Exactly what are the lapidary arts? Succinctly put, lapidary arts are the activities involved with shaping stones, minerals and gems into decorative items such as cabochons and faceted gems.

Access = Growth

I have been playing and working in the lapidary world for the past ten years. I facet, cab and carve gemstones, sell rough materials to other lapidary artists, teach faceting and carving, along with selling ULTRA TEC faceting machines. From 1988 to 2000, I worked as a researcher and developer on the National Science Foundation project that kickstarted the birth of the Internet. I am seeing parallels between the amazing digital communications paradigm shift and the lapidary arts’ evolution. The internet is the main catalyst driving the current renaissance of lapidary arts. The other major factors propelling lapidary arts forward are design software, new equipment and materials, and the ability for people to work from home – a unique opportunity for growth in our industry.

Now information is at our fingertips and traveling to buy rough stones and lapidary materials is a luxury and an adventure. People can travel to the Bolivia mine to buy the world’s finest ametrine for gemstone faceting, but they can alternately receive photos, videos, descriptions, and pricing via WhatsApp minutes after a request. Payment takes just seconds and a purchase can be delivered in days. This replaces the old mine-to-broker-to-exporter-to-importer-to-broker-to-gemstone cutter system and negates the additional markup of price for each of these hand-offs. Being able to conduct business online is significant because it provides lapidary artists and jewelers quick, affordable, and easy access to gemstones and rough from around the world.

Learning & Sharing

Previous generations of cutters were constrained to years of training through the apprenticeship model of instruction. The internet has freed newcomers by providing access to most of the information needed to get started and the ability to purchase the necessary materials. On a personal note, I can provide remote video faceting training globally. Follow-up questions are answered via email text and messaging. Although in-studio lessons are superior, the ability to provide a live video lesson brings the cost of learning gemstone faceting down significantly.

We can share information easily, but that does not mean that it happens. As with most trades, crafts, and artistic endeavors, processes and techniques have often been secretive. I see that the new generation of lapidary artists is more willing to share their knowledge with colleagues and beginners. We are starting to understand that knowledge is power, but only when it is shared. Social media provides rapid sharing and co-development of ideas, allowing quick development of new designs, techniques, and collaborations.

Selling Online

Easily available e-commerce gives stone dealers, cutters, and jewelers the ability to sell their materials online. Using social media, we have been able to create profitable and growing businesses. We no longer have to own a physical storefront, visit jewelry store clients, or attend gem and mineral shows. In four years, I was able to amass 60,000 followers on Instagram and Facebook. The result of this social media growth translates into my gemstone faceting business being booked nine months out. The cost of presenting and selling my finished lapidary creations is now at a minimum. My faceting students can set up and sell their gemstones six months after their first lesson with minimal sales infrastructure investment.

Digital Lapidary Design

The digital benefits of lapidary are not limited to information and commerce. Over the past years, gemstone designers have used computers to calculate the mathematical equations and geometry necessary to both improve and create better-performing and spectacular gemstones. Robert Wood Strickland developed the GemCad and GemRay programs that allow any gemstone cutter to use a computer to design and optimize their gemstone creations. The recent addition of the Gem Cut Studio has made creating gemstone designs available to anyone who has a computer, the time to read the manual, and a commitment to practice. All the basics of math, geometry, and gemstone attributes (such as material hardness and refractive indexes) have been put in the CAD (Computer-Aided Design) programs. The programs/apps shorten the learning curve in gemstone design by months if not years. Of course, knowing the basic principles of these disciplines is beneficial, but no longer an obstacle to generating cutting-edge designs. These programs are tools that put current cutters years ahead of their predecessors.

Precision Lapidary Tools & Materials

Newly developed precision tools have allowed artists to work faster, more accurately, and with finer detail. There are also new materials such as better abrasives for faceting, cabbing, and carving all varieties of rocks and gems. In addition, cutters are using instruments made for different media in their lapidary work. In Henry Hunt’s book, “American Lapidary, Designing the Carved Gemstone,” the author claims that in any artistic endeavor, originality follows the introduction of new tools and techniques. With this break from tradition, we are seeing the new generation of lapidary artists developing new processes and techniques that are innovative and exciting.

An Exciting Future for Lapidary Work

All of these innovations and advancements put new and young individuals looking to create their own lapidary art business in a unique and advantageous position. The ability to build one’s own business is a catalyst in the evolution of the lapidary arts.

We have a new generation of craftspeople and artists who grew up understanding and applying the components of this digital and readily accessible world. They find more rewarding and meaningful employment with the freedom to define their lives on their own terms. The recent development of accessible individual health care and the stay-at-home mentality that COVID-19 instilled also advanced this new breed of independent workers. These shifts enabled people to work at their home studios and within a new business model. Lapidary artists can make and sell whatever they want and whenever they want and are no longer restricted by a brick-and-mortar store, corporate structure, or marketing research reports.

