USFG NEWSLETTER

December

USFG NEWSLETTER 25267 PINEVIEW DR. COLFAX, CA 95713

Vol. 4 No. 4

USFG

Charles L. Moon Mar 95 155 Myrtle Ct. Arcata, CA 95521

1994

YOUR OFFICERS FOR 1994 - 1995

• President: James Ball 503--994-3992 3551 NE Surf Dr., Lincoln City, OR 97367

• Vice President: Walter Carss 409--836-6910 Rt. 3, Box 700, Brenham, TX 77833

• Secretary: Glenn Klein 714--951-0119 21741 Midcrest Dr., Lake Forest, CA 92630

• Treasurer: Lillian Hettich 415--726-1680 31 Sea Breeze Drive, Half Moon Bay, CA 94019

• Editor (acting): Fred Van Sant 916--346-2042 PO Box 980, Colfax, CA 95713

• Membership: Jean Marr 919--595-3870 PO Box 1815, Kernersville, NC 27285

CONTENTS Article Page Letters to the Editor ----------------------------- 3 Sequencing Facets ------------------------------ 4, 5 The Diagonal Measure --------------------------- 6 Corrections: Angles for Quartz ----------------- 6 Angles for Topaz ------------------------------ 7 -10 3 Faceting Tips ----�-,---------------------------- 11 Norm Steele to Han of Fame ------------------- 11 English Form Guild �-----------:------------------ 11 Measuring Crown Height --------------------�-- 11 Design: Backgammon #2 ---------------------- 12 Clear Lake Competition -------------------- 13-16 Northwest Conference 1995 ---------------- 17-22 New Design: Charllie Moon Checker --------- 23 What's New ----------------------------------- 24-29 Not Enough Crown Material Left? ------- 30-31 Australian Cup Challenge 1996 --------------- 31 USFG Member Data ---------------------------- 31 Main Shows -------------------------------------- 31 New Design: Trixie ----------------------------- 32

OUR NEW EDITOR

Member Barbara Green, assisted by her husband Larry, will be taking over as editor of this newsletter in 1995. Please send correspondence to: Barbara Green, PO Box 782, Sweet Home, OR 97386. Phone (503) 367-6493. I will assist Barbara in any way I can. I hope you will too. FVS

USFG Newsletter Page 2

The USFG Newsletter is a quarterly publication of the U.S. Faceters Guild.

sponsored by CRYSTAL/TE CORPORATION

13449 Beach Avenue, Marina Del Rey, C al. 90292 (213) 821-6332 FAX (213) 827-1061 TELEX 205339

NOTICE: The opinions expressed in this newsletter are those of the editor, contributing members, or quoted authors, and do not necessarily represent the United States Faceters Guild and its Membership. This newsletter is for the express purpose of sharing information, and has no intent to show preference to, or cause damage to, any product manufacturer or commercial company.

NEW MEMBERS

Sumei Yeh, California G. A. Gray, California R. G.Camp, Indiana Gary L. Draper, California Eldon Fransein, Texas Roy Wells, California Joseph G. Garcia, California Vincent Bishop, Pennsylvania

DUES Please note the Month and Year shown on your newsletter address label. To keep your membership active please send in your dues before the first day of the month shown. We publish the newsletter in March, June, September, and December, so it will be one of those months, plus the year, which is 1995 for all of you. You won't receive a personal notice, so please check your label. COMING UP: You won't want to miss the 1995 newsletters. In March we will have R. Strickland's angles and pictures for Corundum, and in June a similar set of angles and pictures for Cubic Zirconia. We will try to get the newsletter out earlier in the month. For March members, send your $15 (US members) to Lillian Hettich, 37 Sea Breeze Dr., Half Moon Bay, CA, 94019 any time after you receive this issue. Canadians $16, and overseas $21. We had to increase the overseas rate because $19 didn't quite cover costs. Oversea members were getting a bargain.

Letters to the Editor From member Joe Mangelsdorf: In the Sept. Newsletter there is a tip from Don George about using water to hold the Ultra film laps. My tip to the USFG is to use dishwashing liquid detergent. Drizzle a small amount on the master lap and smooth out with the finger. Place the film lap on the master lap and wet the film with water. With machine turning work out the excess detergent with your finger. This method will not cause the lap to fold or bend. Also you can use more pressure to polish your gem. This is a lot less expensive than using olive oil or corn oil.

From member David S. Weaver: Regarding your article "Angles For Quartz", by Robert Strickland, I much appreciate Stricklands article in the USFG newsletter of Sept. 1994. To ,!P,e .. this absolutely confirms the data published by.the Echerts (1) and the plots of Long and Steele (2). I do not agree with the editor that cutting in clear quartz has no value. If the cutting in quartz confirms the calculated results, then the calculated results for other materials are probably valid; thus the plots of Long and Steele for corundum, topaz, and CZ and all the Echerts data for various materials become valuable. My own cutting of CZ (9 stones) indicate they are on the right track.

There must be strong emphasis made that these results are for a standard round brilliant only and do not apply to other cuts, in particular triangles or emerald cuts.

Quartz cut with the pavilion angle below the critical angle can be very attractive if the center dark area is minimized. This can be done by using apex crowns, very small tables, and staying just below the critical angle.

In regard to the experimental cutting of 54 clear quartz stones, this is far too many stones and a waste of time. One of the principles of experimental design is that levels of variables be chosen which can result in measurable or observed results. For example: If a stone is cut at PA 43.5, CA 36 then there is little point in cutting PA 43.5, CA 32, or cutting PA 43, CA 36 because the results cannot be detected as being different.

I propose cutting seven stones which would confirm your chart, page 14, and I would still have some doubts about our ability to detect differences

by eye. These stones are: Pavilion:

40.5 41 41.5 42 42.5 43

Crown: 28 24 36 32 44 40

40 32

This puts 2 stones in each like area and 1 stone extra below the CA. (1) Angles, A Guide To Better Faceting

Echert & Echert, 1985 (2) Facet Design Volume 7

Long & Steele, 1989

Members who are also in the Northern California

Faceters Guild: I would appreciateit if one or more of you would send in news items that other guild members might be interested in. Your editor broke off exchanging newsletters with USFG without any explanation about a year ago, so I haven't been getting THE TRANSFER BLOCK. That is why the International Faceters Fair in Sacramento received no attention in this newsletter. FVS.

Balloting Results: All three measures passed. Measure 1: Yes--17, No--1 Measure 2: Yes--18, No--0 Measure 3: Yes--16, No--2

Beginning next year, members will receive a membership card as receipt for payment of dues.

THIS ISSUE: The Backgammon #2 Cut is given on page 12 to compliment an analysis of its crown on page 5. We continue R. Strickland's series of angle analyses with "Angles for Topaz"; the next issue will have "Angles for Corundum". From requests for help with various designs, I perceive a gap in the area of how to sequence the cutting of facets. Even very experienced cutters sometimes have trouble. Part of it has to do with visualization, but there are things to look for and principles to be learned. FVS

USFG Newsletter Page 3

SEQUENCING FACETS by Fred Van Sant

In our last newsletter I said that the sequencing of facets is determined by the order in which points on the stone must be made, and that the two most common starting places were either a culet point or a set of girdle points. Now we will look at a couple of actual examples to illustrate just how one analyzes a design to determine the cutting order.

First we1ll take the El Diablo pavilion; I have received an inquiry about it. It seems my list of facet sets was taken as a cutting sequence. On my own designs I seldom give a cutting sequence. The list is just a list for you to sequence your own way. The facets set numbers are only for handy reference. You should recognize the El Diablo as a barion style pavilion. "What is a Barion" was in the June 94 issue. Most oblong barion pavilions have an angular bend along the side between steep break facets and the shallower culet facets; this design is no exception. The meetpoints along this,bend must Be derived from the cutting sequence; they cannot b�ltsed for starting meetpoints. This design can be cut from one of the preforms given, or meetpoint style starting at the culet. Let's analyze it both ways. Starting with a preform, we first want to make a level girdle line around the stone, so we will cut the girdle breaks, sets 1 and 2. This line should be high enough up the stone to make room for the culet. But why guess; why not cut set 7 first so we know where to make the girdle line to begin with. You can see on the plan view that only on the ends is there a facet connecting the girdle and the cul et. This link between the girdle. and the culet is very important, and should be established on your stone as early as possible. So cut set 7, then girdle the stone at 70°. By girdling the stone I mean to cut a level line of break facets around the stone at a single mast height setting, using the highest break facet angle. In this case it is 66.36° for Pl, but we set it a few degrees higher so we can later fit Pl to meet Point 2-4-6 (Point 2-4-6 is the point created by cutting facets 2, 4, and 6).

