Surface drainage: step-by-step instructions. Description of jeweler-production The product arrives at the mounting area after the falcons

Before reaching the store window, jewelry must go through many stages of production. Today we will tell you about where products end up after the foundry.

Grinding

Jewelry cast in metal can hardly be called flawless. It is for this purpose that they go to the polishing area, where the skillful hands of jewelers bring the product one step closer to perfection.

Grinding is necessary in order to give the metal surface a certain purity and precise dimensions. So, the craftsmen level the place of the cut sprue, which was used to attach the product to the wax rod of the tree, or remove the flash - that is, excess metal that could have formed during the casting process.

For this, a special machine with a grinding wheel consisting of small carborundum crystals is used. The grinder brings the product to the wheel, “removing” excess metal. To work out the smallest details, a hand tool is used - a drill with many attachments that differ in size and hardness, or a file.

Only after manual grinding does the product pass to the tumbling section.

This jewelry production area resembles a huge kitchen, where in each “pot” something is prepared under the strict guidance of an experienced chef. True, instead of “kitchen utensils” in tumbling there are huge rotating drums, and jewelers play the role of chef.

Tumbling is actually a jewelry cleaning process that combines grinding and polishing. Products are placed in rotating drums with special polishing agents or reagents. Typically, tumbling involves two steps: wet grinding and dry polishing - but for some products only dry finishing is sufficient.

First, the decorations are placed in a rotating drum, into which a buffer solution with reagents is poured. The reagents can be detergents and polishes, as well as a solution of caustic soda, slaked lime, soda ash and some other substances that speed up the cleaning process. At the same time, special small steel balls are placed in the drum.

After a certain time, the contents of the drums are poured into a container that looks like a huge sieve. Everything that is not needed goes away, but the cleaned jewelry remains.

The second stage is dry polishing. The principle of tumbling is the same, only instead of solutions, dry abrasives are poured into the drums: ceramics, porcelain, plastic, corundum and even walnut shells, which, according to tumbling jewelers, cannot be compared with any synthetic material. The buried figures have the shape of a pyramid, cone, cylinder or ball.

Specialists not only load and remove products, but also monitor the time: it is important to correctly set the operating parameters of the equipment and not damage the metal and design elements of the jewelry.

Polishing

To “brine the shine” the product is sent to polishers.

Using a polishing machine or manually using a drill with special attachments, jewelers make jewelry incredibly smooth and shiny.

In contrast to grinding, polishing does not use hard abrasives, but only smooth or soft materials, such as felt, felt or wool. Before starting work, the product must be degreased. To reduce friction and remove possible fine chips, so-called polishing water is used ( soap solution with ammonia).

First, the product is processed from the inside (if necessary), and then from the outside. The polisher, as it were, draws strokes on the surface of the metal, first in one direction, and then “across” so that there are no stripes.

Only after this does the jewelry acquire a shine worthy of the precious metal. It must be said that some products are polished not only at this stage of production, but also later, after the stones are set.

Those who have visited the SOKOLOV jewelry production are unlikely to doubt that the company’s specialists truly have golden hands. And not only in figuratively words.

After the tumbling stage, complex jewelry is sent to the mounting area. Here specialists will have to do truly magnificent work. This is one of the most important stages of production, which includes several processes.

Before proceeding directly to the mount, the product must be filed.

Sawing is a rather painstaking process, and it takes place at a workbench. A finagel is built into the workbench cell - a very hard block of wood in the shape of a wedge, against which the product is pressed. The craftsman manually aligns the shape of the decoration using a file.

Along with manual filing, mechanical filing is used, which is used to process hard-to-reach areas of products: groove cuts or internal surfaces of hollow products.

Sizing

This procedure is a privilege exclusively for rings.

Forming the required size is carried out using a mallet (small hammer) and a crossbar, or ring gauge - a metal cone with divisions indicating the size range.

The fitter constantly checks with the ring gauge to ensure that the size is correct. After adjustment, the shank is leveled using a needle file - a small file for fine work.

Assembly

It is the assembly that is key point in the mount. At this stage, complex products consisting of several components are assembled. For example, here an “eye” is attached to pendants - a ring with which the jewelry is put on a chain, complex bracelets are connected, and many other painstaking operations are performed.

Few people know that earring earrings are cast separately from the decorative part of the product. It is the assemblers who connect the movable and fixed elements of the lock.

