Иностранный язык в сфере профессиональных коммуникаций (геммология). Составители: Шмакин Б. М., Золотарева Е. В

multiple – многочисленный

1. On what gem materials is the focus in jewelry?

2. How are gold chains applied?

3. What trend has the wear of earrings?

4. What styles has gold and silver bracelets?

5. Is style of engagement ring varying?

6. What cut forms of diamond may be used in set ring?

7. What unusual materials are used in jewelry?

8. What trends of jewelry styles are now?
11.9. Find the following word combinations in the text:

1) маленькая подвеска со вставленным камнем;

2) изящное золотое колечко;

3) обручальное кольцо;

4) обвивая центральный камень;

5) точно калиброванная огранка бриллианта;

brittle –

vivid –

Text 1.

Metal trends of the 20^th century

The last century saw a number of changes in the use of precious metals for jewelry. Fashion shifted from dainty and delicate, where the show of metal was minimal, to strong and assertive, where precious metals made a powerful statement. Gold was the most popular metal, but price fluctuations affected the way it was used. For example, fashion was dictating the “big” look in jewelry just as gold prices began to climb. The more affordable metal, silver, also made a comeback; the “big silver” look was often set with amethyst and blue topaz, as well as with cubic zirconia, in bright pinks and blues as well as colorless.

Colored gold alloys also came back into vogue, and tri-color gold (yellow, white, and rose) was a major trend in all types of jewelry. An interest in the look of dark metal led to experimentation with alloys, including ones for blue and black gold that proved to be brittle and hard to work with. Ultimately, the dark metal look was provided by the use of surface-coloring techniques such as patination (antiqueing) and enameling in opaque black and in rich jewel-toned reds, blues, and greens.

Platinum, traditionally reserved for important high-end pieces, began to be used more extensively throughout the industry. To make this metal more accessible to a larger market, jewelers began to combine platinum with gold to provide richness and a pleasing visual contrast.

Other, nontraditional metals also appeared in jewelry. Titanium, developed for use in the aerospace industry, was found to be a light, strong metal that could be anodized to a variety of vivid colors. It was not widely used, however, and was incorporated more as an accent metal rather than for entire pieces. Tungsten carbide, also from the aerospace industry, was used for watches, while stainless steel cable, occasionally rhodium plated, was worked into a variety of bracelets, neckwear, rings, watchbands, and cufflinks, primarily for men.
Дополнительный словарь:

to shift – менять	to afford – позволить себе
delicate – изысканный, утонченный	comeback – возвращение
assertive – напористый	look – вид, взгляд
statement – заявление	to anodize – анодировать
to climb – подниматься	cable – канат, шнур

12.4. Translate into Russian the following word combinations:

1. metal trends

2. tri-color gold

3. pleasing visual contrast

4. aerospace industry

5. diamond-cutting

6. Japanese art

7. ancient style

1. Were there changes in the use of precious metals in the last century?

2. What affects the way of the use of jewelry metals?

3. What metal is the most affordable?

4. What gemstones are often set in silver jewelry?

5. What techniques makes dark surface of metal?

6. How to make platinum more accessible to a larger market?

7. What nontraditional metals are used in jewelry?

1. В изящных украшениях благородный металл показывается минимально.

2. Самым популярным металлом в ювелирных изделиях является золото.

3. В моду возвратились цветные сплавы золота (желтый, красный, белый), которые используются во всех типах ювелирных изделий.

4. Платина начинает использоваться в ювелирной отрасли более интенсивно.

5. В ювелирных сплавах могут быть добавлены элементы платиновой группы, титан, вольфрам и другие нетрадиционные металлы.

6. Яркие розовые, голубые и бесцветные камни часто вставляют в изделия из серебра.

7. Интересно смотрятся изделия из сплавов с темным покрытием.

Although the great majority of settings in the jewelry market were cast, a number of goldsmiths experimented with forming and working metals. Borrowing from jewelry styles of the 1940s, metals were folded, pleated, ruffled, and sculpted to imitate textiles and give the appearance of having been woven or formed into intricate lace or mech. Texturing of metals was explored further during this period: Against bright polished gold, matted, brushed, and satin finishes provided a softened effect, while reticulated, “distressed”, and crystallized finishes gave a strong visual impact to artistic, modern pieces. Bright-cutting, or diamond-cutting, was another surface texture that was most commonly seen on mass-produced gold jewelry designed for the popular market. Stamped textures, imitating natural surfaces such as basket weave, crocodile skin, or leaves and scattered flowers, were also used to enhance the bold metal look.