On n�arly all oblong barion pavilions you have to start at the ends and chain toward the middle of the sides. Once the end points are made, sets 2 and 4 can be cut to meet at the end, and set 6 can be cut to meet at the culet. This makes Point 2-4-6 to which sets 1 and 3 are cut. It would be premature to cut set

USFG Newsletter Page 4

5 along with set 6, because if set 5 is already cut when we chain from corner to the side, then how are we going to fit set 3 in? Sets 1 and 5 would create a meetpoint on the Y axis, and when you go to cut set 3 you would probably fall short of that meetpoint or overrun it, unless you cheated, and we don't want to do any unnecessary cheating. It wastes time and leads to complications. So we leave set 5 to the last.

Next we cut sets 1 and 3 to Point 2�4.;6""and sets 1 and 3 make a new meetpoint on th;eY axi}. Now we cut set 5 to fit between this new m6etpg-ifit and the culet. Set 5 may not be exactly 41 degrees but it will be close; nobody will know the difference, and no cheating will be necessary. Whenever you chain around the stone, look for a point at or near the end of the chain where you can make an adjustment which will bury any accumulated errors.

Usually the sequence starting from the culet is the reverse of that starting at the girdle. Since the connection between the girdle and culet is through set 7, we should cut that set first and make the culet point. Since we have to start our chaining from the end girdle points, we should make those two points next by cutting 4 facets at 90° on set 2 indices, using a constant mast height so both ends are the same. From the two end points cut sets 2 and 4, and from the culet cut set 6. As before this makes the meetpoint to which sets l and 3 are cut. Now sets 1 and 2 make the meetpoint to which the 90° girdles at set 1 's indices are cut. Again, set 5 is cut last and to fit.

El Diablo Pavilion

The other example is the pavilion of the Backgammon #2, as shown on the official diagram for the 1996 Australian Cup Challenge. At first glance it appears that the shape is indeterminate; no method is given for determining the size of the cut corner. I had a call about this. In our Sept. Newsletter

( C}

the article about Gemstone Geometry discussed how three facets make a point and two facets make a line, and that the Slope of a line is determined by the angles of the two adjacent facets and their index numbers. Look at this pavilion. Do you see that sets 1 and 2 both extend from girdle to culet, and the line between them hits a corner? That's your answer. .

Gl

Backgammon #2 Pavilion

G3

This pavilion is a natural CLAM Preform ( Comer Locator Angle Method), which means that two facets meeting at the culet make a line which locates a corner point. In this design they are facets 1 and 2. If you make a rectangle at 90° . to the required L/W, which is 1.422, then cut sets 1 and 2, you will have a point on the sides of the stone to which the G2 facets at 90° can be cut, completing· the preform. Most CLAM preforms are not naturals, and the two facets coming off the culet are temporary, used only to locate the corner point.

For a third example, the crown of the Backgammon #2 cut offers another lesson in sequencing points made on the stone. Here we have a rather complicated group of facets on the ends of the stone.

Backgammon #2 Crown

This crown brings us to yet another thing to look for in analyzing a design --Step Facets. Always look for pairs of step facets; they can help you immensely in deciding the order of cutting. Here we have four pairs of them: d and e are at index 2, f and g are at index 4, k and m · are at index 22, and j and h are at index 24. Working from girdle to table, the lower­angled facet of each stepped-pair can be put off until its higher-angled companion is cut. You should also be aware that the three girdle break facets a, b, and c are the upper members of a step pair with the 90°

girdle facets, and if they terminate at a single upper point, they too are flexibe. We will use this advantage to cut the correct angle of facet "a" last.

So here you will first make a level girdle line around the stone using the highest angled break facet which is c at 66.24 ° on the ends, but you can let the angle be whatever it wants when you move to index 12 at the corner and index 96 on the side, as long as it doesn't go below a or b's angle. After girdling there's a couple of ways to go, you could work up the side with the large zig-zag facets and adjust the end facets to fit, or you could work up the ends and adjust the large zig-zag facets to fit. Working from the end is best. Why? Because the large zig-zags are at lower angles and harder to cut accurately. Facet f is already down to 1 7 degrees--an angle where you should start using a 45 ° dop, and it's a waste of time changing to a 45 ° dop and back.

So starting at the ends, cut b and c, then d and k. Then facets j and m, followed by i, will finish up the ends of the stone. Now you have the two points to which facet f should be cut. The upper steps--g and h can then be cut in that order without any problem, then cut set e to fit, and then set a is cut last and to fit.

;QJ' This sequence takes the most advantage of the steps. �h�n �ou have pairs of steps as on this crown, the

qp_'pe�, oije, of the pair can usually be postponed to your advantage, because its angle is flexible. If you can let your accumulation of small errors end up on a step facet, you can often save yourself the necessity of cheating. It's much easier to make an adjustment in an angle instead of an index number ( cheating).

I hope you see from this little exercise how in sequencing the order of facets cut we are also sequencing the order in which points are made on the stone, and that is the important consideration.

(end)

USFG Newsletter Page 5

THE DIAGONAL MEASURE -- D/W by Fred Van Sant

Some time back Alec Wolkonski, a member who lives in France, talked about measuring a stone along a "diameter". Associating diameter with circle, I thought he meant measuring point to point across the stone, and it seemed to me error could occur if the two points were not directly across from each other; if the stone were slightly rotated the reading would be less than it should be. In a recent letter he makes it clear that is not what he intended. What the sketch shows is that it is the shortest distance between two opposing girdle facets which is to be measured. The drawings tell it all.

The letter "D" can stand for Diameter or Diagonal, as you wish. Alec advocates the ratio D/W be shown on our diagram sheets wherever it is useful. I agree with him. H more than one diagonal is useful then the ratios can be given as Dl/w, D2Jw, etc. H the letter "D" were reserved for this use by designers, then it would not be necessary to show it in the same way as Length and Width are shown, but a simple arrow connecting D with a girdle facet would do. It would be recognized that it meant the shortest distance to an opposing girdle facet directly across the stone. The two opposing girdle facets would, of course, have to be parallel.

The advantage of this measure is that, being the longest measure, it reduces measurement error. As Alec points out, the CAM is fine for preforming where you have plenty of material, but if your rough has a shape close to the finished shape in some of its sides, then the CAM wastes material, and using D/W to make the preform is to be preferred. This holds true also if you chip a corner and have to recut.

Calipers

USFG Newsletter Page 6

How shown on Diagram Sheet:

CORRECTIONS

to "Angles for Quartz"

by Robert Strickland

D2

In my article, "Angles for Quartz" in July's Newsletter, I made a serious typographical error. I quoted Long and Steele as recommending 40° for the pavilion angle for quartz. This figure is below the critical angle for quartz and was quoted in error. Actually, Long and Steele recommend 41 ° for quartz pavilion which is 1/2° above the critical angle. I apologize to Bob Long and Norm Steele and regret any confusion my typo might have caused.

Glenn and Martha Vargas wrote with several objections to my article. First, rriy use of the 44 ° pavilion in an example implied to them that I was quoting them as recommending a 44 ° pavilion angle for quartz. They in fact recommend a 43 ° pavilion angle for quartz. I intended the 44 ° pavilion angle as just an example of the higher, traditionally recommended angles and not as a quote of their recommendations. I apologize for my lack of clarity and any confusion it might have caused. The Vargases also objected to my quote of them in the excerpt:

The Vargas' fundamental assumption in their article is that light exiting from the crown facets other than the table do not reach the viewer. They say, "Such rays that strike the crown facets (not the table) seldom reach the pavilion facets ... "

The first sentence is my opinion. The words "Such rays" in the Vargas' article refers to light rays entering

the stone, not exiting the stone. Again, I apologize for my lack of clarity.

I ask those newsletters that copied this article to please publish these corrections.

'l'e7(!1S !faceters ' (jui.U 9'&,ws[etter October, 1994 Vo( 15 'J{p. 4

ANGLES FOR TOPAZ � AND-GGR�NBYM by Robert W. Strickland

Last issue, I wrote an article about angles for quartz that discussed optimum angles for the standard round brilliant in quartz, refrac­tive index 1 .54. The same analysis applies to beryl, R.l. = 1 .58 . The article presented computer-generated renderings of round bril­liants at various combinations of angles and various tilt angles. I recommended a pavilion main angle of 41 .5° and a crown main angle of 28° for maximum brightness for quartz.

Topaz

I intend to work my way up the refractive index scale in this and future articles. Next, I'll discuss angles for the standard round brilliant cut in topaz, R.l. = 1 .62. Tourmaline also shares this R.I.

The "'standard" round brilliant (S.R.B.) in this article has the same proportions as the one in the last article, so I won't take the space to repeat them here. The methods and software used in this analysis are identical to those used in my last article.

The first set of images shows a series of round brilliants cut in topaz with different combinations of pavilion and crown angles. Each row of stones is cut at the same pavilion angle, and each column of stones is cut at the same crown angle. The angles indicated are for the main facets. The break facets are higher in angle. No light is allowed to enter the pavilion of the stone--it is as if the stones are mounted in bezels instead of prongs.

