Cleaning: Liquid cleaner, or detergent and water. Ultrasonic is usually safe, unless noticeableclarity characteristics are present.

AALEXANDRITE

AALMANDITE


ALMANDITEGARNET

HISTORY & LORE• Though not publicly well known by name, the most ancient and popular garnet. Prized 5,000 years

ago in Egypt, as well as in other cultures around the world and throughout history.

• Named for Alabanda, an ancient city located in what is now Turkey.

• Traditionally regarded as a symbol of faith, truth, friendship, and loyalty. Magical attributesinclude soothing discord, alleviating sadness, preventing nightmares, protecting travelers, andpromoting true love.

• Birthstone for January and Aquarius. Gem for the 2nd wedding anniversary. (Other garnets aretoo.)

VALUE FACTORS• Color: Pure red to orangish or purplish red. Tends to be somewhat dark and brownish, but can be

strong.


• Cut: Faceted in many shapes and styles. Also cabochons, fantasy cuts, and beads.

• Carat Weight: Normally available in all jewelry sizes (up to 15 or 20 carats).



TREATMENTAlmandite is one of the gems for which there are no established treatments.

GEMOLOGY• Almandite (also called almandine) is a species within the garnet group. All garnets have the same

crystal structure, but differ slightly in chemical composition.

• Composed primarily of iron, aluminum, silicon, and oxygen; chemical formula Fe3Al2(SiO4)3.Color caused by iron, a key ingredient.

GEOLOGYOften forms through contact metamorphism, when melted rock material or hot chemical-rich fluidforces its way into an existing geologic formation. The heat and added ingredients then cause newgems and minerals to crystallize in the older rock.

SOURCES Many worldwide, including Australia, Brazil, India, Kenya, Madagascar, Sri Lanka, and the US.

CARE Almandite generally has good wearability.

• Hardness: Moderate scratch resistance. Rates 7 to 71/2 on the Mohs Hardness Scale.

• Toughness: Good to fair resistance to chipping and breaking (largely depending on the type andextent of clarity characteristics).

• Stability: No routine concerns for gem owners.


AALMANDITE

AAMBER


AMBERHISTORY & LORE• One of the oldest gems from the standpoint of human use. Archeologists have found amber

artifacts dating from 5000 BC, and amber was widely traded among early European cultures.Homer’s Odyssey mentions amber as a royal gift.

• Some of the ancient Greeks believed that amber is crystallized sunshine.

• Greek name was elektron, from which the word electricity comes. Rubbing amber produces a staticcharge. This intrigued people for centuries, and when pioneer scientists began studying thephenomenon, they named it for the gem.

• Modern name comes from Arabic anbar meaning ambergris, a waxy substance produced by whalesand used in perfumes. The only factual connection between amber and ambergris is that both aresometimes found in the sea.

VALUE FACTORS• Color: Usually creamy white to yellow, brown, and orange. Tends to darken with age.

• Clarity: Transparent to opaque. The material called cloudy amber is opaque due to the presence oftiny air bubbles.

• Cut: Beads, cabochons, and carvings in many forms.

• Size/Weight: All sizes are available. Occurs in pieces big enough for large carvings and otherornamental purposes. (Normally not priced or sold by carat weight.)



TREATMENT Often treated in one of several ways:

• Gentle heating in oil can "clarify" cloudy amber by removingor masking air bubbles.

• Heating transparent amber and then placing it in cold waterproduces small reflective fractures known as sun spangles.

• Heat alone can darken and artificially "age" the color.

• Permanence and Special Care: The effects of clarification and sun spangling are usually permanent,and those treatments create no added special care requirements for gem owners. The color of heat-treated amber may fade if the gem is exposed to intense light for a long time. (See Care for usualconcerns.)

GEMOLOGY• Classified as an organic gem. Others in this group include coral, pearl, and shell.

• Composed mostly of carbon, hydrogen, and oxygen; general formula C10H16O, but alwaysincludes other ingredients (which also cause color).

• The least dense – or most lightweight – of all gems. Some amber floats in saltwater.

GEOLOGY Began with resin from pine trees that lived 10 million to 125 million years ago. Over the epochs since,the resin gradually hardened and changed into a form of natural plastic. More than 1,000 differentkinds of insects, flowers, and seeds occur as amber inclusions. These were caught in the soft resin andencased when it hardened.

SOURCES Russia and the Dominican Republic are most important. Others include Denmark, Estonia, Germany,Latvia, Lithuania, and Poland.

CARE Amber needs gentle wear and care.

• Hardness: Very low scratch resistance. Rates 2 to 21/2 on the Mohs Hardness Scale.

• Toughness: Low resistance to chipping and breaking.

• Stability: Easily attacked by acids and many household chemicals, including solvents, cleansers,alcohol, and cosmetics. May develop hairline fractures as a result of moisture loss from age orexposure to hot or dry conditions.

• Cleaning: Detergent and water only. To avoid scratching, use a soft-bristle brush. Never use liquidcleaner or ultrasonic.

AAMBER



AMETHYSTHISTORY & LORE• In Roman mythology, created when the goddess Diana turned a maiden named Amethyst into stone

to save her from being devoured by tigers. The god Bacchus then poured wine over the petrifiedform, staining it purple.

• Name comes from Greek amethystos meaning "not drunken". For centuries, drinking wine from anamethyst cup was believed to prevent intoxication.

• According to folklore, guarantees success in war, sports, business, and other competitive endeavors.Color has long been associated with royalty, and amethyst appears in crown jewels from ancient tomodern times.

• Birthstone for February and Pisces. Gem for the 6th wedding anniversary.

VALUE FACTORS• Color: Light to dark purple. Most expensive is deep "royal" purple. May show noticeable color

shift – more violetish in daylight or fluorescent, and more reddish in incandescent light.


• Cut: Faceted in many shapes and styles. Also cabochons, carvings, fantasy cuts, and beads.

• Carat Weight: Normally available in a very wide size range (up to 50 carats or more). There arefaceted amethysts that weigh more than 1,000 carats.

AAMETHYST



TREATMENT Occasionally heat treated to lighten and improve color. The process duplicates natural heating that canoccur in the Earth. The effects are normally permanent, and the treatment creates no special carerequirements for gem owners.

GEMOLOGY• A variety of quartz, the most abundant mineral species in the Earth’s crust. Other quartz varieties

include citrine, rose quartz, smoky quartz, and tiger’s-eye. The gem called ametrine shows acombination of amethyst and citrine colors.

• Composed almost entirely of silicon and oxygen; chemical formula SiO2. Color caused by traceamounts of iron.

GEOLOGY Most often forms in cavities and crevices that exist within larger rock formations. Ingredients forgrowth can come from melted rock material or hot chemical-rich fluids.

SOURCES Brazil and Uruguay are the world leaders. Other important producers include Namibia, Tanzania, andZambia. There are many sources elsewhere as well.

CARE Amethyst generally has good wearability.

• Hardness: Moderate scratch resistance. Rates 7 on the Mohs Hardness Scale.


• Stability: Might fade if exposed to intense light (like direct sun) for a long time. Otherwise, noroutine concerns for gem owners.


AAMETHYST


AAQUAMARINE

AQUAMARINEHISTORY & LORE• Name comes from Latin aqua marina meaning "sea water." To the ancient Greeks and Romans

aquamarine embodied the spirit of the sea. In some stories it was a treasure protected by themermaids.

• During the Middle Ages, Europeans believed this gem gives its wearer wisdom and inspiration,power to overcome evil, and ability to see the future. According to other traditions, aquamarinecreates harmony and ensures a long, happy marriage. Its bright, refreshing color made it a symbolof eternal youth.

• Birthstone for March and gem for the 19th wedding anniversary. (Bloodstone is also a Marchbirthstone.)

VALUE FACTORS• Color: Usually light blue-green to slightly greenish blue. Most expensive is bright nearly pure

blue.

• Clarity: Often almost inclusion-free.


• Carat Weight: Normally available in a very wide size range (up to 50 carats or more).

TREATMENT Often heat-treated to improve color. The process reduces the greenish color component, and duplicatesnatural heating that can occur in the Earth. The effects are normally permanent, and the treatmentcreates no special care requirements for gem owners.



GEMOLOGY• A variety of the mineral species beryl. Emerald is another beryl variety.

• Composed primarily of beryllium, aluminum, silicon, and oxygen; chemical formulaBe3Al2Si6O18. Color caused by trace amounts of iron.

GEOLOGY Most aquamarine forms in pegmatites – pockets within the earth’s crust where gems and other mineralscrystallize from melted rock material and hot chemical-rich fluids. In such environments, the gemssometimes grow very large. One pegmatite in Brazil yielded a well-formed aquamarine crystal thatweighed more than 240 pounds.

SOURCES The leading producer is Brazil. Mozambique, Nigeria, and Zambia are also important. Others includeChina, Madagascar, Russia, Tanzania, and the US.

CARE Aquamarine generally has very good wearability.

• Hardness: Moderate to high scratch resistance. Rates 71/2 to 8 on the Mohs Hardness Scale.




AAQUAMARINE

BBLOODSTONE


BLOODSTONEHISTORY & LORE• In folklore and legend, bloodstone guards health, brings respect, prevents deception, and guarantees

that its wearer will receive whatever he or she asks for.

• For centuries, called heliotrope from Greek words meaning "sun" and "turn". This was based on abelief that the gem can turn the sun red.

• Modern name originated in the Middle Ages, from popular traditions that associated the gem’scharacteristic markings with blood.

• Birthstone for March and Aries. (Aquamarine is also a March birthstone.)

VALUE FACTORS• Color: Red or brownish red spots on a dark green background.

• Clarity: Always opaque.

• Cut: Cabochons, carvings, tablets, and beads in many shapes.


TREATMENT Bloodstone is one of the gems for which there are no established treatments.

GEMOLOGY• A variety of the mineral species chalcedony. Other chalcedony varieties include agate, carnelian,

onyx, and sardonyx.



• Composed mostly of silicon and oxygen; chemical formula SiO2. (Essentially the same as quartz,but made up of individual crystals so tiny they can’t be seen without high magnification.) Greencolor caused by iron, and red by iron oxide.

GEOLOGY Often forms in cavities and crevices that exist within larger rock formations. Ingredients for growthcan come from melted rock material or hot chemical-rich fluids.

SOURCES Australia, Brazil, India, and the US, but found in many other countries, too.

CARE Bloodstone generally has good wearability.





BBLOODSTONE

CCARNELIAN


CARNELIANHISTORY & LORE• Treasured by early civilizations from Egypt to China. During Greek and Roman times, often used

for signet rings and the engraved gems known as intaglios.

• Traditionally believed to drive away evil, attract good, protect from envy, and give its wearercourage.

• Probably named for the fruit of the cornel or cornelian cherry tree.

• Birthstone for Virgo.

VALUE FACTORS• Color: Orange to yellow-orange and red-orange, often somewhat brownish.

• Clarity: Usually translucent (never transparent).



TREATMENT Commonly produced by heat treating yellow or brown chalcedony. The process duplicates heating thatcan occur naturally in the Earth, and has been used for thousands of years. Heat-treated carnelian wasfound in the tomb of Egypt’s Pharaoh Tutankhamen (who died around 1325 BC). The treatment’seffects are normally permanent, and it creates no special care requirements for gem owners.



GEMOLOGY• A variety of the mineral species chalcedony. Other chalcedony varieties include agate, bloodstone,

onyx, and sardonyx.

• Composed mostly of silicon and oxygen; chemical formula SiO2. (Essentially the same as quartz,but made up of individual crystals so tiny they can’t be seen without high magnification.) Colorcaused by iron oxide.


SOURCES India has been a source since 300 BC. Brazil and Uruguay are also important.

CARE Carnelian generally has good wearability.





CCARNELIAN

CCAT’S-EYE


CAT’S-EYEHISTORY & LORE• For centuries, cat’s eye has been used in Sri Lanka as a charm against evil spirits. Also credited

with power to relieve depression and prevent financial loss.

• Named for fancied resemblance between the pupil of a cat’s eye and the gem’s special opticaleffect. The effect is also known as chatoyancy, from French chatoyer meaning "to shine like a cat’seye".

• Gem for the 18th wedding anniversary.

VALUE FACTORS• Phenomenon: Displays a band of silvery light that moves across the top of the gem. In fine quality

the eye is sharp, bright, straight, and unbroken.

• Color: Yellow, green, or brown, and typically muted (never vivid).

• Clarity: Usually translucent, but sometimes nearly transparent.

• Cut: Almost always cabochon. Occasionally cut into round beads.


TREATMENT Occasionally irradiated to produce a dark brown color. The effects are normally permanent, and thetreatment creates no special care requirements for gem owners. Except in very rare cases, the processleaves no significant radioactivity. Government agencies, industry organizations, and individual firmstake effective steps to ensure that material which might pose a potential health concern never reachesjewelry stores.



GEMOLOGY• A variety of the mineral species chrysoberyl. Another chrysoberyl

variety is alexandrite, and there is also a very rare cat’s-eyealexandrite.

• Composed primarily of beryllium, aluminum, and oxygen; chemical formula BeAl2O4. Colorusually caused by trace amounts of iron.

• The cat’s-eye effect is caused by light reflecting from needle-like inclusions that lie parallel to eachother. In order to concentrate the reflections and create the eye, the crystal must be carefullyoriented and then cut in a rounded form.

• To see the cat’s-eye at its best, position a bright incandescent (filament-type) light directly over thegem.

• Fine cat’s-eye often shows two added special effects called milk-and-honey and opening-and-closing. To see the first, shine a bright light through the gem’s side, at a right angle to the eye. Thepart of the gem near the light will appear almost transparent, and the opposite part will have amilky glow. To see the second effect, place two lights at opposite ends of the eye, and rotate thegem between them. The eye will divide into two bands that first move away from each other, andthen come back together.

• Cat’s-eye chrysoberyl is the best-known chatoyant gem. In the gem trade the term cat’s-eye, whenused alone, refers specifically to this variety. Other gems that can exhibit a similar effect includeaquamarine, quartz, and tourmaline.

GEOLOGY Cat’s-eye usually forms in pegmatites – pockets within the earth’s crust where gems and other mineralscrystallize from melted rock material and hot chemical-rich fluids. Pegmatites produce a greaterabundance and variety of colored gemstones than any other geologic environment.

SOURCES Brazil and Sri Lanka are the main producers. Others include India, Madagascar, Myanmar, andTanzania.

CARE Cat’s-eye generally has excellent wearability.

• Hardness: High scratch resistance. Rates 81/2 on the Mohs Hardness Scale.

• Toughness: Excellent to good resistance to chipping and breaking.



CCAT’S-EYE


Alexandrite Cat’s-eye


CCHALCEDONY

CHALCEDONYHISTORY & LORE• Though not familiar by name, an old and illustrious gem family. Treasured by humans since

prehistoric times, chalcedonies were sacred and royal gemstones in early civilizations around theworld.

• Named for Chalcedon, an ancient trade center located in what is now Turkey.

• Long used in Europe as a charm against ghosts.

VALUE FACTORS• Color: Range is almost unlimited. Many natural colors, and others from treatment.



• Size/Weight: Many varieties are available in all sizes, and occur in pieces big enough for largecarvings or other ornamental uses. (Normally not priced or sold by carat weight.)

TREATMENT Often dyed, and in a wide variety of colors. Some techniques have been used since Roman times. Theeffects are normally permanent, and the treatment creates no special care requirements for gem owners.



GEMOLOGY• A mineral species closely related to quartz. In fact, mineralogists consider it a quartz variety.

Composed mostly of silicon and oxygen; chemical formula SiO2, which is the same as quartz. Butchalcedony is made up of individual crystals so tiny they can’t be seen without high magnification.

• Agate, bloodstone, carnelian, onyx, and sardonyx are well known chalcedony varieties. Othersinclude:

Amethystine chalcedony – purple.

Chrysocolla chalcedony – bright blue or blue-green.

Chrysoprase – light yellowish green.

Plasma – dark green with white or yellow spots.

Prase – dark green.

Sard – dark orange, brownish red, or brown.

GEOLOGY Chalcedony often forms in cavities and crevices that exist within larger rock formations. Ingredientsfor growth can come from melted rock material or hot chemical-rich fluids.

SOURCESMany worldwide, including Australia, Brazil, India, Russia, Uruguay, and the US.

CARE Chalcedony generally has good wearability.





CCHALCEDONY


CCITRINE

CITRINEHISTORY & LORE• According to old legends, has the power to guard its wearer from evil thoughts.

• Name comes from Latin citrus meaning citron, a fruit related to lemon, lime, and orange.

• Birthstone for November and gem for the 13th wedding anniversary. (Topaz is also a Novemberbirthstone.)

VALUE FACTORS• Color: Light yellow to dark orange (sometimes brownish). Most expensive is rich deep "Madeira"

orange.



• Carat Weight: Normally available in a very wide size range (up to 50 carats or more). One of theworld’s biggest transparent faceted gems is a citrine that weighs 19,548 carats – or about 81/2

pounds.

TREATMENT Almost all citrine is produced by heat-treating pale amethyst. The process duplicates natural heatingthat can occur in the Earth. The effects are normally permanent, and the treatment creates no specialcare requirements for gem owners.




include amethyst, rose quartz, smoky quartz, and tiger’s-eye. The gem called ametrine shows acombination of amethyst and citrine colors.

• Composed almost entirely of silicon and oxygen; chemical formula SiO2. Color caused by traceamounts of iron.

• Sometimes confused with – or misrepresented as – topaz because of color similarity. Terms such as"citrine topaz" and "topaz quartz" are misnomers.


SOURCES Most citrine comes from Brazil. Other sources include Bolivia, India, Madagascar, Myanmar, Russia,and Sri Lanka.

CARE Citrine generally has good wearability.





CCITRINE

CCORAL


CORALHISTORY & LORE• An ancient gem. Bronze artifacts decorated with coral have been found in some of the oldest Celtic

tombs in Europe (dating from perhaps 1000 BC).

• In some cultures coral amulets were buried with the dead to guard souls on their journeys to thenext world. Living travelers who carried coral were supposed to be able to calm storms and crossraging rivers in safety.

• Worn in Italy as a charm against evil since Roman times.

VALUE FACTORS• Color: The type called precious coral ranges from white to pink and deep red. Black or king’s coral

is typically dark brown. Golden coral occurs in various shades of brownish yellow "caramel".


• Cut: Cabochons, carvings, and beads in a variety of shapes. The cameo is a favorite for preciouscoral.

• Size/Weight: All sizes are available. Occurs in pieces big enough for large carvings and otherornamental purposes. (Usually not priced or sold by carat weight.)

TREATMENT Often treated in one or more ways:

• White and golden coral are commonly bleached.

• Dye is occasionally used to produce red, pink, and other colors.

• Impregnation with wax, plastic, or epoxy resin frequently improves the appearance of color andpolish.


• Permanence and Special Care: Wax may eventually deteriorate, and wax-treated coral should not beexposed to intense light or even mild heat, such as direct sun. The effects of other treatments areusually permanent, and there are no added special care requirements for gem owners. (See Care forusual concerns.)

GEMOLOGY• Classified as an organic gem. Others in this group include amber, pearl, and shell.

• Precious coral is composed mainly of calcium, carbon, and oxygen in the form of calciumcarbonate; chemical formula CaCO3. (Calcium carbonate is also the main ingredient in pearls andshell.) Natural reds and pinks are caused by carotenoid, the same pigment that colors autumnleaves, carrots, and flamingoes. Black and golden coral are made of conchiolin, a protein that givesthem a horn-like texture.

BIOLOGY Gem corals are built from secretions by tiny plant-like animals called coral polyps, and basicallyprovide scaffoldings upon which colonies of the tiny tube-like creatures live. Although individualpolyps measure only a few millimeters, there may be millions in a colony, and the structures they buildcan grow to resemble graceful underwater trees. Precious coral reaches a height of about 2 feet, butblack coral can be up to 10 feet.

SOURCES For about 2,000 years the main source of precious coral was the Mediterranean Sea, but output therehas diminished in recent decades. Leading suppliers now include Japan, Malaysia, Philippines, andTaiwan. Hawaii is a source for black and golden coral.

The corals used for jewelry are related to those that build reefs, but they are not so environmentallycritical. However, all corals are considered threatened species, and trade is strictly regulated to ensuresustainable harvests.

CARE Coral needs gentle wear and care.

• Hardness: Low scratch resistance. Rates 3 to 4 on the Mohs Hardness Scale.

• Toughness: Good to fair resistance to chipping and breaking.

• Stability: If dyed, color may eventually fade. Easily attacked by even mild acids and also manyhousehold chemicals, including solvents, cleansers, alcohol, and cosmetics. (See Treatment forspecial care requirements created by certain processes.)

• Cleaning: Remove smudges with a soft lint-free cloth. Detergent and water are safe for occasionalcleaning, but no prolonged soaking or hard scrubbing. To avoid scratching, use a soft-bristle brush.Never use liquid cleaner or ultrasonic.

CCORAL


DIAMONDHISTORY & LORE• Diamond probably made its first appearance in Europe during the Roman Empire, but it was prized

in India – the most ancient source of diamonds – long before then.

• This gem’s name comes from Greek adamas meaning unconquerable. For centuries, most peoplebelieved diamonds were unbreakable. By association, diamonds came to be credited with thepower to bless their owners with strength, courage, success, and enduring love.

• According to some old legends, diamonds are born from heavenly rain or lightning. Other traditionssay diamonds are splinters of broken stars. The Romans believed Cupid’s arrows were tipped withdiamonds.

• Diamonds have been part of courtship for more than 500 years. In 1477 Archduke Maximilian ofAustria gave Mary of Burgundy a diamond ring to symbolize his love and seal their betrothal.Today 8 out of 10 American brides receive a diamond engagement ring.

• Birthstone for April. Gem for the 10th, 60th, and 75th wedding anniversaries.

VALUE FACTORS• Color: The normal market range is colorless to light yellow, brown, or gray. Deeper yellows,

browns, and grays, as well as all shades of other hues, are classified as fancy colors. In the normalrange, the closer to colorless the higher the value. With fancy colors, value generally increases withintensity. Vivid reds, pinks, purples, greens, and blues are extremely rare and expensive.

• Clarity: Standards are stricter than for any other gem. Graded on a detailed scale that runs fromflawless under 10x magnification to obviously included to the unaided eye.

• Cut: Faceted in many shapes and styles. The round brilliant cut is most popular.

DDIAMOND



• Carat Weight: Available in all jewelry sizes. Average for engagement ring diamonds is about 0.50carat. The world’s largest fashioned diamond of fine quality is the Great Star of Africa (also calledCullinan I), which weighs 530.20 carats.

TREATMENTDiamonds may be treated in several ways.

• Laser drilling, followed by chemical bleaching, is a common way to lighten dark inclusions.

• Also fairly common is filling fractures and cleavages with a special property glass substance toimprove clarity appearance.

• Irradiation can create fancy color in light yellow or brown diamonds, and deepen or intensify somenatural fancy colors. There are several different methods, and they’re often combined with heating.The results include various shades of blue, green, orange, red, pink, yellow, and brown. Manyblack diamonds are also produced by irradiation. A related treatment, known as ion implantation,creates colors ranging from blue to black.

• High pressure, high temperature (HPHT) treatment removes some or all color from certain types oflight brown diamonds. It can color other diamonds pink, blue, yellow, green or orange. HPHTtreatment or high temperature alone is also used to color diamonds black. (The diamonds containnumerous fractures. During treatment, the fracture surfaces convert to graphite, which makes thediamonds appear black.)

• Permanence and special care: Most diamond color treatments are normally permanent and create nospecial care requirements for gem owners. Ultrasonic cleaning, steam or heat can harm somefillings.

GEMOLOGY• Classified as a mineral species. Composed of almost pure carbon. Gem quality diamonds are

typically 99.95% carbon, and can be more than 99.99% pure. This makes diamond one of thepurest materials found in Nature. Diamond is also the only gem composed of just one element.

• The arrangement of carbon atoms in gem quality diamond crystals is almost perfectly symmetricalin every direction. Scientists describe this pattern as isometric or cubic.

• Minute amounts of nitrogen tint diamonds various shades of yellow. Traces of boron produce blue.Distortions in crystal structure are responsible for browns, pinks, reds and purples. Some othercolors come from a combination of trace elements and structural irregularities.

GEOLOGYMost diamonds formed 90 to 120 miles beneath Earth’s surface. They were carried upward by aspecial type of molten rock material that "refrigerated" them and kept them from being vaporized. Theoldest diamonds crystallized around 3.3 billion years ago, and the youngest are almost 1 billion yearsold.

DDIAMOND


DSOURCESThe top gem diamond producer is Botswana. Other important sources are Angola, Australia, Canada,Democratic Republic of the Congo, Namibia, Russia, and South Africa.

CAREDiamond generally has good to excellent wearability.

• Hardness: Exceptional scratch resistance. Rates 10 on the Mohs Hardness Scale. Diamond is thehardest material known.

• Toughness: Resistance to chipping and breaking is normally good. Clarity characteristics mayaffect durability, and diamond possesses cleavage (a tendency to break in certain directions due tocrystal structure patterns).


• Cleaning: Liquid cleaner or detergent and water. Ultrasonic is also safe except for fracture-filleddiamonds.

DIAMOND


DDIOPSIDE

DIOPSIDEHISTORY & LORE• First identified scientifically in 1800. Name comes from Greek di opsis meaning "double

appearance," perhaps due to pleochroism (showing different colors from different viewing angles).

• According to New Age gem therapists, diopside increases compassion, intuition, appreciation oflife, and the ability to experience emotions in a positive way. It also opens the heart and mind toothers.

VALUE FACTORS• Color: Usually light to dark green; frequently bluish or yellowish, but the hue can also be pure.

Most valuable is intense "emerald" green.


• Cut: Usually faceted in traditional shapes and styles.


TREATMENTDiopside is one of the gems for which there are no established treatments.

GEMOLOGY• Classified as a mineral species. Composed primarily of calcium, magnesium, silicon, and oxygen;

chemical formula CaMgSi2O6. Intense green caused by trace amounts of chromium (which alsocolors emerald and ruby); in the gem trade this material is known as chrome diopside. Othergreens come from traces of iron.

• May show strong pleochroism – lighter or darker green depending on viewing direction. Thisproperty results from the way the gem crystal interacts with light. Diopside is oriented to show themost attractive color when cut.



• Sometimes shows a cat’s-eye or star effect. Cat’s-eye and star diopside are usually very dark greenor black, and must be cabochon cut to bring out the phenomenon. Stars typically have four rays,with one direction stronger than the other. Star diopside is sometimes confused with – ormisrepresented as – star sapphire because of appearance similarity. One misnomer is "Indian starsapphire."

GEOLOGYOften forms through contact metamorphism, when melted rockmaterial or hot chemical-rich fluid forces its way into an existinggeologic formation. The heat and added ingredients then cause newgems and minerals to crystallize in older rock. Diopside can alsocrystallize from molten rock material deep in the earth, and later becarried upward by volcanic eruption.

SOURCESImportant producers are Madagascar, Myanmar, Russia, and SriLanka. Others include Brazil, India, Kenya, Pakistan, and SouthAfrica.

CAREDiopside needs gentle care and wear. Protective setting recommended.

• Hardness: Moderate scratch resistance. Rates 5 1/2 to 6 on the Mohs Hardness Scale.

• Toughness: Low resistance to chipping and breaking because of cleavage (a tendency to split incertain directions due to crystal structure patterns).


• Cleaning: Liquid cleaner, or detergent and water. Never use ultrasonic.

DDIOPSIDE

Marketed under the registered nameof Tashmarine®, this yellowish greendiopside comes from central Asia.Photo courtesy Columbia Gem House.


