If you are an Argentium Guild Member and would like to contribute to the 'Monthly Feature', please email info@argentiumguild.com.
March 2012
Argentium 960 - A Natural Choice, by David Worcester
Have you tried the high purity, Argentium 960 alloy?
You should, especially since, at least in the United States, it can be purchased in small, by the ounce lots, and you can see how you like it with little out-of-pocket cost.
Why 960?
Many of Argentium's properties are only of direct interest to the craftsperson. For example, having clean castings, completely free of fire stain, is a huge boon to manufacturing, but of no interest to the end purchaser. This quality alone makes it superior to all other silvers, and, though this attribute results in a better product, few end users might understand it or care. This "bench, but not sales counter" benefit is the case for both 935 and 960 alloys. On the other hand, just as with Argentium's tarnish resistance, a customer can easily see added value in jewelry made in a purer metal.
Argentium 960 nearly halves the non-silver content of sterling. Surpassing Britain's Britannia standard, it is remarkably close to fine silver, yet it has all of the same qualities that make standard Argentium superior to standard sterling - and the other new silvers.
Any problems?
Not now. Let's put old rumors to rest. Argentium Silver is a young alloy, and today's top performing, higher purity mix has emerged from a short but profound evolution. 970 was the alloy I first read of, but it was off market. Then I got my hands on the first version of 960 and though I found it exciting and promising, there were some stubborn and disappointing problems which I couldn't eliminate. Then Argentium International licensed production to Legor as a new partner and simultaneously adjusted the receipe to today's spectacular 960. I have nothing but praise for this metal; it is a dream to work with.
How do 935 and 960 compare?
Compared to 935, I can see even more of Argentium's whiteness and brightness in the 960 casting grain. For silver work, as a bench jeweler and small manufacturer, I have settled in on this single metal, so can make scant comparison of the two alloys. It does what I ask. I have played with fusing (though not applying this technique to my line), and have found that while the 960 alloy fuses, it seems to have a small working window. Out of curiosity, I then tried some 935 and found the process much easier. So I see a difference there.
The only disadvantage that I have found concerns some aspects of supply. If we need an amount less than Legor's minimum order of sixty ounces, we can buy 960 grain from G&S Metals in the United States - no problem. However, no one produces any mill stock for resale. I have ideas for fabricated pieces that would be easy to produce in 935, but will just stay in my long time casting niche because I want my entire line in 960.
There's an easy solution to getting wire, though. Although Argentium 960 (Pro) is made for casting, (this is the alloy that G&S Metals carries), it draws beautifully into wire and can easily be produced in a small shop.
Cost?
There's not much cost difference to make that .025 increase from 935 to 960. So, showing off your work by adding that little bling of high purity, and highlighting the care that you put into it and all its details, has a very small price tag. As of this writing, the added cost, at single ounce pricing, is less than 3%.
I remember first reading about Argentium Silver, and being just blown away as I read of one advantage after another. Already sold on its many appealing benefits, the clincher was the prospect that I could possibly give it enough spring for my specific needs through hardening, and translate my gold tension settings into cast silver. That was something not possible with other silvers.
At the bottom of Argentium's list of desirable qualities was an option - high purity.
Cast Argentium 960 was the less likely candidate for success, so I tested the limits by starting there. It performed as I had hoped, developing enough spring for me to produce the work I most love. Picking up the unique high purity option became the frosting on the cake.
If you haven't tried Argentium 960 yet, now is a good time to consider it. It was a natural choice for me. Perhaps it will be for you as well.
David Worcester
davidworcester.com
March 2012
Argentium 960 - A Natural Choice, by David Worcester
Have you tried the high purity, Argentium 960 alloy?
You should, especially since, at least in the United States, it can be purchased in small, by the ounce lots, and you can see how you like it with little out-of-pocket cost.
Why 960?
Many of Argentium's properties are only of direct interest to the craftsperson. For example, having clean castings, completely free of fire stain, is a huge boon to manufacturing, but of no interest to the end purchaser. This quality alone makes it superior to all other silvers, and, though this attribute results in a better product, few end users might understand it or care. This "bench, but not sales counter" benefit is the case for both 935 and 960 alloys. On the other hand, just as with Argentium's tarnish resistance, a customer can easily see added value in jewelry made in a purer metal.
Argentium 960 nearly halves the non-silver content of sterling. Surpassing Britain's Britannia standard, it is remarkably close to fine silver, yet it has all of the same qualities that make standard Argentium superior to standard sterling - and the other new silvers.
Any problems?
Not now. Let's put old rumors to rest. Argentium Silver is a young alloy, and today's top performing, higher purity mix has emerged from a short but profound evolution. 970 was the alloy I first read of, but it was off market. Then I got my hands on the first version of 960 and though I found it exciting and promising, there were some stubborn and disappointing problems which I couldn't eliminate. Then Argentium International licensed production to Legor as a new partner and simultaneously adjusted the receipe to today's spectacular 960. I have nothing but praise for this metal; it is a dream to work with.