Driven by Industry Pioneers

A renaissance is driven by a group of pioneers. There are dozens of lapidary artists, engineers, and free thinkers who have laid the path for the new generation of lapidary artists. It’s worth your time to look at some of the groundbreaking lapidary artists in the United States. Enjoy their creations and get inspired.

Years from now, when the next generation of lapidary artists looks back at this era of lapidary advancement, I hope that they see what I am seeing – a revolution, an evolution, and a renaissance. This is what happens when advanced technology, global trade, instant communications, social media e-commerce, and a new generational shift of the paradigm exists. I invite you to be aware, open your eyes, seek out, and enjoy the magnificent and wondrous creations of our contemporary lapidary artists during these innovative times.

This story about a lapidary renaissance appeared in Rock & Gem magazine. Click here to subscribe. Story by Mark Oros.

The post Exploring a Lapidary Renaissance first appeared on Rock & Gem Magazine.

While viewing the front of the Brazilian agate slab, I spotted a much more interesting group of features that I could use to enhance the overall aesthetic of the piece. A three-inch circle would allow me to bring out all of the best patterns that the piece could offer. I sketched the circle and added a curved feature on the top so I could drill a hole for suspending the piece as a pendant.

Where do I get my project inspiration? First, this column pushes me out of my usual cab shape routine and into using different materials, shapes, textures, patterns or colors. I read a lot of books on lapidary and jewelry design and also subscribe to a couple of magazines that have current jewelry styles and materials such as blue gems and minerals. Sorting through my multiple boxes of slabs often triggers my imagination too.

MAKING THE SHAPE

Before and during grinding, I make sure to follow proper lapidary safety precautions. While grinding the piece to a preformed shape, I used a one-inch diameter Mizzy silicon carbide wheel run dry to shape the inside curves on the top section. I drew a line halfway up the girdle as a guide for shaping the dome of the cab. I used an ultra-fine Sharpie felt tip pen to draw the line.

After I finished shaping and sanding the front of the Brazilian agate cab, I turned it over and focused on the translucent area. It was to be enhanced and ultimately be the main focus of the cab. From the start, I intended to drill four holes in the back of the cab so they would show through from the front. I drew a curved line in the center of the translucent area so I could lay out the position of the four holes. (It gives more visual interest if the holes aren’t in a straight line and if they are varied in size from larger to smaller.) I also made sure that they were evenly spaced between the holes.

DRILLING & FINISHING

I drilled small pilot holes for each bit and placed the bits in these holes to verify the correct spacing. I started drilling with a small coarse diamond bit. To get the best drilling action on the bits, I turned them on their sides. If you try drilling by placing the bit vertically, the very center of the bit does no work because it is spinning in one spot. By placing it sideways, the diamonds in the bit sweep across the cab and remove material.

I gradually stepped up in bit size and grit size until I reached the desired hole size. Because I wanted to ensure that the holes were highly visible from the front I drilled the holes up to 1mm from the front of the cab. I used an inside caliper to measure the 1mm depth. The final grinding step involved using a very large bit to chamfer the top edge of the hole to remove any chips.

The finishing steps were done with shaped wood bits using 220 and 400-grit tumbling media followed by shaped wood bits and cerium oxide polish.

The finished Brazilian agate piece came out much better than I had expected!

This story about Brazilian agate appeared in Rock & Gem magazine. Click here to subscribe. Story by Bob Rush.

Step By Step

The post Brazilian Agate Inspiration first appeared on Rock & Gem Magazine.

ABOUT MOROCCAN SEAM AGATE

Moroccan seam agate’s colors are amazing, just like the fall in New England. The colors range from red, orange, pink, peach and green. They are sandwiched between a basalt host stone, and the outer layers are mostly a mix of hematite and goethite. This creates a beautiful border, that at times, has a plume or even a paisley appearance. The majority of the inside of this agate will have a common range of color from red to orange, with decorative banding or fortifications.

HOW TO BUY

When purchasing Moroccan seam agate, you can easily see the patterns showing on the edges. This gives you a good idea of what the slabs will look like inside.

Most of this agate will range from 1/4-inch to two inches thick. This isn’t very thick and it can be a challenge to create shapes from it. What Moroccan seam agate lacks in size, it makes up in color and patterns. Most of the time it’s best to slab this material from north to south. If pieces are a bit thicker and show signs of agate pockets, these can be sliced horizontally, and you can accommodate a different pattern.

CUTTING MOROCCAN SEAM AGATE

The slabbing process is fairly easy with this material. Most of the pieces are like trimming the edges off of a slice of bread. I do all my cuts on a 10-inch trim saw.

Once Moroccan seam agate slabs are cut, this is where the challenge starts. Creating cabs with long thin narrow pieces can be difficult, at least to create a variety of shapes. I tend to choose large oblong ovals or marquise shapes for the majority of my cabs, however, you can get creative and find various ways to cut them utilizing the patterns in each slab. Always take into account that the very edges of each slab are softer grainy basalt that won’t be very good to leave in your cab design, so mark out each preform accordingly.