EEMERALD

EMERALDHISTORY & LORE• To the ancient Egyptians, emerald’s lush green color symbolized fertility and life. The Romans

dedicated this gem to Venus, their goddess of love. Other cultures associated it with faith, harmony,and peace.

• Name comes from Greek smaragdos, which was once used for most green gems.

• According to one old legend, you can see the future if you hold an emerald under your tongue.Others say wearing an emerald brings riches and power, strengthens memory and intelligence, andreveals whether a lover’s words are true.

• In finest quality, emerald is among the world’s rarest and costliest gems.

• Birthstone for May and Cancer. Gem for the 20th and 35th wedding anniversaries.

VALUE FACTORS• Color: Light to dark green, often with a slight bluish tint. Most expensive is bluish green that’s

deep, vibrant, and seductive.

• Clarity: Often visibly included. Unless clarity characteristics are unsightly or threatening, they’reusually considered acceptable. ("Commercial" quality can be translucent or opaque.)

• Cut: The step-cut style known as the emerald cut is a classic choice. It generally saves maximumweight from the crystal, and also shows the color at its best. Sometimes faceted in other shapesand styles, or cabochon cut.

• Carat Weight: Normally available in all jewelry sizes (up to 15 or 20 carats). However, fine qualityemeralds over 10 carats are rare.

Colombian EmeraldPhoto courtesy Tino Hammid.


TREATMENT• Many emeralds are fracture-filled to improve clarity and color appearance. This has been a common

practice since Roman times. Modern fillers include colorless oils and natural or synthetic resins.Occasionally a coloring agent is added to the filler, and the treatment is then considered dyeing as wellas fracture-filling. Oil and some other fillers eventually deteriorate. Oiled emeralds should not beexposed to intense light or even mild heat, such as direct sun, or to solvents or other chemicals.

• When an emerald is certified as untreated by a respected trade laboratory, it will usually command apremium price.

GEMOLOGY• A variety of the mineral species beryl. Aquamarine is another beryl variety. To be considered

emerald, the color must be a reasonably intense green. Gems that are too pale or yellowish areproperly classified as green beryl.

• Composed primarily of beryllium, aluminum, silicon, and oxygen; chemicalformula Be3Al2Si6O18. Color usually caused by trace amounts of chromium,but sometimes by vanadium or by both elements together. (Chromium alsocolors ruby. The different colors result from differences in the overallchemistries of the two gems.)

GEOLOGY Often forms in hydrothermal veins, when super-hot mixtures of water and chemical ingredients circulatethrough cracks in existing rock, and then solidify into seams from a few inches to several feet wide. Whilethe chemistry in such environments can create gems of exceptional color, the cramped conditions tend tolimit clarity and size.

SOURCES Colombia is the principal source of fine emeralds, and some deposits there have been producing for morethan 1,000 years. Brazil and Zambia are also important. Others include Afghanistan, Madagascar,Pakistan, Russia, Tanzania, and Zimbabwe. North Carolina is a minor source.

CARE Emerald generally needs gentle care and wear. Protective setting recommended.

• Hardness: Moderate to high scratch resistance. Rates 71/2 to 8 on the Mohs Hardness Scale.

• Toughness: Resistance to chipping and breaking can be good, but is usually fair to low (largelydepending on the type and extent of clarity characteristics).

• Stability: If fracture-filled, the filling material – together with color and clarity appearance – may beaffected by light, heat, and many household chemicals, including solvents, cleansers, and alcohol.

• Cleaning: Remove dust and smudges with a cotton swab or soft lint-free cloth. Detergent and waterare safe for occasional cleaning, but no prolonged soaking or hard scrubbing. Liquid cleaner candamage some fracture fillings. Never use ultrasonic.

EEMERALD

Zambian Emerald.



GARNET HISTORY & LORE• Counted among the treasures of Egypt more than 5,000 years ago, but history’s garnets were

limited to shades of red. Today’s colors would amaze the Pharaohs.

• Many scholars trace the name to old French grenat meaning "red like a pomegranate". Others sayit comes from Latin granatus "grain-like," referring to the appearance of small garnet crystals.

• Some garnet lore is linked to the color red, but most could apply to any color. Garnet traditionallysymbolizes faith, truth, friendship, and loyalty. For centuries it was believed to dispel fear, soothediscord, ensure guidance, protect travelers, and inspire deep affection.

• All garnets are birthstones for January and Aquarius. They’re also gems for the 2nd weddinganniversary.

VALUE FACTORS• Color: Many tones and intensities of red, purple, pink, orange, yellow, and green.


• Cut: Faceted in a wide assortment of shapes and styles. Some types are also fashioned intocabochons, fantasy cuts, and beads.

• Carat Weight: Most garnets are normally available in all jewelry sizes (up to 15 or 20 carats).

TREATMENT Garnets are among the gems for which there are no established treatments.

GGARNET

Photo courtesy Omi Gems.


GEMOLOGY Garnets form a group of related minerals that have the same crystal structure, but slightly differingchemical compositions. Mineralogists count more than a dozen different species. In the gem trade,color is often one of the main criteria for identification. Among the most important garnet species andvarieties are almandite, malaya, rhodolite, spessartite, and tsavorite. Others include:

Demantoid – Light to dark green variety of the andradite garnet species. Color can rival fineemerald. Supply is limited, and weight often less than 1 carat.

Hessonite – A variety of the grossularite (or grossular) garnet species, to which tsavorite alsobelongs. Color ranges from light to dark orange, often yellowish, reddish, orbrownish. Sometimes called cinnamon stone.

Mali garnet – A chemical mix of andradite and grossularite discovered in the West Africannation of Mali in the 1990s. Color can be light yellow-green to dark orangishbrown, and sometimes deep pure green.

Pyrope – One of the garnet species. Many red garnets are actually mixtures of this speciesand almandite. Pyrope runs from medium to dark red, and is frequently orangishor purplish. The brightest – often called chrome pyrope – achieves the intensityof ruby. Weight is usually less than 2 carats.

GEOLOGY Many garnets form through contact metamorphism, when melted rock material or hot chemical-richfluid forces its way into an existing geologic formation. The heat and added ingredients then causenew gems to crystallize in the older rock. Some pyrope formed deep in the earth, around 35 to 40miles down, and was carried to the surface by volcanic eruption.

SOURCES Many worldwide, including Australia, Brazil, China, India, Kenya, Madagascar, Namibia, Nigeria,Russia, Sri Lanka, Tanzania, and Zambia.

CARE Garnets generally have good wearability.

• Hardness: Moderate scratch resistance. Rates 61/2 to 71/2 on the Mohs Hardness Scale.

• Toughness: Good to fair resistance to chipping and breaking (largelydepending on the type and extent of clarity characteristics).


• Cleaning: Liquid cleaner, or detergent and water. Ultrasonic isusually safe, unless noticeable clarity characteristics are present.

GGARNET

Hessonite Garnet.



HEMATITEHISTORY & LORE• Name comes from Greek haima meaning blood. When crushed to powder, hematite has a deep red

color. As the gem is cut, the liquid used for lubrication also turns red.

• In ancient times, credited with power to bring its wearer royal favor and victory in legal battles.Roman mythology linked hematite to Mars, the Roman god of war, and soldiers rubbed their bodieswith it to make themselves invulnerable. Native American tribes used a non-gem form of hematitefor war paint.

VALUE FACTORS• Color: Black or dark gray with metallic luster.


• Cut: Carvings, tablets, and beads of various shapes. A traditional favorite for men’s jewelry is theengraved style known as the intaglio.

• Size/Weight: Available up to sizes measuring several inches. (Normally not priced or sold by caratweight.)

TREATMENT Hematite is one of the gems for which there are no established treatments.

HHEMATITE

Photo courtesywww.thaigem.com


GEMOLOGY• Classified as a mineral species. Composed primarily of iron and oxygen; chemical formula Fe2O3.

Color caused by formula ingredients.

• One of the densest – or most heavyweight – natural gems. This gives bead necklaces and otherhematite jewelry a pleasantly "hefty" feeling.

GEOLOGY Produced by a number of geologic processes, and widespread in occurrence. In non-gem form,hematite is the world’s most important iron ore.

SOURCES Brazil, China, England, Germany, New Zealand, Norway, Sweden, and the US.

CARE Hematite generally has very good wearability.

• Hardness: Moderate scratch resistance. Rates 51/2 to 61/2 on the Mohs Hardness Scale.

• Toughness: Excellent resistance to chipping and breaking.


• Cleaning: Liquid cleaner, detergent and water, or ultrasonic.

HHEMATITE


IOLITEHISTORY & LORE• Name comes from Greek ios meaning violet.

• The Vikings used thin pieces of iolite as navigational aids. Like Polaroid sunglass lenses, the gemslices eliminated haze and glare. By looking through one, it was possible to determine the sun’sposition and to sail on overcast days. (So iolite may have played a role in early voyages toAmerica.)

• Gem for the 21st wedding anniversary.

VALUE FACTORS• Color: Light to dark blue and violet. Typically soft and subdued, but can approach the richness of

tanzanite and blue sapphire.


• Cut: Usually faceted in traditional shapes and styles. Sometimes cabochon cut.

• Carat Weight: Normally available in sizes up to about 10 carats.

TREATMENT Iolite is one of the gems for which there are no established treatments.

GEMOLOGY• Classified as a mineral species, and known to mineralogists as cordierite. Composed primarily of

magnesium, aluminum, silicon, and oxygen; chemical formula Mg2Al4Si5O18. Color caused bytrace amounts of iron.

IIOLITE



• Often displays strong pleochroism – from some angles appearing blue or violet, and from othersgrayish, yellowish, or almost colorless. (If the gem is loose or in an open setting, hold it up to abright light and look through the top; then through the sides and ends.) Because of this property,iolite must be carefully oriented to show its best color when cut.

• Once called "water sapphire" because of the strong contrast between the deep blue face-up colorand the weaker ones seen from other directions. The term is now considered a misnomer.

GEOLOGY Often forms in pegmatites – pockets within the earth’s crust where gems and other minerals crystallizefrom melted rock material and hot chemical-rich fluids. Pegmatites produce a greater abundance andvariety of colored gemstones than any other geologic environment.

SOURCES The Vikings probably obtained their iolite from deposits in Finland, Greenland, or Norway. Today’ssignificant producers include Brazil, Canada, India, Madagascar, Myanmar, Russia, Sri Lanka, andTanzania.

CARE Iolite needs gentle wear and care. Protective setting recommended.


• Toughness: Fair resistance to chipping and breaking because of cleavage (a tendency to split incertain directions due to crystal structure patterns).



IIOLITE


JADE – JADEITEHISTORY & LORE• Considered the most Asian of gems because of the high regard cultures there have for it. In China,

jade is an age-old symbol of spiritual purity, good luck, and prosperity.

• The Chinese word for jade traditionally applied to almost any gem material that can be carved.Today two different minerals – jadeite and nephrite – are recognized as jade. Jadeite didn’t arrivein China until the late 1700s. But it soon became preeminent in demand and value, and hasmaintained that position ever since. In finest quality, jadeite is among the world’s rarest andcostliest gems.

• Jadeite was also used by pre-Columbian cultures of Central America, such as the Maya. The namesjade and jadeite come from Spanish piedra de ijada meaning "stone of the loins." Early explorerscoined the term when they learned that New World natives wore jade amulets to prevent and curekidney ailments.

• Gem for the 12th wedding anniversary. (Nephrite jade is, too.)

VALUE FACTORS• Color: Various shades of green, lavender, yellow, orange, and brown. Also white, gray, and black.

Often shows attractive mixtures or markings; for example, "moss-in-snow" jade has green veinsrunning through a white background. Prized above all is pure "imperial" green, which equals theintensity of emerald.

• Clarity: Usually translucent to opaque, but can be almost transparent.

• Cut: Cabochons, carvings, and beads. Animal, plant, and symbolic designs are traditional favoritesfor carvings.

• Size/Weight: Many colors are available in all sizes, and occur in pieces big enough for largecarvings and other ornamental purposes. However, imperial jade is extremely rare even in verysmall sizes. (Normally not priced or sold by carat weight.)

JJADE – JADEITE



TREATMENT Often treated by one or more methods:

• Dyeing is a common way to add a green or lavender tint. Other colors are possible too.

• Wax impregnation conceals fractures and makes the polish look better.

• Bleaching followed by impregnation with epoxy resin conceals fractures, makes the polish lookbetter, and also improves color appearance.

• Heating can produce orange or brown color.

• Permanence and special care: Wax may eventually deteriorate, and wax-treated jadeite should notbe exposed to intense light or even mild heat, such as direct sun, or to solvents or other chemicals.With other treatments the effects are normally permanent, and there are no special carerequirements for gem owners.

GEMOLOGY• Classified as a mineral species, but the jadeite used for gems is technically a rock consisting of

jadeite mixed with small percentages of other minerals. In this form, jadeite jade is made of tightlyinterlocking microscopic crystals. The structure produces exceptional toughness.

• Pure jadeite is composed primarily of sodium, aluminum, silicon, and oxygen; chemical formulaNaAlSi2O6. Most natural colors are caused by iron. Imperial green is created by trace amountschromium (which also colors emerald and ruby).

GEOLOGY Forms when chemical-rich water rises from deep inside the earth, fills crevices in existing rockformations, and then solidifies under high pressure. Key ingredients for the process – includingchromium for imperial green – come from the older rock.

SOURCES Myanmar is the world’s only major producer of fine quality jadeite, but there are also deposits in Japan,Russia, the US, and elsewhere. Guatemala was the jadeite source for pre-Columbian America, and itstill has some output.

CARE Jadeite jade generally has very good wearability.


• Toughness: Exceptional resistance to chipping and breaking. After nephrite, jadeite is the toughestof all gems.

• Stability: If dyed, color may eventually fade. . (Also see Treatment for special-care requirementscreated by certain processes.) Otherwise, no routine concerns for gem owners.

• Cleaning: Detergent and water. Except for wax-impregnated material, liquid cleaner and ultrasonicare also safe.

JJADE – JADEITE


JADE – NEPHRITEHISTORY & LORE• Used as a gem and for functional purposes by many cultures since prehistoric times. During the

Stone Age, nephrite was made into tools and weapons.

• In China, a traditional symbol of prosperity and good fortune. Many carved designs also havespecial meanings. For example, the bat represents happiness; the butterfly, long life; and the peach,immortality. The round disk with a central opening is called a pi (pronounced bee), and stands forheaven.

• Of the two minerals recognized as jade (jadeite and nephrite), nephrite has the older pedigree byfar. Some scholars trace its history of use in China back 7,000 years. Compared to jadeite,however, nephrite is very inexpensive.

• Name comes from Latin lapis nephriticus meaning "stone of the kidneys" and derived from an oldSpanish term for jade. That term was based on the belief that jade can be used to treat kidneyailments.

• Gem for the 12th wedding anniversary. (Jadeite jade is, too.)

VALUE FACTORS• Color: Light to dark green, yellow, and brown. Also white, gray, and black. Often mixed or

streaked, and typically muted. The brightest nephrite green is usually described as "spinach" color.


• Cut: Cabochons, carvings, and beads. Animal, plant, and symbolic forms are traditional favoritesfor carvings.


JJADE – NEPHRITE


TREATMENT May be treated in one or more ways:

• Most common method is impregnation with wax to conceal fractures and make the polish lookbetter.

• Occasionally dyed to add or darken a green tint. Other colors are also possible.

• Heating can lighten deep green, or darken and artificially "age" white, yellow, or brown.

• Permanence and Special Care: Wax may eventually deteriorate, and wax-treated nephrite should notbe exposed to intense light or even mild heat (for example, direct sun), or to solvents or otherchemicals. With other treatments the effects are normally permanent, and there are no special carerequirements for gem owners.

GEMOLOGY• Conventionally classified as a species, but actually a rock-like gem material with a somewhat

variable composition. Chemical ingredients include calcium, hydrogen, iron, magnesium, oxygen,and silicon. Natural color most often caused by iron.

• Made up of densely packed interlocking fibrous crystals. (Individual crystals can measure less thanone ten-thousandth of an inch in diameter.) The overall structure is usually described as felt-like,and it makes nephrite stronger than steel.

GEOLOGY Forms through regional metamorphism, when heat, pressure, and chemistry changes from majorgeologic events (like mountain-building) cause existing minerals to become new ones. Suchtransformations can occur over large areas, and take millions of years.

SOURCES Found in many parts of the world. Canada and the US are leading producers. Others include Australia,China, New Zealand, Russia, and Taiwan.

CARE Nephrite jade generally has very good wearability.


• Toughness: Exceptional resistance to chipping and breaking. Nephrite is the toughest gem of all.

• Stability: If dyed, color may eventually fade. (Also see Gem Treatments for special-carerequirements created by certain processes.) Otherwise, no routine concerns for gem owners.

• Cleaning: Detergent and water. Except for wax-impregnated material, liquid cleaner and ultrasonicare also safe.

JJADE – NEPHRITE


LAPIS LAZULIHISTORY & LORE• One of the gems highly treasured by early civilizations from Egypt to China. In the Middle East,

archaeologists have found lapis lazuli jewelry and artifacts more than 4,000 years old.

• Name comes from Latin and Arabic words that translate "heaven-blue stone". Often simply calledlapis.

• Traditionally regarded as a symbol of truth and purity, with power to alleviate sadness, shield itswearer from evil, and summon the protection of angels.

• Gem for the 9th wedding anniversary.

VALUE FACTORS• Color: Medium to dark blue, often with a tinge of green or violet. May show spangles caused by

inclusions of the mineral pyrite (fool’s gold), or white veins of calcite. Most expensive is deepslightly violet "midnight" blue.


• Cut: Cabochons, carvings, tablets, and beads.


LLAPIS LAZULI



TREATMENT Often dyed to improve color. Also commonly impregnated with oil, plastic, or wax to make the colorand polish look better. Some dyes eventually fade. Oil and wax may dry out or deteriorate. Oiled orwaxed lapis should not be exposed to intense light or even mild heat – like direct sun – for very long.(See Care for usual concerns.)

GEMOLOGY• Lapis lazuli is classified as a rock because it’s always made up of several different minerals.

Natural color caused by sulfur, a formula ingredient in the mineral lazulite, which is one of themain constituents.

• "German lapis" and "Swiss lapis" are dyed blue jasper (a mineral related to chalcedony). Bothterms are misnomers.

GEOLOGY Forms through regional metamorphism, when heat, pressure, and chemistry changes from majorgeologic events (like mountain-building) cause existing minerals to become new ones. Suchtransformations can occur over large areas, and take millions of years.

SOURCES Afghanistan has been the main source of fine lapis for 6,000 years. Other current producers includeChile, Myanmar, Russia, Tajikistan, and the US.

CARE Lapis lazuli generally has fair wearability.

• Hardness: Moderate scratch resistance. Rates 5 to 6 on the Mohs Hardness Scale.

• Toughness: Fair resistance to chipping and breaking.

• Stability: Discolored by most household chemicals, including solvents, cleansers, alcohol, andcosmetics. (Chemicals can also damage dye and oil or wax treatment.)

• Cleaning: Remove smudges with a soft cloth. Detergent and water are usually safe for occasionalcleaning, but no prolonged soaking or hard scrubbing. Never use liquid cleaner or ultrasonic.

LLAPIS LAZULI


MALACHITEHISTORY & LORE• By about 4000 BC, the Egyptians were using malachite to make jewelry, carvings, and other

objects for ornamental and religious functions. They also ground it into powder for eye shadow.

• According to a book about gems written in the 1500s, attaching a piece of malachite to a baby’scradle will drive away evil spirits and ensure good sleep. Other stories say malachite protects itswearer from falls and sorcerers’ spells.

• Name probably comes from Greek malache meaning mallow (a plant belonging to the same familyas hollyhock and hibiscus).

VALUE FACTORS• Color: Light to dark green or bluish green with attractive bands of different shades.


• Cut: Beads, cabochons, carvings, and tablets.


TREATMENT Sometimes impregnated with epoxy resin or wax to conceal fractures and improve the appearance ofcolor and polish. Epoxy treatment’s effects are normally permanent, and it creates no added specialcare requirements for gem owners. Wax may eventually deteriorate, and wax-treated malachite shouldnot be exposed to intense light or even mild heat – like direct sun – for very long. (See Care for usualconcerns.)

MMALACHITE

From Precious Stonesand Other Crystals.


GEMOLOGY• Classified as a mineral species. Composed primarily of copper, carbon, oxygen, and hydrogen;

chemical formula Cu2CO3(OH)2. Color caused by copper, an essential ingredient.

• Malachite is a relatively dense – or heavyweight – gem. This gives bead necklaces and other itemsof malachite jewelry a pleasantly "hefty" feeling.

GEOLOGY Typically forms as a mass of minute crystals that precipitate from chemical-rich water solutions in ornear deposits of copper. Frequently recovered as a byproduct of industrial copper mining. OneRussian deposit has reportedly produced malachite blocks weighing more than 20 tons.

SOURCES Most important is Zaire. There are others worldwide, including Australia, Chile, China, Namibia,Russia, South Africa, and the US.

CARE Malachite needs gentle wear and care.

• Hardness: Low scratch resistance. Rates 31/2 to 4 on the Mohs Hardness Scale.

• Toughness: Low resistance to chipping and breaking.

• Stability: Discolored or attacked by even mild acids and also many household chemicals, includingsolvents, cleansers, alcohol, and cosmetics.


MMALACHITE


MMALAYA GARNET

MALAYA GARNETHISTORY & LORE• Discovered during the 1960s in East Africa’s Umba River Valley. Miners and dealers dubbed the

unfamiliar gem malaya (also spelled malaia), a Swahili word meaning "out of the family" – andslang for prostitute. Advanced testing showed it to be a previously unknown type of garnet.Europeans now call the gem umbalite after its source. Americans have stuck with the moremelodious Swahili.

• Too new to have folklore of its own, but all garnets traditionally symbolize faith, truth, andfriendship. For centuries, people also believed they could dispel fear, soothe discord, ensureguidance, protect travelers, and inspire deep affection.

• Birthstone for January and Aquarius. Gem for the 2nd wedding anniversary. (Other garnets are,too.)

VALUE FACTORS• Color: Light to dark orange (often brownish, yellowish, reddish, or pinkish). Most expensive are

strong pure orange and bright pinkish "peach". May show a subtle color shift – more pinkish indaylight or fluorescent, and more orange in incandescent light.


• Cut: Usually fancy-shape variations of the brilliant style.

• Carat Weight: Normally available in sizes up to about 10 carats.



TREATMENT Malaya garnet is among the gems for which there are no established treatments.

GEMOLOGY• A garnet variety that’s predominantly a mixture of the pyrope and spessartite species. Other

garnets include almandite, rhodolite, and tsavorite. All have the same crystal structure, but differslightly in chemical composition.

• Malaya’s chemical ingredients are somewhat variable, and include aluminum, magnesium,manganese, oxygen, and silicon. Color, caused by manganese, often with additional traces of iron.

GEOLOGY Usually forms in pegmatites – pockets within the earth’s crust where gems and other mineralscrystallize from melted rock material and hot chemical-rich fluids. Pegmatites produce a greaterabundance and variety of colored gemstones than any other geologic environment.

SOURCES Kenya and Tanzania are the only significant producers.

CARE Malaya garnet generally has good wearability.





MMALAYA GARNET


MOONSTONEHISTORY & LORE• According to the folklore of ancient India, made of crystallized moonbeams. Also linked to the

moon by other cultures, and the gem’s name reflects this time-honored association. One old storysays if you hold a moonstone in your mouth under the light of the full moon, you’ll be able to seeyour future.

• Birthstone for June. (Alexandrite and pearl are also June birthstones.)

VALUE FACTORS• Phenomenon: Displays a glow that seems to float inside the gem. The effect is technically known

as adularescence. In fine quality, it’s soft yet bright.

• Color: Typically colorless, white, or gray. Can also be light yellow, orange, or brown. Mostexpensive is colorless with strong sky-blue adularescence.

• Clarity: Usually translucent to opaque, but sometimes almost transparent.

• Cut: Cabochons, carvings, and beads. In long narrow cabochons the effect often looks like a cat’s-eye.


TREATMENT Moonstone is among the gems for which there are no established treatments.

MMOONSTONE



GEMOLOGY• Traditionally classified as a variety of orthoclase feldspar. Feldspars are a group of related minerals

that account for almost half the volume of Earth’s crust. Orthoclase is a species within the group,and it’s composed primarily of potassium, aluminum, silicon, and oxygen; chemical formulaKAlSi3O6

.

• The gem known as rainbow moonstone is a variety of labradorite feldspar. Labradorite’s chemicalcomposition is somewhat variable, and includes calcium and sodium along with aluminum, silicon,and oxygen.

• In both types, light reflecting from layers in the gem’s structure causes the special optical effect.With classic moonstone there are alternating sections of orthoclase and the feldspar known asalbite. In rainbow moonstone, the layers are produced by repeated reversals of the crystal pattern.

GEOLOGY Usually forms in pegmatites – pockets within the earth’s crust where gems and other mineralscrystallize from melted rock material and hot chemical-rich fluids. Pegmatites produce a greaterabundance and variety of colored gemstones than any other geologic environment.

SOURCES Australia, Brazil, India, Madagascar, Myanmar, Sri Lanka, and Tanzania. India is the main source ofrainbow moonstone.

CARE Moonstone needs gentle wear and care. Protective setting recommended.





MMOONSTONE


OONYX

ONYXHISTORY & LORE• Once used in India as an amulet to cool the fire of passion. According to New Age gem therapists,

onyx promotes strength and self-control.

• Name is Greek and originally meant claw or nail. An old story says mischievous Cupid cut Venus’sfingernails while she was sleeping, and the Fates transformed the clippings into gems so no part ofan immortal goddess’s body would ever perish.

• Black onyx was popular in jewelry of the Art Deco period (about 1910 to 1935), often set inplatinum with diamonds and other top-priced gems. As one of the few black gemstones, it’s alwaysin style and a frequent choice for men.

• Birthstone for Leo and gem for the 7th wedding anniversary.

VALUE FACTORS• Color: Black onyx is solid in color. Other types feature straight contrasting bands. The

combination of black and white is simply called onyx. Brown alternating with black or white issardonyx.


• Cut: Cabochons, carvings, tablets, and beads. Since the days of Greece and Rome, onyx has been afavorite for cameos and the engraved gems known as intaglios.




TREATMENT All black onyx is dyed. Gray chalcedony is soaked in a mixture of sugar and water, then heated insulfuric acid, which converts the sugar to carbon. Similar methods have been used for about 2,000years. The treatment’s effects are permanent, and it creates no special care requirements for gemowners.

GEMOLOGY• A variety of the mineral species chalcedony. Other chalcedony varieties include agate, bloodstone,

and carnelian. Composed mostly of silicon and oxygen; chemical formula SiO2. (Essentially thesame as quartz, but made up of individual crystals so tiny they can’t be seen without highmagnification.)

• "California onyx" and "Mexican onyx" are misnomers for calcite, a mineral that’s not related toonyx in any way.


SOURCES Leading onyx producers include Brazil, India, Madagascar, and Uruguay. Brazil is also the mainsource for chalcedony used to make black onyx.

CARE Onyx generally has good wearability.





OONYX


OPALHISTORY & LORE• Prized by Western cultures since Roman times, but opal’s history and geography extend much

further. In Kenya anthropologists have found opal artifacts 6,000 years old, and 500 years ago theAztecs mined opal in Central America.

• Name probably comes from Sanskrit upala meaning gem or jewel. (Sanskrit is a classical literaryand sacred language of India.)