A pin connection is created by precisely fitting the parts to each other and fastening them with wire through a special hole. After fastening, the wire is “flatten” on both sides to form holding “rivets”.

It is very important to choose the correct diameter of the hole and wire so that the process of fastening and unfastening the earring is as comfortable and reliable as possible.

Soldering

Soldering, as a rule, is needed in order to attach various decorative overlays to products and connect complex elements of decorations together. At this stage, the jeweler needs to show maximum precision and skill. In case of even a slight deviation from the process, the product will be damaged.

It is very important to choose the correct melting temperature (distance to open flame) and adjust the burner to avoid a large flame.

After soldering, the craftsman needs to carefully clean up traces of solder and align the parts if such a need suddenly arises.

Laser welding

To obtain a permanent connection between the parts of the jewelry, a laser welding process is performed. This technology is carried out on high-tech equipment in order to create point connections. In this case, the metal melts in its various parts under the influence of laser radiation. Due to the crystallization and melting of metals, a clean connection is obtained, practically without a weld. The beam diameter can be adjusted up to 0.3 mm - literally “soldering hair to hair.”

After mounting, the product acquires a complete appearance and is sent to the Upper Volga Assay Supervision Inspectorate. There, the jewelry undergoes a thorough analysis, after which the product is marked with a sample of the precious metal and the name of the manufacturer.

The basic technology of jewelry production allows the use of a wide variety of combination options. The product can be simple; it can be mounted from round wire or cut from sheet metal (Fig. 12). Decorations, for example, Renaissance and Baroque, were decorated very richly. Later, natural motifs became established in the ornament, especially light plastic flowers and petals with the smallest details (brushed or engraved). Until recently, the prevailing passion was for polished surfaces, complemented by details from other colored materials, which made The product is very impressive.

The casting molds are cast using sepia - calcareous oval shells of the sea mollusk cuttlefish measuring from 8X4 to 15X6 cm (Fig. 16), which are found in all the seas of Europe? however, they are more common in the Adriatic Sea. In the hardened dry state, the Geshsh on one side are filled with a soft calcareous substance. The sepia shell is cut longitudinally into two halves (for the *salt model with a low caste) or into three parts (for rings with a high or wide caste). Cast - the crown of the ring - must be

Placed in the thickened part of the form. The limestone texture of sepia is cut out with a knife, then individual parts are processed on a wide file surface or smooth carborundum and one part is rubbed against the other until both halves (I sand the third part from below) are closely adjacent to each other. The ring model is pressed in the middle of one part of the sepia with the head down only to half of the longitudinal axis. In the place where there should be a stone, having installed it according to its size, I make a wood insert, with the help of which a space is formed in the space for installing the stone. The second half of the mold is fitted and pressed against the first half; The third part of the mold blank is applied to them from below. Before removing the model, the outer edges of the mold are cut off in the form of a prism, and across the gaps, with a file or scriber, marks diverging in different directions are cut so that the individual parts of the mold can be correctly folded along these control grooves. In one part of the shell, both - GsGrGam of the depressed model are cut through with scribers

Thin marks, so-called air channels, obliquely from bottom to top to remove air when pouring molten metal, and also to ensure that the mold does not

It exploded. Finally, the model is taken out of sepia and the shank of the ring in both halves of the mold is finalized. At the same time, a funnel-shaped sprue channel is cut with a knife in the upper part of the mold to pour molten metal (Fig. 17). After connecting identical parts along the designated control marks, the form is tied with soft wire and attached to the corresponding handle. To prevent the casting from becoming porous, the mold must be dry, and a little zinc must be added before direct pouring into the molten precious metal. Before pouring, the metal is heavily etched. During the pouring process, you must ensure that the metal and the metal are in the mold.

Rice. 18. Crucible for melting metal: / - incorrect; // -Right; l - material; b-borax.

No molten borax or ash got in. Each shape can only be used once, otherwise the sepia will fade. After removing the casting from the mold, excess metal is cut off and the workpiece is ground.

The crucible for melting metal, made from prepared or artificial coal, should be prepared accordingly (Fig. 18). A deep hole is not suitable, since heat does not penetrate into it, and as a result, the metal will melt unevenly and splatter on the surface. Using an air jet from a blower, the borax is deposited before casting the metal.

Rice. 19. Sand casting mold.