The first thing to note is that stones cut with pavilion mains below the critical angle have dark centers. The critical angle for R.l.= 1 .62 is 38. 12°, so pavilions below this angle will leak light. The second thing to note

· is that I have used a 1 ° increment of angle on the pavilions instead of the 112° . I used in the quartz article. Thus, the range of angles for the

topaz set is much greater than that for quartz in last issue. The third thing to note is that topaz is much more forgiving than quartz, and there is a much wider 111nge of acceptable angles for topaz.

The reason for the light leakage is the same as for quartz. With high pavilion angles and high crown angles, light entering near the edge of the stone bounces off of one side of the pa­vilion but reaches the other side below the critical angle and is therefore lost. Or if we fol­low the same path backwards, light must enter the pavilion for us to see it exiting from the pe­rimeter of the crown.

Just by picking the brightest pictures in the set, we reach the following set of optimum angles for topaz. The · crown angles given are the maximum angles that give good brightness. It is safe to lower them without any apprecia­ble loss of brilliance.

Optimum Angles for Topaz Pavilion Angle Max. Crown Angle

39° 44°

40°

41 °

42°

41°

33°

29°

The next two sets of images are for the same set of angles but with the top of the stone tilted 5° and 10° away from the viewer. All combinations of angles lose brightness when tilted. All of the above angles will work rea­sonably well even when tilted. The difference in performance is in what part of the stone leaks light when tilted. With the lower pavilion angles (towards the top of the page), the leak will be primarily in a fan-shaped zone above the center. With the higher pavilion angles (towards the bottom of the page) the light is lost primarily at the bottom edge of the stone. The amount of light lost is about the same. Since the center of the stone draws your eye to it, the higher angles are preferable. My per­sonal favorite is a pavilion main angle of 41 ° and a crown main angle of 32°.

USFG Newsletter Page 7

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Crown Main Angle, deg .

USFG Newsletter Page 8

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28 . 32 36 40

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USFG Newslette r Page 9

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USFG Newsletter Page 1 O

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SEEING MEETS WHILE POLISHING Tip by Fred Van Sant

I have pointed out before that in looking at polished facets that come to a meet ( 4 or more facets), if one facet is more brightly lighted it appears larger than an adjacent more darkly lit facet, and often appears to extend beyond its boundaries . Illustrations of this phenomena can be found in most elementary psychology text books. Two opposite brightly lit facets can appear to cross over a perfect point and make a darkly lit facet appear to fall short of the meet. Viewing facets by a single incandescent lamp is great for seeing surface defects, but is probably the worst kind of lighting you can use for seeing meets because it comes from only one direction, brightly illuminating some facets and leaving other adjacent facets dark. A meet is best judged when all facets concerned are evenly lighted. Therefor when polishing in your meets try using two lamps, one to each side of the stone, and maybe a third lamp behind you or directly overhead. Frosted bulbs are better than bare filament ones for this purpose. The light should be diffused.

Two Faceting Tips from MEET POINTS, 9/94 Parksville member Phil Denninger showed us some excellent CZs he had cut recently. One large "Pigeon Blood" red CZ was very dark, a reminder that really dark material appears much nicer in small and medium sized stones. He gets his mirror finish by going to 50 000 on ceramic and then 100,000 on a Corian lap ' to finish. It seems tol'lift the haze" from the surface. He also uses only the finest Competition Grade CZ.

From a rare Sept. '52 issue of Gems & Minerals we get the following tip on Topaz orientation by Dan O'Brien: You will sometimes have trouble with your table shredding away even when you cut it at 5 to 10 degrees off the cleavage plane. This is caused by the fact the polishing is being done against the grain. The correction is to turn the dop stick half-way around in the 45 degree adapter. The two sketches show what we mean.

· � � _-:::::-- -- :-- - . - --::-- -

I L AP ·· � l ll.P

Direction of rota tion of lap ) )ncorrect- aga inst the Correct - with the groin o f c le0\l9ge planes. grain uf cleavage p lanes .

j. ' \. J:-\ "'(\.'· � \)_.&',; ·, , . . . NJJ'-i\.) \ \ v...:::.t :1 ·' L\.o ·· · -r;; � ' A l Ar' '\l'/'-f-1/V :, { vv

i/ Y t

Norman Steele to Lapidary Hall of Fame It was announced in the August 1994 issue of

Lapidary Journal that Norm Steele will be inducted into The National Rockhound and Lapidary Hall of Fame along with five others. These six were selected from 52 nominees from around the country, and will have their names engraved on the Hall of Fame Plaque at the Pioneer Museum in Murdo, South Dakota, and their biographies will be added to the Hall of Fame book. Norm is a former president of USFG, and publisher of Se�ttle Faceter Design.

NEW GUILD FORMED IN ENGLAND

Your editor has just received the first issue of "STONECHAT 11

, the official newsletter of the UK FACET CUTTERS GUILD (UKFCG). This first issue is quite an ambitious undertaking -- 30 pages of mostly articles. Their editor is Stephan (Steve) Smith, 15, Dolphin Villas, Ridge Park, Hazlerigg, Newcastle upon Tyne, 13. NE13 7NG England. (How's that for an address?). Their officers are all temporary and they are in the recruiting stage. We will keep you informed as things develop.

MEASURING CROWN HEIGHT The pavilion is finished and you have transfer­

dopped. One method is to use a pair of plastic calipers with the top 1/2 inch cut off, as shown below. Any better ideas?

C. A L I P fR S

-------D I A L

U S FG N ews lette r Page 1 1

615

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1996 INTER.NATIONAL FACETING COM PETITION

42

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24

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1 2

Section "C"

1

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BACKGAMMON CUT # 2 ( BAKGAM2 . GEM) A design by Robert Stepp & Charles Covill FACETS , Mar 9 3 , p5 Angles for Quartz

Crown Girdle Pavili on . TOTAL No . of Fac ets 40 + 8 + 24 - 72 No . of- Me ets 27 1 1 = 3 8

· 2°

:..fold , mirror-image symmetry 9 6 index

..._ ___ {.- ----Jlol L/W = 1 . 4 2 2 P/W = 0 . 5 3 4 C/W = 0 . 2 1 9 H/W = ( P+C ) /W+0 . 0 2 = 0 . 7 7 3

PAVILION

1 4 2 . 0 0 2 4 3 . 4 1 3 4 4 . 2 2 4 54 . 1 4 Gl 90 . 0 0 5 4 1 . 0 9 G 2 90 . 0 0 6 4 0 . 4 8, G J 9 0 . 0 0 7 54 . 1 4

CROWN

a 4 3 . 0 0 b 48 . 0 0 C 6 6 . 2 4 d 3 0 . 0 0 e 2 5 . 0 0 f 1 7 . 0 0 g 1 2 . 0 0 h s . oo

i 26 . 3 7 j 4 1 . 1 2 k 49 . 0 0

4 5 . 9 1

P/H = 0 . 6 9 1 C/H = 0 . 2 8 3

0 3 -4 5-5 1 -9 3 0 2 -4 6-50-94 0 1- 4 7 -49-95 9 6 - 4 8 9 6 - 4 8 1 2- 3 6-60-84 1 2- 3 6-60- 8 4 1 6 - 3 2 - 6 4 - 8 0 2 4 -7 2 2 4 - 7 2

9 6 - 4 8 1 2 - 3 6-6 0-8 4 2 4 -7 2 0 2 -4 6-50-94 } 0 2 - 4 6-50-94 0 4 - 4 4 - 5 2 -9 2 ) 0 4 - 4 4 - 5 2 - 9 2 2 4 - 7 2 l ' ··� 1 4 - 3 4 -6 2-8 2 '1t"'·: 2 4 - 7 2 2 2 - 2 6-70-74 2 2 - 2 6 -7 0�7 4 ..J

BACKGMdMON CUT NO. 2

BRJGHTNESS PLOT

SECTION c . To be cut from coloured natural Quartz . W = 8 to 1 2mm , +/- 0 . 1mm

FACE-TS November 1 9 9 4 Page 8

U S FG N ews letter Page 1 2 ·

'Tei(f!.S !Faceters ' (juila 9,./j.wsfetter October, 1994

CLEAR LAKE GEM & MINERAL SOCIETY, INC. 20th Annual Gem & Mineral Show

March 25 - 26, 1 995

o/ol 15 9,./j,. 4

The Clear Lake Gem and Mineral Society, Inc. announces a Faceting Competition to be held in connection with its 20th Annual Gem & Mineral Show. This competition is open to all faceters. The Master Level is open to those who have earned 95 points or more in a previous competition. The Intermediate Level is for faceters who have not earned 95 points or more in competition. This year the competition will borrow an innovative change from the Midwest Faceters Guild concerning the size of the entered stones. In the past, fixed sizes with specified tolerances were used. No entrant seemed to have a problem meeting these fixed sizes - at least no deductions for failure to meet the tolerances come to mind. The only result was that larger pieces of valuable rough were often ground down radically to meet the specifications. In this year's competition, only a minimum size (8mm in width) will be specified. The entrant may cut the stone to any greater size if desired, thus ending up with a more valuable stone and avoiding the waste of expensive material. The entrant is cautioned, however, to not approach the lower limit too closely in the event that there is a difference between the entrant's calipers and the Judge's. Any entry measuring less than 8mm in width will be disqualified !