How do 935 and 960 compare?
Compared to 935, I can see even more of Argentium's whiteness and brightness in the 960 casting grain. For silver work, as a bench jeweler and small manufacturer, I have settled in on this single metal, so can make scant comparison of the two alloys. It does what I ask. I have played with fusing (though not applying this technique to my line), and have found that while the 960 alloy fuses, it seems to have a small working window. Out of curiosity, I then tried some 935 and found the process much easier. So I see a difference there.
The only disadvantage that I have found concerns some aspects of supply. If we need an amount less than Legor's minimum order of sixty ounces, we can buy 960 grain from G&S Metals in the United States - no problem. However, no one produces any mill stock for resale. I have ideas for fabricated pieces that would be easy to produce in 935, but will just stay in my long time casting niche because I want my entire line in 960.
There's an easy solution to getting wire, though. Although Argentium 960 (Pro) is made for casting, (this is the alloy that G&S Metals carries), it draws beautifully into wire and can easily be produced in a small shop.
Cost?
There's not much cost difference to make that .025 increase from 935 to 960. So, showing off your work by adding that little bling of high purity, and highlighting the care that you put into it and all its details, has a very small price tag. As of this writing, the added cost, at single ounce pricing, is less than 3%.
I remember first reading about Argentium Silver, and being just blown away as I read of one advantage after another. Already sold on its many appealing benefits, the clincher was the prospect that I could possibly give it enough spring for my specific needs through hardening, and translate my gold tension settings into cast silver. That was something not possible with other silvers.
At the bottom of Argentium's list of desirable qualities was an option - high purity.
Cast Argentium 960 was the less likely candidate for success, so I tested the limits by starting there. It performed as I had hoped, developing enough spring for me to produce the work I most love. Picking up the unique high purity option became the frosting on the cake.
If you haven't tried Argentium 960 yet, now is a good time to consider it. It was a natural choice for me. Perhaps it will be for you as well.
David Worcester
davidworcester.com
January 2012
Inside Argentium - How does it work?
The question we are always asked is: “How does Argentium work?” As part of our ongoing research to understand in greater detail how Argentium ‘works’ and also to optimise the properties of the Argentium silver alloys, Argentium International, in association with Legor Group, have carried out a series of investigations. Using the most sophisticated electron microscope techniques available, we have gained a better understanding of what happens at the surface of the Argentium silver.
Our investigations using a Transmission Electronic Microscope (TEM) have shown that a thin, dense layer of germanium dioxide (GeO2) is formed at the surface of Argentium silver alloys. It is this layer that gives Argentium silver its protection against tarnish and firestain. Although this oxide layer is very thin (about 10 nanometres, detectable as a thin, white line in the picture below), it is formed across both the silver-rich and the copper-germanium rich phases present in Argentium silver alloys and can be considered to act as a solid lubricant, similar to a very well known non-stick coating widely used on cooking utensils.
In addition, this germanium dioxide layer is self-regenerating. If the germanium dioxide is worn off due to abrasion, it will reform. When compared to the other coating techniques used to protect silver alloys (e.g. rhodium plating and e-coating), this ability to re-form its protective surface layer makes Argentium silver alloys unique.
Charles Allenden
Inside Argentium - How does it work?
The question we are always asked is: “How does Argentium work?” As part of our ongoing research to understand in greater detail how Argentium ‘works’ and also to optimise the properties of the Argentium silver alloys, Argentium International, in association with Legor Group, have carried out a series of investigations. Using the most sophisticated electron microscope techniques available, we have gained a better understanding of what happens at the surface of the Argentium silver.
Our investigations using a Transmission Electronic Microscope (TEM) have shown that a thin, dense layer of germanium dioxide (GeO2) is formed at the surface of Argentium silver alloys. It is this layer that gives Argentium silver its protection against tarnish and firestain. Although this oxide layer is very thin (about 10 nanometres, detectable as a thin, white line in the picture below), it is formed across both the silver-rich and the copper-germanium rich phases present in Argentium silver alloys and can be considered to act as a solid lubricant, similar to a very well known non-stick coating widely used on cooking utensils.
In addition, this germanium dioxide layer is self-regenerating. If the germanium dioxide is worn off due to abrasion, it will reform. When compared to the other coating techniques used to protect silver alloys (e.g. rhodium plating and e-coating), this ability to re-form its protective surface layer makes Argentium silver alloys unique.
Charles Allenden
October 2011
Engraving Argentium Silver with Jack Gohn
Hand engraving sterling silver has, in the past, always created problems when you were finished with the artwork. You had to try and hold the brightness of the engraving with either bright metal plating, antique finishes, or lacquering the surface. All of this was done to try and keep the silver from tarnishing, however, this also took away from the beauty of the cuts that makes hand engraving so beautiful. The creation of Argentium silver has brought to the hand engraver, the advantage of changing the hardness and softness of the metal in the studio and the advantage of leaving the metal, after engraving, in its natural state.