A crucible with a shallow hole slightly raised in the center is more convenient; due to this, the surface of the metal increases and the molten ingot does not take the shape of a ball. With this crucible shape, metal casting is also easier. The rounded cutout in the lid with the opening opening at an upward angle distributes the heat evenly. The lid, connected to the lining with a piece of wire, does not slide off it.

When larger objects need to be cast or large quantity models, then for this purpose casting in sand molds is used (Fig. 19). For this type of casting, a molding frame is used, one half of which is placed on a flat board and filled with compacted sand moistened with beer or syrup water. Then the model is pressed into the mold to half the depth of the sand; if the molding sand is very deep, then the top excess layer is removed. Sprinkle the mold with charcoal dust or lime, place a second molding frame on it and fill it fine sand. After this, the mold is carefully separated and a sprue channel is cut in both halves to the model. When casting several objects, the models are installed one next to the other and connected by gating channels. To ensure air removal from each model, air channels are made upward (for gold products - narrow, for silver - wider). The model is carefully removed, the molding frames are reassembled, thoroughly dried and heated strongly before pouring.

Currently widespread new manufacture small items - centrifugal casting in “lost wax”. The castings obtained by this method are in shape and appearance are more perfect, their further processing compared to castings in sepia or sand form is significantly simplified and becomes more economical. The next advantage is that several models can be cast at the same time. After
The procedure for making models is as follows: plaster impressions are taken from the object or model that is about to be cast; Double-sided impressions are made from rounded models, such as rings. The original model (made of clay, molding wax, zinc, lead, tin or brass) is coated with a thin layer of oil and immersed horizontally on one side in the plaster slurry so that the other half remains free (as in sepia). Once the plaster has hardened, the model is removed, dried and washed with soapy water. The model is then placed back into the plaster cast and completely filled with plaster slurry. After drying, both parts are quickly separated and the model is removed.

Instead of gypsum, you can use Elastic molding crust. “Elastic” is poured into the lower half of a special frame, into which the model is then pressed (up to half). After 3-5 minutes, the “Elastic” around the model hardens. The remainder of the molding paste squeezed out by the model is cut off along its lower half. Then the upper part of the frame and the other part of the model protruding from the lower frame are filled with molding paste. After the paste has hardened (after about 5 minutes), the frames are carefully separated and the model is removed from it so that the edges and small parts are not damaged. After cutting the air and sprue channels, the main negative mold for wax casting is considered ready.

In a special tank with a drain tube (meaning an injection unit with a fitting - approx. per.), the appropriate amount of blue wax is melted, which is poured into the mold in a thin stream. After the wax has hardened (within 2 minutes), the frames are carefully separated and the wax casting is removed. Excess wax is removed. Using this method, you can make any required number of castings. However, after casting 20 pcs. wax models, the form shrinks and hardens.

Blue wax has the following advantages: after cooling it becomes hard and plastic, the model is easy to correct or change in accordance with the plan. The marks from the air and sprue channels are smoothed out, and then the model is firmly installed on the base using a thick needle with a diameter of up to 0.7 mm.

Vania - a small wooden plate with a semicircular raised middle, which also serves as a shutter for a metal sleeve called a cuvette (Fig. 20).

The cuvettes vary in size and the number of models that must be cast at one time. When casting small objects, air channels are usually not cut through. When casting large objects, especially when casting silver items, thin wax threads are additionally prepared, which are attached to the wax model and to a convex semicircular plate. The model is carefully wiped with a soft brush dipped in alcohol (the model moistened with alcohol is degreased and the molding compound fits tightly to the model - note). The molding mass (expandant) is a mixture of alabaster gypsum with fine silicon sand, mixed in cold water until it becomes thick as whipped cream. Using a soft brush, the molding compound (well mixed) is applied to the model, then a ditch is put on top, which is filled with the molding compound. The mixture will fill the cuvette faster if you lightly tap it during filling. As soon as the mixture hardens, remove the wooden base, and then the needle on which the model was attached. The small channel left by the needle will serve as a hole for casting metal, and the semicircular convex base will create a casting recess. Instead of a wooden base, you can use plasticine.