• Traditionally considered the most magic of gems because it shows the colors of all otherscombined. According to Middle Eastern folklore, opals and their flashing colors are born fromlightning. In Europe, opal has long symbolized purity and hope.

• The superstition that opal is unlucky was spread by the novel Anne of Gerstein, written by SirWalter Scott around 1830. The central character died after her opal lost its color.

• Birthstone for October and gem for the 14th wedding anniversary. (Tourmaline is also an Octoberbirthstone.)

VALUE FACTORS• Phenomenon: Displays dancing flashes of rainbow hues. This effect is known as play-of-color. In

fine quality individual colors are bright, and form an attractive pattern that covers the gem.

• Color: Full range includes white, gray, black, red, orange, yellow, and brown.

• Clarity: Usually translucent or opaque, but sometimes transparent.

• Cut: Cabochons of various shapes are most common. Fire opal is often faceted. All types aresometimes fashioned into carvings and beads.

• Carat Weight: Most types are normally available in all jewelry sizes (up to 15 or 20 carats).

OOPAL



OPAL TYPES Dealers and specialists identify dozens of different kinds of opal, but four are most important injewelry:

• White opal – Translucent to opaque white or light gray with play-of-color. This is the most populartype.

• Black opal – Translucent to opaque with play-of-color on a base of black or some other dark color.In finest quality, this is the rarest and costliest type.

• Crystal opal – Transparent with play-of-color on a colorless to dark gray base.

• Fire opal – Transparent to translucent red, orange, yellow, or brown. May or may not show play-of-color.

TREATMENT White and black opals are often treated. Impregnation with oil, plastic, or wax conceals fractures andimproves play-of-color. Dyeing can imitate the appearance of black opal and also heighten color play.Plastic treatment’s effects are usually permanent, and it creates no special care requirements for gemowners. Oil, wax, and some dyes eventually deteriorate. Oil- or wax-treated opal should not beexposed to intense light or even mild heat – like direct sun – for very long. (See Care for usualconcerns. Also see Gem Treatments table for other possible methods.)

GEMOLOGY• Classified as a mineral species composed primarily of silicon and oxygen (SiO2) with water. Water

accounts for up to 10% of weight in most opals.

• Play-of-color occurs because opal has a unique structure. It’s made of minute spheres that break upwhite light into spectral hues. To create the phenomenon, the spheres must measure between 4 and8 millionths of an inch in diameter; they must be the same size; and they must be stacked in aperfectly aligned grid pattern.

• Thin pieces of white and black opal are often assembled into opal doublets or triplets. In a doublet,the opal is cemented to a backing of stronger material such as chalcedony, glass, or plastic. In atriplet, the opal and backing are covered with a protective top made from a colorless material likeglass, quartz, or synthetic spinel.

OOPAL


GEOLOGY Opal forms by a sedimentary process. Over millions of years, water dissolves chemical ingredientsfrom desert sand, creating a gel-like solution that fills crevices in the ground and eventually hardens.Solidification occurs at an average rate of about 1 inch every 20 million years.

SOURCES Australia is by far the world’s most important producer of white, black, and crystal opal. Brazil andMexico are significant sources of white and fire opal. Others include Honduras, Madagascar, Tanzania,and the US.

CARE Opal needs gentle wear and care. Protective setting recommended.


• Toughness: Fair to low resistance to chipping and breaking.

• Stability: May develop hairline fractures as a result of water loss from age or exposure to dryconditions or intense light. (See Gem Treatments for special care requirements created by certainprocesses.)

• Cleaning: Detergent and water. Liquid cleaner is usually safe, except for oil- or wax-impregnatedmaterial. Never use ultrasonic.

OOPAL


PEARLHISTORY & LORE• Since the dawn of human culture, counted among the most beautiful and magical gems. Early

hunter-gatherers probably discovered pearls during their search for food. In the ancient world,pearls had the greatest value of all material things.

• For centuries people in Asia believed pearls begin with drops of divine moisture that fall fromdragons in the sky. When the drops land in seashells and are nourished by moonbeams, they growinto pearls.

• Due to their appearance and origin, pearls have always been associated with the moon and water.From these natural links they grew to symbolize purity and love.

• Birthstone for June. Gem for the 3rd and 30th wedding anniversaries. (Alexandrite and moonstoneare also June birthstones.)

NATURAL vs CULTURED Natural pearls are produced by about two dozen kinds of mollusks (including certain oysters, mussels,and other shellfish) – without human help of any sort. Cultured pearls combine Nature’s creativitywith human art and science. Today almost all pearls are cultured.

PPEARL


VALUE FACTORS Pearls have a unique set of value factors:

• Size: Measured in millimeters, and depends largely on type. Finepearls near the top of the size range for their type commandpremium prices.

• Shape: Main categories are spherical (round and near-round),symmetrical (oval, button, drop, etc), and baroque (irregular).Round pearls are generally most expensive.

• Color: Traditionally thought of as white, but covers a wide range.Besides basic bodycolor, may also include blush-like overtone andthe iridescent effect known as orient.

• Luster: The sharpness of light reflections from the pearl’s surface. Different types of pearls havediffering potentials, but luster is always a critical element of beauty.

• Surface: Freedom from blemishes such as bumps, spots, and scratches. Almost all pearls havesome of these characteristics. Unless unsightly or threatening they’re usually consideredacceptable.

• Nacre: The thickness of the pearl’s coating. Lasting beauty and value depend on this hidden factor.

• Matching: A key consideration for necklaces, this normally means the pearls look alike in size,color, and other aspects of appearance.

PEARL TYPES• Akoya – The most popular and familiar pearls. Produced mainly along the coasts of Japan and

China, Akoyas usually range from about 4 to 8 millimeters. Rounds and near-rounds are readilyavailable. Typical colors are white and cream, but others include pink, yellow, blue, and gray.Common overtones are rosé (pink) and green. Luster can be nearly mirror-like.

• South Sea – The rarest and most expensive pearls. Grown primarily in the warm waters aroundAustralia, Indonesia, and the Philippines, South Sea pearls are prized for their large sizes –normally 8 to 18 millimeters. Shapes are often "circled" with parallel ridges. Colors run fromwhite and cream to silver gray, golden yellow, rose pink, and peacock blue. Overtones includerosé, green, and blue. Luster tends to be satiny rather than high-gloss.

• Tahitian – Most of these exotic-looking pearls come from the islands of French Polynesia. TheCook Islands, which belong to New Zealand, are another source. Tahitian pearls have about thesame size range as South Sea cultured pearls, and "circled" shapes are common. Luster can bealmost metallic. Palette includes silver gray, golden yellow, bronze, copper, deep “cherry” red,yellow-green "pistachio," and purple-green "aubergine" – often with striking overtones.

• Freshwater – The most affordable cultured pearls, these offer a wide assortment of sizes, shapes,and natural as well as treated colors. Streams, rivers, and lakes in China are the main sources.Others come from Japan and the US.

PPEARL

Keshi – Pearls that form accidentally (without intentionalnucleation) in mollusks used for culturing.

Blister pearls – These grow attached to the shell, usually over a half-round nucleus. Used for mabés or cut to include part ofthe shell in an attractive outline.

Mabés – Assembled from cultured blister pearls. Afterharvesting, the nucleus is removed. The nacre shell isthen filled with epoxy resin and cemented to a mother-of-pearl backing.

Abalone pearls – These come from the mollusk scientifically known ashaliotis. Most are grown in New Zealand and the US,and they’re mainly available as blister pearls and mabés.Abalone pearls often have vivid color and orientcombined with luster that’s almost metallic.


PPEARL

TREATMENT For Akoyas and most freshwater pearls, a standard step is bleaching to lighten color and eliminate darkspots. Akoyas are sometimes tinted by dye or irradiation, and similar methods produce many colors offreshwater pearls. South Sea pearls may be dyed “golden” yellow. The effects of these treatments areusually permanent, and they create no added special care requirements for gem owners. (See Care forusual concerns.)

GEMOLOGY• Classified as an organic gem. Others in this group include amber, coral, and shell.

• Akoya, South Sea, and Tahitian pearls consist of a shell bead nucleus coated with nacre. The nacreis secreted by the mollusk, and it’s mainly composed of microscopic calcium carbonate crystals(chemical formula CaCO3). The nucleus accounts for most of the size and weight, but the nacreprovides the beauty.

• Other pearl products include:

PPEARL

PEARL CULTURING Natural pearl formation typically occurs when an irritant enters the mollusk’s shell and becomes coatedwith nacre. The coating protects the animal and creates pearl’s distinctive beauty. Natural pearls wereonce found around the world, but they have now almost disappeared due to overfishing and pollution.

Pearl culturing usually starts with raising oysters or mussels until they’re old enough to produce pearls.Then comes the surgical procedure known as nucleation. For Akoya, South Sea, and Tahitian oystersthis means implanting a bead along with a piece of mantle tissue from another oyster. (The mantle isthe organ that lines a mollusk’s shell and envelops its body.) Most freshwater mussels are nucleatedwith only mantle tissue. Whatever its form, the nucleus acts as an artificial irritant that stimulatesnacre secretion and pearl formation. After nucleation mollusks are returned to the water and tended forup to two years. Then the pearls are harvested.

SOURCES Noted under Pearl Types.

CARE Pearls need gentle wear and care.

• Hardness: Low scratch resistance. Rates 21/2 to 4 on the Mohs Hardness Scale.

• Toughness: Usually good resistance to breaking, but nacre can be chipped orbroken fairly easily.

• Stability: If dyed, color may eventually fade. Nacre may also develop cracks as a result of age orexposure to dry conditions or intense light. All pearls are easily attacked by even mild acids andalso many household chemicals, including solvents, cleansers, alcohol, and cosmetics.

• Cleaning: Never use liquid cleaner or ultrasonic. For routine cleaning, wipe pearls with a soft clothafter each wearing. Detergent and water are safe for occasional cleaning, but use a soft-bristlebrush to avoid scratching. Never immerse a necklace. Pearl necklaces should be restrung everyfew years if they’re worn frequently.



PERIDOTHISTORY & LORE• Called "Gem of the Sun" by the Egyptians. According to old legends, prospectors looked for

peridot at night and located crystals by their glow. Magical attributes include power to attractwealth and drive away evil spirits.

• Name probably comes from Arabic faridat meaning gem.

• Birthstone for August and Libra. Gem for the 16th wedding anniversary. (Sardonyx is also anAugust birthstone.)

VALUE FACTORS• Color: Light to dark greenish yellow or yellowish green. Frequently pale "olive," but can be bright

"golden lime".




TREATMENT Peridot is among the gems for which there are no established treatments.

PPERIDOT



GEMOLOGY• A gem variety of the olivine mineral group. Composition is somewhat variable and includes

magnesium, iron, silicon, and oxygen. Color is caused by iron.

• Once called "evening emerald" because it can appear bright green in subdued light. The term isnow considered a misnomer.

GEOLOGY Crystallizes from melted rock material about 20 to 50 miles inside the earth, and is later carried to thesurface by volcanic eruption. (Peridot that may have formed on other planets has been found inmeteorites. The material is extremely rare, but a few dozen gemstones have been cut from it.)

SOURCES The San Carlos Indian Reservation in Arizona is a leading producer. Others include China, Myanmar,Pakistan, Russia, Sri Lanka, and Tanzania.

CARE Peridot generally has good wearability, but protective setting is recommended.



• Stability: Attacked by acids (even mild ones with long exposure). Otherwise, no routine concernsfor gem owners.

• Cleaning: Detergent and water. Some liquid cleaners can cause damage. Never use ultrasonic.

PPERIDOT


RHODOLITEGARNET

HISTORY & LORE• Name comes from Greek rhodon and lithos meaning rose and stone and was first given to

rhododendron-red garnets discovered around 1900 in North Carolina.

• Though rhodolite doesn’t have a long history, it shares garnet meaning and magic. Garnetstraditionally symbolize faith, truth, and friendship. For centuries they were believed to dispel fear,soothe discord, ensure guidance, protect travelers, and inspire deep affection.


VALUE FACTORS• Color: Light pink to dark purple-red. Range might be described as delicate "rose" to deep

"raspberry."



• Carat Weight: Normally available in a very wide size range (up to 50 carats or more).

RRHODOLITE



TREATMENT Rhodolite is among the gems for which there are no established treatments.

GEMOLOGY• A garnet variety that’s predominantly a mixture of the almandite and pyrope species. Other garnets

include malaya, spessartite, and tsavorite. All have the same crystal structure, but differ slightly inchemical composition. Next to almandite, rhodolite is the top-selling garnet.

• Rhodolite’s chemical ingredients are somewhat variable and include aluminum, iron, magnesium,oxygen, and silicon. Color caused by iron.

GEOLOGY Often forms through contact metamorphism, when melted rock material or hot, chemical-rich fluidforces its way into an existing geologic formation. The heat and added ingredients then cause newgems and minerals to crystallize in the older rock.

SOURCES Important producers include Kenya, Madagascar, Sri Lanka, Tanzania, and Zimbabwe.

CARE Rhodolite generally has good wearability.





RRHODOLITE


ROSE QUARTZHISTORY & LOREAccording to New Age gem therapists, rose quartz promotes love in all its positive forms, fromkindness and nurturing to friendship and romance. It also helps its wearer learn forgiveness andtolerance, and opens the heart to beauty within and without.

VALUE FACTORS• Color: Light to medium pink.

• Clarity: Usually translucent, but can be almost transparent. Frequently contains internal fracturesthat produce a cloudy appearance.

• Cut: Most often beads, cabochons, and carvings. Sometimes faceted.


TREATMENT Occasionally irradiated to improve color. This duplicates a process that can occur naturally in theearth. The treatment’s effects are normally permanent, and it creates no special care requirements forgem owners. Except in very rare cases, irradiation treatment leaves no significant radioactivity.Government agencies, industry organizations, and individual firms take effective steps to ensure thatmaterial which might pose a potential health concern never reaches jewelry stores.

GEMOLOGY• A variety of quartz, the most abundant mineral species in the earth’s crust. Other quartz varieties

include amethyst, citrine, smoky quartz, and tiger’s-eye.

RROSE QUARTZ



• Composed primarily of silicon and oxygen; chemical formula SiO2. Color caused by traceamounts of iron and titanium.

• Occasionally shows a star effect caused by needle-like inclusions, and may be backed with amirror-type coating to enhance the star’s appearance.


SOURCES Brazil, India, Madagascar, Namibia, Sri Lanka, and the US.

CARE Rose quartz generally has good wearability.



• Stability: Occasionally fades if exposed to intense light for a long time. Otherwise, no routineconcerns for gem owners.


RROSE QUARTZ


RUBYHISTORY & LORE• Ruby’s age-old status is reflected by one of the Sanskrit names for it – ratnaraj, which translates

"Gem King". (Sanskrit is a classical literary and sacred language of India.) A book written inEurope during the 1300s says, "Fine ruby is the lord of all stones. It is the gem of gems, andsurpasses all precious stones in virtue."

• Modern name comes from Latin ruber meaning red. In the past, ruby’s glowing color led people tothink an unquenchable fire burns within its heart.

• According to the folklore of ancient India, ruby preserves physical and mental health, prevents evilthoughts, reconciles disputes, and ensures safety. Centuries later, Europeans believed it enables itswearer to live in perfect peace and happiness.

• In finest quality, ruby is among the world’s rarest and costliest gems. At an auction in 1988 a 16-carat ruby sold for more than $227,000 per carat.

• Birthstone for July and Capricorn. Gem for the 15th and 40th wedding anniversaries. (Star ruby istoo.)

VALUE FACTORS• Color: Medium to dark red (often slightly orangish, purplish, or pinkish). Most expensive is pure

red that’s deep and incomparably vivid.

• Clarity: Often lightly included. Minor clarity characteristics are accepted. ("Commercial" qualitycan be translucent or opaque.)

• Cut: Usually faceted in traditional shapes and styles. Sometimes fashioned into cabochons andbeads.


RRUBY



TREATMENT Almost all rubies are treated.

• A routine method is heating to improve color or clarity.

• Also common is filling cavities with epoxy resin or glass to improve clarity appearance (this canadd weight too).

• Fractures may be filled with oil, epoxy, or glass.

• Permanence and special care: Heat treatment is normally permanent, and creates no special carerequirements for gem owners. The same is true of many fillings, but oil eventually deteriorates.Oiled rubies should not be exposed to intense light or even mild heat, such as direct sun, or tosolvents or other chemicals.

• When a fine-quality ruby is certified as untreated by a respected trade laboratory, it will usuallycommand a premium price.

• Ruby is sometimes imitated or produced by diffusion treatment, which involves heating pale orcolorless sapphire to very high temperature while it’s in contact with selected chemical coloringagents. Depending on the technique, diffusion produces color in a shallow layer along the gem’ssurface, or extending deeper - sometimes all the way through the gem. If penetration isn’tcomplete, the color may be removed by repolishing or recutting. When the starting material is palesapphire and the diffusion color layer is shallow, the resulting product is considered a simulant, nota treated ruby.

GEMOLOGY• A variety of the mineral species corundum. Other corundum varieties are sapphire, star ruby, and

star sapphire. To be considered ruby, the dominant hue must be red, and the overall color at leastmoderately dark and strong. Otherwise, the material is correctly identified as orange, purple, orpink sapphire.

• Composed primarily of aluminum and oxygen; chemical formula Al2O3. Color caused by traceamounts of chromium. (Chromium also colors emerald. The different colors result fromdifferences in the overall chemistries of the two gems.)

• Often displays strong pleochroism – orangish red or purplish red depending on the viewingdirection. This property results from the way the gem crystal interacts with light. Most rubies areoriented to show the purplish red color when cut.

GEOLOGY Can form by igneous or metamorphic processes. In igneous formation, grows deep in the earth and islater carried upward by volcanic action. In metamorphic formation, occurs when an intrusion ofmelted rock material or a major geologic event (like mountain building) causes new gems and mineralsto form in older rock.

RRUBY


RRUBY

SOURCES Myanmar (formerly known as Burma) has been a leading producer for at least 400 years. Otherimportant sources include Cambodia, Kenya, Madagascar, Tanzania, and Vietnam.

CARE Ruby generally has very good to excellent wearability.

• Hardness: Very high scratch resistance. Rates 9 on the Mohs Hardness Scale. Next to diamond,ruby and sapphire are the hardest natural gems.

• Toughness: Resistance to chipping and breaking is normally excellent. (Clarity characteristics mayaffect this.)

• Stability: Usually no routine concerns for gem owners. (See Treatment for special carerequirements created by certain processes.)

• Cleaning: Liquid cleaner, or detergent and water (but no hard scrubbing for oiled gems). Ultrasonicis usually safe, except for rubies with noticeable clarity characteristics, or those that are cavity- orfracture-filled.

Photo courtesy Precision SetFine Jewelry Works.


SAPPHIRE – BLUEHISTORY & LORE• Linked to royalty throughout history. In Roman times, kings and queens wore sapphires to protect

themselves from treachery. The oldest gem in the British Crown Jewels is a sapphire that belongedto King Edward the Confessor (who died in 1066). And when Lady Diana Spencer – the futurePrincess Di – became engaged to Prince Charles in 1981, she received a ring set with a large bluesapphire.

• Name comes from Greek sappheiros, which was once used for all deep blue gems.

• Traditionally signifies truth, sincerity, and faithfulness. In the Middle Ages, it was thought thatwizards used sapphires to control spirits and understand prophecies. Since the 1100s members ofthe clergy have worn them as symbols of Heaven. For centuries, many people believed owning asapphire brings blessings.

• Birthstone for September and Taurus. Gem for the 5th and 45th wedding anniversaries. (Fancysapphire and star sapphire are, too.)

VALUE FACTORS• Color: Light to dark blue (often greenish or violetish). Most expensive is rich deep blue with a

slight tinge of violet.

• Clarity: Often lightly included. Minor clarity characteristics are accepted. ("Commercial" qualitycan be translucent or opaque.)



SSAPPHIRE – BLUE


TREATMENT• Almost all blue sapphires are heat treated to improve color or clarity. Another possibility is

diffusion treatment, which involves heating pale or “off color” sapphire to very high temperaturewhile it’s in contact with selected chemical coloring agents. Depending on the technique, diffusionproduces color in a shallow layer along the gem’s surface, or extending deeper - sometimes all theway through the gem. If penetration isn’t complete, the color can be removed by repolishing orrecutting. Otherwise, the effects of both treatments (heat and diffusion) are normally permanent,and they create no special care requirements for gem owners. (See Gem Treatments table for otherpossible methods.)

• When a fine-quality blue sapphire is certified as untreated by a respected trade laboratory, it willusually command a premium price.

GEMOLOGY• A variety of the mineral species corundum. Other corundum varieties are ruby, star ruby, and star

sapphire. In the gem trade the term sapphire, when used alone, refers specifically to blue sapphire.All other colors are considered fancy sapphires.

• Composed primarily of aluminum and oxygen; chemicalformula Al2O3. Color caused by trace amounts of iron andtitanium.

• May display strong pleochroism – greenish blue or violetishblue depending on the viewing direction. This property resultsfrom the way the gem crystal interacts with light. Most bluesapphires are oriented to show the violetish color when cut.

GEOLOGY Can form by igneous or metamorphic processes. In igneousformation, grows deep in the earth and is later carried upward byvolcanic action. In metamorphic formation, occurs when anintrusion of melted rock material or a major geologic event (likemountain building) causes new gems and minerals to form in olderrock.


SSAPPHIRE – BLUE


SOURCES Leading producers are Madagascar and the countries of Southeast Asia – Cambodia, Laos, Myanmar,Thailand, and Vietnam. Other important sources include Australia, Kenya, Sri Lanka, and Tanzania.

CARE Blue sapphire generally has very good to excellent wearability.

• Hardness: Very high scratch resistance. Rates 9 on the Mohs Hardness Scale. Next to diamond,sapphire and ruby are the hardest natural gems.


• Stability: Usually no routine concerns for gem owners.


SSAPPHIRE – BLUE



SAPPHIRE – FANCYHISTORY & LORE• A sapphire of any color except blue is considered fancy. Until modern times, fancy sapphires were

identified as other gems on the basis of color. However, their superior hardness was recognized,leading to designations such as "Oriental amethyst" for purple sapphire, and "Oriental topaz" foryellow. After scientific classification and testing developed in the 1700s, sapphires of all colorswere grouped as varieties of the same mineral species.

• Some sapphire lore is linked to the color blue, but most could apply to other colors as well.Sapphire traditionally symbolizes truth, sincerity, and faithfulness. For centuries it was believed toattract blessings, prevent strife, and guard its wearer from harm.

• Birthstone for September and Taurus. Gem for the 5th and 45th wedding anniversaries. (Bluesapphire and star sapphire are, too.)

VALUE FACTORS• Color: Most popular and available are various shades of pink, purple, and yellow. Full range

includes orange, green, violet, brown, and gray. At their best, many of these are strong and rich.



• Carat Weight: Most colors are normally available in sizes up to 10 carats.

SSAPPHIRE – FANCY



TREATMENT Many yellow sapphires are heat-treated to improve color or clarity. Orange, yellow, green and violetsapphires can also be produced by diffusion treatment which involves heating pale or “off-color”sapphire to a very high temperature while it’s in contact with selected chemical elements. Dependingon the technique, diffusion produces color in a shallow layer along the gem’s surface, or extendingdeeper - sometimes all the way through the gem. If penetration isn’t complete, the color may beremoved by repolishing or recutting. The effects of both treatments (heat and diffusion) are normallypermanent, and the treatment creates no special care requirements for gem owners. (See GemTreatments table for other possible methods.)

GEMOLOGY• A variety of the mineral species corundum. Other gem varieties of corundum are ruby, star ruby,

and star sapphire.

• Composed primarily of aluminum and oxygen; chemical formula Al2O3. Most colors are causedby combinations of various trace elements, including chromium, iron, titanium, and vanadium.

• Parti-colored sapphire displays two or more different colors side-by-side, and color-change sapphireshows different colors in different types of light. Both are rare.

• Old terms like "Oriental amethyst" and "Oriental topaz" are now considered misnomers.


SOURCES Madagascar, Sri Lanka, and Tanzania are leading producers. Others include Australia, Cambodia,Kenya, Myanmar, and Vietnam.

CARE Fancy sapphire generally has very good to excellent wearability.

• Hardness: Very high scratch resistance. Rates 9 on the Mohs Hardness Scale. Next to diamond,sapphire and ruby are the hardest natural gems.


• Stability: Usually no routine concerns for gem owners.


SSAPPHIRE – FANCY

Photo courtesy Krashes and Dirnfeld.


SARDONYXHISTORY & LORE• Traditionally known as the gem of courage. During Roman times, often engraved with images of

Hercules or Mars (the Roman god of war) and worn by soldiers. In medieval Europe, sardonyxrepresented spiritual strength joined with humility.

• Name is a combination of sard and onyx because it shows the colors of both gems.

• Birthstone for August. (Peridot is also an August birthstone.)

VALUE FACTORS• Color: Straight bands of dark orange, brownish red, or brown alternating with black or white.


• Cut: Beads, cabochons, carvings, and tablets. For centuries, sardonyx was a favorite for cameosand the engraved gems known as intaglios.


TREATMENT Usually dyed. The starting material is chalcedony with a layered structure. Different layers havediffering porosity, so some accept dye while others remain white. The treatment’s effects are normallypermanent, and it creates no special care requirements for gem owners.

SSARDONYX

From Precious Stonesand Other Crystals.


GEMOLOGY A variety of the mineral species chalcedony. Other chalcedony varieties include agate, bloodstone,carnelian, and onyx. Composed mostly of silicon and oxygen; chemical formula SiO2. (Essentiallythe same as quartz, but made up of individual crystals so tiny they can’t be seen without highmagnification).

GEOLOGY Often grows in cavities that exist within larger rock formations. Crystallization can occur in concentriclayers (somewhat like tree rings, but formed from the outside in). This produces the banded structure.

SOURCES Brazil, India, Madagascar, and Uruguay.

CARE Sardonyx generally has good wearability.





SSARDONYX


SHELLHISTORY & LORE• One of the very oldest gems from the standpoint of human use. Shells that could be made into

ornaments were found as part of the food search by some of our earliest ancestors.

• Always associated with the sea, but to primitive cultures shell also embodied striking symbolism: Itcomes from water, but is made from stone. This union of contrasting elements is echoed intraditions worldwide.

VALUE FACTORS• Color: Natural range includes white to dark gray, plus many shades of pink, orange, yellow, and

brown. Sometimes shows bands of different colors.


• Cut: Beads, cabochons, carvings, and inlays. Since the Victorian period in the 1800s, shell hasbeen a favorite material for cameos.

• Size/Weight: Most types are available in all sizes, and occur in pieces big enough for large carvingsor other ornamental purposes. (Normally not priced or sold by carat weight.)

TREATMENT Mother-of-pearl shell is dyed in a variety of colors. The treatment’s effects are usually permanent, andit creates no special care requirements.

SSHELL

Photo courtesy Kabana.


GEMOLOGY• Classified as an organic gem. Others in this group include amber, coral,

and pearl.

• Most shell is composed mainly of calcium, carbon, and oxygen in theform of calcium carbonate; chemical formula CaCO3. (Calciumcarbonate is also the main ingredient in coral and pearls.)

• Important types of shell:

Mother-of-pearl – The inner shell of a pearl-bearing mollusk. Typically has a pearly luster, andmay show the iridescent effect known as orient. Natural colors includewhite, cream, silver gray, and golden yellow. Mainly produced as abyproduct of pearl culturing.

Abalone shell – Sometimes called Paua shell, this is mother-of-pearl from the molluskscientifically known as haliotis. Usually smoky gray or brown with pearlyluster and strong orient. Most comes from "farms" in New Zealand and theUS, where abalone are grown for meat and pearls as well as shell.