SPECIFICATIONS;

Master Level - The chosen design is the Charlie Moon Cut, a design by Fred W. van Sant. It is to be cut from colored synthetic Corundum. It will be not less than 8mm in width ( the dimension ''W'' as specified on the cutting diagram. The girdle will be polished, of sufficient width to permit judging the polish, but not more than 5% of the stone's width in thickness.

Intermediate Level - The design i,iu be SAC Variation #5, a design by Norman W. Steele. It is to be cut from colored Quartz, either natural or synthetic.

(Continued on the reverse)

APPLICATION FOR SINGLE FACETED STONE COMPETITION

Master Level -- __ Intermediate Level

NAME ____________ TELEPHONE (__) ___ _

�ADDRESS _______________________ _

Submit application and entry to the Contest Coordinator, Mack Robinson, 5 1 1 5 Park Ave., Dickinson, TX 77539. Please send prior to March 1 8, 1995

Page 5

U S FG Newsl ette r P ag e 1 3

'I'e?(as :F aceters ' quua !J{s,ws{e tter Octo6er, 1994 o/oC. 15 'J{p. 4

It will be not less than 8mm in width ( the dimension "W'' as specified on the cutting diagram). The girdle will be polished, of sufficient width to pennit judging the polish, but not more than 5% of the stone's width in thickness.

Judging - The competitors will remain anonymous to the judges until all entries have been judged. Entries in this competition· will be evaluated using the Australian Facetors' Guild Competition Rules and Judging Procedures, with one modification. The six points assigned to "Visual Effect" for these types of stones by the Australian rules have been deleted and reallocated equally between "Meets Pointing Up", "Facets Uniform", and "Polish" . A copy of the points allocation may be obtained by request to the Contest Coordinator. Entries will be judged using not more than IO power magnification and a single incandescent light source. Entries will not be handled nor held by a metallic instrument during the judging process. A trophy will be awarded to the contestant receiving the highest point score (above 90). Ribbons will also be awarded (Blue - 90 or above, Red - over 80 but less than 90, and White - over 70 but less than 80).

Other Conditions - Your stone will be given careful attention and handling. However, the Clear Lake Gem & Mineral Society, Inc. cannot assume any liability due to loss or damage to contestant's property. Application for entry acknowledges understanding and acceptance of this condition.

Entries may be mailed in. If mailed, please include return postage of $4. 00. If mailed, the faceted stone, placed in a protective box with contestant's name and address on the bottom, must be · in the hands of the Contest Coordinator no later than 9:00 a.m., March 18, 1995 . The exhibit hall will be open the afternoon and evening of March 24, 1995, at which time contestants may submit their entries in person.

Entries must be exhibited during all hours the show is open. The contestant is responsible for retrieving his entry from the Contest Coordinator after the end of the show unless it is to be returned by mail.

Intentionally left blank

U S F G N ews letter Page 1 4

'Ie;r_as :Faceters ' (juild 'J.f!,ws{etter 64

Octo6er, 1994 'Vol 15 :J{g. 4

1 2

1 6

20

T C l'...

4 60

28 36

52

48 I l

32

�r----.i

9 . 0 3 5 SAC Variation # 5 ( SAC#5 . GEM ) A design by Norman w . Steele Angles for Quartz 5 3 facets + 16 facets on girdle = 6 9 64 index L/W = 1 . 0 00

-----W' ----ac

PAVILION

1 4 5 . 3 0 2 4 1. 0 0 Gl 90 . 00 3 4 8 . 00 4 · 4 7 . 8 0 G2 9 0 . 00

6 4-16-3 2-48 0 6-10-22-26-3 8-4 2-54-58 02-14-18-30-3 4-46-50-6 2 0 2-14-18-30-3 4-46-50-6 2 0 3 -1 3 - 1 9-29-3 5-45-5 1-6 1 0 3 -1 3-19-29-35-45-5 1-6 1

Meet at centerpoint Meet 1 at centerpoint Fix size , locate girdle Meet 1-Gl-Gl Meet 1-2-3 Level girdle

' CROWN

a b C

d T

4 1 . 70 42 . 9 0 3 7 . 0 0 3 4 . 9 0

0 . 0 0

02-14-18- 3 0-3 4-46-50-62 0 3- 1 3 -1 9-29-3 5-45-51-61 0 8-24-4 0-56 64-16-3 2-48 Table

Fix girdle thickness Level girdle Meet b-b-girdle Meet a-b-c

This design wil l be used in the Clear Lake Gem & Mineral Soci ety ' s 1 9 9 5 Intermediate Class Competition . It is to be cut from colored natural or synthetic Quartz . Entries wil l be not less than 8mm in width ( dimens ion "W" in the cutting diagram above ) .

U S F G Newslette r Page 1 5

'l'ezys �aceters ' (juiU !l\&,wsCetter October, 1994 Vol 15 g{g. 4

66

72

78

5+ 42

90 96

6

PREFORM

I I

The Charl ie Moon Cut ( CMOONCUT . GEM ) A design by Fred Van Zant Transfered to GEMCAD Format by Walt Carss 5/5/9 4 Angles for Corundum 6 9 facets + 1 2 facets on girdle = 8 1 4 -fold , mirror-image symmetry 9 6 index L/W = 1 . 00 0

pfl 4 1 . 00 9 6-06-18- 2 4 - 3 0- 4 2 4 8-54-66-72-78-90

pf2 9 0 . 00 9 6-06-18-24-3 0- 4 2 4 8-54-66-72-78-90

PAVILION

1 2 3 4

4 3 . 90 4 4 . 4 1 4 1 . 0 0 4 2 . 4 5

CROWN

a b C d e f g T

3 8 . 2 1 4 1 . 3 9 3 1 . 97 3 4 . 00 2 8 . 00 2 8 . 00 2 2 . 00

0 . 00

9 6- 2 4-48-72 0 6-18-3 0-4 2-54-66-78 -90 1 2- 3 6-60-84 0 3- 2 1-27-45-51-69-75-9 3

9 6-24-48-7 2 0 6-18-3 0-42-54-66-78-90 1 2-3 6-60-84 0 4-20-28-44-52-68-7 6-92 0 4-20-28-44-52-68-76-92 1 2- 36-60-84 0 4-20 - 2 8-4 4-52-68-76-92 Table

This design wil l be used in the Clear Lake Gem & Mineral Society ' s 1 9 9 5 Master Class Competition . It is to be cut from colored syn­thetic corundum . Entries wi ll be not less than 8mm in width ( dimen­s ion "W" in the cutting diagram ) .

U S FG N ewsletter Page 1 6

Name

Address

City

Club

1 995 NORTHWEST FACETORS CONFERENCE 2,3 and 4 June 1 995

REGISTRATION FORM

State Zip

I(we) will be starying at the Hyatt Regency Bellevue Yes c::J No c::J

Full Conference registration includes both a luncheon and an Awards Banquet as well as all meetings, technical sessions, handouts, and demonstrations. Total cost $65.00

""Ton-participating registration includes the meals and hospitality functions but not the technical sessions. Total cost $30.00

l'1ist list the number of reservations:

Full Conference Registration @ $65.00

Non-participating Registration @ 30.00

Mail completed form and money to :

LEONARD A. BARR P.O. BOX 362 SEAHURST, WA 98062

All activities will take place at the HYATT REGENCY BELLEVUE hotel located in the heart of Bellevue, Washington and central to all Seattle area attractions. In the same area are an upscale boutiques, an athletic complex, and a variety of restau­rants. The building is just across the street from Bellevue Square one of the largest shopping centers in the Northwest. Parking beneath if required. There is a regular shuttle bus directly to Sea Tac airport.

Make arrangements directly with the hotel for any accommodations you need. Special basic room rate is $89 per night. For comparison purpose regular rates begin at $ 1 50. For room reservations contact:

Hyatt Regency Bellevue Reservations Department 900 Bellevue Way N.E. Bellevue, WA 98004 USA

Telephone: 206-642-1234 FAX: 206-45 1 -30 17

1 -800-233- 1234

1. u obtain the special rate it is imperative that individuals indicate group affiliation with the 1995 Northwest Faceters Confer­ence.