Exhibitions of ancient and antique jewelry awakened a new appreciation for early metal-smithing techniques. Two of these in particular, the Japanese art of Mokume gane and the Etruscan technique of granulation, saw limited revival. Mokume gane, meaning “wood grain metal”, bonds, folds, rolls, and slices stacks of metal stripes – usually colored golds or gold, silver, and copper – to achieve a variegated pattern. Pieces that contain silver or copper are sometimes acid etched to augment the wood-grain texture. Granulation embellishes the surface of a piece of jewelry with minute gold beads fused in a pattern. Many jewelers, inspired by the Etruscan originals, closely emulated this ancient style, while others adapted the technique to more modern interpretations.
Дополнительный словарь:

borrowing – заимствование	weave – узор (ткани)
to fold – сгибать	scattered – разбросанный
to pleat – плиссировать, делать складки	bold – отчетливый, рельефный variegated – разнообразный
to ruffle – гофрировать, собирать сборки	to awaken – пробуждать (талант) to brush – чистить щеткой
to sculpt – лепить, ваять	appreciation – понимание, оценка
woven – плетеный	bond – соединение
intricate – замысловатый	roll – свиток, сверток
lace – кружево	slice – ломтик, тонкий слой
mesh – сеть	strip – тонкая полоска
matted – спутанный	to achieve – достигать
to soften – смягчать basket – корзина	to augment – прибавлять, увеличивать
reticulated – сетчатый	bead – капля, бусинка
distressed – потерпевший аварию	to inspire – вдохновлять
to emulate – подражать

12.7. Answer the questions:

1. What experiments with forming metals have made?

2. Does diamond-cutting use on gold jewelry?

3. What may stamped texture of metal surface imitate?

4. What specific features have the Japanese art of Mokume gane in jewelry?
12.8. Find the following word combinations in the text:

1) имитация ткани;

2) эффект смягченной поверхности;

3) крокодиловая кожа;

Any silversmith will have the pliers and vise and soldering equipment necessary, and a filigree jig is simple to make. The materials list is short. You will need 3 inches of 22 gauge, and 30 inches of 28 or smaller gauge round sterling silver wire.

You are going to twist the wire, and since you are making two earrings and shorter lengths twist better, cut your wire in half. The twists must be very tight so the wire has to be very soft or it will resist and break, so be sure to anneal it after the last draw. To finish preparing your wire it must be flattened. You can hammer it flat. If you can get permission to use a rolling mill it’s a simple matter to first roll your three inches of 22 gauge (anneal, of course) until it is about 18 gauge wide, then roll the twisted wire until it is exactly the same width. It will be a very thin ribbon.

Cut your flattened 22 gauge wire in two and shape each half like a bell and solder the ends together just as you would bezel for a cabochon. Here’s where it’s a good idea to use a jig so the earrings will be identical. Just draw the shape you want on your filigree jig board without the tin plate and drill a few holes in strategic spots to stick pins into so the bends will be in the right places.

For the last time anneal your wire. It must be very soft to hold its shape. Take your smallest round nose pliers and start a spiral on the end of the wire. Take two turns around and then slip the loop over a pin at the center of the jig. Add a pin on either side of the center one, and, holding the loop firmly with a fingernail, wind the ribbon tightly around these pins. Adding two more pins at a time continue winding until the unit is long enough to fit loosely in its space and cut the wire. Make another unit using the same number of pins and insert it beside the first. Now make a half filigree unit by adding pins one at a time in only one direction. This time you’ll need your Optivisor to squeeze this last unit in between the other two. Make another ear-ring.

The assembly should be stable enough to pick up the outline with tweezers to dip in flux and lay on the charcoal block. Cut your easy flow solder into tiny snippets. It’s a good idea to roll it thinner so it will heat and flow quickly. Place plenty of pieces of solder on each side of the center loop where wires touch each other, making sure the center loop itself will get soldered, and where the filigree touches the outline, and where the units touch each other. Now all your practice in annealing will come in handy. Heat the block at one side of your work very patiently while the flux dries. The solder won’t pop off if you do it slowly. The dried flux will glue the whole thing all together so you can safely push it onto the hot spot after turning the torch down as far as it will go. I use a small hand torch that has a broad soft flame that tends to heat overall and is ideal for small work. After pickling and rinsing take your tweezers and gently test each loop. The only finishing necessary is to rub your burnishing tool around the outline to put a shine on it, leaving the filigree itself white just as it comes from the pickle.