CABBING THIS MATERIAL

Once your preforms are trimmed out, the cabbing process is pretty standard for most agates. There are just a few things to note upfront.

The outer basalt rind should be trimmed off until you reach solid material, then grind your edges down to your preform marks.

The hematite/goethite edges might be a slight bit softer than the agate center. Don’t worry. This material won’t undercut, however, you will still need to closely watch your edges as cracks may appear as you start grinding down your girdle edge. They usually don’t go all the way through, they tend to show up, but only about 1mm deep. If this happens, you may have to alter your pattern slightly and grind that portion down or draw the edge of your cab in ever so slightly. You may also just shrink down your girdle edge and see if that makes it go away.

From this point, shape and dome on the 80 grit steel wheel. Once your shape is obtained, you can start smoothing out the top on either a 140 soft resin wheel or 220 grit wheel. This should remove the majority of the scratches. Next, finish sanding on the 280 soft resin wheel and continue to dry the cab off checking for any remaining scratches. It’s important to get all of the scratches out on this wheel before moving on since the 600 grit will not be able to get them out.

From this point, the remaining routine will finish off your Moroccan seam agate cab leaving a beautiful high polish on the 14k grit wheel and your cab is all ready to set into jewelry.

This story about Moroccan seam agate appeared in Rock & Gem magazine. Click here to subscribe. Story by Russ Kaniuth.

The post Moroccan Seam Agate: What to Cut first appeared on Rock & Gem Magazine.

Seraphinite Properties

The mica inclusions give the stone wonderful chatoyancy. The inclusions grow at different lengths, the longer ones give that feather appearance. Other times you get shorter growth patterns in rows that give the mystic forest appearance. The radial growth patterns in this stone are more highly sought after and make for beautiful designs in cabochons.

Finding Seraphinite

Although seraphinite is getting rather scarce to find, it is still available for sale at shows and online. Most of the time you can easily see what you’re getting, as the patterns will be quite visible on the outside. If you are looking for certain patterns and a higher grade, buying pre-cut slabs is the way to go. If you have never cut seraphinite before, know there are some pitfalls with this material. It’s soft and can easily break in the trimming or cabbing process. It also has varying hardnesses, so it can tend to undercut, as well as easily chip on the edges.

Cutting to Enhance the Patterns

When getting started on cutting slabs, there is a general direction to cut. Most of the time you will see radial or partial radial sprays at the bottom portion of the stone. That will give you a grasp of what is top and bottom, so you can cut north to south for your slabs. This will yield the best chatoyant patterns in the stone. I would also suggest cutting your slabs a slight bit thicker than the average stone because of its softness.

This gives you greater odds against it breaking in the cabbing process. Once your slabs are cut, many times you will get two predominant patterns for design. The top portion usually has smaller feather patterns that are tight together. The bottom portion will give you more radial sprays and longer feathery designs. Both sections are great to design cabs with but remember that the solid green areas are harder than the mica inclusions, and will tend to undercut. The lighter the color, the softer that portion.

Cabbing Seraphinite

Once your preforms are trimmed out and you are ready to cab, I would suggest a different routine than cabbing agates or jaspers. I like to start on a worn 80-grit steel wheel, or a 140-grit soft resin, as this material tends to grind away super easily and quickly. Use a soft touch to shape your outside design, then move to a 140-grit or even the 280-grit soft resin wheel to dome the top and clean up your edges and girdle on the cab.

Remember, the lighter the color, the softer it is, so beware when trying to cab thin cabs or long pointy cabs, it can break easily!

Once you have completed shaping and doming the cab on the 280-grit wheel, stop and dry it off thoroughly and be sure you have removed all the scratches by this point. With the mica inclusions running in a certain direction, you will easily see if there are any scratches, as they will stand out going against the feathery sprays.

From this point, start polishing gently on the 600-grit wheel, trying not to put too much pressure on the surface to alleviate any unwanted undercutting. Continue to the 1200 grit wheel and end on either the 3k grit or 8k grit wheel. At this point, it will give you a nice glossy finish where no added polishing compounds are needed.

This story about seraphinite previously appeared in Rock & Gem magazine. Click here to subscribe. Story by Russ Kaniuth.

The post Seraphinite – What to Cut first appeared on Rock & Gem Magazine.

Although most people know this material for its beautiful blue color, it also can be found in pink and violet. Dumortierite can be found in various places across the globe, and at times, has been mistaken for sodalite, or lapis lazuli. Some variations that have gorgeous fibrous dumortierite sprays inside quartz crystals are rare. These tend to be very small pieces, usually ranging from one to five carats. Dumortierite is a good material for lapidary beginners to get hands-on experience. It’s available almost anywhere rocks are sold in a good variety of colors and patterns. It’s fairly hard, usually about seven to eight on the Mohs scale. It also cuts fairly easily.