U S F G N ews letter Page 1 7

ELIGIBILITY

1 995 NORTHWEST FACETORS CONFERENCE " 2,3 and 4 June 1 995

COMPETITION INFORMATION

Anyone registered and in attendance at the conference may enter by delivering a single stone that they have cut to the specifications.

GENERAL CONDITIONS Judging will be with up to IO-power magnification, for workmanship only. The compeitor may attend the judging

sessions providing he ( or she) agrees to observe ,but speak only if asked a direct question by the judges.

The stones must be in the hands of the judging chairman by 5 pm Friday, 2 June 1 995 .

In order to win an award the competitor must be present at the AW ARDS LUNCHEON at the Hyatt Regency Bellevue on Saturday, 3 June 1 995.

Scores will be awarded on the basis 100 possible points : Facet Symmetry 20 points

Facet Meets

Facet Polish

Girdle

LEVEL of DIFFICULTY There are three levels

NOVICE

ADVANCED

CHAMPION

AWARDS

35 points

40 points

5 points

100 points

3 5 x. number of good meets nlJillber of possible meets

40 x number facets with good polish total facets excluding girdle

5 x number of good girdle facets total number of girdle facets

This is a beginning level in which the faceter has not won a first place in any other Novice or higher competition. This is level is open to any facetor who has not scored 90 or more points in a Master level competition. This level is open to facetors who have scored 9 1 or higher in previous competitions.

Each of the three levels will received separate FIRST PLACE and SECOND PLACE trophys. -----------------------------------------1 995 NORTHWEST FACETERS CONFERENCE

COMPETITIVE REGISTRATION FORM

NAME (print) - - - - - - - - - - - - - - - - - - Signature - - - - - - - - - - - -ADDRESS - - - - - - - - - - - - - - - - - - -CITY _ _ _ _ _ _ _ _ _ _ _ STATE -- ZIP _ _ _ _ _ GUILD OR CLUB CLASS TO ENTER : Novice O Adanced CJ Champion D

Mail to : Norman W Steele 607 N 62nd

Seattle, WA 98 103-56 19

USFG Newslette r Page 1 8 Page 2

Design Name: Reference:

1 995 NORTHWEST FACETORS CONFERENCE 2,3 and 4 June 1 995

NOVICE DESIGN

21.151 Accent Ross, Wilf; North York Faceting Guild Newsletter, 12 Oct 94

Judging Parameters : Crown Meetpoints =16 Material: Natural or synthetic quartz - any color L=l5 .0 ± 0.2 MM

I ..

Step/Angle

1 41 .0 G 90.0 2 53 .5

Step/Angle

a b T

34.0 26.0 0.0

Pavilion Meetpoints = 17 Size: Non girdle Facets =33 Girdle width: 1 . 0 ± 0. 5 I'vilv.1 Girdle Facets = 8 Table width: T=8.4 ± 0.2 MM All facets including the girdle must be polished.

< 9 6 > < 9 6 >

f w � f

l ! H I

; ! i.-- T �

L .. I

PAVILION CUTTING INSTRUCTIONS

Bearing Index

96-12-24-36-48-60-72-84 06".' 18-30-42-54-66-78-90 06-1 8-30-42-54-66-78-90

Remarks Cut pavilion first Cut to PCP ( culet) . Fix size and establish girdle. Meet G-1-G

CROWN CUTTING INSTRUCTIONS

Bearing Index

06-18-30-42-54-66-78-90 96-12-24-36-48-60-72-84 Any for Table

Remarks Cut pavilion first Fix girdle width Meet a-G-G-a Meet b-a-b

U S F G N ews letter Pag� 1 9

1 995 NORTHWEST FACETORS CONFERENCE 2,3 and 4 June 1 995

ADVANCED DESIGN

Design Name: : Hexbar Oval Reference: Strickland, Robert W: TFG Newsletter, Apr 94 p20

Judging Parameters:

< 9 6 >

Crown Meetpoints =24 Pavilion Meetpoints =25 Non-Girdle facets = 5 1 Girdle facets = 12

Material: Synthetic corundum or spinel - any color Size : L=l5 .0 ± 0 .2 nun W=l2.5 ± 0 .2 nun

T=7.5 ± 0.2 nun

All facets including girdle must be faceted and polished.

< 9 6 >

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, ... L •1

96 Index L/W=l .200 P/W=0.5 13 C/W=0 . 1 12 T/W=0.599 T/L=0.499 5 1 + 12 facets HJW=0.645 Vol =0.259W3 2-fold mirror image symmetry

Step/Angle G1 90.0 1 42.2 2 60.7 G2 90.0 3 69.7 G3 90 .0 4 41 . 1 5 41 .0

Step/Angle

A 47.6 B 46 .6 ·c 43.6 D 32. 5 E 35.0 F 1 5.2 G 8.5 T 0 .0

PAVILION CUTTING INSTRUCTIONS Bearing l n<;:Jex 1 9-29-67-77 03-1 3-1 9-29-35-45-51 -61 -67-77-83-93 1 1 -37-39-85 1 1 -3 7-59-85 03-45-51 -93 03-45-51 -93 1 6-32-64-80 96-48

Comments Fix length Meet at Temporary Center Point (TCP) Meet 1 - 1 -G 1 Level gird le/ Meet 1 -1 -G 1 -2 Meet 1 -1 -2 Level gird le I Meet 2-3-G2 Meet 1 -1 -G 1 -G2 Meet 4 at Permanent Center Point (PCP) Polish a l l facets , then transfer to cut crown

CROWN CUTTING INSTRUCTIONS Bearing I ndex

03-45-51 -93 1 1 -37-59-85 1 9-29-67-77 1 5-33-63-81 96-48 07-41-55-89 24-72 Any for Table

Comments Cut and polish pavi l ion first. Fix girdle width Level g ird le I Meet G2-G3-A Level g ird le I Meet G 1 -G2-B Meet B-C-G 1 -G2 Meet A-A-G3-G3 Meet E-A-8-D Meet D-C-C-D Meet F-E-F Polish all facets on crown

USFG News letter Page 20 Page 4

1 995 NORTHWEST FACETORS CONFERENCE 2,3 and 4 June 1 995

CHAMPION DESIGN

Design Name: 32.013A Barion Fan Reference: Long, Robert H; Seattle Facetor Design, Dec 86 (With CAM preform added by

Norman Steele)

Judging Parameters :

< 6 4 >

Crown Meetpoints = 2 1 Pavilion Meetpoints = 26 Non girdle facets 54 Girdle facets = 8

f w

l

Material: Natural or synthetic quartz - any color Size: L=15 .0 ± 0.2 MM

W= 9 .8 ± 0 .2 MM T= 7.9 ± 0.2 MM H= 8.4 ± 0. 1 MM

� T ---+t

L

64 Index L/W=l .534 P/W=0.705 C/W=0. 133 T/W=0 .8 1 1 T/L=0.529 "i4+8 facets H/W=0.858 Vol =0.257W3 I-fold mirror symmetry

PREFORM CUTTING INSTRUCTIONS Step/Angle PF1 35 .0 PF2 3 1 .6 PF3 36. 0 PF4 38 .6 G 1 90.0

G2 90.0 G3 90.0 G4 90.0

Step/Angle 1 42.0 2 43.0 3 74.5 4 44.0 5 44.0 6 43 .9 7 56.0 8 44.0 9 69 .4 1 0 73. 9 1 1 76 .4 1 2 44 .5

Bearing I ndex 24-40 05-59 03-61 01 -63 24-40

05-59 03-61 01 -63

Comment Cut to TCP Meet PF1 at TCP Meet PF1 PF2 at TCP Meet PF1 PF2 PF3 at TCP Fix s ize (L d imension is d istance between MP PF1 -PF 1 -G 1 and MP PF1 -PF2-G1 ) Level false gird le Level false gird le Level false gird le

PAVILION CUTTING INSTRUCTONS Bearing I ndex 05-1 4-23-32-41 -50-59 1 2-1 6-48-50 24-40 21 -43 25-39 30-34 30-34 07-57 05-59 03-61 01 -63 03-61

Comment Cut to PCP Meet 1 -G 1 -G2 Meet 2-1 -2-G1 -G2 Meet 1 -2-1 Meet 1 -3-4 Meet 1 -1 -5 Meet 6-5-3 Meet 1 -1 -2 Meet 2- 1 -2-3-G 1 -G2 Meet 8-2-9 Meet 1 -8-1 0 Meet 1 -8-1 0-1 1 CROWN data on page 6

Page 5

USFG Newsletter Page 2 1

1 995 NORTHWEST FACETORS CONFERENCE 2,3 and 4 June 1995

Design 32.0 13A continued from page 5

CROWN CUTTING INSTRUCTIONS Step/Angle Bearing I ndex Comments a 37.0 24-40 Fix girdle width b 43.0 05-59 Level g ird le C 43.0 03-61 Level g ird le d 43. 0 0 1 -63 Level girdle e 37.0 02-62 Meet c-G3-G4-d f 20. 1 1 4-50 Meet a-b-G1 -G2 g 21 .5 64 Meet e-d-d-e h 1 9 . 3 04-60 Meet e-c-b-f T 0 .0 Table Meet g-e-h

j 1 9 .0 23-41 Meet T-h-f k 27.0 24-40 Meet j-f-a m 1 8 .0 25-39 Meet T-j-k n 22.5 32 Meet a-G1 -G 1 -a

Polish all facets on the crown.