Engravers are always looking for better ways to transfer their designs from paper to metal. Most transfer methods work on Argentium silver, except in the use of titanium white gouache (used for layout foundation). Several engravers have reported that this white watercolor will cause superficial damage to the surface if left on for too long. Traditional sterling silver does not seem to have this problem. As with all new metals, we should test and try new methods, to see what works best for the engraver and metal they are working on. Argentium silver holds a very bright and sharp cut. I have seen my hand engraved Argentium creations after a year of day by day wear and have found the engraving and the metal to still be sharp and bright. All the care needed is to wear it and wash it occasionally with soap and water. Hand engraving and forming Argentium silver is a very enjoyable experience. This is a very beautiful metal to showcase your engraving.
Jack Gohn
W: jlgohn.com
July 2011
Engraving Argentium Silver with Jack Gohn
Engravers are always looking for better ways to transfer their designs from paper to metal. Most transfer methods work on Argentium silver, except in the use of titanium white gouache (used for layout foundation). Several engravers have reported that this white watercolor will cause superficial damage to the surface if left on for too long. Traditional sterling silver does not seem to have this problem. As with all new metals, we should test and try new methods, to see what works best for the engraver and metal they are working on. Argentium silver holds a very bright and sharp cut. I have seen my hand engraved Argentium creations after a year of day by day wear and have found the engraving and the metal to still be sharp and bright. All the care needed is to wear it and wash it occasionally with soap and water. Hand engraving and forming Argentium silver is a very enjoyable experience. This is a very beautiful metal to showcase your engraving.
Jack Gohn
W: jlgohn.com
July 2011
Jewelry Studies International - sign up for classes today!
The combined talents of Ronda Coryell with her School of Argentium and Vasken Tanielian with CADWORX school of CAD/CAM are a dynamic team. Their inspiration for starting the school was based on the overwhelming amount of support and encouragement they have received from students, vendors and other associates to offer a program that distinguishes JSI from other jewelry programs in the international jewelry education community as experts in Argentium techniques.
JSI instructors are professional jewelers, goldsmiths and gemologists who have a passion for sharing their knowledge and experience. We are passionate about priming the future generations of metal-smiths and jewelers to be environmentally aware. We have set up an ecologically friendly 'green' studio and will teach our students how to do the same."
For more information go to... jewelrystudiesinternational.com
June 2011
'In-Union' wedding bands - a special bond!
The fusion synergy is created by spinning the Argentium silver liner into the gold band, taking advantage of a natural, cold weld. The joint is then completed by carefully directing heat to complete the process so the two metals are indistinguishable. This results in a resilient product with great potential for color and design. No bonding agents, solders, pastes or other chemicals are used in the bonding process.
Kemp Metals have begun to convert all of their silver production to Argentium. The company produces thousands of styles for bands, all of which can be made in Argentium silver.
‘In-Union’ wedding bands are being showcased by Novell at the JCK Show in Las Vegas from 3-6 June 2011, Booth: S10631.
‘In-Union’ wedding bands are being showcased by Novell at the JCK Show in Las Vegas from 3-6 June 2011, Booth: S10631.
For more information on the In-Union bands, please go to novelldesignstudio.com
For more information about Argentium bands, please e-mail Kemp at info@kempmetalproducts.com
February - March 2011
Jonathon Landell - Argentium silver flutes
“As to the sound of this flute, I find that it has greater power and projection than a similar flute made in traditional sterling and the power and projection rivals that of titanium, while retaining all the modesty and traditional sweetness of sterling. The flute responds more quickly too. It's not as fast as the titanium flute, but it's not much behind either. I hear a 'core' in the tone that is really beautiful, especially in the middle octave and when playing with lots of air speed, that is very strong centered air stream.
Since the alloy is almost the same [as traditional sterling], the timbre remains constant while the increased hardness of the tube ‘turbocharges’ the potential for concert-hall-spanning projection.”
Another advantage of the heat-hardening properties of Argentium relates to the construction of flutes. Traditional sterling flutes are made using lower temperature tin solders – although this prevents the metal becoming annealed (softened) during construction, a disadvantage of the tin solders is they break down over time and can leak air. Argentium flutes can be made using silver solders, these do not break down over time and the instrument can be easily heat-hardened after construction to give durability and increased sound projection.
With its intricate design, an important factor of the Argentium flute is its resistance to tarnish - this enables a polished, bright appearance with low maintenance.
"I think that tradition is a quality that’s essential to the Arts, as it enables us to pass down our love of beauty from one generation to the next. We value the fine arts, because the ideals they represent have been distilled and refined for generations. I see fine instrument making as an important servant to music making. The custom handmade flute is similar to the artists’ brush on the concert stage. The dedicated ‘luthier’ is the back stage performer who welds the highest standards of craftsmanship to musicianship.
To that end I formed The Vermont Guild of Flute Making, Inc., which is a non-profit school for apprenticeship training in flutemaking and repair."
You can find out more about Jonathon Landell at landellflutes.com
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