Tips for Buying Dumortierite

When buying Dumortierite rough, the colors usually show on the outside, but it can have a thin brown rind that can be chipped away to expose the inner color. Many times the blues can be mottled with a lot of white. If a certain hue of blue or continual color throughout is needed, it’s best to buy slabs to be certain.

Cutting Rough Dumortierite

When starting out cutting rough, there is no certain direction to load the saw. This is helpful so that it can be loaded in a way that best fits the vice and yield the most material by cutting straight across the entire stone in one direction. Once the slabs are cut, there generally aren’t many fractures in this material. However, it’s always best to bench test before marking up the slabs for preform designs. Either flex the slab in hand to see if it’s stable or lightly tap it against the workbench or ground to see if there are any hidden fractures. This helps to avoid breaking while in the middle of trimming out cab shapes.

Cabbing Dumortierite

Once the preforms are cut and ready for cabbing, be sure to have a dry towel or canned air available to check for scratches along the way. Since towels get damp in a hurry and canned air can start getting expensive, one suggestion is to get a five-gallon air tank with a spray nozzle. It can be continually filled up by a personal air compressor or by a nearby gas station and it will last for quite a while.

Dumortierite tends to quickly show heavy white marks if scratches are still present. I suggest starting on an 80-grit steel wheel to shape and dome cabs and moving to either a 60-grit soft resin wheel or 140 soft resin. This material is fairly hard, so it will take a bit of time to smooth it out and remove all the scratches from the 80-grit wheel. Be sure to dry off occasionally and see if any white scratches are showing.

From this point, move on to the 280-grit soft resin wheel. A white or pale blue haze across the cab is to be expected, but not scratches. Make sure no scratches exist before moving forward. From this point, it’s fair routine to continue cabbing to the 600 grit, all the way up to the 14k grit soft resin wheels.

Finishing Gloss

A 50k grit polishing wheel works great to get an added high-luster gloss. Unless going slow in short increments, it’s not suggested to use polishing compounds on this material. Also, be sure not to allow the material to heat up too much. It can tend to fracture with heat.

This story about dumortierite previously appeared in Rock & Gem magazine. Click here to subscribe. Story by Russ Kaniuth.

The post Dumortierite: What to Cut first appeared on Rock & Gem Magazine.

After 30 years of procrastination, I purchased a brand-new rock saw and grinder/polisher. Wow, did I have fun! For that first few months of cutting and grinding, I was in seventh heaven. All those lovely rocks I had lusted after for so long were finally put under my polishing wheel: lapis, agate, jasper, tiger’s eye, malachite, turquoise, chrysocolla and quartz.

But I soon began to experience a nasty and completely unexpected cavalcade of health problems: coughing, hoarseness, difficulty clearing my throat, breathlessness, and a dull ache in the pit of my lungs. Of course, I had always worn safety glasses with side protection, as recommended in every manual, but a mask seemed a cumbersome hindrance. As the situation worsened, I tried several dust masks, but there was little improvement. It was time to do a little research, so I hit the books and started talking to fellow rockhounds. It was a revelation. Rock dust from lapidary work turns out to be more than just a nuisance; it can be deadly.

Dangerous Dust

A single heavy dose can cause crippling lifelong problems. It attacks the lungs in a variety of ways: First, by coating the inner lining and blocking the transmission of oxygen into the bloodstream. Second, tiny sharp fragments slice and cut into the alveoli, which coat the inner lining of the lungs, causing irritation and inflammation. Fresh dust seems to be more harmful because the sharp edges have not had a chance to be softened by moisture. Some forms of rock dust are quite poisonous in and of themselves. Whether it is inhaled, ingested, or contacted by exposed skin, the effect can be injurious to your health.

Copper Oxide Minerals

Among the worst offenders are minerals containing copper (II) oxide (CuO), the higher oxide of copper, which can cause damage to the endocrine and central nervous systems. These minerals include some of our most colorful and treasured semiprecious stones: turquoise (9.8% copper oxide), chrysocolla (45%), and malachite and azurite (70%). These percentages are only close approximations; each rock has its own signature of impurities.

It is worth remembering that other closely related copper compounds are highly bioactive and have been used in pesticides, fungicides, and wood preservatives for decades. This is dangerous material. These high-copper rocks should not be licked to bring out the color, and oil mixed with the dust should be carefully cleaned off exposed skin.

Several lapidaries who smoke have described their own novel test for overexposure: Apparently, copper-impregnated dust combines with nicotine and tobacco tar in saliva to form a sickeningly sweet compound similar to saccharin. When their mouths start to taste like a candy factory, these rockhounds know it’s time to quit. Another sign is influenza-type symptoms. Symptoms of CuO dust poisoning mimic the flu, causing headaches, coughing, sweating, sore throat, nausea and fever. Skin, eye, and respiratory tract irritation are also common, along with a distinct “metallic” taste. A common name for these health effects is “metal fume fever.”

Silicate Minerals

Almost all the rocks most favored by cutters and polishers contain compounds that can be dangerous when inhaled. Silicates are the most common family of minerals on Earth, and silicosis has long been one of the chief hazards facing stonemasons.