Conch shell – Porcelain-looking material from the snail-like shell of the giant or queenconch. Most is fished from islands of the West Indies. Occurs in coral-liketints of pink, frequently with white banding.

Helmet shell – Another snail-type shell, typically banded in white and either brown ororange. It comes from the West Indies and Madagascar. The banding makesthis a popular choice for cameos.

Ammolite – Fossilized shell of ammonite, a squid-like mollusk that lived about 400million to 65 million years ago. The fossils are found in many places, butsome of those from Canada have strong iridescence. Color layers are thinand fragile, so they’re often impregnated with plastic and then assembled into tripletsby sandwiching them between a dark supporting base and a protective transparent top.

CARE Shell generally needs gentle wear and care.

• Hardness: Low scratch resistance. Most types rate about 31/2 on the Mohs Hardness Scale.

• Toughness: Fair resistance to chipping and breaking.

• Stability: Conch shell and some dyed colors may eventually fade. (Exposure to bright lightincreases the possibility.) Attacked by even mild acids and also many household chemicals,including solvents, cleansers, alcohol, and cosmetics.


SSHELL


SMOKY QUARTZHISTORY & LORE• One of the few transparent brown gems, and the most popular choice in that color.

• Considered the national gem of Scotland, and once called cairngorm after an old source in thatcountry’s Cairngorm Mountains. Traditional Highland jewelry often features smoky quartz.

VALUE FACTORS• Color: Very light to very dark brown (sometimes nearly black).


• Cut: Many faceted shapes and styles. Also cabochons, carvings, fantasy cuts, and beads.

• Carat Weight: Normally available in a very wide size range (up to 50 carats or more). One of thebiggest transparent faceted gems on record is a smoky quartz that weighs 44,472 carats – or a littlemore than 191/2 pounds.

TREATMENT Commonly produced by irradiating colorless quartz. Dark material is sometimes lightened by heattreatment. Both methods mimic processes that can occur naturally. Their effects are normallypermanent, and they create no special care requirements for gem owners. Except in very rare cases,irradiation treatment leaves no significant radioactivity. Government agencies, industry organizations,and individual firms take effective steps to ensure that material which might pose a potential healthconcern never reaches jewelry stores.

SSMOKY QUARTZ



GEMOLOGY• A variety of quartz, the most abundant mineral species in the earth’s crust. Other quartz varieties

include amethyst, citrine, rose quartz, and tiger’s-eye.

• Composed almost entirely of silicon and oxygen; chemical formula SiO2. Color caused by traceamounts of aluminum plus crystal distortion caused by natural or artificial irradiation.

• Sometimes confused with – or misrepresented as – topaz because of color similarity. Terms such as"burnt topaz," "smoky topaz," and "topaz quartz" are misnomers.


SOURCES Leading producers include Brazil, Mexico, and the US, but there are many others around the world.

CARE Smoky quartz generally has good wearability.





SSMOKY QUARTZ


SPESSARTITEGARNET

HISTORY & LORE• Named for the Spessart Mountains of Germany, where this garnet was originally identified. One of

the first major deposits was discovered in Virginia around 1870.

• Spessartite doesn’t have a long history, but it shares garnet meaning and magic. Garnetstraditionally symbolize faith, truth, and friendship. For centuries they were believed to dispel fear,soothe discord, ensure guidance, protect travelers, and inspire deep affection.


VALUE FACTORS• Color: Light to dark orange, often with yellowish or reddish tints. Most expensive is intense

"mandarin" orange.


• Cut: Faceted in many shapes and styles.


SSPESSARTITE



TREATMENT Spessartite is among the gems for which there are no established treatments.

GEMOLOGY• Spessartite (also called spessartine) is a species within the garnet group. All garnets have the same

crystal structure, but differ slightly in chemical composition.

• Composed primarily of manganese, aluminum, silicon, and oxygen; chemical formulaMn3Al2(SiO4)3. Color caused by manganese with additional traces of iron.

GEOLOGY Usually forms in pegmatites – pockets within the Earth’s crust where gems and other mineralscrystallize from melted rock material and hot chemical-rich fluids. Pegmatites produce a greaterabundance and variety of colored gemstones than any other geologic environment.

SOURCES Leading producers are Namibia, Nigeria, Madagascar, and Zambia. Others include Brazil, Myanmar,Sri Lanka, Tanzania, and the US.

CARE Spessartite generally has good wearability.





SSPESSARTITE


SPINELHISTORY & LORE• For centuries, confused with other gems due to similarities in color and other characteristics. Not

scientifically identified until the late 1700s.

• Red spinel was once called "balas ruby" after Balascia, an ancient kingdom and source in what isnow Afghanistan. Some of history’s most famous "rubies" are actually red spinels. One is theBlack Prince’s Ruby, which has been part of the British Crown Jewels for more than 600 years.

• Modern name comes from Latin spina meaning thorn and referring to this gem’s sharp-pointedcrystals.

• Gem for the 22nd wedding anniversary.

VALUE FACTORS• Color: Most popular and available are various shades of pink, red, and orange. Range also includes

blue, violet, and purple. Highly valued are "neon" pink, "ruby" red, orange-red "flame," and"cobalt" blue.


• Cut: Usually faceted as round, oval, or cushion-shape brilliants.

• Carat Weight: Seldom over 8 or 10 carats, especially in fine quality.

SSPINEL



TREATMENT Spinel is among the gems for which there are no established treatments.

GEMOLOGY• Classified as a mineral species. Composed primarily of magnesium, aluminum, and oxygen;

chemical formula MgAl2O4. Reds and pinks are caused by trace amounts of chromium (whichalso colors ruby and emerald). Blues come from iron and cobalt. Other colors result fromcombinations of additional elements.

• The rare gem known as color-change spinel shows different colors in different types of light –usually grayish blue in daylight or fluorescent, and purple in incandescent.

GEOLOGY Often forms through contact metamorphism, when melted rock material or hot chemical-rich fluidforces its way into an existing geologic formation. The heat and added ingredients then cause newgems and minerals to crystallize in the older rock.

SOURCES Most important are Madagascar, Myanmar, Sri Lanka, Tanzania, and Vietnam. Others includeAfghanistan, Cambodia, Tajikistan, and Thailand.

CARE Spinel generally has good wearability.

• Hardness: High scratch resistance. Rates 8 on the Mohs Hardness Scale.




SSPINEL


STAR RUBYHISTORY & LORE• According to traditions in the Middle East and Asia, star rubies protect their wearers from evil and

bring them good fortune. The star is said to be a spirit of light that dwells within the gem.

• Birthstone for July and Capricorn. Gem for the 15th and 40th wedding anniversaries. (Ruby istoo.)

VALUE FACTORS• Phenomenon: Typically displays three intersecting bands of light that form a six-rayed star. In fine

quality the star is sharp, bright, and centered. Individual rays are straight and unbroken.

• Color: Light to dark red. Often orangish, purplish, or pinkish. But can be as deep and intense asnon-phenomenal ruby.

• Clarity: Usually translucent or opaque; sometimes almost transparent.

• Cut: Always cabochon.

• Carat Weight: Normally available in sizes up to 10 carats.

TREATMENT Occasionally treated. Controlled heating and cooling can enhance the star by causing the growth ofinclusions that help to create the effect. Fractures are sometimes filled with oil to improve clarityappearance. Heat treatment’s effects are normally permanent, and it creates no special carerequirements for gem owners. Oil eventually deteriorates, and oiled gems should not be exposed tointense light or even mild heat – for example, direct sun – or to solvents or other chemicals. (See GemTreatments table for other possible methods.)

SSTAR RUBY



GEMOLOGY• A variety of the mineral species corundum. Other corundum varieties are ruby, sapphire, and star

sapphire.

• Composed primarily of aluminum and oxygen; chemical formula Al2O3. Color caused by traceamounts of chromium.

• The star effect is caused by light reflecting from tiny needle-like inclusions that crisscross in threespecific directions. To concentrate the reflections and create the star, the crystal must be carefullyoriented and then cut in the cabochon form.

• To see the star at its best, position a bright incandescent (filament-type) light directly over the gem.


SOURCES The most important producers are Myanmar and Sri Lanka. Others include India, Kenya, andTanzania.

CARE Star ruby generally has very good to excellent wearability.

• Hardness: Very high scratch resistance. Rates 9 on the Mohs Hardness Scale.

• Toughness: Resistance to chipping and breaking is normally excellent. This may be affected byclarity characteristics and the natural growth feature known as twinning, which consists ofalternating patterns in the crystal structure.

• Stability: There are usually no routine concerns for gem owners. (See Treatment for special carerequirements created by certain processes.)

• Cleaning: Liquid cleaner, or detergent and water (but no hard scrubbing for oiled gems). Ultrasonicis usually safe, except for star rubies with noticeable clarity characteristics or twinning, and alsothose that are oiled.

SSTAR RUBY


STAR SAPPHIREHISTORY & LORE• Traditionally called the "Gem of Destiny". Star sapphire’s three crossed bands were said to

represent faith, hope, and charity. Like star ruby, it protects its owner from evil and brings goodfortune.

• Birthstone for September and Taurus. Gem for the 5th and 45th wedding anniversaries. (Bluesapphire and fancy sapphire are, too.)

VALUE FACTORS• Phenomenon: Typically displays three intersecting bands of light that form a six-rayed star. In fine

quality the star is centered, sharp, and bright. Individual rays are straight and unbroken.

• Color: Most common is black (which includes all very dark colors). Others are blue, violet, purple,pink, brown, gray, and brownish or yellowish white. These tend to be muted, but some can rivalnon-phenomenal sapphires in strength.

• Clarity: Usually translucent or opaque. Colors other than black are sometimes almost transparent.

• Cut: Always cabochon.

• Carat Weight: Black, blue, and gray star sapphires are normally available in a very wide size range(up to 50 carats or more). Others typically range up to 10 or 15 carats.

SSTAR SAPHIRE



TREATMENT Occasionally treated. Controlled heating and cooling can enhance the star by causing the growth ofinclusions that help to create the effect. Fractures are sometimes filled with oil to improve clarityappearance. Heat treatment’s effects are normally permanent, and it creates no special carerequirements for gem owners. Oil eventually deteriorates, and oiled gems should not be exposed tointense light or even mild heat – for example, direct sun – or to solvents or other chemicals. (See GemTreatments table for other possible methods.)

GEMOLOGY• A variety of the mineral species corundum. Other corundum varieties are ruby, sapphire, and star

ruby.

• Composed primarily of aluminum and oxygen; chemical formula Al2O3. Blues are caused by traceamounts of iron and titanium. Other colors are caused by combinations of various elements,including chromium, iron, titanium, and vanadium.

• The star effect is caused by light reflecting from tiny needle-like inclusions that crisscross in threespecific directions. To concentrate the reflections and create the star, the crystal must be carefullyoriented and then cut into the cabochon form.

• To see the star at its best, position a bright incandescent (filament-type) light directly over the gem.


SOURCES Myanmar and Sri Lanka are leading producers of fine star sapphire. Other sources include Australia,Kenya, Tanzania, and Thailand.

CARE Star sapphire generally has very good to excellent wearability.

• Hardness: Very high scratch resistance. Rates 9 on the Mohs Hardness Scale.

• Toughness: Resistance to chipping and breaking is normally excellent. This may be affected bynoticeable characteristics and the natural growth feature known as twinning, which consists ofalternating patterns in the crystal structure. Twinning is especially common in black star sapphire.

• Stability: There are usually no routine concerns for gem owners. (See Treatment for special carerequirements created by certain processes.)

• Cleaning: Liquid cleaner, or detergent and water (but no hard scrubbing for oiled gems). Ultrasonicis usually safe, except for star sapphires with noticeable clarity characteristics or twinning, and alsothose that are oiled.

SSTAR SAPHIRE


TANZANITEHISTORY & LORE• First identified in the early 1960s. Major deposits were discovered a few years later. Since then

tanzanite has become a favorite colored gem around the world.

• Named for Tanzania, the East African nation where it was originally found.

• December birthsone and gem for the 24th wedding anniversary. (Tanzanite was officially added tothe birthstone list in 2002, replacing blue topaz. Turquoise and zircon are also Decemberbirthstones.)

VALUE FACTORS• Color: Light to dark purple, violet, or blue. Most expensive is deep pure blue. May show

noticeable color shift – more bluish in daylight or fluorescent, and more purplish in incandescentlight.


• Cut: Faceted in many shapes and styles.


TREATMENT Virtually all tanzanite is heat treated to develop its color. A popular story says the possibility oftreatment was recognized when a wildfire changed crystals lying on the ground from pale brown to richblue. The treatment’s effects are normally permanent, and it creates no added special carerequirements for gem owners. (See Care for usual concerns.)

TTANZANITE

Photo courtesy GemtechInternational Corp.


GEMOLOGY• A variety of the mineral species zoisite. Zoisite more commonly occurs in translucent to opaque

green or pink, and rarely in transparent green.

• Tanzanite has a complex chemical formula that includes calcium, aluminum, silicon, oxygen, andhydrogen. Color caused by trace amounts of vanadium.

• May display strong pleochroism – various blends of blue, purple, and greenish yellow dependingon the viewing direction. This property results from the way the gem crystal interacts with light.Tanzanite is carefully oriented to show the most attractive color when cut.

GEOLOGY Believed to have formed around 600 million years ago when heat, pressure, and chemistry changesfrom major geologic events in eastern Africa caused existing minerals over a wide area to become newones. This was an episode in regional metamorphism that extended over 1 billion years and ultimatelycreated a gem-rich belt 150 miles wide and 3,000 miles long.

SOURCES The world’s only commercial deposits are in northeast Tanzania, near Mount Kilimanjaro.

CARE Tanzanite needs gentle wear and care. Protective setting recommended.


• Toughness: Fair to low resistance to chipping and breaking because of cleavage (a tendency to splitin certain directions due to crystal structure patterns).

• Stability: Sensitive to thermal shock. Rapid temperature change can cause breaks.


TTANZANITE


TIGER’S-EYEHISTORY & LORE• First appeared on the international market in the 1800s, and was initially confused with cat’s-eye

chrysoberyl. Since then tiger’s-eye has become one of the most popular phenomenal gemstones.

• New Age gem therapists say tiger’s-eye promotes clarity, strengthens intuition, and grounds psychicenergy.

VALUE FACTORS• Phenomenon: Displays a silky sheen or diffused cat’s-eye effect that’s often wavy.

• Color: Usually "golden" yellowish brown or brownish yellow.


• Cut: Beads, cabochons, tablets, and carved styles including cameos.


TREATMENT Often treated by one or more methods: bleaching to lighten color, dyeing to add color, heating to createreddish brown, or coating with plastic to act as a sealant. All these treatments are usually permanent,and they create no special care requirements for gem owners.

TTIGER’S–EYE




include amethyst, citrine, rose quartz, and smoky quartz.

• Composed almost entirely of silicon and oxygen; chemical formula SiO2. Natural color caused bytrace amounts of iron oxide.

• The gem called hawk’s-eye or falcon’s-eye is blue with the same phenomenon as tiger’s-eye. Zebratiger’s-eye has streaks of brown and blue.

GEOLOGY Forms when quartz replaces the fibrous mineral known as crocidolite, but retains the original mineral’sstructure. This can occur during metamorphism when heat, pressure, and chemistry changes fromintrusions of melted rock material or major geologic events (like mountain-building) cause existingminerals to become new ones.

SOURCES South Africa is the main producer. There are also deposits in Australia, India, Namibia, and the US.

CARE Tiger’s-eye generally has good wearability.




• Cleaning: Liquid cleaner, or detergent and water. Except for dyed material, ultrasonic is usuallysafe.

TTIGER’S–EYE


TOPAZHISTORY & LORE• Name may come from Sanskrit topas meaning fire. (Sanskrit is a classical literary and sacred

language of India.) For most of history, all yellow gems were called topaz. Scientific identificationwas first made in the early 1700s.

• To the ancient Egyptians, the yellow color of topaz represented the sun god Ra and life-sustainingenergy. The Greeks believed this gem gives its wearer strength, and in later centuries topaz wascredited with the power to overcome evil magic.

• All colors of topaz are birthstones for November and Sagittarius. (Citrine is also a Novemberbirthstone.) Blue topaz is the gem for the 4th wedding anniversary and was a December birthstoneuntil 2002 when it was replaced by Tanzanite. Imperial topaz is the 23rd anniversary gem.

VALUE FACTORS• Color: Many shades of blue, yellow, brown, orange, red, and pink. Most expensive are intense reds

and pinks.


• Cut: Faceted in many shapes and styles. Sometimes carved or fantasy cut.

• Carat Weight: Most colors are normally available in a very wide size range (up to 50 carats ormore). But red and pink are relatively rare over 10 or 15 carats, especially in fine quality. One ofthe world’s biggest transparent faceted gems is a yellow topaz that weighs 22,982 carats – or a littlemore than 10 pounds.

TTOPAZ




TREATMENT Red and pink topaz is commonly heat-treated to create or improve color. Almost all blue topaz isproduced by a two-step process that involves irradiation followed by heating. These methods duplicateconditions that can occur naturally in the earth. Their effects are normally permanent, and they createno added special care requirements for gem owners. Except in very rare cases, irradiation treatmentleaves no significant radioactivity. Government agencies, industry organizations, and individual firmstake effective steps to ensure that material which might pose a potential health concern never reachesjewelry stores. (See Care for usual factors. Also see Gem Treatments table for other possible methods.)

GEMOLOGY• Classified as a mineral species. Composition is somewhat variable and includes aluminum, fluorine,

hydrogen, oxygen, and silicon. Blues, yellows, and browns are caused by slight irregularities incrystal structure. Reds and pinks are colored by trace amounts of chromium (the same element thatcolors emerald and ruby). Oranges result from a combination of structure irregularities andchromium.

• Trade terms for topaz include:

Golden topaz – Yellow to yellowish orange.

Sherry topaz – Orange to yellow-brown.

Imperial topaz – Deep pink to orange-red.

Precious topaz – Often used to distinguish topaz from citrine and smoky quartz.

GEOLOGY• Most topaz forms in pegmatites – pockets within the earth’s crust where gems and other minerals

crystallize from melted rock material and hot chemical-rich fluids. In such environments the gemssometimes grow very large. One pegmatite in Brazil yielded a gem-quality topaz crystal thatweighed more than 650 pounds.

SOURCES Brazil is the top producer. Also important are Madagascar, Nigeria, Pakistan, and Sri Lanka. Othersinclude Australia, China, India, Myanmar, Namibia, Russia, Tanzania, and the US.

CARE Topaz needs gentle wear and care. Protective setting recommended.

• Hardness: High scratch resistance. Rates 8 on the Mohs Hardness Scale.




TTOPAZ


TOURMALINEHISTORY & LORE• For centuries, confused with other gems due to similarities in color. Tourmaline was first

scientifically identified in the late 1700s.

• Name comes from Sinhalese toramalli, which traditionally referred to mixed gems of various types.(Sinhalese is the official language of Sri Lanka.)

• Became widely regarded as an American gemstone around 1900, when a respected gem specialistpraised the tourmaline from deposits in California and Maine. California tourmaline was a favoritewith the last empress of China, and she was laid to rest on a pillow carved from it.

• Birthstone for October and gem for the 8th wedding anniversary. (Opal is also an Octoberbirthstone.)

VALUE FACTORS• Color: Tourmaline has one of the widest ranges of any gem, and occurs in multiple shades of nearly

every hue. Pink and green are plentiful and popular. For many years, deep red had highest value.But since the early 1990s, the vivid blues and greens from Paraíba, Brazil have commanded topprices (over $20,000 per carat in finest quality).

• Clarity: Green is typically almost inclusion-free. Most other colors are often lightly included, andminor characteristics are expected. However, red and pink are likely to have visible inclusions; ifthese aren’t unsightly or threatening, they’re usually considered acceptable.

• Cut: Many faceted shapes and styles. Also cabochons, carvings, fantasy cuts, and beads.

• Carat Weight: Most colors are normally available in sizes up to about 10 or 15 carats.

TTOURMALINE




TREATMENT Often treated in one or more ways:

• Heat is commonly used to create or improve the color of blue, green, red, pink, and purpletourmaline. Most Paraíba tourmaline is also heat-treated. Results are normally permanent, andthere are no special care requirements for gem owners.

• Irradiation is another common method for creating or improving reds, pinks, and purples. It’soccasional for oranges and yellows too. Irradiated colors sometimes fade if exposed to intense lightfor a long time. Otherwise, the treatment’s effects are normally permanent, and there are no specialcare requirements for gem owners. Except in very rare cases, irradiation leaves no significantradioactivity. Government agencies, industry organizations, and individual firms take effectivesteps to ensure that material which might pose a potential health concern never reaches jewelrystores.

• Filling fractures and cavities to improve clarity appearance is common for red and pink tourmaline,and occasional for other colors. Fillings include colorless oils and natural or synthetic resins. Mostare normally permanent, and create no special care requirements for gem owners. However, oileventually deteriorates, and oiled gems should not be exposed to intense light or even mild heat,such as direct sun, or to solvents or other chemicals.

TTOURMALINE



GEMOLOGY• Conventionally classified as a species, but tourmaline is actually the name for a group of about a

dozen related minerals. Most gems come from the species known as elbaite, which has a variablecomposition that can include aluminum, boron, hydrogen, lithium, oxygen, silicon, and sodium.Color is caused by trace elements such as copper, chromium, iron, manganese, titanium, andvanadium.

• Different types of tourmaline are often designated simply by color, but recognized variety and tradenames include:

Chrome tourmaline – intense green colored by chromium or vanadium (the same elementsthat color emeralds).

Indicolite – dark blue, often with a violetish or greenish tinge (colored by iron).

Paraíba tourmaline – vivid blues and greens discovered around 1990 in the Brazilian statefor which it’s named (colored mainly by copper).

Rubellite – red or deep pink (usually colored by manganese).

Bicolor tourmaline – shows two different colors side-by-side.

Tricolor tourmaline – shows three different colors side-by-side.

Watermelon tourmaline – has a pink center surrounded by green.

Parti-colored tourmaline – generic term covering bicolor, tricolor, and watermelon.

Cat’s-eye tourmaline – usually blue, green, or pink with a soft cat’s-eye effect caused byhollow tube-like inclusions.

• Tourmaline often displays strong pleochroism – lighter or darker shades of the primary color,depending on the viewing direction. This results from the way the crystal interacts with light.Gems are oriented to show the most attractive shade when cut.

TTOURMALINE



GEOLOGY Most tourmaline forms in pegmatites – pockets within the earth’s crust where gems and other mineralscrystallize from melted rock material and hot chemical-rich fluids. In such environments the gemssometimes grow very large. One pegmatite in Brazil yielded a red tourmaline crystal that was morethan three feet long and weighed 300 pounds.

SOURCES Many worldwide. Brazil is the leader. Also important are Afghanistan, Kenya, Madagascar,Mozambique, Namibia, Nigeria, Sri Lanka, Tanzania, and Zambia. Others include China, India,Myanmar, Pakistan, Russia, and the US.

CARE Tourmaline generally has good to fair wearability. Protected setting recommended.


• Toughness: Good to low resistance to chipping and breaking (largely depending on the type andextent of clarity characteristics).


• Cleaning: Detergent and water (but no hard scrubbing for oiled gems). Liquid cleaner can damagesome fracture fillings. Ultrasonic is not safe for gems with noticeable clarity characteristics, orthose that are cavity- or fracture-filled.

TTOURMALINE


TSAVORITEGARNET

HISTORY & LORE• Discovered around 1970, and identified as a previously unknown garnet. Named in honor of

Kenya’s Tsavo National Park, one of Africa’s most famous wildlife preserves. Tsavorite (calledtsavolite in Europe) inspired gem lovers around the world, and soon became the most expensivegarnet normally seen in jewelry stores.

• Tsavorite is too new to have folklore of its own, but garnets traditionally symbolize faith, truth, andfriendship. For centuries they were believed to dispel fear, soothe discord, ensure guidance, protecttravelers, and inspire deep affection.


VALUE FACTORS• Color: Light to dark green (often yellowish and occasionally bluish). Finest tsavorite color equals

top-quality emerald in intensity, but is a purer and brighter green.


• Cut: Faceted in various shapes and styles.


TTSAVORITE



TREATMENT Tsavorite is among the gems for which there are no established treatments.

GEMOLOGY• A variety of the grossularite garnet species. Other garnets include almandite, malaya, rhodolite,

and spessartite. All have the same crystal structure, but differ slightly in chemical composition.

• Composed primarily of calcium, aluminum, silicon, and oxygen; chemical formula Ca3Al2(SiO4)3.Color caused by traces of vanadium, sometimes with smaller amounts of chromium. (Chromiumand vanadium also color emeralds).

GEOLOGY Tsavorite formed hundreds of millions of years ago, as a result of heat, pressure, and chemistrychanges associated with major geologic events in eastern Africa. This was part of regionalmetamorphism that extended over 1 billion years and ultimately created a gem-rich belt 150 miles wideand 3,000 miles long.

SOURCES Since tsavorite’s discovery, Kenya and Tanzania have been the only significant producers, but a newdeposit was discovered in Madagascar in the late 1990s.

CARE Tsavorite generally has good wearability.





TTSAVORITE


TURQUOISEHISTORY & LORE• Strongly associated with native cultures of the southwestern US. For this reason turquoise is

considered the most American gem of all. But there are other links too. Thousands of years ago,Egyptian kings and queens adorned themselves with turquoise, and Chinese emperors prizedcarvings made from it.

• Name comes from pierre turquoys, an old French term meaning "Turkish stone". Turquoise fromPersia (modern Iran) was once imported to Europe via Turkey.

• In ancient Persia, turquoise was thought to guarantee prosperity. For centuries Tibetans havebelieved turquoise brings health and good luck. To the Zuni of New Mexico turquoise is atraditional amulet against evil. And an old Apache tradition says if you journey to the end of arainbow you’ll find turquoise.

• Birthstone for December and gem for the 11th wedding anniversary. (Tanzanite and zircon are alsoDecember birthstones.)

VALUE FACTORS• Color: Light to medium-dark greenish blue to bluish green. Turquoise may show spangles caused

by inclusions of the mineral pyrite (fool’s gold). Some also includes remnants of matrix (the rockin which it formed). Matrix color can range from white to brown or black. "Spiderweb" turquoisehas thin veins of matrix in attractive patterns. The most expensive turquoise is a bright and uniform"sky" blue.


• Cut: Cabochons, beads, carvings, inlays, and tablets.


TTURQUOISE



TREATMENT• Commonly impregnated with oil, wax, or plastic to improve color and surface appearance. Plastic

impregnation also improves toughness. Dyes or other coloring agents are sometimes used todarken matrix. Oil and wax eventually deteriorate, but plastic impregnation and matrix dyeing arenormally permanent, and create no added special care requirements for gem owners. (See Care forusual concerns. Also see Gem Treatments table for other possible methods.)

• In recent years, a new treatment called the Zachery process has become available. Technical detailshave not been published, but it reduces the natural porosity of turquoise; so the gem takes a brighterpolish, and doesn’t discolor from contact with skin oils during wear. The treatment’s effects arethought to be permanent, and it actually reduces some of the usual concerns for turquoise.

GEMOLOGY Classified as a mineral species. Turquoise has a complex chemical formula that includes aluminum,copper, hydrogen, oxygen, and phosphorous, plus water. Blue color is caused by copper, a keyingredient. Iron produces greenish tints.

GEOLOGY Forms close to the earth’s surface, when groundwater dissolves ingredients from existing rockformations, and then redeposits them as masses of microscopic crystals in seams or cavities.Throughout history, turquoise has often been found as a byproduct of copper mining in desert regions.