�--/IN THE. (3G4l N� ING- ·- - UK FACET CUTTERS GUILD

ISSN1356-7322

USFG N ewsletter Page 22

C h a r l i e M o o n C h ec k e r 9 6 I ndex Gea r A n g l es fo r Fl . I . o f 1 . 7 o r g re at e r.

Crown : Ang le 1 . 4 at 38 . 1 8°

2 . 8 at 5 0 . 86 °

3 . 8 at 38 . 72°

4 . 4 at 26 . 82 °

5 . 8 at 2 1 . 74°

6 . 4 at 1 9 . 67°

7 . 4 at 1 4 . 0 0°

8 . 4 at 1 0 . 00°

9. 1 at 0 .00°

I nd ices 96 ,24 ,48 , 72 . 5 , 1 9 , 2 9 , 4 3 ,

53,67,77 ,9 1 . 3 , 2 1 , 2 7 , 4 5 ,

51 ,69,75,93. 1 2 ,36 , 6 0 ,84 . 7 , 1 7 , 3 1 , 4 1 ,

55,65,79,89. 96 ,24 , 48 , 7 2 . 1 2 , 3 6 , 6 0 , 84 . 9 6 , 24 , 4 8 , 72 .

Any.

S hape = Squa re Cush ion L/'N = 1 .0 C/W = . 1 664 P/W = .4846 H/W . 671 0

E C E D Des i g n : a t a s i n g l e Cut 4 at Cut 8 at

P ref O rm at 90° , m a st - h e i g ht s ett i n g .

i n d i ces 9 6 , 24 ,4 8 , 72 . i nd i ces 5 , 1 9 ,29 ,43 ,

53 ,67,77 ,91 .

O n t h e o r i g i n a l C h ar l i e M oon d es i g n t h e l o n g g i rd l e facet w a s at i nd ex 6 . H ere i t was changed to 5 to make the squares m o re u n ifo rm i n s i z e .

O pt i o n a l C A M P refqrm : M ax im u m Cone Ang l e = 36 . 8°

Cut 1 2 facets at 4 0 . 0° us i n g i n d ices i n p av i l i on sets 1 and 2 .

Pavi l ion : I nd ices 1 4 at 52 . 7 1 ° 96 ,24 ,48 ,72 . 2 . 8 at 52 . 7 3° 5 , 1 9 , 2 9 , 43 ,

53,67,77,91 . 3 . 4 at 42 . 2 1 ° 9 6 , 24 , 4 8 , 7 2 . 4 . 8 at 43 .69° 7 , 1 7 ,3 1 ,4 1 ,

55,65,79,89 . 5 . 8 at 41 . 00° 4 ,20 ,28 , 44 ,

52,68,76 ,92. 6 . 4 at 4 1 . 00° 1 2 ,36 , 60 , 84 .

Des ig ned by Fred W. Van Sant 1 0 / 8 / 9 4

A

I I i H

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C _±_ __ - �r--

I p I I

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U S F G N ewsletter Pag e 2.3

9 6

9 6

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SEATTLE FACETOR DESIGN July 1994

01 .335A Modified Six Four Fan

This design is partially based on the FACET DESIGN v5 Mix or Match Tables. Crown is MM7-3 from page C-2 1 and pavilion is MM8-3 from page C-22 except rotated to center the "fan" instead of the "star" . Repositioning the facets in this way gives a different brightness pattern.

Brightness Pattern 0.60 SPOT +Ambient for R l=1 . 54 Table Brightness =82 Average Brightness =61

05.091 Nine Main Pear for Quartz

I n keeping with our pol icy to orient the des ign drawing as in the reference, here axis of symmetry is 72-24 instead of the usual 96-48. This is the source of the rotation of the crown and pavi l ion in the diagrams. Phys ically the stone is a lways rotated during the transfer process, however when the assumed transfer axis is the same as the axis of symmetry indexing does Brightness Pattern 0.60 not have to be changed and both crown and pavi l ion SPOT +Ambient for Rl=1 . 54 outl ine coincide. Table B rightness = 26

02. 1 36 Checkerboard Oval

This des ign is more bri l l iant than the Brightness Pattern indicates because the checker design on the crown reflects l ight d irectly. There are so many facets on the crown that at least one is usually in position to pickup source l ights and bounce them back like a mirro r.

Average Brightness =1 3

Brightness Pattern 0.60 SPOT +Ambient for R l=1 . 54 Tab le Brightness =54 Average Brightness =39

Pa

< 96>

t 1 T L

1 1 � l f J H

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Reference: Steele, Norman W: Tumbler, May 94 96 index L/W=1 .000 P/W=0.591 C/W=0. 1 36 67+24 facets H/W=0.591 Vol =0.203 W3

<96>

l �n 1 � ! !

- r -

Reference: Carroll, J.W; Angles, Feb 94, p6 96 I ndex L/W=1 .503 P/W=0.479 C/W=0. 1 88 65+ 1 8 facets H/W=0.687 Vol =0. 337 W3

<96>

f C I I I I I I I

I

. l ) 1 -Jo/' i :J H

; l T

----- L ----

Reference: Word, Sid; FACETS, May 94, p3 96 I ndex UW=1 .257 P/W=0.450 C/W=0.244 48+ 1 6 facets H/W=0. 7 1 4 Vol =0 . 3 1 9 W3

< 9 6 >

T/W=0.61 1

< 9 6 >

T/W=0.851

< 96 >

T/W=O

C (j) -n G)

z CD �

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SEATTLE FACETOR DESIGN July 1994

45.071 Tribute

This design uses the retro-reflector principle and resists windowing when ti lted .

Brightness Pattern O. 60 Trans SPOT+Ambient R l=1 . 54 Table Brightness =47 Average Brightness =41

28 . 1 34 Hedgecock Double Star

Spl it vertical facets on the pavi l ion central star has a darken ing effect because there are no match ing facets to mirror the l ight rays. However, note the center background facets do have match ing pairs and this is al lows those facets to be much b righter.

20.01 1 Half Oval Checker The I NDEX TO FACET DESIGNS has no exact category forthe shape of this design. I t has been put with Semi Navette designs (#20) as a compromise. However, the true semi-navette has a flat at the bottom and a sharper pointed end.

Brightness Pattern 0.60 SPOT +Ambient for R l=1 . 54 Table Bightness =71 Average Brightness =61

Brightness Pattern 0.60 SPOT +Amb ient for R l=1 . 54 Table B ightness =O Average Brightness =31

< 96 >

i.-- T -+1

---- L ---"

f w

1 � f ' H

; l

Reference: Strickland, Robert W; TFG Newsletter, Jan 94 pl6 96 I ndex L/W=1 .000 P/W=0.555 C/W=0. 1 62 46+ 1 2 facets H/W=0.738 Vol =0.252 W3

< 9 6 >

T/W=0. 568

< 96> < 96>

l �n l � � !

i+-- T --+t L -----..i

Reference: Hedgecock, O.J. ; Amer Gemcutter, Jul 64, p29 96 I ndex L/W=1 . 1 1 3 P/W=0.420 C/W=0. 1 93 73+1 2 facets H/W=0. 633 Vol =0.238 W3

< 9 6>

l T L

l I+-- w --+f

Reference: Word, Sid; FACETS, Jul 94, p3 96 Index L/W=1 . 049 P/W=0.435

I f :t H

i l

C/W=0.259

T/W=0.591

<96>

T/W=O 70+ 1 7 facets H/W=0. 7 1 3 Vol =0.277 W3 1 -fold mirror symmetry

Page 3

C U> "Tl Ci)

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What's New 02. 1 37 Hexbar Oval 1 .20

Original reference contains two other L/W variations of this design. All have similar facet patterns and are "meetpoint" cuttable. In the "Index" they are listed as :

02. 1 37A L/W=1 .250 02. 1 378 L/W=1 .334

01 .465A Kaleidoscope Variation

Very similar to Design 01 .465 Kaleidoscope except for number of alternate polished and unpolished facets on the pavilion and crown. Titls design has 24 frosted facets whereas 0 1 .465 has 16 frosted facets on the pavilion . . Both designs have polished step conical facets, the differ­ence is 16 facets per tier in Design 01 .465 and 24 facets per tier in Design 01 .527

Brightness pattern includes provision for loss of bright­ness due to unpolished facets.