The ancient Greeks and Romans were the first to observe its ravages and correctly associated the problem with mining and rockwork. Similar to the “black lung disease” of coal miners, it came to be known in later years as “grinder’s consumption.” The simple steps taken to prevent it were a major achievement in the modern field of occupational health. Ironically, although silicosis is well understood today, thousands still die from its effects every year, mainly from mining and sandblasting in the third world.

The symptoms of inhaling crystalline silica (SiO) dust include shortness of breath, cough, fever, emphysema, pulmonary fibrosis, lung scarring, and increased susceptibility to tuberculosis and cancer. Silicosis often takes many years to develop from repeated exposure to low doses of dust, but once established it is irreversible.

Widespread Silicates

The silicates include a bewildering variety of precious and semiprecious stones. In fact, it’s hard to imagine the world without them, as they can be found in every class of rock and occupy a niche in every conceivable geological environment on the planet.

The family includes quartz, chalcedony, jasper, agate, aventurine, bloodstone, carnelian, chrysoprase, amethyst, opal, onyx, beryl, petrified wood, obsidian, flint, chert, soapstone, sandstone, glass and tiger’s eye. In almost all of these, the content of silicon dioxide approaches or exceeds 50%.

It should be mentioned that African tiger’s eye also exposes the lapidary to another potent danger: asbestos. The vibrant optical effect of its chatoyancy is caused by parallel-oriented, finely fibrous amphibole asbestos. Serpentine has a high chrysotile asbestos content, but this is not considered quite as dangerous as the tiger’s eye. Some soapstone varieties also contain asbestos and should be cut or carved with caution.

Fossil Dangers

Radioactivity from fossils is a hazard that isn’t often top of mind. In a recent study of 300 randomly selected fossils from the Hagerman Fossil Beds of Idaho conducted by C. Neal Farmer, Ronald L. Kathren, and Craig Christensen, a handheld Geiger-Müller survey instrument detected discernible levels of radiation one to two orders of magnitude above the ambient level of background radiation in three-quarters of the specimens (“Radioactivity in Fossils at the Hagerman Fossil Beds National Monument”, Journal of Environmental Radioactivity, Vol. 99, Issue #8, August 2008, pp. 1355-1359). That is a huge difference.

In some areas, like the Hagerman Fossil Beds National Monument (Idaho) and the Morrison Formation at Dinosaur National Park (Colorado/Utah), fossils have even been hunted using Geiger counters.

According to the study, radioactive fossils seem to occur most commonly between 900 and 1,000 meters above sea level in ancient sandy riverbeds, while clay-rich deposits and those at other altitudes do not seem to show these high levels. Apparently, naturally occurring uranium produces radium, which decays into radon, an inert gas. Ancient groundwater transported these radioactive elements into sandy fossil-bearing areas, where they precipitated out of solution during the fossilization process. Even small fossils like shark teeth and trilobites can have significant readings.

The National Park Service is so concerned that it put out a “Conserve O Gram” with detailed instructions for handling and displaying specimens. While it is probably safe to collect most fossils, at the very least, you should wash up and change your clothes after leaving the field. And always wear a respirator when you cut or polish the pieces—radioactive dust is highly carcinogenic!

Tips for Safe Handling

But enough of the doom and gloom. A few simple precautions can almost completely eliminate the threat of injury from most rock dusts. Here is a list of suggestions that will make your workshop a lot safer and allow you to enjoy lapidary work in good health.

1. Wear a Mask

Always wear a National Institute for Occupational Safety and Health (NIOSH) approved respirator with replaceable cartridges and dust filters. Some cartridges today combine a prefilter with the cartridge, which makes things simpler.

Respirators provide a wide variety of protection against dusts, solvents, fumes and mists. They are designated N, R and P, depending on the cartridge’s ability to filter out oil; N stands for “no protection”, R for “resistant to oil”, and P for “oil-proof”. The number that follows the initial tells you what percentage of the particulates is filtered out by the cloth prefilter. For example, an N-95 respirator will not keep out oil spray but will screen out 95% of airborne dust particles.

Avoid cheap dust masks; they don’t fit tightly enough and they filter poorly. If you can, try on several different respirators at the store to get the best fit. Shave your beard, if you have one, to get an airtight seal. Store the mask in a closed container or plastic bag when it’s not in use, and occasionally wash it with warm soap and water, both inside and out.
Try this simple negative pressure test on your respirator: Block up the air inlets, breathe in, and hold your breath for 20 seconds. If the mask is still held airtight against your face, it fits. Cartridges should be changed after about eight hours of use.

2. Work Outside and/or Ventilate

An open window or air conditioner does not provide adequate ventilation for the lapidary workplace. The simplest solution is to work outside. This keeps most contaminants out of your workshop and costs nothing, but it is not always possible.