SOURCESEgypt and Iran are the oldest, but no longer produce commercial quantities. Today the world’s leadingmines are in Arizona, New Mexico, and Nevada. China is another significant source.

CARE Turquoise generally has good wearability.


• Toughness: Resistance to chipping and breaking is usually good to fair.

• Stability: Can be discolored by most household chemicals, including solvents, cleansers, alcohol,and cosmetics. Skin oils can also affect color.

• Cleaning: Remove smudges with a cotton swab or soft lint-free cloth. Detergent and water areusually safe for occasional cleaning, but no prolonged soaking or hard scrubbing. Never use liquidcleaner or ultrasonic.

TTURQUOISE


ZZIRCON

ZIRCONHISTORY & LORE• Sometimes confused with synthetic cubic zirconia (the popular diamond imitation better known as

CZ). But zircon is a natural gem that has been prized in both the East and West for manycenturies. Until modern times it was called jacinth, hyacinth, or jargoon.

• Name may come from Arabic zarkun meaning vermilion, or from even older Persian zargun,which translates "golden colored". Either term might describe the tints of some zircons.

• Traditionally believed to offer protection from evil, guarantee safe travel, bring its wearer wealth,wisdom, and honor – and assure a good night’s sleep.

• Birthstone for December. (Tanzanite and turquoise are also December birthstones.)

VALUE FACTORS• Color: Most popular is blue, ranging from pale pastel to the distinctive bright greenish blue known

as "zircon blue" in the gem trade. Also colorless plus shades of orange, yellow, brown, green, red,pink, and occasionally purple.

• Clarity: Blue and colorless zircon is typically almost inclusion-free. Other colors are often lightlyincluded, and minor clarity characteristics are accepted.

• Cut: Usually faceted in traditional shapes and styles. A favorite for blue is the zircon cut, which isthe same style used for round diamonds, but with an extra row of facets around the bottom.

• Carat Weight: Blue is normally available in all jewelry sizes (up to 15 or 20 carats). Other colorsare rare over about 8 or 10 carats.

Photo courtesy Bear Essentials.


ZZIRCON

TREATMENT Virtually all blue, red, and colorless zircon is produced by heat treatment. Some orange and yellow istoo. This process duplicates heating that can occur naturally in the earth. The effects are usuallypermanent, but some heat-treated zircons gradually revert to their original color. (Prolonged exposureto intense light increases this possibility.) Heat treatment can also reduce toughness, requiring morecareful wear.

GEMOLOGY• Classified as a mineral species. Composed primarily of zirconium, silicon, and oxygen; chemical

formula ZrSiO4. Color is usually caused by crystal structure distortion resulting from low levels ofnatural radiation emitted over hundreds of millions of years by trace amounts of elements such asthorium and uranium.

• Zircon is one of the few colored gems that show the optical effect known as dispersion. Thisoccurs when white light spreads into spectral colors. Rainbows provide the most spectacularexamples of dispersion, and it’s a key factor in the appeal of diamonds. To see it in zircon, use full-spectrum display lights or direct sun, rock the gem gently, and look for flashes of rainbow fire.(Deep color may mask the effect.)

GEOLOGY Crystallizes from melted rock material inside the earth, and is later carried toward the surface byvolcanic action. Some zircons are almost 2 billion years old, and in Australia scientists have foundmicroscopic crystals that date back to 4.4 billion years – which means they formed about 100 millionyears after the earth.

SOURCES Leading producers are the countries of Southeast Asia – Cambodia, Myanmar, Thailand, and Vietnam.Others include Australia, China, Madagascar, Sri Lanka, Tanzania, and Russia.

CARE Zircon generally has fair wearability. Protective setting recommended.


• Toughness: Good to fair resistance to chipping and breaking (largely depending on the type andextent of clarity characteristics). Heat treatment can also make zircon somewhat brittle.



Colored GemstoneCompendium

CHARTS, LISTS ANDGEMSTONE TREATMENTS


Gem Species & Varieties

SPECIES VARIETIES DISTINCTIONS

Almandite (garnet) Rhodolite Pink to purple-red color (actually a mixture of plus key properties Almandite and Pyrope garnet)

Beryl Aquamarine Light blue-greenEmerald Intense greenMorganite Pale pink to peach

Chalcedony Agate Banded or patterned colorsBloodstone Green with red spotsCarnelian OrangeOnyx Black, or black and white bandsSardonyx Brown and black or

white bands

Chrysoberyl Alexandrite Color-changeCat’s-eye Cat’s-eye effect

Corundum Ruby RedSapphire All other colorsStar Ruby Red with star effectStar Sapphire Other colors with star effect

Diamond Usually Specified by Color Color

GEM SPECIES& VARIETIES

Most gems are classified by species and variety. A species is a primary type defined by thecombination of chemical composition and crystal structure. A variety is a subtype within a species,usually distinguished by color or phenomenon. An additional category is the group, which includesspecies that are closely related in composition or structure.

This table lists well-known colored gemstone species and varieties. Where they apply, groupclassifications are indicated in parenthesis beside species names.


Gem Species & Varieties

SPECIES VARIETIES DISTINCTIONSDiopside None –––––––

Grossularite (garnet) Tsavorite specified by color Specified by color(Yellow & Colorless)

Hematite Usually just called hematite Metallic gray appearance

Iolite No variety names specified Always light to dark blue to violet. Always grayish.

Jadeite jade Usually specified by color Color

Lapis Lazuli No variety names specified Always opaque medium to dark blue with metallic flecks

Malachite No variety names specified Always green; usually banded

Nephrite Usually specified by color Color

Opal Black opal Dark base with play-of-colorWhite opal Light base with play-of-colorCrystal opal Clear base with play-of-colorFire opal Orange with or

without play-of-color

Peridot No variety names specified Always yellowish green

Orthoclase Moonstone Moonstone effect(feldspar)

Quartz Amethyst PurpleCitrine Orange or yellowRose Quartz PinkSmoky Quartz BrownTiger’s-eye Diffused cat’s-eye effect

Spessartite Malaya (actually a mixture of Orange color plus(garnet) Spessartite and Pyrope garnet) key properties

Spinel Usually specified by color Color

Topaz Usually specified by color Color

Tourmaline Usually specified by color Color

Turquoise No variety names specified Always light to medium-dark slightly greenish blue to bluish green; may have dark veins

Zircon Usually specified by color Color

Zoisite Tanzanite Purple, violet, or blue


Gem Color Choices and Symbolism

COLOR GEMS ASSOCIATIONSRed Alexandrite, Almandite, Life force, the heart,

Coral, Fire Opal, heat, intensity,Rhodolite, Ruby, courage, nobility,Spinel, Star Ruby, dynamic power,Topaz, Tourmaline, emotional impact,Zircon passionate love.

Pink Coral, Diamond, Pearl, Rhodolite, Dawn, freshness,Rose Quartz, Sapphire, Shell, expectancy, faith,Spinel, Star Sapphire, femininity.Topaz, Tourmaline, Zircon

Orange Amber, Carnelian, Citrine, Sunset, glowing embers,Diamond, Fire Opal, Jadeite, autumn, cheerfulMalaya Garnet, Moonstone, warmth, strength,Pearl, Sapphire, Shell, friendliness, joy.Spessartite, Spinel, Topaz,Tourmaline, Zircon

Yellow Amber, Cat’s-eye, Citrine, Sunshine, summer, theDiamond, Fire Opal, Jadeite, intellect, enlightenment,Moonstone, Nephrite, Pearl, radiance, honor, richness,Sapphire, Shell, Tiger’s-eye, generosity, happiness.Topaz, Tourmaline, Zircon

GEM COLOR CHOICES AND SYMBOLISM


Gem Color Choices and Symbolism

COLOR GEMS ASSOCIATIONSGreen Alexandrite, Cat’s-eye, Diamond, Nature, spring, hope, rebirth,

Diopside, Emerald, Jadeite, Malachite, youth, fertility, growth, vitality, Nephrite, Pearl, Peridot, Sapphire, creativity, emotional balance,Tourmaline, Tsavorite, Zircon domestic love.

Blue Aquamarine, Coral, Diamond, Water, sky, heaven, infinity, spirit,Iolite, Lapis Lazuli, Pearl, Sapphire, royalty, quality, achievement,Spinel, Star Sapphire, Tanzanite, coolness, sincerity, serenity, peace,Topaz, Tourmaline, Turquoise, Zircon transcendence, secret love.

Violet Iolite, Jadeite, Pearl, Sapphire, Evening, hidden energy, Spinel, Star Sapphire, complexity, depth ofTanzanite, Topaz, Tourmaline feeling, spirituality.

Purple Amethyst, Jadeite, Pearl, Self-assurance, pleasure,Rhodolite, Sapphire, Spinel, indulgence, wealth, luxury,Star Sapphire, Tanzanite, sensuousness, intoxication.Topaz, Tourmaline, Zircon

Colorless Diamond, Quartz, Sapphire, Topaz Purity, water, peace of mind, Zircon emotional calm, mental or

spiritual clarity and insight.

White Coral, Jadeite, Moonstone, The moon and stars, light, Nephrite, Opal, Pearl, Sapphire, life, purity, innocence,Shell, Star Sapphire openness, integrity.

Black Diamond, Hematite, Jadeite, Nephrite, Night, mystery, drama, gravity,Onyx, Opal, Pearl, Star Diopside dignity, elegance, sophistication.Star Sapphire

Gray Diamond, Hematite, Jadeite, Cloud, shadow, winter, rock, Moonstone, Nephrite, Opal, Pearl, machinery, ingenuity, Sapphire, Shell, Star Sapphire, intelligence, wisdom.Tourmaline

Brown Amber, Cat’s-eye, Coral, Diamond, Earth, wood, solidity,Fire Opal, Jadeite, Moonstone, security, dependability, comfort.Nephrite, Pearl, Sapphire, Shell,Smoky Quartz, Tiger’s-eye, Topaz, Tourmaline, Zircon


ANNIVERSARYGEMS

Birthstones/Anniversary Gems

For the Months:January GarnetFebruary AmethystMarch Aquamarine or BloodstoneApril DiamondMay EmeraldJune Pearl, Moonstone, or AlexandriteJuly RubyAugust Peridot or SardonyxSeptember SapphireOctober Opal or TourmalineNovember Topaz or CitrineDecember Tanzanite, Turquoise or Zircon

(Tanzanite replaced blue topaz in 2002)

Traditional:14 Ivory30 Pearl35 Coral40 Ruby45 Sapphire55 Emerald75 Diamond

Modern Gems and Jewelry:

For Signs of the Zodiac:Aquarius GarnetPisces AmethystAries BloodstoneTaurus SapphireGemini AgateCancer EmeraldLeo OnyxVirgo CarnelianLibra PeridotScorpio BerylSagittarius TopazCapricorn Ruby

1 Gold Jewelry 2 Garnet 3 Pearls 4 Blue Topaz 5 Sapphire6 Amethyst 7 Onyx8 Tourmaline 9 Lapis Lazuli10 Diamond Jewelry11 Turquoise

12 Jade13 Citrine 14 Opal 15 Ruby 16 Peridot 17 Watches18 Cat’s-Eye19 Aquamarine20 Emerald21 Iolite22 Spinel

23 Imperial Topaz24 Tanzanite25 Silver Jubilee30 Pearl Jubilee35 Emerald40 Ruby 45 Sapphire50 Golden Jubilee 55 Alexandrite 60 Diamond Jubilee

BIRTHSTONES


World Gem Sources

WORLD GEMSOURCES

Afghanistan - emerald, lapis lazuli, tourmaline

Angola - diamond

Australia - almandite, chalcedony, diamond, malachite, moonstone, opal, pearl,sapphire, shell, star sapphire, tiger’s-eye, topaz, zircon

Bolivia - citrine

Botswana - diamond

Brazil - agate, alexandrite, almandite, amethyst, aquamarine, bloodstone,carnelian, cat’s-eye, citrine, diopside, emerald, hematite, iolite, moonstone,onyx, opal, rose quartz, sardonyx, smoky quartz, spessartite, topaz,tourmaline

Cambodia - ruby, sapphire, spinel, zircon

Canada - ammolite (shell), diamond, iolite, nephrite

Chile - lapis lazuli, malachite

China - aquamarine, hematite, nephrite, malachite, pearl, peridot, shell, topaz,tourmaline, turquoise, zircon

Colombia - emerald

Congo (DR) - diamond

Dominican Republic - amber

French Polynesia - pearl, shell


World Gem Sources

India - agate, alexandrite, almandite, bloodstone, carnelian, cat’s-eye, citrine,diopside, iolite, moonstone, onyx, rose quartz, sardonyx, star ruby, tiger’s-eye, topaz, tourmaline

Indonesia - pearl, shell

Japan - coral, pearl, shell

Kenya - almandite, amethyst, citrine, diopside, malaya garnet, rhodolite, ruby,sapphire, star ruby, star sapphire, tourmaline, tsavorite

Laos - sapphire

Madagascar - agate, alexandrite, almandite, amethyst, aquamarine, cat’s-eye,citrine, diopside, emerald, iolite, moonstone, onyx, opal, rhodolite, rosequartz, ruby, sapphire, sardonyx, spessartite, spinel, topaz, tourmaline,tsavorite, zircon

Malawi - ruby

Malaysia - coral

Mexico - fire agate, opal, smoky quartz

Mozambique - aquamarine, tourmaline

Myanmar - cat’s-eye, citrine, diopside, iolite, garnet, jadeite, lapis lazuli,moonstone, peridot, ruby, sapphire, spessartite, spinel, star ruby, starsapphire, topaz, tourmaline, zircon

Namibia - amethyst, diamond, malachite, rose quartz, spessartite, tiger’s-eye,topaz, tourmaline

New Zealand - hematite, nephrite, abalone pearl and shell

Nigeria - aquamarine, spessartite, topaz, tourmaline

Pakistan - diopside, emerald, peridot, topaz, tourmaline


World Gem Sources

Philippines - coral, pearl, shell

Russia - amber, aquamarine, chalcedony, citrine, diamond, diopside, emerald,iolite, lapis lazuli, nephrite, malachite, peridot, topaz, tourmaline, zircon

South Africa - diamond, diopside, malachite, tiger’s-eye

Sri Lanka - alexandrite, almandite, cat’s-eye, citrine, diopside, iolite,moonstone, peridot, rhodolite, rose quartz, sapphire, spessartite, spinel,star ruby, star sapphire, topaz, tourmaline, zircon

Taiwan - coral, nephrite

Tajikistan - lapis lazuli, spinel

Tanzania - alexandrite, amethyst, aquamarine, cat’s-eye, emerald, iolite, malayagarnet, moonstone, opal, peridot, rhodolite, ruby, sapphire, spessartite,spinel, star ruby, star sapphire, tanzanite, topaz, tourmaline, tsavorite,zircon

Thailand - sapphire, spinel, star sapphire, zircon

United States - fire agate, almandite, amethyst, aquamarine, bloodstone, coral,emerald, hematite, nephrite, malachite, opal, pearl, peridot, rose quartz,shell, sapphire, smoky quartz, spessartite, tiger’s-eye, topaz, tourmaline,turquoise

Uruguay - agate, amethyst, carnelian,chalcedony, onyx, sardonyx

Vietnam - ruby, sapphire, peridot,spinel, zircon

Zambia - amethyst, aquamarine,emerald, spessartite, tourmaline

Zimbabwe - aquamarine, emerald,rhodolite


GEM MISNOMERSMisnomers are inaccurate or misleading gemstone names. Although these are relatively

rare in the mainstream gem and jewelry industry, they’re quite common in some other areas ofthe market. This table provides a representative sampling of misnomers, but there are manyothers. A number of terms on the list also have legitimate uses (for example, an emerald mayindeed be African or Brazilian in origin), and genuine amber really does exist.

Gem Misnomers

MISNOMERAfrican emeraldAfrican jadeamberAmerican rubyblack diamondBrazilian aquamarineBrazilian emeraldBrazilian rubyBrazilian sapphireCalifornia jadeCalifornia moonstoneCalifornia onyxCalifornia turquoiseCanadian lapiscat’s-eye jadecitrine topazColorado jadeColorado rubycopper lapisevening emeraldFukien jadeGerman lapisgold topazgreen onyximperial topazIndian jadeIndian star sapphirejadeking topaz

ACTUAL IDENTITY

green tourmalinehydrogrossular garnetcopal resinred garnethematiteblue-green topazgreen tourmalinered topaz or tourmalineblue topaz or tourmalineidocrasechalcedonycalcite marblevariscitesodalitecat’s-eye actinolitecitrineamazonite feldsparred garnetazuriteperidotsoapstonedyed jaspercitrinedyed chalcedonyyellow sapphireaventurine quartzstar diopsideserpentineyellow sapphire

MISNOMERKorean jadeMadeira topazMexican onyxmoonstoneNevada topazNevada turquoisenew jadenight emeraldOriental amethystOriental aquamarineOriental emeraldOriental topazPike’s Peak jadesapphire spinel Saxon topazScotch topazShanghai jadeSiam aquamarineSiberian rubysmoky topazSoochow jadeSpanish topazspinel rubySwiss lapistopazTransvaal jadeturquoiseUtah turquoisewater sapphire

ACTUAL IDENTITY

serpentinecitrinecalcite marblechalcedonyobsidianvarisciteserpentineperidotpurple sapphireblue-green sapphiregreen sapphireyellow sapphireamazonite feldsparblue spinel citrinesmoky quartzsoapstoneblue zirconred tourmalinesmoky quartzserpentinecitrinered spineldyed jaspercitrine or smoky quartzhydrogrossular garnetdyed howlitevarisciteiolite


GEMTREATMENTS

The following chart provides information needed to disclose colored gemstonetreatments in accordance with US Federal Trade Commission Guides for the JewelryIndustry:

Section 23.22 Disclosure of treatments to gemstones.It is unfair or deceptive to fail to disclose that a gemstone has been treated if:

(a) the treatment is not permanent. The seller should disclose that the gemstone hasbeen treated and that the treatment is or may not be permanent;

(b) the treatment creates special care requirements for the gemstone. The sellershould disclose that the gemstone has been treated and has special care requirements.It is also recommended that the seller disclose the special care requirements to thepurchaser;

(c) the treatment has a significant effect on the stone’s value. The seller shoulddisclose that the gemstone has been treated.

Please Note:

• The chart covers only treatments that are used with significant frequency for the mostcommercially important gemstones. It does not include unusual gems or ornamentalmaterials. It also does not include treatments that are experimental, very rare, or usedmainly for fraudulent purposes.

• Special Care boxes note only factors directly linked to treatment, not precautions gems maynormally require. The boxes do, however, address concerns that might arise duringprofessional activities such as jewelry repair, which would not affect routine care by gemowners.

Gem Treatments


Gem Treatments

GemAgate

Amber

Amethyst

Aquamarine

Carnelian

Cat’s-eye

Chalcedony (Also see Agate,Carnelian, Onyx,and Sardonyx.)

Citrine

Coral

Diamond

TreatmentDyeing

Dyeing

Heating

Heating in oil.

Heating followed byimmersion in liquid.

Heating

Heating

Heating

Irradiation

Dyeing

Heating

Bleaching

Dyeing

Impregnation withwax, plastic, orepoxy resin.

Fracture-filling withglass.

High Pressure HighTemperature (HPHT).

Irradiation (oftenfollowed by Heating).

Laser Drilling.

EffectImproves or changes color.

Improves or changes color.

Darkens color.

Improves clarity appearance.

Creates small fractures known assun spangles.

Can lighten color or make it lessbrownish.

Improves color by making it lessgreenish.

Turns yellow or brown chalcedonyorange.

Produces dark brown color.


Turns pale amethyst yellow ororange.

Can lighten white coral, or produce"golden" coral from black.Improves color or changes color(usually to red or pink).

Improves color and polishappearance; makes blemishes andfractures less visible.

Improves clarity appearance; makessurface-reaching feathers less visible.

Reduces or removes light browntints. Can also produce pink, blue,yellow, green, orange or black.

Creates or improves a variety offancy colors.

Improves clarity appearance;lightens or eliminates darkinclusions.

PermanenceUsually permanent, butsome dyes eventually fade.

Often permanent, but colormay eventually fade.Often permanent, but colormay eventually fade.Normally permanent.

Normally permanent.

Permanent

Permanent

Permanent

Normally permanent.

Usually permanent, butsome dyes eventually fade.

Permanent

Normally permanent.

Often permanent, but colormay eventually fade.

Plastic and epoxy arenormally permanent, butwax eventuallydeteriorates.

Normally permanent ifproper care is applied.

Permanent

Normally permanent.

Permanent

Special CareAvoid strong chemicals andlong exposure to intense light.

Avoid long exposure tointense light.Avoid long exposure tointense light.None due to treatment.

None due to treatment.




Avoid torch heat and longexposure to intense light.

Avoid strong chemicals andlong exposure to intenselight.



Avoid long exposure tointense light.

If wax-treated, avoid intenselight and even mild heat (eg, direct sun).

No acid, steam, orultrasonic. Avoid torchheat, rough wear, andrepolishing or recutting.None

Avoid torch heat.

None

Comments-------

This gem normallyneeds extra care.This gem normallyneeds extra care.This gem normallyneeds extra care.This gem normallyneeds extra care.

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Almost all aquamarineis heat-treated.

Almost all carnelianis heat-treated.

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Almost all citrine isheat-treated.

This gem normallyneeds extra care.This gem normally needs extra care.

This gem normallyneeds extra care.

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Gem Treatments

GemEmerald

Jadeite Jade

Lapis Lazuli

Malachite

Nephrite Jade

Onyx

Opal

TreatmentFracture Filling with oilor natural or syntheticresin.

Bleaching followed byimpregnation withepoxy resin or plastic.

Dyeing

Heating

Impregnation withwax.

Dyeing

Impregnation with oil,plastic, or wax.

Impregnation withepoxy resin or wax.

Dyeing

Impregnation withwax.

Heating

Dyeing

Dyeing

"Dyeing" by soakingin sugar solution andthen acid. (Known assugar treatment.)

EffectImproves color and polishappearance; makesblemishes and fracturesless visible.

Improves color and polishappearance; makesblemishes and fracturesless visible.Improves or changes color(usually to green).Produces orange or browncolor.Improves color and polishappearance; makesblemishes and fracturesless visible.

Improves color andconceals white calciteveining. Improves color and polishappearance; makesblemishes and fracturesless visible.

Improves color and polishappearance; makesblemishes and fracturesless visible.

Improves or changes color(usually to green).Improves color and polishappearance; makesblemishes and fracturesless visible.

Can lighten dark green, ordarken white, yellow, orbrown.

Colors gray chalcedonyblack.

Darkens base color andheightens play-of-color.


PermanenceSometimes permanent, butoil and some other fillerseventually deteriorate.

Normally permanent.

Often permanent, butcolor may eventually fade.Permanent

Usually temporary. Waxeventually deteriorates.

Often permanent, butcolor may eventually fade.

Plastic impregnation isnormally permanent, butoil and wax eventuallydeteriorate.

Epoxy impregnation isnormally permanent, butwax eventuallydeteriorates.

Often permanent, butcolor may eventually fade.Usually temporary. Waxeventually deteriorates.

Permanent

Permanent

Often permanent, butcolor may eventually fade.

Usually temporarybecause the treatment’seffects are shallow.

Special CareNo liquid cleaner, soaking, orscrubbing. If oiled, avoidintense light and even mild heat(eg, direct sun), plus solvents andother chemicals.

Avoid strong chemicals.

Avoid strong chemicals andlong exposure to intense light.None due to treatment.

No steam, ultrasonic, liquidcleaner, soaking, or scrubbing.Avoid intense light and evenmild heat (eg, direct sun), plussolvents and other chemicals.

Avoid long exposure to intenselight.

If oiled or waxed, avoid intenselight and even mild heat (eg, direct sun).

If waxed, avoid intense lightand even mild heat (eg, direct sun).

Avoid strong chemicals andlong exposure to intense light.No steam, ultrasonic, liquidcleaner, soaking, or scrubbing.Avoid intense light and evenmild heat (eg, direct sun), plussolvents and other chemicals.None due to treatment.


Avoid long exposure to intenselight, plus solvents or otherchemicals.No liquid cleaner or scrubbing.Avoid scratches, abrasion,repolishing, and solvents orother chemicals.

CommentsIf color is added to thefiller, the treatment isalso considered dyeing.This gem normallyneeds extra care.

"B" jade is producedby this treatment.

"C" jade is producedby this treatment.-------

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This gem can bedamaged by mostchemicals.This gem can bedamaged by mostchemicals.


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All black onyx is dyed.


Sugar treatment is usedon low-grade opal.This gem normallyneeds extra care.


Gem Treatments

Gem

Pearl

Rose Quartz

Ruby (Also see Star Ruby)

Sapphire(Also see StarSapphire)

TreatmentImpregnation with oil,wax, or plastic.

Impregnation withdark soot particles.(Known as smoke treatment.)

Bleaching

Dyeing

Irradiation

Irradiation

Cavity-filling withepoxy resin or glass.

Diffusion

Fracture-filling with oil,epoxy resin, or glass.

Heating


Diffusion


EffectImproves polishappearance, makesfractures less visible, andheightens play-of-color.


Lightens color andminimizes dark spots.


Darkens color (usually to black,gray, or blue).

Improves color.

Improves clarityappearance by makingcavities less visible; canalso add weight.Produces a layer of redcolor on pale or purplishsapphire.Improves clarityappearance by makingfractures less visible.

Improves color by reducingpurplish and brownishovertones. Can alsoimprove clarity by reducing"silk" inclusions.

Improves clarityappearance by makingcavities less visible; canalso add weight.Produces a thin layer ofcolor (usually blue, violet, green,yellow or orange) on pale or“off-color” sapphire.Improves clarityappearance by makingfractures less visible.

PermanencePlastic impregnation isnormally permanent, butoil and wax eventuallydeteriorate.

Temporary. Thetreatment’s effects areshallow and fragile.

Normally permanent.

Often permanent, but somedyes eventually fade.

Normally permanent.

Normally permanent.

Sometimes permanent, butlarge fillings may bedislodged.

Normally permanent.

Glass and epoxy fillingsare often permanent, butoil eventually deteriorates.

Normally permanent.


Normally permanent.


Special CareIf oiled or waxed, no liquidcleaner, soaking, or scrubbing;also avoid intense light and evenmild heat (eg, direct sun), plussolvents and other chemicals.No liquid cleaner or scrubbing.Avoid scratches, abrasion,repolishing, and solvents or otherchemicals.


Avoid long exposureto intense light.



No steam or ultrasonic. Avoidtorch heat, strong chemicals, roughwear, and repolishing or recutting.

Avoid repolishing, recutting, andabrasives.

No steam or ultrasonic. Avoidtorch heat, strong chemicals, roughwear, and repolishing or recutting.If oiled, no liquid cleaner; alsoavoid intense light and even mildheat (eg, direct sun), plus solvents andother chemicals.Avoid torch heat.

No steam or ultrasonic. Avoidtorch heat, strong chemicals, roughwear, and repolishing or recutting.


No steam or ultrasonic. Avoidtorch heat, strong chemicals, roughwear, and repolishing or recutting.If oiled, no liquid cleaner; alsoavoid intense light and even mildheat (eg, direct sun), plus solvents andother chemicals.

CommentsBlack plastic darkensbase color, and is alsoconsidered dyeing.This gem normallyneeds extra care.

Smoke treatment is used onlow-grade opal. This gemnormally needs extra care.

Standard for akoya andmost freshwater pearls. All pearls normallyneed extra care.Most common forakoya and freshwaterpearls. All pearlsnormally need extracare.Most common for akoyaand freshwater pearls.All pearls normally needextra care.