30.079 Clinton Quasar

This design is indeterminate. Cutting sequence is not meetpoint.

On the crown Table and facets which touch the Table (stars) are "floating" with respect to the facets which touch the outline at the girdle ( crown break facets)

On the pavilion break facets are "floating' with respect to the other facets.

SEATTLE FACETOR DESIGN August 1994

BP 02137 RI=l .76 SPOT + Ambient 0.6 Table BRT=71 Avg BRT =65

BP 01 .465A RI=2.15 SPOT +Ambient 0.6 Table BRT=42 Avg BRT =27

BP30079 RI=l .54 SPOT +Ambient 0.6 Table BRT=33 Avg BRT =41

<96>

,.._ T --+1

i...--- L ------IIH

l w

l � f ! H i

i l

< 96 >

Reference: Strickland, Robert W, TFG Newsletter, Apr 94, vl5n2 96 Index L/W=1 .200 P/W=0.5 1 3 C/W=0. 1 1 2 T/W=0.599 5 1+ 12 facets H/W=0.645 Vol =0.259W3 2 fold mirror symmetry

<96>

...._ T _.,. ---- L--+1

Reference: Theiler, Hans ; 96 Index L/W=l .000 193+48 facets H/W=0.668

< 8 0 >

f w

l t+- T +i

14 L �•

Reference:

SO Index 76+5 facets

Capps, Jerry, Capps, Jerry, L/W=1 . 051 H/W=0.594

<96>

! f i H

i l

American Gemcutter, ·Jan 94, p29 P/W=0.477 C/W=0. 171 T/W=0.477 Vol =0.224W3 48 fold symmetry

i H

•� f � i

Facet Talk, May-Jun 94, p 16 Lapidary J, Ju l 94, p1 04

< 8 0 >

P/W=0.437 C/W=0.1 38 T/W=0.375 Vol =0. 1 78W3 5 fold mirror symmetry

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What's New

46.007A Chapco's Kite

This is a novelty cut that does not do well in "Brightness" . Its appeal depends on directly reflected light from the facet surfaces and the unusual shape. Lowest pavilion angle is 39 degrees, which is well below critical angle for quartz. Even in corundum (RI=l .76), brightness only improves to Table =16 and Average =14.

44.065 Trigonal Hex for Sapphire

Shape based on shape of a natural Australian sap­phire crystal

41 .041A FVS-1 75A

This design is similar to 4 1 . 041 (FVS-17 5) except L/W is 1 . 38 instead of 1 .24

SEATTLE FACETOR DESIGN August 1994

BP 46007A RI=l .54 SPOT +Ambient 0 .6 Table BRT=1 5 Avg BRT=1 1

BP 44.065 SPOT + Ambient 0.6 R l = 1 . 76 Tab le Brt=30 Avg Brt=14

BP 41 .041A SPOT +Ambient 0.6 Rl=1 . 76 Table Brt=90 Avg Brt=70

<96> < 9 6 >

f l

1 1 �H 14-- W ---..

Reference: Covill, Charles W; Meet Points, Feb 94 96 Index L/W=1 . 1 98 P/W=0.446 C/W=0. 1 1 0 T/W=0.864 39+6 facets H/W=0.576 Vol =0. 1 83W 1 fold mirror symmetry

< 96 > <96>

l f w f H

1 r ! - r -... L

Reference: Sweeney, Boyd; Facet Talk, May-Jun 94, p30 96 index . L/W=l.904 P/W=0.705 C/W=0. 194 T/W=l.067 25+6 facets H/W=0.920 Vol =0.626W3 2 fold symmetry

<96>

t �! I -r -

L

Reference: Van Sant, Fred W; USFG Newsletter, Mar 94 Van Sant, Fred W; Angles, Apr 94, p8

<96>

96 fudex L/W=l .383 P/W=0.602 C/W=0. 143 T/W=0.582 75+8 facets H/W=0.766 Vol =0 .351W3 2 fold mirror symmetry

Page 4

What1s New

·O l ive's Cut · c . 30.074 (/)

z <D

<D

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<D

--26.046 Bright Shield

2 1 . 1 9 1 Web Jul iana

SEATTLE FACETOR DESIGN September 1994

BP30079 RI= 1 .54

SPOT +Ambient 0.6 Table BRT =93 Avg BRT =71

BP26046 RI= 1 .54

SPOT + Ambient 0.6 Table BRT=57 Avg BRT =48

BP21 191 RI= 1 .54

SPOT + Ambient 0.6 Table BRT=98 Avg BRT =78

< 1 20>

i.- T --+1

,,. L �,

f w

! � l ! 'V n

Reference: Low, Terry; FACETS, Feb 94, p3

< 1 20>

1 20 Index L/W=1 .0 1 7 P/W=0.481 C/W=0.094 T/W=0.555 56+1 O facets H/W=0.595 Vol =0. 1 90W3 Five fold- symmetry

< 1 20>

.._w ___,...

f i T L

! ! �1 ! � i !

Reference: Covil l , Charles W; Off-the-Dop, Feb 94, v5n1

< 1 20>

120 Index UW=1 . 1 26 P/W=0.571 C/W=0.083 T/W=0.871 3 1 +7 facets H/W=0.673 Vol =0.251W3 1 -fold mirror image symmetry

<96>

f w

l •� f l H

; l -+tTt+

..--- L ---

Reference: Steele, Nonnan W; Tumbler, Jul 94, p1 1 96 l l ndex UW=1 .000 P/W=0.426 C/W=0. 1 71 T/W=0. 097 81 +8 facets H/W=D.61 7 Vol =D. 1 73W3 8-fold symmetry

Pa,.. 3

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What's New

21 . 1 92A New Horizon #2

21 . 1 83A Dogwood

A modification of design 21 . 183 .

04.093A The Lady

Largest faceted gemstone. Based on Bob Klein's "Rectabrite", but with different L/W and place­ment of some of the facets.

SEATTLE FACETOR DESIGN September 1994

BP21 1 92A RJ= 1 .54 SPOT + Ambient 0.6 Table BRT=52 Avg BRT =31

BP21 1 83A RJ == 1 .54 SPOT + Ambient 0.6 Table BRT=95 Avg BRT =61

�� ��-=-

�tS:�i�] 'th!����,. ..:-.'!cf::!#

BP04093A - RI== 1 .54

SPOT + Ambient 0 .6 Table BRT=53 Avg BRT =33

< 1 2 0 > < 1 2 0 >

r w t f

l ! H

f 1 t-4- T --+t

i.-- L ----..

Reference: Richardson, Gordon; Angles, Aug 94, p2 96 Index lJW=1 .000 P/W=0.556 C/W=0. 1 1 4 T/W=0.651 1 ·1 3 + 8 facets H/W=0.690 Vol =0.277W3 8-fold mirror image symmetry

< 9 6 >

l w

l T

� f f H

! l

< 9 6 >

Reference: Clark, Roscoe; North York Faceting Guild, May 94 , p4 96 Index UW=1 .000 P/W=0.472 C/W=0.202 T/W=O 72 + 8 facets H/W=0.695 Vol =0.204W3 8-fold symmetry_

< 9 6>

q f t H

i l l ...-- T -"" L

Reference: lntermountain Faceters Guild , FACETS, Jul 94, p4

<96>

96 Index UW=1 .692 P/W=0.781 CfW-:;;0.383 T/W=1 .087 Tl + 8 facets H/W=1 . 1 84 Vol =O. 976W3 2-fold mirror image symmetry

Page 4

NOT ENOUGH CROWN MATERIAL

OR TOO MUCH AFTER TRANSFER A Programmed Approach by Charles Moon of a Tangent Ratio Solution by Fred Van Sant (Thanks to Fred Van Sant, Al Huebler �Dennis Anderson for suggestions)

® In the Sept. 1993 issue of United States Faceters Guild, Fred Van Sant has come up with an extension to the tangent ratio that is most valuable to amateur and professional faceters. The formula that he has discovered allows the faceter to adjust mathematically the crown angles of a computerized design so that the plan view--the arrangement of facets, points and table area--remains the same. The most important benefit of this procedure is being able to handle themost hazardous situation of not having enough crown material available for utilizing a computerized design' s specifications. If there is more crown height available than what the design calls for, the faceter can either pursue the given specifications of the computerized design or may arbitrarily choose a height that will add both carat weight and color intensification to a light colored stone--all without altering the plan view. The comforting reality of this tangent ratio approach is that NO more seat-of-the­pants decisions will be necessary for designs that have been CUT via the computer.

The following programmed push-button approach via the hand held scientific calculator automatically supplies the non-mathematically minded faceter with a convenient easy solution.