If inside is your preference, consider setting up a local exhaust ventilation system. This would include a dust hood to collect contaminants, ducts to carry them outside, and a suction fan to power the system. Adjustable blast gates would allow a dust hood to be placed next to each appliance. Ducts should be circular, with as few bends as possible, and should exit the shop. If you have close neighbors or are processing a lot of rock, provide a dust collector to remove contaminants from the vented air.

Setting up such an elaborate system can be expensive and time-consuming for the part-time hobbyist. Some woodworking tool suppliers have come up with an ingenious alternative. They have adapted a wet/dry-type vacuum cleaner with a High-Efficiency Particulate Absorbing or Arresting (HEPA) filter to collect shop dust using a little extra pipe and some suction nozzles. There is no reason this system should not work for rock dust, as well. The vacuum should be placed outside the house because the dust-laden air sucked into the intake will be blown out the vacuum’s exhaust port. Even HEPA filters fail or become clogged, and some dust will always slip through. It’s far better for it to be blasted outside than into the shop or another enclosed area. Kits, diagrams, pipe and suction nozzles are available on the internet. Search for “dust collection” and “dust collection network”.

3. Lubricate

Always use water or oil as a lubricant when cutting, drilling, polishing or faceting, but be aware there are problems with both fluids. When water evaporates, it stops holding the dust down, allowing it to become airborne. A fine oil mist laden with toxic dust can be kept out your lungs with a good respirator, but it will settle on skin surfaces and stick like glue. Also, most lapidary oils are highly irritating or downright poisonous to breathe. Some, like old-fashioned kerosene, are dangerously flammable, as well. Everyone has their favorite method, but I work outside using mineral oil and a P (oil-proof) respirator cartridge with a built-in 100% particulate filter.

4. Cover Up

Always wear a head covering and apron and/or coveralls when grinding, and change clothes after you have finished. Rock dust loves to stick to clothing and hair, and you will carry it around the house and breathe it all day long (as will your family) if you don’t change. Take a shower after your lapidary work, shampoo your hair and use lots of soap. Launder coveralls and work clothes frequently. Disposable clothing, coveralls, and an apron might also be an option.

5. Don’t Sweep

Never dry sweep the workshop. Most of the dust will just become airborne and migrate elsewhere. Use a vacuum cleaner with a HEPA filter instead. If you really want to get down and dirty, use a wet mop on the floor and a wet rag with a water bucket on other surfaces.

Not all of these suggestions need to be slavishly followed. If you grind infrequently, you can probably forget some of them, but if you are an addict like me, you might want to implement most. Individuals vary greatly in their tolerance to rock dust. Some will go through life with nary a problem, but others can be extremely sensitive. Low doses on a daily basis will slowly accumulate, and that dust isn’t going anywhere once you breathe it in. Smoking and living with a woodstove or in an area with poor air quality will make you that much more vulnerable to problems. Listen to your body. If your lungs start to complain, take more precautions; you only have one set to last a lifetime.

FURTHER READING: Health Hazards Manual for Artists, 6th Ed., by Michael McCann Ph.D. and Angela Babin (Lyons & Burford Publishers, 2008)

This story about how to handle lapidary minerals safely previously appeared in Rock & Gem magazine. Click here to subscribe. Story and photos by Douglas Hamilton.

The post 5 Tips to Handle Lapidary Minerals Safely first appeared on Rock & Gem Magazine.

Purchasing Ghost Fire Agate

Since this is a new material, it’s not readily available everywhere just yet, it can be found mostly on Facebook in some of the rock sales forums. When buying ghost fire agate, it’s best to buy from pictures that show at least one side faced, or cut in half, so that you can see what you are getting inside. This material has a great deal of matrix on the outside, and a greater portion inside. It’s best to see how much agate is there before committing to a price that might not yield enough usable agate area to cab since it’s purchased by the pound.

Slabbing Ghost Fire Agate

When starting to slab this material, I cut from two sides, north and west. This way I could see if there were drusy pockets or completely agate-filled nodules. I was able to choose which patterns I liked best. There is no definitive direction to load the stone in the vice, as there are no north-to-south types of patterns in this stone. Start off with the flat sides held tight in the vice. Once you get it cut, if there are large areas of the matrix in the center, I like to cut through them, and downsize the larger stones, so that I can cut smaller ones on a 10-inch trim saw. That way it’s much easier to switch directions with each slab cut, instead of continually loading a vice on the larger saws.

Once your slabs are cut, and it’s time to draw preform designs, you can include some of the matrix that’s still solid enough to cab and not worry about undercutting too much. I have noticed that the plumes grow from areas of the matrix, so I designed them in a way that the matrix is used as a partial framing of the cab. Other times, you can run into patches of beautiful purple and blue agate and isolate that as your cab. The other pitfall to look out for is the calcite that seems to border some of these areas. It’s much softer than the agate and will undercut fairly easily, especially if it’s on the edge of your cab.