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If color is added to thefiller, the treatment isalso considered dyeing.

Almost all rubies areheat treated.

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Gem Treatments

Gem

Sardonyx

Shell

Smoky Quartz

Star Ruby

Star Sapphire

Tanzanite

Tiger’s-eye

TreatmentHeating

Dyeing

Dyeing

HeatingIrradiation

Diffusion

Fracture -filling withoil.

Heating and slowcooling.

Diffusion

Fracture-filling with oil.

Heating and slowcooling.

Heating

Bleaching

Coating with plastic.

Dyeing

Heating

EffectImproves or changes color.Can also improve clarityby reducing "silk"inclusions.

Creates brown and blackcolor layers.

Adds or changes color.

Lightens color.Turns colorless quartzbrown.

Produces thin layer of colorand asterism on colorlessor light-colored sapphire.Improves clarityappearance by makingfractures less visible.

Produces or improves stareffect by increasing "silk"inclusions.

Produces thin layer of colorand asterism on colorlessor light-colored sapphire.Improves clarityappearance by makingfractures less visible.

Produces or improves stareffect by increasing "silk"inclusions.

Turns brownish zoisite intotanzanite.

Lightens color.

Acts as sealant.


Makes color darker andmore brownish red.

PermanenceNormally permanent.

Permanent

Often permanent, butsome dyes eventuallyfade.

Permanent Permanent

Normally permanent.

Temporary. Oileventuallydeteriorates.

Normally permanent.

Normally permanent.

Temporary. Oileventuallydeteriorates.

Normally permanent.

Permanent

Permanent

Normally permanent.

Usually permanent, butsome dyes eventuallyfade.Permanent

Special CareAvoid torch heat.



None due to treatment.None due to treatment.


No steam, ultrasonic, or liquidcleaner. Avoid torch heat,chemicals, intense light and evenmild heat (eg, direct sun).

Avoid torch heat.


No steam, ultrasonic, or liquidcleaner. Avoid torch heat,chemicals, intense light and evenmild heat (eg, direct sun).Avoid torch heat.



Avoid torch heat and strongchemicals. No ultrasonic. Avoid torch heat,strong chemicals, and longexposure to intense light.None due to treatment.

CommentsAlmost all blue sapphiresare heat treated. Othercolors may be too.

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This gem normally needsextra care.

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Diffusion-treated materialis called imitation, nottreated star ruby.If color is added to the oil,the treatment is alsoconsidered dyeing.

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If color is added to the oil,the treatment is alsoconsidered dyeing.

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Virtually all tanzanite istreated. This gem normallyneeds extra care.

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Gem Treatments

GemTopaz

Tourmaline

Turquoise

Zircon

TreatmentCoating with a thin filmof gold or other metal.

Heating

Irradiation

Irradiation andHeating.



Heating

Irradiation

Coating back of gemwith epoxy resin.

Dyeing

Impregnation with oil,wax, or plastic.

"Zachery" treatment.

Heating

EffectAdds surface color andiridescence to colorlesstopaz.Produces or improves redor pink color.Can improve yellow andorange, or produce green color.Turns colorless topaz blue.

Improves clarityappearance by makingcavities less visible; canalso add weight.Improves clarityappearance by makingfractures less visible.

Produces or improves blue,green, red, pink, or purplecolor.Produces or improves red,pink, purple, orange, oryellow, and red-greenbicolor.

Adds thickness, strength,and weight.

Improves color. Also usedto darken matrix.

Improves color and polishappearance; makesfractures and blemishesless visible. Plastic alsoimproves toughness.Reduces porosity; improvespolish and resistance tostaining.

Turns brownish zircon,blue, yellow, orange, red,or colorless.

PermanenceSometimes permanent,but easily damagedduring repair work. Permanent

Usually temporary. Colorfades easily.Normally permanent, butcolor may fade slightlyover time.



Permanent

Normally permanent.

Often permanent, buteasily damaged duringrepair work.Often permanent, butcolor may eventually fade.

Plastic impregnation isnormally permanent, butoil and wax eventuallydeteriorate.

Thought to be permanent.

Usually permanent, butcolor sometimes reverts tooriginal brown.

Special CareAvoid repolishing, recutting,and abrasives.


Avoid exposure to intense light.


No steam or ultrasonic. Avoid,strong chemicals, rough wear,and repolishing or recutting.

No steam or ultrasonic. Avoidtorch heat, strong chemicals,rough wear, and repolishing orrecutting. If oiled, no liquidcleaner; also avoid intense lightand even mild heat (eg, direct sun),plus solvents and otherchemicals.None due to treatment.


Avoid repolishing, recutting,and abrasives.


If oiled or waxed, avoid intenselight and even mild heat (eg,direct sun).


Avoid long exposure to intenselight. Treatment reducestoughness, so also avoidabrasion and rough wear.

CommentsThis gem normallyneeds extra care.

This gem normallyneeds extra care.This gem normallyneeds extra care.Almost all blue topaz istreated. This gemnormally needs extra care.

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This gem can bedamaged by mostchemicals.This gem can bedamaged by mostchemicals.This gem can bedamaged by mostchemicals.

This gem can bedamaged by mostchemicals.

Virtually all blue, red,and colorless zircon isheat-treated. Someorange and yellow is,too.


Glossary

Colored Gemstones

Colored Gemstones Glossary i

abalone pearl – A pearl produced by the marine snail common-ly called abalone (genus Haliotis). Abalone pearls often havevivid color and metallic luster. They’re mainly available asblister pearls and mabés cultured in New Zealand and the US.

abalone shell – Mother-of-pearl from abalone. Sometimescalled Paua shell, it’s usually smoky gray or brown with strongorient. Most comes from New Zealand and the US, whereabalones are grown for meat and cultured pearls as well asshell.

absorption spectrum – A pattern of dark bands or lines in theviolet-to-red spectrum, which indicates selective absorption byspecific chemical elements. To see such a pattern, light thatshines through or reflects from a gem must be vie wed through aspectroscope. Comparable data can be obtained by adv ancedtesting with a spectrophotometer. For some gems, absorptionspectrum is an identifying property.

adularescence – See moonstone effect.

African Elephant Conservation Act – Law passed by the USCongress in 1973, which bans the import or e xport of Africanelephant ivory with very few exceptions. Also see EndangeredSpecies Act, United Nations Convention on International Tradein Endangered Species of Wild Fauna and Flora.

agate – Chalcedony variety with bands or patterns of differentcolors. Agate is the Gemini birthstone. Major sources includeBrazil, India, Madagascar, and Uruguay. Also see fire agate,landscape agate, moss agate, onyx, sardonyx.

aggregate – A gem material that’s composed of small crystalsor particles. Chalcedony, jade, lapis lazuli, malachite, andturquoise are aggregates.

AGTA – American Gem Trade Association.

akori coral – A type of gem coral that’s made of conchiolin,and is light to medium grayish blue in color . Most comes fromCameroon.

akoya pearl – The classic type of cultured pearl. Producedmainly along the coasts of Japan and China, ak oyas pearls usu-ally range from 4 to 8 millimeters in size. Shape is often spher-ical. Typical colors are white and cream, but also include pink,yellow, blue, and gray. Luster can be nearly mirror-like. Alsosee South Sea pearl, Tahitian pearl.

alexandrite – Change-of-color variety of chrysoberyl.Alexandrite is one of the June birthstones, and it’ s the 55thanniversary gem. Leading sources are Brazil and Sri Lanka.

alexandrite cat’s-eye – See cat’s-eye alexandrite.

alexandrite effect – See change-of-color.

alluvial deposit – A secondary deposit formed when gems areeroded from another site and accumulate in a stream or ri ver.Also see eluvial deposit, primary deposit.

almandite – A garnet species that ranges from medium to darkred, orangish red, or purplish red. Also called almandine. Mostred garnets are mixtures of almandite and p yrope. Sourcesinclude Australia, Brazil, India, Kenya, Madagascar, Sri Lanka,and the US.

amber – An organic gem made of fossilized resin from pinetrees that lived about 10 million to 125 million years ago.Amber can be transparent to opaque, and its colors usuallyrange from creamy white to yellow, brown, and orange. Themost important sources are Russia and Dominican Republic.Also see clear amber, cloudy amber, pit amber, sea amber.

amberoid, ambroid – Pressed amber. (Some professionals con-sider these terms misnomers.)

American Gem Trade Association (AGTA) – Industry organi-zation that includes natural colored gemstone dealers in Canadaand the US.

amethyst – Purple variety of quartz. Amethyst is the Februaryand Pisces birthstone, and the 6th anniversary gem. Leadingsources are Brazil and Uruguay.

amethystine chalcedony – Purple variety of chalcedony.

ametrine – Quartz variety that’s shows a combination ofamethyst (purple) and citrine (orange or yellow) colors. Themain source is Bolivia.

ammolite – A gem material made from fossilized ammoniteshell. (The material is sometimes called ammonite as well.)The shell is usually stabilized by plastic impre gnation and madeinto triplets, with a fossil slice bonded between a supporti vebase and protective top. Also see opal triplet.

ammonite – A squid-like mollusk that lived about 65 million to400 million years ago. Its fossilized shells are found in man yplaces, but some of those from Canada show strong iridescence.These are used to make the gem material called ammolite.

andradite – Garnet species that produces demantoid.

April birthstone – Diamond.

aquamarine – Light blue-green to greenish blue variety ofberyl. Aquamarine is one of the March birthstones, and it’ s the19th anniversary gem. The leading source is Brazil.

Colored GemstonesGlossary

ii Colored Gemstones Glossary

ariscuro – Trade term for coral color meaning very dark red.Carbonetto has a similar meaning. Also see bianco, pelle d’an-gelo, rosa pallido, rosa vivo, rosso, rosso scuro, secondo coloro.

artificial nucleation – See nucleation.

Arusha – Region of northeastern Tanzania that holds the onlycommercial deposits of tanzanite. Also see Merelani Hills.

assembled gem – A gemstone made by bonding or fusing sepa-rate pieces of natural, synthetic, or imitation gem materials.Sometimes called composite. Also see construct, doublet, opaldoublet, opal triplet, triplet.

asterism – See star effect.

asymmetrical display – Display style based on three-partgrouping in a triangular arrangement. Also see symmetricaldisplay.

aubergine – Trade term for Tahitian pearl color that’s deep pur-ple-gray to purple-green. The term means eggplant in French.Also see peacock, pistachio.

August birthstones – Peridot and sardonyx

baguette – A simple step cut for small diamonds. There arestraight and tapered versions.

ballerina ring – A cocktail ring with a large center gem sur-rounded by tapered baguette diamonds set in a radial pattern.

bangle bracelet – A solid circle of metal that slips o ver thehand. Variations include designs with hinged half-circle seg-ments, and those with narrow gaps between the ends. Also seehololith.

bar pin – A pin with gems or other elements in a design that’ sstraight and elongated.

bark finish – A decorative metal finish with coarse texturingthat resembles tree bark.

baroque – A pearl with an irregular shape. Also see spherical,symmetrical.

beryl – Mineral species that produces aquamarine and emerald.Other beryl gem varieties include bixbite (red), morganite(pink), and golden beryl or heliodor (yellow). All of these arenormally transparent. Beryl is the Scorpio birthstone.

bezel setting – A setting with a metal collar or rim that sur-rounds the gem and wraps slightly over its outer edge. Alsocalled a box or tube setting.

bianco – Trade term for coral color meaning white. Also seeariscuro, pelle d’angelo, rosa pallido, rosa vivo, rosso, rossoscuro, secondo coloro.

biaxial – Doubly refractive with two SR directions. Also seeoptic character, uniaxial.

bib – A pearl or gemstone bead necklace with three or moreconcentric strands.

bicolor tourmaline – Tourmaline that shows two different col-ors side-by-side. Also see particolor tourmaline, tricolor tour-maline, watermelon tourmaline.

binroji – An organic gem material obtained from a palm treethat’s native to Japan. Binroji is often used as an i vory substi-tute because of similarities in appearance and physical charac-teristics. Also see veggie ivory.

birefringence – The numerical difference between the two RIsof a doubly refractive gem. Also see refractive index.

birthstone – A gem considered lucky or symbolic for a personborn at a certain time. Also see January birthstone, Februarybirthstone, etc.

bixbite – Red variety of beryl. The only significant deposit isin Utah.

black coral – A type of gem coral that’s made of conchiolin,and usually has a coffee-brown color. Sometimes called king’scoral. Hawaii is a source. Also see akori coral, golden coral,precious coral.

black onyx – Trade term for dyed black chalcedony. Also sim-ply called onyx.

black opal – Opal that’s translucent or opaque with play-of-color on a base of black or some other dark color . The mostimportant source is Australia. Also see crystal opal, fire opal,white opal.

bleaching – Using chemicals like hydrogen peroxide, chlorinebleach, or acid to lighten or remove color or dark blemishes.Bleaching is a standard treatment for akoya and freshwater cul-tured pearls. It’s also common for chalcedony, jade, andtiger’s-eye.

blemish – (1) Gem clarity: A clarity characteristic that’s con-fined to a gem’s surface (for example, a scratch). (2) Pearls: Abump, spot, scratch, nacre crack, or other characteristic that’ sconsidered in assessing surface (one of the pearl value factors).

blemishing – See surface.

blister pearl – A natural or cultured pearl that grows attached tothe mollusk’s shell. For cultured versions a bead nucleus isglued to the shell. Blister pearls can be made into mabés, orcut to include part of the shell in an attracti ve outline. Also seewhole pearl.

bloodstone – Chalcedony variety that’s dark green with redspots. Bloodstone is a birthstone for March and Aries. Sourcesinclude Australia, Brazil, India, and the US.

blue sapphire – See sapphire.

bodycolor – A pearl’s basic color. Though traditionally thoughtof as white, pearls come in light shades of e very hue, as well ascream (or crème), brown, gray, and black. Also see orient,overtone.

bone – An organic gem material obtained mostly from domesticcattle. Because of its appearance and physical characteristicsbone is often used as an ivory substitute.

Colored Gemstones Glossary iii

boutique merchandising – Merchandising style in which dis-plays and products are organized around designer or manufac-turer brands and collections. Also see category merchandising,mass merchandising.

box setting – See bezel setting.

brand – A jewelry item or product identified with a manufac-turer or designer.

bright polish – Jewelry metal finish that’s smooth, shiny, andmirror-like.

brightness – See saturation.

brilliant cut – Faceted cutting style that has mostly kite-shapeand triangular facets arranged in a radial pattern. Also seemixed cut, step cut.

brooch – See pin.

brushed finish – Decorative metal finish with tiny parallelgrooves scratched into the surface. Also see satin finish.

burnt topaz – Misnomer for smoky quartz.

button – A pearl that appears flattened or domed from the side.Also see symmetrical.

buttons – Disk-shape or slightly domed earrings.

bypass ring – See crossover ring.

cab – See cabochon.

cabochon – A domed cut with smooth (unfaceted) polished sur-faces. Sometimes called cab. This form is traditional fortranslucent and opaque gems. It also brings out the phenome-nal effects in gems like cat’s-eye and star ruby.

cairngorm – See smoky quartz.

calcite – A mineral species that ranges from transparent toopaque, and occurs in many colors. The material used for jew-elry is usually translucent with color banding, and it’ s oftencalled onyx marble.

calcium carbonate – A chemical compound made of calcium,carbon, and oxygen (CaCO3). It’s the main ingredient in pearl,precious coral, shell, and calcite.

California onyx – Misnomer for onyx marble calcite.

cameo – Carved cutting style with a design that stands outslightly from the background.

carapace – A turtle’s upper shell. Most tortoiseshell is madefrom the carapaces of hawksbill sea turtles. These consist ofoverlapping plates called scutes, which are translucent with dis-tinctive patterning – usually mottled brown and yellow, orsometimes black and white. Also see plastron.

carat (ct) – The standard weight unit for most gems; 1 caratequals 0.200 (1/5) gram. Also called metric carat.

carat weight – The weight of a gem expressed in carats orpoints.

carbonetto – See ariscuro.

carnelian – Orange variety of chalcedony. Carnelian is theVirgo birthstone. Sources include Brazil, India, and Uruguay.

carving – An artistic cutting style that can be natural or abstractin design. Popular versions include the cameo and intaglio.There are also carvings that might be described as miniaturestatues. Also see cabochon, faceted gem, tablet.

casting – Jewelry manufacturing process in which an item ismade by pouring molten metal into a mold and allo wing it tocool. A common method is called lost-wax casting.

cat’s-eye – Chatoyant variety of chrysoberyl. Cat’s-eye is the18th anniversary gem. The main sources are Brazil and SriLanka. In the gem trade the term cat’ s-eye, when used alone,refers specifically to this variety. Other gems with a similareffect are called cat’s-eye aquamarine, cat’s-eye tourmaline, etc.

cat’s-eye alexandrite – Rare chrysoberyl variety that showsboth change-of-color and cat’s-eye effect. Also called alexan-drite cat’s-eye.

cat’s-eye effect – The phenomenon that occurs when a lumi-nous band of light appears to move across the top of a gem.It’s often caused by reflections from microscopic needle-lik einclusions that lie parallel to each other. To create a sharp eye,the gem must be cut into a cabochon. Cat’ s-eye chrysoberylproduces outstanding examples of this effect, but it occurs in anumber of other gems too. Also known as chatoyancy.

cat’s-eye tourmaline – Cat’s-eye variety of tourmaline. Coloris usually blue, green, or pink, and the phenomenon is typicallysoft (not sharp) because it’s caused by hollow, tube-like inclu-sions.

category merchandising – Merchandising style in which differ-ent store areas are dedicated to specif ic product categories.Also see boutique merchandising, mass merchandising.

cavity – An inclusion in the form of a sizable opening that pen-etrates a gem from the surface.

cavity filling – See filling.

chalcedony – Mineral species that produces agate, bloodstone,carnelian, chrysoprase, onyx, plasma, prase, sard, and sardonyx.Chalcedony has the same chemical composition as quartz (andmineralogists consider it a quartz variety), but it’s made up ofcrystals so small they can’t be seen without high magnification.Because of their aggregate structures, chalcedony gems are typ-ically translucent or opaque. Sources include Australia, Brazil,India, Russian, Uruguay, and the US.

change-of-color – The phenomenon that occurs when a gemshows different colors in different types of light. For example,fine alexandrite appears red in incandescent light, but green indaylight or fluorescent light. The change is triggered by thelight’s color content. This phenomenon is also called thealexandrite effect because of its association with that gem.Other gems that can show it include garnet, sapphire, andspinel.

channel setting – Setting style in which gems are held by par-allel ridges of metal.

chatoyancy – See cat’s-eye effect.

chemical composition – A mineral’s atomic recipe; the typesand relative quantities of atoms of which it’s composed. Forexample, corundum’s chemical composition is represented bythe formula Al2O3, which means it’s essentially made of alu-minum (Al) and oxygen (O), with two aluminum atoms forevery three oxygen atoms. The combination of chemical com-position and crystal structure defines a mineral species.

choker – (1) Gemstone jewelry: See collar. (2) Pearl jewelry: Apearl necklace about 14 to 16 inches in length. Also see collar,matinee, opera, princess, rope.

chroma – See saturation.

chrome diopside – Diopside with an intense green color causedby chromium.

chrome pyrope – See pyrope.

chrome tourmaline – Tourmaline with intense green colorcaused by chromium or vanadium.

chrysoberyl – Mineral species that produces alexandrite andcat’s-eye. It also occurs in transparent yellow, green, andbrown gem varieties.

chrysocolla chalcedony – Bright blue or blue-green variety ofchalcedony.

chrysoprase – Light yellowish green variety of chalcedony.

cinnamon stone – See hessonite.

circle pin – A gem pin with an open circular design.

circled – A pearl shape with parallel grooves or ridges encir-cling it. South Sea and Tahitian pearls are often circled.

CITES – United Nations Convention on International Trade inEndangered Species of Wild Fauna and Flora.

citrine – Light yellow to dark orange variety of quartz. Citrineis one of the November birthstones, and it’s the 13th anniver-sary gem. Most comes from Brazil. Because of color similari-ties, citrine is sometimes confused with topaz. Terms such ascitrine topaz, and topaz quartz are misnomers for citrine.

citrine topaz – Misnomer for citrine.

clarifying – Removing or masking air bubbles in cloudy amberby heating it in oil.

clarity – A gem’s relative freedom from blemishes and inclu-sions.

clarity characteristic – A professionally accepted general termfor blemishes and inclusions. An alternative is identifying char-acteristic.

cleanliness – See surface.

clear amber – Trade term for transparent amber.

cleavage – (1) Property: The tendency for a gem to break in rel-atively weak crystal directions. Gems with this propertyinclude diamond, iolite, moonstone, tanzanite, and topaz. (2)Inclusion: A break that follows a cleavage direction, often dis-tinguished by a flat look. Also see fracture.

cloudy amber – Trade term for amber that’s translucent oropaque due to inclusions of tiny gas bubbles.

cluster setting – A number of gems set close together, usuallyin a symmetrical pattern.

coating – Applying a thin layer of some substance to a gem’ ssurface, usually to improve or change the color. It can alsomake polish look better, and imitate or intensify a phenomenonsuch as asterism. Coatings include oil, w ax, varnish, paint,plastic, foil, and metallic compounds similar to those used formirrors and camera lenses. This treatment is most frequentlyseen on imitations of colored gemstones.

cocktail ring – An ornate ring that’s appropriate for dressyevening events. Also called dinner ring.

collar – (1) Gemstone jewelry: A wide necklace that fits snuglyagainst the throat. Gems can be set within the frame work orhang as pendants. Also called choker. (2) Pearl jewelry: Amulti-strand pearl necklace that fits snugly at mid-neck, usuallyabout 12 to 13 inches in length. Also see choker, matinee,opera, princess, rope.

color – (1) Gemstones: The most important value factor formost gems. Each kind of gem has its o wn color range, whichprovides a yardstick for assessing quality and value. Most col-ors have three components: hue, tone, and saturation. (2)Pearls: One of the pearl value factors. It can include bodycolor,overtone, and orient.

color components, color dimensions – Hue, tone, and satura-tion.

color content (light) – The blend of colors in the output of alight source. For example, full sun has fairly balanced colorcontent; most fluorescent lights are weighted toward blue andgreen; and standard incandescent bulbs put out more yellow,orange, and red.

colored gem – Any kind of gem except diamond.

common opal – Opal that looks like milky glass because themicro-spheres of which it’s made are different sizes and irregu-larly stacked. Sometimes called potch. Also see play-of-color.

composite – See assembled gem.

conch pearl – A pearl produced by the queen conch, a lar gemarine snail that inhabits parts of the western Atlantic Oceanand the Caribbean Sea. Although conch pearls don’t havenacre, fine examples are beautiful and valuable, with a colorthat ranges from light to deep pink, a porcelain look, silk ysheen, and flame-like patterning. Also see Melo pearl.

iv Colored Gemstones Glossary

Colored Gemstones Glossary v

conch shell – An organic gem material made from the shell ofthe queen conch. It occurs in various shades of pink, often withwhite banding. Most comes from the West Indies.

conchiolin – The protein that’s a main ingredient in akori,black, and golden coral. It gives them a horn-like texture.

construct – An assembled product made to create an unusualcolor combination or artistic effect. There’s no attempt at imi-tation or disguising the nature of the product. Almost any nat-ural or manmade material can be a component.

contact metamorphism – The type of metamorphism that’s trig-gered by an intrusive magma, which provides heat and chemicalingredients. Gem growth takes place along the contact zonebetween the magma and the pre-existing rock. Gems that canbe formed in this way include emerald, garnet, lapis lazuli,ruby, sapphire, and spinel.

copal – An organic gem material similar to amber in appear-ance, but semi-fossilized and much younger (from about 1.5million to only 50 years old).

coral – An organic gem material made from scaffold-like struc-tures built by coral polyps. Colors include white, pink to red,and light to dark brown. Coral is a traditional gem for the 35thanniversary. Also see akori coral, black coral, golden coral,precious coral.

coral polyp – One of the tiny plant-like animals that buildcorals. While individual polyps measure only a few millime-ters, there may be millions in a colon y, and the structure theybuild can grow to resemble a tree 2 to 10 feet tall.

cordierite – See iolite.

corozo nut – An organic gem material obtained from the ivorypalm of South America. It’s often used as an ivory substitutebecause of similarities in appearance and physical characteris-tics. Sometimes called tagua nut. Also see veggie ivory.

corundum – The mineral species that produces ruby, sapphire,star ruby, and star sapphire.

Cosquez – An important emerald mine in Colombia. Also seeMuzo.

crazing – A network of cracks in opal, usually caused by mois-ture loss.

crossover ring – A ring that coils around the f inger, with theends of the band crossing or passing each other on top. Alsocalled bypass ring.

crown – The upper part of a faceted gem. Also see girdle,pavilion.

crystal opal – Opal that’s transparent with play-of-color on acolorless to dark gray base. The most important source isAustralia. Also see black opal, fire opal, white opal.

crystal structure – The geometric pattern in which the atomsthat make up a mineral crystal are arranged. The combinationof crystal structure and chemical composition def ines a mineralspecies.

ct – Abbreviation for carat.

cuff – A wide oval bracelet. It may have a hinge and clasp, orelse encircle about 3/4 of the wrist with open ends that allo w itto be slipped on.

cultured pearl – A pearl formed as a result of artif icial nucle-ation. Also see akoya pearl, blister pearl, freshwater pearl,keshi, mabé, natural pearl, South Sea pearl, Tahitian pearl,whole pearl.

cut – The form, style, and quality of a gemstone’s fashioning.Also see cabochon, carving, faceted gem, tablet.

cutting style – The overall design of a faceted gem’s cut, deter-mined primarily by the shapes and arrangement of f acets.There are three main styles: brilliant cut, step cut, and mix edcut. Also, the basic type of fashioning – cabochon, carving,faceted, or tablet.

Czochralski process – See pulling.

December birthstones – Tanzanite, turquoise, and zircon.

deer antler – An organic gem material obtained from deer andelk. Because of its appearance and physical characteristics deerantler is often used as an ivory substitute. Also called staghorn.

demantoid – Green variety of andradite garnet. Light-coloreddemantoids may show the optical effect known as dispersion.

density – The relationship between size and weight. F or gems,this property is usually expressed as specific gravity.

dentin – The material of which ivory is made. It’s a componentin the teeth of all mammals, but only a few have teeth or tuskslarge enough to provide usable amounts.

deposit – A natural accumulation of minerals. Also see primarydeposit, secondary deposit.

dichroism – Transmitting two different colors (or a mixture ofthem), depending on the direction from which the gem is seen.Also see pleochroism, trichroism.

dichroscope – Gem-testing instrument used to analyzepleochroism.

die-striking – Jewelry manufacturing process in which an itemis created by shaping solid with a mold (or die) made fromhardened steel. Also called stamping.

diffusion, diffusion treatment – Heating a gem to very hightemperature while it’s in contact with selected chemicals. Thechemicals penetrate the gem and become part of the crystal,changing its color in the process. Depending on the techniqueused, the new color can be shallow or deep (sometimes extend-ing all the way through the gem). Shallow diffusion is mostoften used on colorless and light-colored sapphires to mimicruby or blue sapphire. Occasionally, it’s used to produce a stareffect. Deep diffusion can create various colors of sapphire,including orange, yellow, green and violet. It can also colorsapphire red to imitate ruby.

dinner ring – See cocktail ring.

diopside – A mineral species that (in gem quality) usuallyoccurs in various shades of green. Important producers areMadagascar, Myanmar, Russia, and Sri Lanka. Also seechrome diopside.

disclosure – Providing all material facts about a product or ser-vice. For treatment this includes what’s been done to the gem,whether the effects are permanent, any special care requiredbecause of the treatment, and how the treatment affects value.

dispersion – The spreading of white light into spectral hues.It’s caused by different colors of light being refracted different-ly. Dispersion is a key element of diamond’s appeal, but theonly colored gems likely to show it are demantoid and zircon.

display element – A device made to hold jewelry in a display orshowcase, so it can be viewed by customers.

doublet – An assembled gem with two main components. Alsosee opal doublet.

doubly refractive (DR) – Having two RIs. When light enters aDR gem, it’s polarized and each ray is refracted dif ferently.This produces the two RIs. (However, all DR gems have one ortwo singly refractive crystal directions.) Also see biaxial, bire-fringence, optic character, refraction, singly refractive, uniaxial.