One needs only a simple scientific calculator ($20.00 or less) with the following functions to utilize this procedure: ITanl [!l X (times) I M+I !MRI ( memory recall) INVERT or SHIFT· and !Tan- l (N.B. The function of Tan-, which becomes possible after pressing INVERT or SHIFT, is activated and completed after pressing the Tan key. The key names "Invert" or "Shift" vary with different brands of calculators.)

PLEASE NOTE: The two words "GIVEN" and "DESIRED" used throughout this paper are defined as follows: "GIVEN" refers always to the C/W ratio factor taken from the computerized design sheet.

· USFG Newsletter Page 30

"DESIRED" refers always to the C/W ratio factor which must be determined by measuring the uncut crown. The uncut crown' s height in millimeters (C) is divided by the stone width in millimeters (W).

The procedure is simple. Take the given C/W ratio from the design sheet and divide it into the desired C/ W ratio of the uncut crown. The quotient of this division gives an 0¥E:RA.l:L RATIO FACTOR NECESSARY FOR ALL SECO�D OPERATIONS.

FIRST OPERATION: 1. ENTER the desired C/W ratio of the uncut crown. 2. Press the + key. 3. ENTER the given C/W ratio from the design. 4. PRESS the = key. 5. PRESS M+ (The Overall ratio factor is now in memory.) \v1..'l..J1,�lt't<1 {'

SECOND OPERATION: From here on take EACH crown angle fro·m the given design and run it through the following procedure. 1. ENTER any Angle from the given design. 2. PRESS Tan 3. PRESS X 4. PRESS MR (memory recall) 5. PRESS = 6. PRESS Shift or Invert 7. PRESS Tan (Tan- is realized after pressing Tan.) 8. The angle that appears is ONE of the to-be­determined SET of angles. that will allow the faceter to cut the new crown with absolutely no change in the plan view. Just be sure that the OVERALL ratio factor is still in memory when continuing with the second procedure--press MR to check and be sure to write the factor down, just in case it is accidentally erased. If erased, enter the factor and press M+. One should check the MR for accuracy before each new crown angle is processed.

AN EXAMPLE: You have cut a pavilion according to the given angles and transfer-dopped,i mM the crown is ready to cut. The stone (W) is 10 mm wide. The given design' s C/W is .1372. From this figure you calculate that you need a crown height of 10 X .1372, or 1.37 mm. You measure your actual crown and find you have only 1.2 mm. Your desired C/W is 1.2 divided by 10 or .1200.

The unfortunate situation is that the uncut crown's height (1.2mm) is .17mm lower than the specified height of the given crown (1.37mm). The following procedure takes care of this problem. Utilize the desired C/W ratio (.1200) and the given C/W ratio (.1372) as follows: (N.B. After Press, the numbers in the parentheses

indicate a reading in the calculator's display. Compare your reading with those in parentheses.)

FIRST OPERATION: (gets overall factor) 1. Enter: .12 ( desired C/W ratio) 2. Press: -;"' 3. Enter: .1372 (given C/W ratio) 4. Press: = ( .87 46) 5. Press: M+ (the Overall multiplying factor .8746 is now in Memory)

SECOND OPERATION: ( continues with angles from the given design) 1 Press: 40.5 (crown angle for first tier of facets taken from the given design) 2. Press: Tan (.8541) 3. Press: X 4. Press: MR (.8746) 5. Press: = (.7470) 6. Press: Invert or Shift 7. Press Tan (the angle (36.76°) appearing in the display is the corresponding angle to 40.50° in the given design) The first tier of facets will be cut at 36.8° , 3. 7 degrees lower than the firs.'t given crown angle of 40.5 degrees. Continue the above Second Operation for all the remaining crown angles from the given design.

Australian Cup Challenge 1996 There isn't room in this issue to include the forms

and designs for this competition. Most of those who will compete already have the material. If you do wish to compete and do not have the entry forms and designs, please contact Charles Moon, 155 Myrtle Court, Arcata, CA 95521. The four designs selected are 1) An obsolete version of FVS-34 with a bad crown--CZ. 2) Brilliant Barion Triangle, by Wilf Ross--Topaz, 3) Backgammon #2 of Robert Stepp & Charles Covill--Quartz, 4) Multifacet Pear, by Robert Long--any synthetic except CZ.

USFG Member Data -- FVS The following tabulated data from Applications

for membershep is incomplete, but it will give you some idea of the cross-section of the USFG. Cutters who rate themselves as Novice -------- 21 Cutters who rate themselves as Intermediate -- 44 Cutters who rate themselves as Advanced ----- 27 Cutters who rate themselves as Master -------- 26 Cutters who use a Facetron ---------------------- 51 Cutters who use an Ultra-Tee ------------------- 49 Cutters who use a Graves ------------------------ 20 Cutters who use a Raytec ------------------------ 14 Other machines used are: Facette--8, Lee--5, Prismatic--7, MDR-�3, Sapphire--4, Imperial--2, Polymetric--2, Stanley--1, Taylor--1, Vargas--1, Challenger--1, Scintillator--1, Golden Beauty--1, Alpha Tarus--1, Homemade--3, (Jampeg--1). Cutters who have a showcase of stones -------- 55 Cutters who cut commercially ------------------ 16 Cutters who are also dealers -------------------- 15 Given talks or written articles on faceting ---- 36 Faceting instructors ------------------------------ 10 Certified Gemologists ---------------------------- 4 Gemstone design computer programmers ----- 4 Cutters using a left-handed Ultra-tee ----------- 2

For those of you who expressed willingness to serve as officers in the USFG, travelling is not a requirement. You can do all the necessary duties from the comfort of your home. We transact just about everything by mail. We do try to meet somewhere at least once a year, and find it is enjoyable to so, but it is not a requirement. There is some discussion going on for the USFG to hold a national single-stone competition in 1995 or 1996, with three classes --p robably novice, intermediate, and advanced. If you have any ideas or wishes about this, send them to our president, Jim Ball.

1995 SHOWS April 28-30, South Central Federation, Waco, Toxas

June 9-11 , Rocky Mountain Federation, Oklahoma City, OK June 23-25, California Federation, Santa Clara County Fairgrounds, San Jose, CA Jult 13-16 , Northwest Federation andAFMS combined show, Boise, Idaho

1996 SHOWS July 12-14, Northwest Federation, Bremerton, WA

U S FG N ews lette r Page 3 1

T R I X I E 96 I ndex Gear A n g l e s f o r R l =1 . 7 o r more .

Crown: Angle I nd ices 1 . 6 at 43 . 5 9 ° 94 ,2 , 3 0 , 34 ,62 , 66 . 2 . 6 at 40 .18 ° 90 ,6 ,26 , 38 , 58 , 70 . 3 . 3 at 43 .13° 16, 48,80 . 4 . 6 at 36 .00 ° 92, 4 ,28 , 36 ,60 , 68 . 5 . 6 at 30 . 39 ° 94 ,2 ,30 ,34 ,62 , 6 6 . 6 . 6 at 9 . 54 ° 10,22 , 42 , 54 , 74 , 8 6 .

Table Area = 29 .8% T/W = . 5483 C/W :::: .1477 P/W = . 4172 H/W - . 5849

P reform M et hod 1: • At the - sam� mast height sett ing c ut . 9 at 90 ° ', ; , at .i nd i�es 12-·1 6�20, 44-48-52 , 76-80-84 . Th i s w i l l l ocate t h e s ix corner po i nt s .

. • Next cut six more at 90° to meet -- :'\\h�se co mer po in ts , at i n d i c es

'' 9 0 , 6 , 2 6 , 3 8 , 5 8 , 7 0 .

- : ', / :;: Then cut· · s ix more _ .at 90" · ·�af . i nd ices 9 4 , 2 , 30 ,34 ,62 ,66 -'. until ' ;J hey . are the same . l ength as th e g i rd le ·- fac�ts next· - . to t h e m . Al l fou r ·g i rd l e facets

' ' . , on : ea'dh ;'dG'rv i rig $i�e a re the same length .

P reform - Method 2 : CAM P reform : Maximum Cone Ang le = 34 . 0°

1 . 6 · at 40 . 26 ° · 9�(2 , 30', 3 4 , 62 , 6 6 . 2 . 6 a t 38 . 53 ° 90 ,6 ,26 ,38 ,58 ,70 . 3 . 3 at · 34 .82° 16,48,80.

Pavi l i on : Ang le 1 . 6 a t 43 .26 °

2 . - 6 at 41 . 50 °

3. 3 at 38.11 °

4 . 6 at 41 .75 °

I nd i ces 94 , 2 , 3 0 , 34 , 62 ,66 . 90 , 6 , 2 6 , 38 , 58 , 70 .

16,48 ,80 . g 2 ; 4 , 2a·, 3 6 , 6 0 , 68 .

Desig ned by Fred W. Van Sant 5 / 4 / 9 4

r

US F G N ews lette r Pag e , 32

9 6

. ... . ' .. �.

9 6