Dry the cuvette over low heat or in a small Bunsen burner flame until all moisture has evaporated. Then it is heated in an oven until it turns red, as a result of which the wax model and the air channels from the wax threads melt (the wax is “lost” - it flows out). However, the cuvette must not be overheated, otherwise the cemented mass will crack and casting will not be possible. After calcination of the cuvette, they begin to prepare gold or silver for casting. You should take a little more material than the volume of the model allows (with a small cuvette, no more than 14-16 g). To ensure that no traces of borax remain, the material is etched and cleaned. When the cuvette is sufficiently calcined, it is removed from the furnace and installed on a manual centrifuge (Fig. 21). Metal cut into small pieces is poured into the sprue recess, which is melted with a soldering gun. As soon as a mirror shine appears on the surface of the metal, you must immediately begin to quickly spin the centrifuge. The molten metal, under the influence of centrifugal force, will penetrate the sprue channel and fill the space of the wax model. After the metal has hardened, the cuvette is cooled with cold water, the molding mass is dissolved, and its residues on the casting are easily cleaned off. The thin wire filling is cut off. It remains to check whether everything is done correctly: does the casting require additional processing or not, is it clean, does it have a smooth surface, and is it accurate?

This method is also very convenient for casting hollow models. Technological process the same, only the wax model is sucked out using a special wax suction unit. With this method of casting, the fine details of the model are well worked out. Instead of a manual centrifuge, special installations are used. Molding pastes are made from special

Wax models are also made in machines for casting molds in hard rubber. The metal model is placed between two rubber plates, which are vulcanized under a press equipped with a vulcanizer. With this rubber mold you can

Rice. 22. Machine casting: riser from wax models and riser from castings.

Make as many wax copies as required for simultaneous casting. After removing the wax model from the rubber mold, it is attached using a short leg to a wax tree-shaped riser and placed on a plastic base (plasticine). Further, the process proceeds in the same way as with centrifugal casting.

Machine casting. The most varied and complex shaped jewelry today is mass-cast using electric devices that melt the metal, and also cast products in “lost” wax, which greatly facilitates and improves the work of the jeweler. Special master alloys for centrifugal casting are produced in refineries. The samples created in the centrifugal casting process are shown in Fig. 22.

Making wax models. The vacuum injection system allows simultaneous vacuuming of rubber matrices and injection of wax in one working process. Evacuation of air from rubber mold before injection of wax

Improves and speeds up pouring and also prevents the formation of air bubbles. The equipment set includes: a unit for vacuum suction and injection with automatic temperature control, a foot pedal to control the moving elements of the valve, a wax injector with automatic temperature control and a vacuum pump. All equipment is installed on a stable work table.

Moving between storage rooms

When filling out the tabular part of the "Movement" document with semi-finished products, it is recommended to use item selection processing Without hierarchy. The selection form provides for the selection of the contents of warehouse balances by components, products and accessories. The upper table part displays the remaining quantity and weight in the warehouse of each of the listed semi-finished product items. For products, the belonging to the production batch and the order to which it belongs, as well as the nature of the accessory (article or piece) within the framework of this order is indicated. For components, you can fill in upon request (click on the Fill in requirement button) the Requirement column, the data of which corresponds to the need for components that is formed when placing an order and used when picking products; this can be useful in cases of compiling a transfer to the areas where the picking takes place, with limitation on the number of required parts.

Selection is carried out by double-clicking on the line of balances, as a result of which a form for entering quantity and weight opens, the ability to edit which is available only for components; in the case of products, these fields are not available, since division of the batch is not provided for by the movement document, then the selected position falls into the lower tabular part of the form selection and correct data on warehouse balances in the upper tabular part. The item selected in this way, after clicking OK in the selection form, ends up in the tabular part of the “Movement” document.

As a result of posting the transfer document, the items from the warehouse balances will be consumed and credited to the recipient's warehouse balances.

Passage of products through the mounting area

A pry bar in jewelry production is considered to be the production jewelry before polishing it and setting stones in it. The mount includes operations that can be repeated in different sequences during the jewelry manufacturing process. This is marking, drilling, sawing, soldering, bleaching, filing, scraping. At most jewelry enterprises, all mounting operations, except for drilling and bleaching, are performed by a jeweler at his workplace (at a workbench), whose equipment ensures their high-quality execution.