DR – Doubly refractive.

drop – (1) Cut: See pear. (2) Pearls: A pearl that appears pear-shaped from the side. Also see symmetrical.

drop earrings – See pendant earrings.

drop necklace – See lavaliere.

duom (or doom) palm nut – An organic gem material obtainedfrom the duom palm of Africa. It’s often used as an ivory sub-stitute because of similarities in appearance and physical char-acteristics. Also see veggie ivory.

durability – Resistance to damage of all kinds. Ov erall durabil-ity depends on the combination of hardness, toughness, and sta-bility.

dye treatment, dyeing – Adding a chemical agent to a gem inorder to improve or change its color. This is a common treat-ment for gems like chalcedony, cultured pearl, jade, lapis lazuli,opal, shell, tiger’s-eye, and turquoise.elbaite – The species that produces most gems identif ied astourmaline.

electroforming – Jewelry manufacturing process in which anitem is made by electronically depositing metal on the surf aceof a model.

eluvial deposit – A secondary deposit formed when gems settleinto the weathered debris of the rock in which the y originallyoccur. Also see alluvial deposit, primary deposit.

emerald – Green variety of beryl. To be considered emeraldthe color must be reasonably intense. Otherwise the gem isproperly classified as green beryl. Emerald is the May andCancer birthstone, and it’s the gem for the 20th and 35thanniversaries. (On traditional lists emerald is the 55th anni ver-sary gem.) The leading source of fine emerald is Colombia.Brazil and Zambia are also important.

emerald cut – The most popular type of step cut. The shape isrectangular or square with beveled corners. Facets are mostlyrectangular or trapezoidal, and arranged in rows.

endangered species – An animal or plant species that’s current-ly facing extinction. Also see threatened species.

Endangered Species Act – Law passed by the US Congress in1973 to prevent extinction of animals and plants. US trade inivory, tortoiseshell, and some other organic gems is controlledunder the act. Also see African Elephant Conservation Act,United Nations Convention on International Trade inEndangered Species of Wild Fauna and Flora.

enhancement – See treatment.

enhancer – A pendant designed to be easily attached to andremoved from a pearl or gemstone bead necklace.

ensemble – A group of jewelry items that go together; forexample, a ring, bracelet, necklace, and earrings of matchingdesign.

evening emerald – See peridot.

extinction – A dark area in a faceted gem, usually seen aroundthe edges when it’s viewed face-up; often due to cutting propor-tions that don’t maximize light return. Also see window.

faceted gem – A gem cut so that it’s covered with small flatpolished surfaces. Most transparent gems are faceted. Also seebrilliant cut, cabochon, mixed cut, step cut.

face-up – The position in which a gem is seen when set in je w-elry.

falcon’s-eye – See hawk’s-eye.

fancy cut, fancy shape – Any faceted shape other than round.Classic fancy shapes include the emerald cut, oval, pear, andmarquise.

fancy sapphire – Trade term for a sapphire of any color exceptblue. Color varieties are also designated individually; forexample, pink sapphire, yellow sapphire, etc. fantasy cut – A gem fashioned with a geometric or free-formshape, typically combining flat facets and curved surfaces.

vi Colored Gemstones Glossary

Colored Gemstones Glossary vii

feather – A break within a gem. Also see cleavage, fracture.

February birthstone – Amethyst.

Federal Trade Commission (FTC) – US government agencyresponsible for promoting free and fair commerce in the nation-al marketplace. The FTC Guides for the Jewelry, PreciousMetals, and Pewter Industries help to define legal and ethicalstandards for gem and jewelry professionals.

feldspar – A group of related minerals that accounts for almosthalf the volume of Earth’s crust. Feldspar gems includelabradorite and moonstone.

filling – Filling fractures or cavities in a gem. In fracture f ill-ing, surface-reaching breaks are filled to conceal them andimprove the gem’s appearance. In cavity filling, larger surfaceopenings are filled for similar purposes. Fracture f illers includecolorless oils, natural and synthetic resins, and glass. Ca vityfillings are usually glass or plastic. Fracture f illing is commonfor emeralds, and cavity filling is most frequent with rubies; butboth treatments occasionally appear in a number of gems.

findings – Jewelry components such as clasps and settingheads.

fineness – The amount of precious metal in an allo y, usuallymeasured in parts per thousand; for example, an item markedPt950 is 950 parts platinum and 50 parts allo ying metal. Alsosee karat.

fingerprint – A partly healed cleavage or fracture. This type ofinclusion usually forms when a break occurs while a gem crys-tal is growing, and nutrient fluids seep into the break. The flu-ids may remain in liquid form or later solidify , in either casecreating a microscopic pattern that resembles a human f inger-print.

fire agate – Opaque agate that shows iridescent colors, usuallyagainst a brown background. The only significant sources areMexico and the US.

fire opal – Opal that’s transparent or translucent red, orange,yellow, or brown. It may or may not show play-of-color. Themost important sources are Brazil and Mexico. Also see blackopal, crystal opal, white opal.

flame fusion – A melt process for making synthetic gems.Chemical ingredients are poured through a blowtorch flame(which melts them) and allowed to crystallize on a rotatingpedestal. Sometimes called the Verneuil process, this is theleast expensive way to make synthetic ruby, synthetic sapphire,and synthetic spinel. These are often used as imitations. Alsosee flux synthesis, hydrothermal synthesis, pulling.

flame spinel – Trade term for bright orange-red spinel (one ofthe most highly valued colors for this gem).

flaw – A negative and professionally unacceptable term forclarity characteristic.

Florentine finish – A decorative metal finish with a crosshatchpattern of lines tooled into the surface.fluid inclusion – A small pocket of liquid trapped inside a gem.Also see two-phase inclusion, three-phase inclusion.

fluorescence – The glow some gems emit under ultravioletlight.

flush setting – A setting in which a gem is set so its top is e venwith the jewelry’s surface.

flux synthesis – A solution process for producing syntheticgems. Ingredients are dissolved in a high-temperature chemicalsolution, then allowed to cool and crystallize slowly. Thiscomes close to reproducing conditions under which naturalgems form, and some flux synthetics take more than a year togrow. Flux gems include "luxury" synthetic ale xandrite, syn-thetic emerald, synthetic ruby, and synthetic sapphire, whichcan retail for hundreds of dollars per carat. Also see flamefusion, hydrothermal synthesis, pulling.

fool’s gold – See pyrite.

fossil ivory – Ivory obtained from the remains of wooly mam-moths. The material isn’t actually a fossil because the tusksaren’t mineralized. It’s true ivory that’s been buried since thelast Ice Age. The main sources are Canada and Russia.

4Cs – The factors that normally determine a diamond’s value:carat weight, clarity, color, and cut. The 4Cs also apply to mostcolored gems, but with adjustments for individual differences.For example, the color of a ruby is evaluated in comparison toother rubies, not to red gems in general.

fracture – An irregular break within a gem. Unlike cleavage,fracture isn’t tied to crystal structure patterns. It can occur inany kind of gem, and often has a curv ed or scalloped contour(like breaks in glass).

fracture filling – See filling.

freshwater pearl – A natural or cultured pearl produced by amollusk that lives in a river, lake, or some other body of fresh-water. Freshwater cultured pearls are available in a wide selec-tion of sizes, shapes, and natural as well as treated colors. Theleading producer is China. Also see saltwater pearl.

FTC – Federal Trade Commission.

garnet – The best-known mineral group of gems. Though mostconsumers think all garnets are red, the group’s color rangeactually includes every hue except pure blue. Important garnetspecies and varieties are almandite, malaya, rhodolite, spessar-tite, and tsavorite. Others include demantoid, hessonite, Maligarnet, and pyrope. All garnets are January and Aquarius birth-stones, and 2nd anniversary gems.

gem cloth – A lint-free cloth made for cleaning unset gems.

gem holder – Any device other than tweezers for holding anunset gem. Gem holders include plungers and spring-loadedpincers.

gem paper – A small folded envelope for storing unset gems.

gem plunger – A pencil-shaped device with retractable jaws forholding unset gems.

gem property – See property.

gem treatment – See treatment.

viii Colored Gemstones Glossary

gem tweezers – Tweezers made for holding unset gems. Mostare about six inches long, with relatively broad to very finepoints. Some can be locked to hold the gem securely.

German lapis – Misnomer for dyed blue jasper (a mineral relat-ed to chalcedony).

GIA – Gemological Institute of America

girdle – The area where a faceted gem’s crown and pavilionmeet.

girdle outline – See shape (1).

golden coral – A type of gem coral that’s made of conchiolin,and usually has a caramel-brown color. Hawaii is a source.Also see akori coral, black coral, precious coral.

golden topaz – Trade term for topaz that’s yellow to yellowishorange.

green beryl – Beryl with a color that’s not green enough to beclassified emerald.

grossularite – Garnet species that produces hessonite and tsa-vorite. Also called grossular garnet.

group – A mineral family made up of species that are closelyrelated in chemical composition or crystal structure. Garnet isthe best-known gem mineral group. Also see species, variety.

gypsy setting – A setting in which a metal rim formed from thebody of the jewelry holds the gem.

hammer finish – A decorative metal finish with small indenta-tions covering the surface.

hand fabrication – Jewelry manufacturing process in which anitem is made completely by hand labor and manually controlledmethods.

hardness – Resistance to scratching. Also see durability, MohsHardness Scale, toughness.

hawk’s-eye – Tiger’s-eye that has a natural blue color. Alsocalled falcon’s eye.

hawksbill sea turtle – The animal source of tortoiseshell.Hawksbill is an endangered species protected under CITES andthe Endangered Species Act.

heat treatment, heating – Using high temperature, usually toimprove or change a gem’s color. This treatment is commonfor many gems including aquamarine, carnelian, citrine, ruby,sapphire, tanzanite, topaz, tourmaline, and zircon. Controlledheating can also eliminate needle-like inclusions and improveclarity in rubies and sapphires. Less often it’ s used to make thesame inclusions grow in order to create or intensify a stareffect.

heavy liquid – A liquid chemical calibrated to a certain specif icgravity, so it can be used to estimate the SGs of gems.

helmet shell – Shell obtained from a large marine snail thatlives in waters around Madagascar and the West Indies. Theshell is typically banded in white and either bro wn or orange,which makes it a favorite for cameos.

hematite – A mineral species that’s opaque and black (or darkgray) with metallic luster. Sources include Brazil, China,England, Germany, New Zealand, Norway, Sweden, and theUS.

hessonite – Orange variety of grossularite garnet. Sometimescalled cinnamon stone.

hololith – A bangle bracelet or ring that’s a complete circlecarved from a solid piece of tough gem material lik e jade.

hoops – Earrings in the form of rigid metal loops.

host – The rock formation in which a gem deposit occurs.

hue – One of the three color components. Hue gi ves a color itsgeneric name – blue, green, blue-green, greenish blue, and soforth. Also see saturation, tone.

hydrothermal synthesis – A solution process for making syn-thetic gems. Ingredients are dissolved in a mixture of waterand chemicals at high temperature and pressure. Syntheticmaterial forms on a seed plate that pro vides the pattern for crys-tallization. This comes close to reproducing conditions underwhich natural gems form. Hydrothermal methods produce syn-thetic emerald, synthetic ruby, synthetic sapphire, and syntheticquartz (amethyst, citrine, and other colors.). Also see flamefusion, flux synthesis, pulling.

hydrothermal vein – A type of igneous gem formation thatoccurs when hot mixtures of water and chemicals move from anintrusive magma into cracks in the surrounding rock. As themixtures circulate, they pick up additional ingredients and even-tually solidify into seams. Hydrothermal veins are importantsources of fine emerald.

ICA – International Colored Gemstone Association.

identifying characteristic – A professionally accepted generalterm for blemishes and inclusions; also called clarity character-istic.

igneous formation – Geologic process in which minerals orrocks form in a magma or a closely associated en vironment.Also see hydrothermal vein, metamorphism, pegmatite, sedi-mentary gem formation.

Ilakaka-Sakaraha – An important gem region of Madagascar,located in the southern part of the country. Ilakaka-Sakarahaproduces major amounts of blue and pink sapphire, plus ale xan-drite, cat’s-eye, garnet, spinel, topaz, tourmaline, and othergems.

imitation – A gem look-alike. Unlike a synthetic, an imitation(or simulant) doesn’t have the same chemistry, structure, orproperties as the gem it resembles. Appearance is the only sim-ilarity. Most imitations are glass, ceramic, or plastic, or elseflame-fusion synthetics that look like other gems – for example,light blue synthetic spinel imitating aquamarine.

imperfection – A negative and professionally unacceptable termfor clarity characteristic.

imperial jade – Trade term for jadeite that’s almost transparentwith vivid green color.

imperial topaz – Trade term for topaz that’s deep pink toorange-red.

impregnation – Applying oil, wax, plastic, epoxy resin, orsome other substance to fill and seal a gem’s surface. Low heator other techniques are often used to increase penetration. Thistreatment usually improves color and polish appearance, andsometimes durability too. It also conceals minor blemishes andcracks. Impregnation (sometimes called stabilization) is com-mon for coral, jade, lapis lazuli, opal, and turquoise.

included crystal – A mineral crystal that was captured within agem as it grew.

inclusion – A clarity characteristic that’s internal (either com-pletely within the gem, or reaching the surf ace from the interi-or). Examples include cavities, feathers, fingerprints, fluidinclusions, and included crystals.

indicolite – Dark blue variety of tourmaline.

intaglio – Carved cutting style that’s basically a tablet with adesign engraved on the top. Also see cameo.

intensity – See saturation.

International Colored Gemstone Association (ICA) – Industryorganization that includes top miners, cutters, and dealers fromaround the world.

intrusive magma – A magma that forces its way into a space orarea of weakness in the Earth’s crust, and cools without reach-ing the surface. This can produce very favorable environmentsfor gem formation. Also see hydrothermal vein, pegmatite.

invisible setting – Setting style in which small square gems areset side-by-side in a wire-like framework. The filaments of theframe fit grooves cut in the gems’ girdles, so they normallydon’t show.

iolite – A mineral species that (in gem quality) is light to darkblue or violet. Known to mineralogists as cordierite. Becauseit often looks deep blue face-up but almost colorless from otherdirections, iolite was once called water sapphire. That term isnow considered a misnomer. Iolite is the 21st anniversary gem.Significant producers include Brazil, Canada, India, Madagascar,Myanmar, Russia, Sri Lanka, and Tanzania.

Irid – Abbreviation for iridium, one of the metals often used inplatinum alloys.

iridescence – Rainbow-like colors that sometimes appear whenlight is reflected and refracted through structural layers. Soapbubbles and peacock feathers provide familiar examples. Gemsthat show this phenomenon include fire agate, labradorite, andpearl (in which it’s called orient).

irradiation – Exposing a gem to high-energy radiation or bom-bardment with subatomic particles to change its color . Thistreatment is routine for smoky quartz and blue topaz. It’s alsocommon for freshwater cultured pearls and red, pink, and pur-ple tourmaline. Except in very rare cases, the treatment leavesno significant radioactivity. Government agencies, industryorganizations, and individual firms take effective steps to ensurethat material which might pose a potential health concern ne verreaches jewelry stores.

ivory – An organic gem material made from the teeth or tusksof certain mammals, including elephants, hippopotamuses, nar-whals, sperm whales, walruses, and warthogs. Under CITESand US law almost all trade in new ivory from elephants (themost important source) is now banned. Also see AfricanElephant Conservation Act, Endangered Species Act, UnitedNations Convention on International Trade in EndangeredSpecies of Wild Fauna and Flora.

jade – Common name for two mineral species – jadeite andnephrite – traditionally used as carving materials because oftheir great toughness. Both are 12th anniversary gems.

jadeite – One of the two mineral species recognized as jade.Jadeite is usually translucent to opaque, and occurs in shades ofgreen, lavender, yellow, orange, brown, and gray, as well aswhite and black. It often shows color mixtures or markings.The only significant source of fine jadeite is Myanmar. Alsosee imperial jade, moss-in-snow jade, nephrite.

January birthstone – Garnet (all species and varieties).

Japan Pearl Exporters’ Association (JPEA) – Industry organi-zation that includes leading cultured pearl exporters and dealers.

July birthstone – Ruby.

June birthstones – Alexandrite, moonstone, and pearl.

K – Abbreviation for karat.

karat (K) – The amount of gold in an alloy, based on 24 parts;for example, 14K is 14 parts gold and 10 parts allo ying metal.

karat gold – Gold alloyed with one or more other metals foruse in jewelry.

Kashmir – Northern territory of India that produced some ofthe finest blue sapphires ever seen. Today, mining there is neg-ligible, and the official name is Jammu and Kashmir.

Kauri gum – An organic gem material that looks like amber,but derived from a species of pine tree that still li ves in NewZealand.

keshi – A pearl that forms without intentional nucleation in amollusk being used for culturing.

king’s coral – See black coral.

kunzite – Pink variety of spodumene.

Colored Gemstones Glossary ix

labradorite – Feldspar species that produces rainbow moon-stone. Another labradorite gem variety called spectrolite showsbright iridescence against a dark gray background.

landscape agate – Agate with a color pattern or markings thatresemble a scenic picture.

lapis lazuli – A gem material that’s opaque and medium to darkblue. Often simply called lapis. It can also ha ve spangles ofpyrite or white veins of calcite. Lapis is classif ied as a rockbecause it’s always made up of several minerals. It’s the 9thanniversary gem. The main source of fine lapis is Afghanistan.Also see German lapis, Swiss lapis.

lariat – An open-ended necklace held together by an ornamen-tal clasp in front, usually with gemstone drops at each end.

lavaliere – A necklace with a pendant that’s suspended from theneck chain by another short chain or decorati ve element. Alsocalled a drop necklace.

length-to-width ratio – A fancy shape’s length expressed as aratio of its width; for example, a marquise that’s twice as longas it is wide has a length-to-width ratio of 2:1.

light return – The total intensity of light reflected by a f acetedgem.

link bracelet – A bracelet made of chain-like links or smallhinged panels.

lost-wax casting – Casting method that begins with preparing awax model and making a plaster mold of it. After the moldhardens, it’s heated to vaporize the wax and leave a hollowform into which molten metal is poured.

luster, lustre – The sharpness of light reflections from a pearl.This is one of the pearl value factors, and it’s a critical compo-nent of every pearl’s beauty. Mother-of-pearl and abalone shellalso have pearly luster.

mabé – An assembled gem made from a cultured blister pearl,consisting of a hollowed-out nacre shell that’s filled with epoxyresin and cemented to a mother-of-pearl back.

Madeira citrine – Trade term for citrine that’s deep orange (themost valuable color for this gem). Sometimes called Madeiraquartz.

magma – Molten rock material that’s the starting point forigneous formation. Also see intrusive magma.

malachite – A mineral species that’s opaque and light to darkgreen or bluish green with attractive bands of different shades.The most important source is Zaire.

malaya (or malaia) garnet – A garnet variety that’s predomi-nately a mixture of pyrope and spessartite. Color ranges fromlight to dark orange. Called umbalite in Europe. The only sig-nificant sources are Kenya and Tanzania.

Mali garnet – A garnet variety that’s a mixture of andradite andgrossularite, named for the West African nation where it wasdiscovered. Color can be light yellow-green to deep green anddark brown.

mantle – The organ that lines a pearl-producing mollusk’s shelland envelopes its body. Mantle tissue is part of e very culturedpearl’s nucleus.

March birthstones – Aquamarine and bloodstone.

marquise – A faceted fancy shape with a "boat-shape" girdleoutline (pointed at both ends). This shape is also used for cabo-chons and tablets.

mass merchandising – Merchandising style in which windowsand interior displays are typically filled wall-to-wall with jewel-ry laid out in symmetrical arrangements. Also see boutiquemerchandising, category merchandising.

matching – How closely pearls look alike in size, shape, color,and luster. For pearls in necklaces and many other jewelrystyles, this is an important value factor.

material fact – Any fact about a product or service that mightreasonably influence a purchase decision.

matinee – A pearl or gemstone bead necklace length that mea-sures about 20 to 24 inches. Also see choker, collar, opera,princess, rope.

matrix – The rock in which a gem forms.

matte finish – A decorative metal finish that’s grainy and non-reflective.

May birthstone – Emerald.

mct – Abbreviation for metric carat.

melee – Trade term for faceted gems weighing less than 20points.

Melo pearl – A pearl produced by the Melo, a lar ge marinesnail that lives in coastal waters of Southeast Asia. AlthoughMelo pearls don’t have nacre, fine examples are beautiful andvaluable, with a yellow or orange color, porcelain look, silkysheen, and flame-like patterning. Also see conch pearl.

melt process – See flame fusion and pulling.

Merelani Hills – Site of the world’s only commercial depositsof tanzanite, located in the Arusha region of northeast Tanzania.

metamorphism – Geologic process in which older minerals orrocks change into new ones without melting. It usually occurswhen events in the Earth’s crust raise temperatures or pressureswhile making more chemical ingredients available. Also seecontact metamorphism, igneous formation, regional metamor-phism, sedimentary gem formation.

metric carat (mct) – See carat.

Mexican onyx – Misnomer for onyx marble calcite.Minas Gerais – An important gem-producing state in Brazil,located in the southeast part of the country. Minas Gerais holdsthe only major localities for imperial topaz.

x Colored Gemstones Glossary

Colored Gemstones Glossary xi

mineral gem – A gem that was created by geologic processes.Diamond, emerald, ruby, and sapphire are the most f amiliarexamples. Others include amethyst, aquamarine, citrine, garnet,jade, opal, peridot, topaz, and tourmaline. Mineral gems are theproducts most consumers think of as natural gems. Also seeimitation, synthetic.

mineral group – See group.

mineral species – See species.

misnomer – An inaccurate or misleading gemstone name.Examples include calling green tourmaline "African emerald,"citrine "topaz," or dyed jasper "Swiss lapis."

misrepresentation – Giving false information about a productor service.

mixed cut – A faceted cutting style that combines brilliant andstep facets.

Mogok – An important gem region in Myanmar, located in thecentral part of the country. Mogok is world famous for itsfinest rubies.

Mohs Hardness Scale – The most commonly used system forrating hardness. Gems (and other materials) are assigned v al-ues from 1 to 10 – with 10 being hardest – based on compara-tive scratchability. A gem will scratch another gem of equal orlower hardness.

mollusk – General term for pearl- or shell-producing o ysters,mussels, and marine snails. Mollusk is actually the commonname for a large group (or phylum) of animals that alsoincludes octopuses, land snails, slugs, and squids.

Mong Hsu – An important ruby-producing region of Myanmar,located in the eastern part of the country.

moonstone – Variety of orthoclase feldspar that shows themoonstone effect. It’s usually translucent to opaque and color-less, white, or gray. Moonstone is one of the June birthstones.Sources include Australia, Brazil, India, Madagascar, Myanmar,Sri Lanka, and Tanzania. Also see rainbow moonstone.

moonstone effect – The glow that appears to float inside amoonstone. It’s caused by light reflecting and scattering fromlayers in the gem’s structure. Moonstone is the only naturalgem that displays this phenomenon, which is also kno wn asadularescence.

moss agate – Agate with markings that resemble vegetation.

moss-in-snow jade – Trade term for jadeite that has green colorveins running through a white background.

mother-of-pearl – The inner shell of a pearl-bearing mollusk.It typically has pearly luster and may show orient. Natural col-ors include white, cream, silver gray, and golden yellow. Nowmainly produced as a byproduct of pearl culturing.

mussel – A bivalve (two-shelled) pearl-producing mollusk thatlives in freshwater.

Muzo – One of the leading emerald mines in Colombia. Muzois world famous for the lush colors of its f inest gems. Also seeCosquez.

nacre – (1) Pearl and shell: The lustrous coating of a pearl ormother-of-pearl shell. It’s mainly composed of microscopiccalcium carbonate crystals. Natural pearls are made almostentirely of nacre. So are freshwater cultured pearls nucleatedwith only mantle tissue. In other cultured pearls nacre forms alayer around a bead nucleus. (2) Pearl v alue factors: The thick-ness of a cultured pearl’s nacre coating. Sometimes callednacre thickness, this is crucial for lasting beauty.

nacre thickness – See nacre (2).

natural gem – See mineral gem.

natural pearl – A pearl that formed without human involve-ment of any kind. Also see cultured pearl.

near-round – A pearl that appears almost completely spherical(only slightly distorted). Also see shape (2).

neck wire – A rigid necklace of precious metal wire with a cen-tral gemstone setting.

nephrite – One of the two mineral species recognized as jade.Nephrite is translucent to opaque, and occurs in light to darkgreen, yellow, brown, and gray, as well as white and black.Colors are typically muted and often mixed or streaked.Leading producers are Canada and the US. Also see jadeite.

November birthstones – Citrine and topaz.

nucleation – The surgical procedure for implanting the nucleusaround which a cultured pearl grows.

nucleus – The object that acts as an artif icial irritant to triggerthe formation of a cultured pearl. F or saltwater cultured pearls,it’s usually a spherical bead and a small piece of mantle tissuefrom another oyster. Most freshwater cultured pearls are nucle-ated with only mantle tissue.

October birthstones – Opal and tourmaline.

olivine – Mineral group that produces peridot. Also the miner-alogist’s name for peridot.

onyx – Chalcedony variety with straight bands of black andwhite. Onyx is the Leo birthstone and 7th anniversary gem.Leading producers are Brazil, India, Madagascar, and Uruguay.Also see black onyx, California onyx, Mexican onyx, sardonyx.

onyx marble – See calcite.

opal – Mineral species that (in gem quality) usually displaysplay-of-color. Opal is one of the October birthstones, and it’ sthe 14th anniversary gem. Also see black opal, common opal,crystal opal, fire opal, white opal.

opal doublet – An assembled gem made by cementing a thinpiece of opal to a backing of strong material lik e chalcedony,glass, or plastic.

opal triplet – An assembled gem made by cementing a thinpiece of opal between a supportive base and a protective top.The base is usually a strong material lik e chalcedony, glass, orplastic. The top is usually a hard colorless material lik e glass,quartz, or synthetic spinel.

opera – A pearl or gemstone bead necklace length that mea-sures about 28 to 34 inches. Also see choker, collar, matinee,princess, rope.

optic character – A gem property linked to crystal structure’sinteraction with light. A transparent gem can be singly or dou-bly refractive, and if doubly refractive it can be uniaxial orbiaxial.

optical property – A gem property that’s connected with light;for example, refractive index, birefringence, optic character, andpleochroism.

organic gem – A gem derived from a living organism.Examples include amber, coral, pearl, and shell.

orient – The iridescence shown by some pearls. It’s caused bylight being reflected and refracted as it passes through layers ofnacre. Mother-of-pearl and abalone shell can also have orient.Also see bodycolor, overtone.

orthoclase – Species of the feldspar group that produces moon-stone.

oval – (1) Cut: A faceted fancy shape with an oval girdle out-line. This shape is also used for cabochons and tablets. (2)Pearls: A pearl that appears oval from the side. Also see sym-metrical.

overtone – A translucent tint that sometimes appears to o verlaythe bodycolor of a pearl. The most frequent overtone colorsinclude rosé (pink), green, and blue. Also see orient.

oyster – See pearl oyster.