Cabbing & Finishing

The cabbing process is fairly routine to most agates, but there are still several ways you can go to obtain the same results. Most lapidaries use a 6-diamond grit wheel setup. For those who still have, or use silicon carbide belts on a poly arbor, they seem to work well in the beginning stages as long as they are on two separate machines, and you rinse the cab off before going back to diamond grit, to keep from contaminating the machine with diamond wheels.

Start shaping and doming on the 80-grit steel diamond wheel. Once you have that portion done, you can continue to a 140 soft resin diamond wheel, or switch to a poly arbor set up, with 100 and 220 silicon carbide belts. The 100 will quickly smooth out the cab and remove all the deep scratches from the 80-grit. The 220 will completely remove any remaining scratches, making it quick and easy to finish the rest of the way on the diamond wheels, starting back on the 600, and all the way up to the 14k.

This story about ghost fire agate previously appeared in Rock & Gem magazine. Click here to subscribe. Story by Russ Kaniuth.

The post Ghost Fire Agate: What to Cut first appeared on Rock & Gem Magazine.

Why Hand Polish?

Hand polishing is something even the most novice and/or youngest rockhound can easily do. It requires only a few materials, doesn’t cost much and results in beautifully polished stones. Some people find the rhythmic motion of hand polishing to be relaxing, offering almost a Zen-like experience. Using the Mohs Scale of Hardness, softer stones like turquoise and amber work best for hand polishing. These stones often don’t fare well in a tumbler anyway, which is one more reason to polish them by hand. 

How to Polish Rocks

Step 1

Start by cleaning the rock(s) by hand. Fill a small bucket with hot, soapy water to clean off dirt. If the stone has a lot of crevices or stubborn residue, an old toothbrush works wonders. Once the rock is thoroughly cleaned, rinse off the soap, then throw out the soapy water and refill the bucket with clean water to use throughout the process.

Step 2

Round the corners and do some rough shaping with 220-grit sandpaper. Begin by moistening the sandpaper and placing it grit-side up on a cutting board or other hard, flat surface. Wet the rock, hold it in your dominant hand and begin rubbing it along the sandpaper to remove the hard edges. Continuously wet the rock to remove fine particles and continue the sanding process until the edges become smooth and rounded or you achieve the desired shape.

To shape and polish harder substances, opt for something coarser. Some people begin with an 80-grit, but sandpaper this coarse shouldn’t be used on softer stones because it could add more scratches than remove. A quick reminder – the lower the number, the coarser the sandpaper.

Step 3

Refine the shape and remove heavy scratches with 500-grit sandpaper. Moving up to finer sandpaper helps remove significant scratches and helps further refine the shape. Keep the rock wet throughout the sanding process for better results.

Step 4

Remove lighter scratches and begin polishing with 1200-grit sandpaper. Using extra-fine sandpaper buffs out tiny scratches on the stone’s surface. The shine will start forming during this step. Make sure to keep the rock wet, rinsing it often to expose anything that’s been missed. 

Step 5

Dampen a square of thick cloth, preferably denim or similar material, and add a good dab of toothpaste. Work the stone through the toothpaste and over the fabric to create a beautiful luster. Depending on the stone, add more toothpaste several times until the desired shine is achieved.

“There are lots of polishing compounds out there,” said Allen McGhee, long-time rockhound and hand polisher. “But I’ve found that toothpaste works just as well, and it’s cheaper. Pretty much any toothpaste works, so don’t buy the high-priced ones.”

Step 6

Rinse off the toothpaste and coat the newly polished stone with mineral oil or a commercial rock polish to bring out the luster. Once the rock dries, it’s ready to show off.

Augmenting with a Dremel

A Dremel is a popular motorized rotary tool that’s handy for grinding and smoothing sharp edges and completing extensive shaping of hard stones, especially those with lots of crevices.

“You can shape and polish rocks and gems faster with a Dremel if you want,” said McGhee. “They make heads for them with all three levels of grit you need.”

When using a Dremel, protective eyewear is a must. Even small chips can damage an eye. Gloves should be used to protect hands. Sharp edges on the rock and the rotating tip of the Dremel can break the skin. Wearing a mask prevents inhaling the tiny particles coming off the rock as it is ground. 

Using a Dremel comes down to personal preference. Some prefer a more natural shape, so they do very little shaping but want to give their rocks a nice bit of shine. Alternately, a Dremel comes in handy for a perfectly smooth and/or rounded stone or for harder rocks that will take a long time to smooth by hand. 

Tumbling Vs. Hand Polishing

Many people inadvertently think rock tumblers offer the fastest way to polish rocks. In reality, rock tumbling is a lengthy process that generally takes anywhere from several days to several weeks. The larger and harder the rocks, the more time tumbling takes. Hand polishing offers a quick turnaround for softer rocks. 

On the other hand, rock tumbling is less labor-intensive since the machine does all the hard work.

Merits of Polishing Rocks by Hand

Although hand polishing can be time-consuming based on the hardness of the rock, it gives more control over the finished product. This control can be especially important if the final result will impact the quality, value and/or overall appearance of a rare or expensive rock or gem. Hand polishing can also give a desirable sense of accomplishment. 