§ 22. Jeweler’s workplace

Proper organization of the workplace is one of the most important conditions growth of labor productivity, improvement of product quality, reduction of irreversible losses precious metals and facilitating working conditions. The jeweler's workplace is a workbench. A jewelry workbench is a table with one or more places, consisting of a top plate (lid), underbench pipes, an apron for collecting waste, a lighting lamp and other auxiliary devices. A single workbench has one work cell (segment cutout in the table). The number of cells in multi-person workbenches is determined by the number of workstations. Each workplace equipped with a height-adjustable chair (chair). Workbench height 95 - 100 cm, lid width 55 - 60 cm; The length of the workbench depends on the number of workstations.
The top plate (cover) of the workbench, flat and smooth, completely eliminates the possibility of the formation of cracks and cracks. The lid has a segment cutout (working cell) with a radius of 30 - 35 cm, extending 20 - 25 cm deep from the front edge of the lid. The distance between the cells of a multi-seater workbench should be about 50 cm. A side 4 - 5 mm high runs along the contour of the lid, the role which is to retain sawdust that has fallen on the lid of the workbench. The side is interrupted in the middle of the cell for sweeping sawdust into the apron. The surface of the lid is covered with linoleum or heat-resistant plastic. The middle part of the cell (in the interval of the interrupted side) both at the end and on the surface of the lid is covered with tin to protect the workbench lid from the burner flame during soldering. IN Lately Jewelry enterprises began to switch to mounting products in a separate soldering workshop. In this case, workbenches are equipped with soldering machines only in the soldering shop.
In the center of the working cell, a finishing gel is attached to the end of the lid (Fig. 28), which serves as a stop when sawing with a jigsaw, filing and scraping. Finagel has a wedge shape. Its length (distance of the protrusion from the end of the cover) is 80-90 mm, width 70-75 mm, elevation angle 30°. Depending on the nature of the work, the size of the finisher and its position (horizontal part from below or from above) can be changed.

Finagels are made from hard wood.
Underbench cabinets serve as the base of the top plate and cabinets for tool boxes. The cabinets are located to the right of the cells and have 3 - 4 medium-depth drawers. A single workbench is installed on two pedestals, a multi-seater has the number of pedestals according to the number of workstations.
An apron (leather) for waste disposal is attached to the bottom of the lid under the cell so that in a freely sagging state, the edge of the apron extends beyond the front edge of the workbench by 15 - 20 cm. The apron should sag to the knees of the sitting jeweler, and its center should be under the finisher . Properly attached skin should not have folds. Wrinkles, which make it difficult to collect waste from the skin, should be as few as possible and should be directed towards the center of the skin. The condition of the leather is checked daily to identify through burns, cracks and sticky spots from spilled flux.
Waste is collected from the apron by repeatedly sweeping it with a hair brush. The apron must have a clasp with which the jeweler closes the work cell when getting up from his workplace. But a leather apron also has disadvantages: a hot item accidentally dropped into it spoils an area of ​​leather, a spilled solution of borax or other liquid makes the leather hard, and over time, from sweeping sawdust out of the leather with a brush, its surface becomes rough.
We found the use of workbenches with tin boxes instead of aprons. The depth of the boxes varies - from 10 to 30 mm. Deepening with front side, resembling a cutout of a working cell, allows the jeweler to sit tightly to the workbench and at the same time ensures that all waste metal falls into the box. A tin box is incomparably cheaper than a leather apron, and it lasts much longer. In addition, it is much more convenient to sweep waste from the box than from the apron.
Lighting lamps are installed above each finish. The lamp should emit soft, even daylight. Movable devices allow you to adjust their position in the vertical and horizontal planes so that the light evenly illuminates the finage without getting into your eyes.
Jewelry workbenches at enterprises working with gas must have a parallel gas-air supply to each workplace for connecting soldering machines.
To store precious metals and stones, each worker has a box (goft). Based on the size of the goft, jewelers select boxes or one multi-sectional box for storing products, semi-finished products, solders and a tightly closed jar for collecting and storing sawdust and other waste.
During work, only the tool that is necessary for this operation should be on the table. At the left edge of the cell there is a tool that is held in the left hand, at the right edge - in the right hand. Products are always located in the middle part of the table. When performing any operation, you must have a brush on hand to sweep your hands and tools. Hands and tools are wrapped in an apron (box).
Cleaning the workplace after finishing work is carried out in the following order. Having removed the products, sweep each instrument separately with a stiff brush. Files and needle files are swept with special care. Then sawdust and other waste from the surface of the workbench is swept into the apron. They carefully sweep their hands, and after that all the waste from the apron (box) is swept into a special jar (the apron is swept in several steps).