Paraíba tourmaline – Trade term for tourmaline with vividblue or green color (caused mainly by copper), named for thestate in eastern Brazil where it was discovered.

particolor tourmaline – Generic term for bicolor, tricolor, andwatermelon tourmaline.

Paua shell – See abalone shell.

pavé setting – Setting style in which small gems are set ne xt toeach other across part or all of the je welry’s upper surface.

pavilion – The lower part of a faceted gem. Also see crown,girdle.

peacock – Trade term for a Tahitian pearl color that’s deepgreenish to bluish gray with strong rosé or purple o vertone.Also see aubergine, pistachio.

pear – A faceted fancy shape with a girdle outline that’s round-ed on one end and pointed on the other . This shape is used forcabochons and tablets as well. Also called a drop.

pearl – An organic gem produced by various mollusks, includ-ing oysters, mussels, and sea snails. Natural pearls usuallyform when an irritant accidentally enters the shell, and the mol-lusk coats it with nacre. Cultured pearl formation in volves thesame biological process, but is triggered by artificial nucleation.(Under FTC guidelines the term pearl, when used without qual-ification, means natural pearl.) Pearl is one of the June birth-stones, and it’s the gem for the 3rd and 30th anni versaries.Also see abalone pearl, akoya pearl, blister pearl, conch pearl,freshwater pearl, keshi, mabé, Melo pearl, South Sea pearl,Tahitian pearl, whole pearl.

pearl oyster – A bivalve (two-shelled) pearl-producing molluskthat lives in saltwater. Pearl oysters are actually more closelyrelated to scallops than to common edible o ysters. Also seemussel.

pearl shape – See shape (2).

pearl value factors – Size, shape, color, luster, surface, andnacre. Matching is also important for pearls used together injewelry.

pegmatite – A type of igneous gem formation that occurs wheningredient-rich fluids from a magma solidify in a relati velylarge underground cavity. Pegmatites produce a greater abun-dance and variety of colored gems than any other geologic envi-ronment.

pelle d’angelo – Trade term for coral color meaning light yetbright pink. Also see ariscuro, bianco, rosa pallido, rosa vivo,rosso, rosso scuro, secondo coloro.

pendant – A necklace with a gem setting that’s directly con-nected to the neck chain.

pendant earrings – Earrings with gems or other decorative ele-ments that dangle. Also called drop earrings.

per-carat price – The cost for each carat of a gem. Also seetotal price.

peridot – Gem variety of the olivine mineral group. Colorranges from light to dark greenish yellow or yellowish green.Peridot is a birthstone for August and Libra, and it’s the 16thanniversary gem. An old alias is evening emerald because peri-dot can look bright green in subdued light, b ut that term is nowconsidered a misnomer. A leading source is the San CarlosIndian Reservation in Arizona.

phenomenal gem – A gem that displays a special optical ef fect.Examples include alexandrite, opal, and star sapphire. Also seecat’s-eye effect, change-of-color, iridescence, moonstone effect,play-of-color, star effect.

pigeon-blood – Old trade term for the most valuable color ofruby, a deep vivid slightly purplish red.

pin – A piece of jewelry that’s usually fastened to a garment bya hinged pin and catch. Sometimes called a brooch.pistachio – Trade term for a Tahitian pearl color that’s a mutedyellow-green. Also see aubergine, peacock.

pit amber – Amber that’s dug from the ground (usually depositsburied in coastal sands). Also see sea amber.

xii Colored Gemstones Glossary

planogram – A graphic diagram of how selling space is allottedto merchandise groups in a store.

plasma – Chalcedony variety that’s dark green with white oryellow spots.

plastron – A turtle’s lower shell. Some tortoiseshell is madefrom the plastrons of hawksbill sea turtles. These consist oflarge single plates that are translucent and creamy yello w topinkish orange in color. Also see carapace.

Plat – Abbreviation for platinum.

play-of-color – The shifting rainbow colors seen in opals. Thephenomenon occurs because opals are composed of minutespheres that break up white light into spectral colors. To pro-duce play-of-color the spheres must be about 4 to 8 millionthsof an inch in diameter, they must be uniform in size, and the ymust be stacked in a grid-like pattern.

pleochroism – Transmitting (or showing) different colors in dif-ferent crystal directions. Many doubly refractive gems exhibitthis property because when light is polarized the separate raysmay undergo differing selective absorption and take on differentcolors. You usually see a blend of any pleochroic colors thatare present, but in gems like iolite and tanzanite the effect is sostrong you see distinctly different colors depending on yourviewing direction. Also see dichroism, doubly refractive,trichroism.

plunger – See gem plunger.

point (pt) – (1) Weight: 0.01 (1/100) carat. (2) Cut: The point-ed end of a pear, marquise, or other fancy shape.

polariscope – Gem-testing instrument designed to determineoptic character. It can also detect pleochroism.

polarization (light) – Splitting a light beam into two separaterays. This occurs in doubly refractive gems.

polish – The smoothness and luster of a fashioned gem’s sur-faces.

polymerization – A chemical reaction in which simple mole-cules join together in complex structures. Over millions ofyears, this process turns pine resin into amber.

potch – See common opal.

prase – Dark green variety of chalcedony.

precious coral – The most familiar type of gem coral. Made ofcalcium carbonate, its colors range from white and cream topink and deep red. Leading producers are Japan, Malaysia,Philippines, and Taiwan. Also see akori coral, black coral,golden coral.

precious gem – A traditional classification that includes dia-mond, emerald, ruby, sapphire, and pearl. Other gemstones arethen classified as semiprecious. Most professionals say the cat-egories are misleading and the term semiprecious is unf airlynegative. But both terms (precious and semiprecious) are stillwidely used.

precious topaz – Trade term used to distinguish topaz from cit-rine and smoky quartz.

pressed amber – A gem material made by heating and com-pressing small fragments of amber. Also called reconstructedamber.

primary deposit – A natural accumulation of gems where theyformed or first came to the Earth’s surface. Also see secondarydeposit.

princess – A pearl or gemstone bead necklace length that mea-sures about 17 to 19 inches. Also see choker, collar, matinee,opera, rope.

profiling – The selling skill for gathering key information abouta customer and her or his needs by asking focused questions,listening actively to responses, and interpreting nonverbal clues.

prong setting – A setting in which slender metal claws or tineshold the gem.

property – A gem characteristic produced by the combinationof chemical composition and crystal structure. Gemologistsnormally observe or measure properties to identify gems. Alsosee absorption spectrum, cleavage, fluorescence, hardness, opticcharacter, pleochroism, refractive index, specific gravity, stabili-ty, toughness.

proportions – The relative sizes and angles of a faceted gem’sparts and facets.

Pt – Abbreviation for platinum.

pt – Abbreviation for point (weight).

pulling – A melt process for making synthetic gems. Chemicalingredients are first melted in a crucible. Then a seed crystal isdipped into the melt and slowly pulled away, growing the syn-thetic as it goes. Sometimes called the Czochralski process,this is a low-cost way to produce synthetic ruby, synthetic sap-phire, and synthetic spinel. Also see flame fusion, flux synthe-sis, hydrothermal synthesis.

pyrite – A gold-colored mineral that sometimes occurs as aninclusion in lapis lazuli and turquoise. It can gi ve those gems aspangled appearance. Also called fool’s gold.

pyrope – A garnet species that ranges from medium to dark red.Most red garnets are actually mixtures of almandite and p yrope.Chrome pyrope has a deep red color caused by chromium.

Quality Assurance Tag – A tag that’s attached to cultured pearlstrands or individual pearls that meet quality standards estab-lished by the Japan Pearl Exporters’ Association.

Colored Gemstones Glossary xiii

quality mark – A word, abbreviation, number, or combinationof such elements stamped on jewelry to indicate the fineness orkarat rating of the metal.

quartz – The most abundant mineral species in the Earth’scrust. Quartz varieties include amethyst, ametrine, citrine, rockcrystal, rose quartz, smoky quartz, and tiger’s-eye. Most ofthese are normally transparent in gem quality.

quench-crackling – Heating a gem like colorless quartz andthen dunking it in water to create fractures that can be f illedwith dye. This treatment is used to make imitations of gemssuch as emerald, ruby, and sapphire.

rainbow moonstone – Variety of labradorite feldspar that dis-plays a phenomenon closely resembling the moonstone ef fect.(Instead of a floating glow, rainbow moonstone may show float-ing iridescence.) The main source is India.

reconstructed amber – See pressed amber.

refraction – The slowing and bending of light in a gem or othermaterial.

refractive index (RI) – A numerical way of expressing thestrength of refraction. The higher the RI, the more light slowsand bends inside the gem. RI is one of the most constant prop-erties, and it’s often used in identification. Also see doublyrefractive, singly refractive.

refractometer – Gem-testing instrument used to measure refrac-tive index.

regional metamorphism – The type of metamorphism thatresults from major geologic events such as mountain building.As the depth and weight of accumulated rock increase, temper-atures and pressures in lower layers climb, new chemical ingre-dients come together, and minerals over a vast area may betransformed. Gems that can be formed in this w ay includealexandrite, emerald, ruby, sapphire, tanzanite, and tsavorite.

rhodolite – A garnet variety that’s predominately a mixture ofalmandite and pyrope. Color ranges from light pink to darkpurple-red. Important sources include Kenya, Madagascar, SriLanka, Tanzania, and Zimbabwe.

RI – Refractive index.

river sorting – Breaking up of gems with large inclusions orstructural weakness as they tumble in streams and rivers.Because of river sorting, alluvial deposits tend to contain higherpercentages of good quality gem material than primary or elu-vial deposits.

rock crystal – Colorless variety of quartz. Leading sources areBrazil and Madagascar.

rope – A pearl or gemstone bead necklace length that measuresmore than 45 inches. Sometimes called a sautoir . Also seechoker, collar, matinee, opera, princess.

rosa pallido – Trade term for coral color meaning pale pink.Also see ariscuro, bianco, pelle d’angelo, rosa vivo, rosso, rossoscuro, secondo coloro.

rosa vivo – Trade term for coral color meaning dark pink. Alsosee ariscuro, bianco, pelle d’angelo, rosa pallido, rosso, rossoscuro, secondo coloro.

rosé – A pink pearl overtone.

rose quartz – Pink variety of quartz. Unlike most other quartzgems, rose quartz is usually translucent. Sources includeBrazil, India, Madagascar, Namibia, Sri Lanka, and the US.

rosso – Trade term for coral color meaning red. Also seeariscuro, bianco, pelle d’angelo, rosa pallido, rosa vivo, rossoscuro, secondo coloro.

rosso scuro – Trade term for coral color meaning dark red.Also see ariscuro, bianco, pelle d’angelo, rosa pallido, rosavivo, rosso, secondo coloro.

round – (1) Cut: A faceted gem, cabochon, or tablet with a cir-cular girdle outline. (2) Pearls: A pearl that appears completelyspherical. Also see near-round, shape (2).

rubellite – Red or deep pink variety of tourmaline.

ruby – Red variety of corundum. Color can be slightlyorangish, purplish, or pinkish. But to be classif ied ruby thedominant hue must be red, and overall color must be at leastmoderately dark and strong. Otherwise the material is correctlyidentified as sapphire. Ruby is the July and Capricorn birth-stone, and it’s the gem for the 15th and 40th anni versaries.Important sources include Cambodia, Kenya, Madagascar,Myanmar, Tanzania, and Vietnam.

saltwater pearl – A natural or cultured pearl produced by amollusk that lives in the ocean or some other body of saltw ater.Akoya, South Sea, and Tahitian pearls come from saltwater.Also see freshwater pearl.

San Carlos Indian Reservation – One of the world’s top peri-dot sources, located in southeastern Arizona.

sapphire – Variety name for any color of corundum except red(which is ruby). Color range includes various shades of blue,pink, purple, yellow, orange, green, violet, brown, and gray.But in the gem trade the term sapphire, when used alone, usual-ly means blue sapphire. Other colors are classif ied as fancysapphire. Sapphire (of any color) is the September and Taurusbirthstone, and the gem for the 5th and 45th anni versaries.Leading producers include Cambodia, Laos, Madagascar,Myanmar, Sri Lanka, Tanzania, and Vietnam.

sard – Dark orange or brown variety of chalcedony.

sardonyx – Chalcedony variety with straight bands of darkorange or brown alternating with black or white. Sardon yx isone of the August birthstones. Leading producers are Brazil,India, Madagascar, and Uruguay.

satin finish – A finely textured version of brushed finish.

saturation – One of the three color components. Saturation(also called brightness, chroma, and intensity) is a color’ sstrength and purity. For example, emerald and sage green havedifferent levels of saturation. Also see hue, tone.sautoir – See rope.

xiv Colored Gemstones Glossary

scute – See carapace.

sea amber – Amber that’s found floating in the sea or w ashedup along the shore. Also see pit amber.

secondary deposit – A natural accumulation of gems wherethey were carried and concentrated by erosion. Also see allu-vial deposit, eluvial deposit, primary deposit.

secondo coloro – Trade term for coral color meaning orangishred. Also see ariscuro, bianco, pelle d’angelo, rosa pallido, rosavivo, rosso, rosso scuro.

sedimentary gem formation – Geologic process in which gemminerals form from ingredients that are dissolved in water andthen re-deposited in cracks or cavities close to Earth’s surface.Malachite, opal, and turquoise are sedimentary gems.

selective absorption – The absorption (or subtraction) of certaincolors of light by a gem or some other object. Selecti veabsorption plays a role in producing most gem colors. F orexample, amethyst absorbs orange, yellow, and green light,leaving a mix of red and blue we percei ve as purple.

semiprecious gem – A traditional classification that includes allgems other than the "precious" gems (diamond, emerald, ruby ,sapphire, and pearl). Most professionals say the cate gories aremisleading, and the term semiprecious is unfairly negative. Butboth terms (precious and semiprecious) are still widely used.

September birthstone – Sapphire (all colors)

setting – To most consumers this term means the entire piece ofjewelry. More technically, it’s the way in which a gem is held.

SG – Specific gravity.

shape – (1) Cut: The outline of a cut gem seen f ace-up. (2)Pearls: One of the pearl value factors. Main categories arespherical (round and near-round), symmetrical (oval, button,drop, etc), and baroque (irregular). Round pearls are generallymost valuable.

shell – An organic gem material obtained from the shells ofvarious mollusks. Also see abalone shell, ammolite, conchshell, helmet shell, mother-of-pearl.

sherry topaz – Trade term for topaz that’s orange to yellow-brown.

signature – The elements that distinguish a jewelry brand. Inaddition to the designer or manufacturer’s name, it can includeinspirational themes, the way the jewelry is made, the metalsthat go into it, its form and style, and the gems and ho w they’reset.

simulant – See imitation.

singly refractive (SR) – Having one refractive index. Whenlight enters a singly refractive gem, it only slows and bends.Also see doubly refractive, optic character, refraction.

size – For most gemstones this term usually means caratweight, but can also mean dimensions. For cultured pearls italways means dimensions measured in millimeters.

slide – A large pendant with slotted sides made to slide on aheavy neck chain.

smoky quartz – Brown variety of quartz. Also called cairngormafter an old source in Scotland’s Cairngorm Mountains. Topproducers now include Brazil, Mexico, and the US. Because ofcolor similarity, smoky quartz is sometimes confused withtopaz. Terms such as burnt topaz, smoky topaz, and topazquartz are misnomers for smoky quartz.

smoky topaz – Misnomer for smoky quartz.

solitaire ring – A band of precious metal set with a single gem-stone.

solution process – See flux synthesis and hydrothermal synthe-sis.

South Sea pearl – The rarest and most expensive type of cul-tured pearl, grown primarily in waters around Australia,Indonesia, and the Philippines. Size is lar ge – normally about 8to 18 millimeters. Shapes are often circled. Colors range fromwhite and cream to silver gray, golden yellow, rose pink, andaqua blue. Luster tends to be satin y. Also see Akoya pearl,Tahitian pearl.

species – A mineral type defined by the combination of chemi-cal composition and crystal structure. Also see group, variety.

specific gravity (SG) – The weight of a material compared tothe weight of an equal volume of water. Also see density, prop-erty.

spectrolite – See labradorite.

spectrophotometer – Advanced gem-testing instrument thatmeasures selective absorption from infrared to ultraviolet, andprints out the results on a graph that re veals even subtle details.Also see absorption spectrum.

spectroscope – Gem-testing instrument used to analyze absorp-tion spectrum.

spessartite – A garnet species that ranges from light to darkorange. Also called spessartine. Leading sources are Namibia,Nigeria, Madagascar, and Zambia.

spherical – The pearl shape category that includes round andnear-round pearls. Also see baroque, symmetrical.

spiderweb turquoise – Trade term for turquoise that has thinveins of matrix in an attractive web-like pattern.

spinel – A mineral species that occurs in various shades ofpink, red, orange, blue, violet, and purple. Spinel is the 22ndanniversary gem. Important sources are Madagascar, Myanmar,Sri Lanka, Tanzania, and Vietnam. Also see flame spinel.

spodumene – Mineral species that produces kunzite.

Colored Gemstones Glossary xv

spotting – See surface.

spray pin – A free-form pin with gems in an open cluster -likearrangement.

SR – Singly refractive.

stability – Resistance to damage not directly related to hardnessor toughness, including heat, sudden temperature change,intense light, moisture loss, and chemicals. Also see durability.

stabilization, stabilizing – See impregnation.

stag horn – See deer antler.

stamping – See die-striking.

star effect – The phenomenon that occurs when intersectingbands of light form a star pattern that appears to mo ve acrossthe top of a gem. It’s usually caused by reflections from micro-scopic needle-like inclusions that crisscross in specific direc-tions. The best-known examples are star ruby and star sap-phire, but the effect sometimes occurs in gems such as garnet,quartz, and spinel. Also known as asterism.

star ruby – Corundum variety that’s red and displays a stareffect. Star ruby is a July and Capricorn birthstone, and it’ s agem for the 15th and 40th anniversaries. The most importantsources are Myanmar and Sri Lanka.

star sapphire – Variety name for corundum that displays a stareffect, and is any color other than red. Black (which includesall very dark colors) is most common. Others are blue, violet,purple, pink, brown, gray, and white. Star sapphire is aSeptember and Taurus birthstone, and it’s a gem for the 5th and45th anniversaries. Leading producers are Myanmar and SriLanka.

station necklace – A necklace made of pearls or gemstonesinterspersed on a chain, cord, or wire. Pearl v ersions are some-times called Tin Cup necklaces.

steam cleaner – A professional cleaning device that removesdirt from unset gems or jewelry with high-pressure blasts ofsuper-hot water. Steam cleaning can damage most coloredgems.

step cut – A faceted cutting style that has rectangular or trape-zoidal facets arranged in rows. The most popular version is theemerald cut. Also see brilliant cut, mixed cut.

ster – Abbreviation for sterling silver.

sterling silver (ster) – Jewelry metal alloy that’s 92.5% silverand 7.5% copper. Under FTC guidelines this is also the mini-mum fineness for items marked silver or solid silver.

stickpin – A straight pin with a gemstone setting at the top.

stipple finish – A decorative metal finish of tiny indentationsand ridges.

studs – Earrings with single gems or small clusters in simplesettings for pierced ears.

sun spangles – Small reflective fractures produced by heatingamber and then dunking it in cold w ater.

surface, surface condition, surface quality – A pearl’s relativefreedom from blemishes such as bumps, spots, pits, scratches,and nacre cracks. This is one of the pearl value factors. Alsocalled blemishing, cleanliness, and spotting.

Swiss lapis – Misnomer for dyed blue jasper (a mineral relatedto chalcedony).

symmetrical – Pearl shape category that includes oval, button,and drop. Also see baroque, spherical.

symmetrical display – Display style in which both sides of animaginary center line mirror each other in shape, size, and posi-tioning. Products are usually lined up in ro ws. Also see asym-metrical display.

symmetry – The precision of a cutting style’s execution.

synthetic, synthetic gem – A manmade version of a naturalgem. A synthetic has essentially the same chemical composi-tion, crystal structure, and characteristics as its natural counter-part, but it’s produced in a factory or lab. Also see flamefusion, flux synthesis, hydrothermal synthesis, imitation,pulling.

tablet – A gem fashioning style that’s typically thin with a flatbottom and top. It’s often used for opaque gems with attracti vecolor patterns or distinctive markings.

tagua nut – See corozo nut.

Tahitian pearl – An exotic type of cultured pearl that’s increas-ingly popular. Most Tahitian pearls come from FrenchPolynesia, and range from about 8 to 18 millimeters in size.Shapes are often circled. Colors include silv er gray, golden yel-low, bronze, pistachio, aubergine, and peacock. Overtone isoften strong, and luster can be almost metallic. Also see Akoyapearl, South Sea pearl.

tanzanite – Blue, purple, or violet variety of zoisite. Tanzanite,is a December birthstone and it’s the 24th anniversary gem.The only significant source is Tanzania.

tension setting – Setting style in which opposite ends of a cir-cular jewelry form (such as a ring) hold the gem by the force oftension.

thermal shock – Cleavage or fracture caused by rapid change intemperature. Gems vulnerable to thermal shock include emer-ald, garnet, opal, peridot, tanzanite, and tourmaline.

threatened species – An animal or plant species that’s likely tobecome endangered.

three-phase inclusion – An inclusion that consists of a gas b ub-ble, a liquid, and a solid crystal trapped together inside a gem.Also see two-phase inclusion.

three-quarter pearl – A pearl made by grinding away part of awhole pearl, usually to remove an area with obvious blemishes.

xvi Colored Gemstones Glossary

tiger’s-eye – A chatoyant variety of quartz. Color is usuallyyellowish brown or brownish yellow. Because the phenomenonis caused by fibrous structure (rather than needle-like inclu-sions), the gem usually displays a silky sheen or diffused cat’s-eye effect. Unlike most other quartz gems, tiger’s-eye isopaque. A main source is South Africa. Also see hawk’s-eye,zebra tiger’s-eye.

Tin Cup necklace – A pearl station necklace, named for the1996 movie in which lead actress Rene Russo w ore one.

tone – One of the three color components. Tone is a color’slightness or darkness. For example, red and pink have differenttones. Also see hue, saturation.

topaz – A mineral species that occurs in many shades of blue,yellow, brown, orange, red, and pink. All colors of topaz arebirthstones for November and Sagittarius. Blue topaz is thegem for the 4th wedding anniversary and it was a Decemberbirthstone until 2002 (it was preplaced by tanzanite). Imperialtopaz is the 23rd anniversary gem. The leading producer isBrazil. Also see golden topaz, precious topaz, sherry topaz.

topaz quartz – Misnomer for citrine and smoky quartz.

torsade – A necklace made of several strands of small pearls orbeads twisted together.

tortoiseshell – An organic gem material made from the shell ofthe hawksbill sea turtle. It’s translucent, and can be a mottledbrown and yellow, black and white, or pure yellow to pinkishorange. Since the 1970s trade in ne w tortoiseshell has beenprohibited under CITES and the Endangered Species Act. Alsosee carapace, plastron.

total price – The entire cost of a gem. Also see per-carat price.

total weight – The combined weight of all gems in an item ofjewelry.

toughness – Resistance to chipping and breaking. Also seedurability, hardness.

tourmaline – Conventionally classified as a species, but actual-ly the name for a group of about a dozen related minerals.(Most gems come from the species known as elbaite.)Tourmaline occurs in multiple shades of nearly every hue. It’sone of the October birthstones, and the 8th anni versary gem.The most important source is Brazil. Also see bicolor tourma-line, cat’s-eye tourmaline, chrome tourmaline, indicolite,Paraíba tourmaline, particolor tourmaline, rubellite, tricolortourmaline, watermelon tourmaline.

trace element – A chemical element that’s caught up and incor-porated in a growing mineral crystal, but isn’t part of the miner-al’s basic chemical composition. In many gems trace elementscause color.

treated gem – A gem that has undergone treatment.

treatment – An artificial process that improves a gem’s appear-ance or durability. Treatments for colored gems include bleach-ing, coating, diffusion, dyeing, filling, heating, impregnation,and irradiation. (Fashioning techniques like faceting and carv-ing aren’t considered treatments.) Also called enhancement, butthe FTC says that term is often decepti ve.

trichroism – Transmitting a total of three different colors (ormixtures of them), depending on the direction from which thegem is seen. Also see dichroism, pleochroism.

tricolor tourmaline – Tourmaline that shows three different col-ors side-by-side. Also see bicolor tourmaline, particolor tour-maline, watermelon tourmaline.

triplet – An assembled gem with three main components. Alsosee opal triplet.

tsavorite – Green variety of grossularite garnet. The only sig-nificant sources are Kenya and Tanzania.

tube setting – See bezel setting.

turquoise – A mineral species that’s opaque and light to medi-um-dark blue or bluish green. It may also sho w spangles ofpyrite, or include remnants of matrix. Turquoise is one of theDecember birthstones, and it’s the 11th anniversary gem.Leading producers are China and the US. Also see spiderwebturquoise.

two-phase inclusion – An inclusion that consists of a gas b ub-ble and a liquid trapped together inside a gem. Also see three-phase inclusion.

ultrasonic cleaner – A device that cleans jewelry by sendinghigh frequency sound waves through a detergent solution.Ultrasonic cleaners can damage some colored gems.

umbalite – See malaya garnet.

uniaxial – Doubly refractive with one SR direction. Also seebiaxial, optic character.

United Nations Convention on International Trade inEndangered Species of Wild Fauna and Flora (CITES) –Worldwide treaty aimed at protecting animals and plants threat-ened with extinction. International trade in ivory, tortoiseshell,and some other organic gem materials is controlled underCITES.

Uru Valley – The world’s main source of fine jadeite, located innorthern Myanmar.

variety – A subcategory within a mineral species, usually distin-guished by color or phenomenon. For example, ruby is the redvariety of corundum, and any other color of corundum is sap-phire. Also see group, species.

veggie ivory – An organic gem material obtained from plantsources and used as a substitute for i vory because of similaritiesin appearance and physical characteristics. Also see binroji,corozo nut, duom palm nut.

Colored Gemstones Glossary xvii

xviii Colored Gemstones Glossary

veggie pearl – Trade term for a freshwater pearl with a shaperesembling rice, corn, potato, etc.

vermeil – A jewelry metal made of sterling silver coated orplated with gold.

Verneuil process – See flame fusion.

water sapphire – See iolite.

watermelon tourmaline – Tourmaline that has a pink centersurrounded by green. Also see bicolor tourmaline, particolortourmaline, tricolor tourmaline.

white opal – Opal that’s translucent or opaque with play-of-color on a white or light gray base. The most important sourceis Australia. Also see black opal, crystal opal, f ire opal.

whole pearl – A natural or cultured pearl that grows unattachedto the mollusk’s shell. Also see blister pearl.

window – An area of washed-out color in a faceted gem, usual-ly seen around the center when it’s viewed face-up; most oftendue to cutting proportions that don’t maximize light return.Also see extinction.

zebra tiger’s-eye – Tiger’s-eye with streaks of blue and browncolor.

zircon – A mineral species that occurs in blue, green, yello w,brown, orange, red, pink, and occasionally purple. (It can alsobe colorless.) Light-colored zircons may show the optical effectknown as dispersion. Zircon is one of the December birth-stones. Leading producers are Cambodia, Myanmar, Thailand,and Vietnam.

zoisite – Mineral species that produces tanzanite. Zoisite morecommonly occurs in translucent to opaque green or pink, andrarely in transparent green.

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Colored Gemstones

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