This story about how to polish rocks previously appeared in Rock & Gem magazine. Click here to subscribe. Story by Moira K. McGhee.

The post How to Polish Rocks by Hand first appeared on Rock & Gem Magazine.

For the last two weeks, I have been teaching advanced lapidary bench classes with the California Federation of Mineralogical Societies at their beautiful, forested site called Camp Paradise in the Sierra Nevada mountains. Multiple subjects are taught there including faceting, lapidary, advanced lapidary, soft stone carving, silversmithing, lost wax casting enameling and fused glass.

As a part of my classes, I teach making the tools used in carving the back and fronts of cabs. To my knowledge, these techniques are not commonly taught elsewhere.

Materials Needed

There are four different materials that I use to make my tools: 

• Wood dowels or wood wheels 
• Cratex rubberized wheels (with silicon carbide embedded into the rubber wheels) 
• Silicon carbide Mizzy wheels 
• Silicon carbide sanding blocks 

Wood Dowels

The wood dowels that I use are one-half-inch in diameter. If I have a small hole to work on I use a three-eighth-inch diameter dowel. I cut them into one-half-inch length pieces and drill a small hole into the end to accept the screw end of a half-inch threaded point mandrel. I then shape them by spinning the dowel in a flex shaft unit and applying a coarse wood rasp. I use these rounded shapes to sand and polish the decorative holes that I carve into the back of cabs. To sand the sides of a groove I shape the inside of a wood wheel and use tumbling grit for the sanding media.

Shaped Wheels

The second tool that I use is made from Cratex rubberized wheels. I shape them on a diamond T-bar stone wheel dresser by holding it at an angle to the back side of the spinning Cratex wheel. I use this wheel to sand the sides of a groove.

The third tool that I make is a shaped silicon carbide Heatless Mizzy wheel. It is shaped in the same manner as the Cratex wheel. This wheel is used to carve a groove in a cab.

Silicon Carbide Sanding Blocks

The fourth tools I use in my cab-making process are silicon carbide sanding blocks. They are made from silicon carbide material and are about three-eighth-inches square and four inches long. They come in various grits from about 220-grit through 600-grit. They also come in soft binder and hard binder which is determined by how the grit is bound together. I only use the hard binder. They are used to smooth out the lumps and low places in a carving after the grinding steps. I use them to round out the top shoulder and the V of a V-shaped groove. 

I cut up silicon carbide grinding wheels on my slab saw to make silicon carbide sanding blocks. When I have finished carving the top of rounded grooves on a carving, I shape the end of a silicon carbide carving block with a cylinder diamond bur to sand the top of the rounded grooves. 

I find that by making my own specialized tools I can make the work on my carvings go quicker and with a better overall outcome.

Steps By Photo

This story about making cabochons previously appeared in Rock & Gem magazine. Click here to subscribe. Story by Bob Rush.

The post Making Cabochons with Handmade Tools first appeared on Rock & Gem Magazine.

Many of us have some level of barely started or otherwise unfinished projects stashed away in our studio or shop waiting for the idea or motivation to work on them. Usually, I make my cabs somewhat larger for displaying at shows. I don’t often make my cabs for jewelry use, but this month’s jewelry theme gave me an excuse to resurrect a long-buried, but not forgotten project. 

After struggling to remember what I did with a particular pair of preforms five years ago, I found them together surprisingly quickly. The intended design was to have one piece nested into the larger one. The larger one is a slab of Brazilian agate with contrasting color bands. The smaller piece is a small cab of Laguna agate.

Making the Cabochon

I started with shaping the Brazilian agate slab into a semi-circle with an inverted curve in the bottom to accommodate the smaller cab. I also sketched a design at the top so I could carve a tab that I could drill through for stringing the piece on as a necklace. I shaped the Laguna agate into a pointed teardrop shape sized to fit into the bottom of the larger cab.

I shaped the curve in the larger piece with a silicon carbide Mizzy wheel. The Brazilian agate piece was ready for carving the ridges across the face. I started carving the ridges in the face of the Brazilian agate with a small diamond wheel. I followed this by enlarging and shaping the grooves with a shaped Mizzy wheel. The next step involved sanding the groves with a shaped 220-grit silicon carbide sanding block. The final sanding was done with various shapes of wood bits and a slurry of 220-grit tumbling media. The polishing was done with shaped wood bits and a slurry of cerium oxide.

I drilled the inside curve on the bottom of the Brazilian agate and the top of the Laguna agate cab with a 1mm diamond core drill so I could install a silver wire loop in each of the holes.  I used Epoxy 330 to glue the wire loops into the stones. I assembled the stone pieces by connecting the silver loops. I’m pleased with how the project turned out. 

Steps by Photo

This story about cabochons for jewelry making previously appeared in Rock & Gem magazine. Click here to subscribe. Story by Bob Rush.

The post Cabochons for Jewelry Making first appeared on Rock & Gem Magazine.