OPAL an Australian Adventure

Opal

An Australian Adventure

Opal An Australian Adventure How to experience it in plain language

The book used to be called ……

“The ordinary Bloke’s Guide to Opal” ‘But not everyone knows what an ‘ordinary bloke’ is!

Peter J Brusaschi

3

Opal – An Australian Adventure (click above to take a look at the Australian Outback)

© 2012 by Peter J Brusaschi The oficial statement here is that you are not allowed to copy this informaton without my permission. But I’m not that sort of person.

Knowledge is for sharing. Partcularly for parents with kids who need to get back to basics of life on earth rather than to disappear into some cyber world.

If you want to copy something or send something to someone else, feel free to do so but it would be nice if you could let me know and it really helps to cover expenses if you could recommend www.opalmine.com to your friends so that we can keep making a living. Email pete@opalmine.com.

I hope you enjoy the book. Best wishes from

Peter.

Opalmine Productions P.O. Box 512. Coolangata Queensland 4225, Australia

pete@opalmine.com

www.opalmine.com

DEDICATION

To All those folks who like going ‘bush’ as we say in Australia.

Going places perhaps thousands of miles away from civilization, where you’ve never been before.

Bringing home interesting rocks, in this case opal. Creating and fashioning gemstones from the ground. Producing “talking point” jewelry and adding “one of a kind” specimens to collections.

Learning the art of the lapidary (Gemstone cuting) Producing jewelry gifs for family and friends that not only bring a lot of satisfaction but can lead to a new source of income.

Adding Opal to the displays of mineral Collectors whether Rock Hound amateurs or professional dealers.

TABLE OF CONTENTS Introduction Chapter 1 The Rainbow Stone with a Personality Chapter 2 Defining Terms related to opal Chapter 3 Fossilized Opal

Page 6 Page 15 Page 18 Page 31

Chapter 4 Where Opal is found in Australia

Page 45

Chapter 5 Opal Mining & Fossicking

Page 57

Chapter 6 Opal Cutting Machinery

Page 63

Chapter 7 Opal Cutting & Processing

Page 72

Chapter 8 Making Doublets and Triplets

Page 89

Chapter 9 Seting your Stones

Page 95

Chapter 10 Valuing your Stones

Page 110

Chapter 11 Selling your Stones

Page 118

Conclusion ‘Gallery of Picture Stones'

Page 131

INTRODUCTION There’s something really special about a name. Although we might not admit it, when we see our names in print, a warm glow comes over us, even if we share that name with probably millions of others as I do. (Peter) Just imagine though, grinding away at some rough opal, in your lapidary workshop, working on a piece of rock that has been lying deep in the ground for thousands of years, and exposing something that looks like the first letter in your name. There is your initial glaring at you, highlighted in precious opal. Now THAT would be special, I think you’d agree.

Then you are doing the same thing with another piece of rock and you find the inital of your wife or husband or girlfriend, or boyfriend also highlighted in opal colors? Now, that would be REALLY special.

Hard to believe? A freak of nature? Well, admittedly you have to use your imagination a little, but here is the evidence:

Click HERE to see our opal picture-stone gallery These unique opal picture stone pieces were found in the Koroit field near the town of Cunnamulla in Western Queensland, Australia.

But enough of myself and my wife. That’s not why you bought this book. It’s about gettng to know the stone itself. Opal. At the outset I must say that the introduction is a bit long but I wanted to make sure you got enough background about the stone in case at some time in the future you want to really get serious about processing and maybe even attemptng to find it. But if you think it’s a bit drawn out, you can always skip it and get to the meat of the matter.

Although I’ve include some definitions, this book is not writen primarily as a technical guide. A lot of detailed informaton has already been written by people more qualified than myself in the arts of chemistry and geology.

My goal here is to give you a hands-on look at the subject by someone like myself who has ‘been there and done that’ over a period of around 40 years.

The book is written with the ordinary or average person in mind.

Maybe it’s because that just about summarizes me. No real educaton apart from personal experience, and I do find that there are too many books written to show of the vocabulary of the author rather than cater to the learning needs of the reader.

For this reason, whenever terms come up that may not be familiar to the reader (even some words that we THINK we know), I have ofered basic definitons, whenever I feel that a finer understanding would assist in gettng to know the subject. This saves you having to check the dictionary all the time.

I have tried to develop the subject logically, starting with terms associated with the stone. Sometimes you read a book on a subject, and by the time you get to the middle, you suddenly realize you just don’t get what it’s talking about. The descriptons are not there just to prove you know something about the subject. They are there to take you somewhere. The understanding of terms associated with opal takes you on a journey of o p a l d i s c o v e r y .

Hence our definitons are focused not just on the stone itself, but on words and subjects that relate to the stone, so that you can see clearly what is meant when we say (for example) “This machine operates on the periphery, not on a fat surface” What is a periphery? I didn’t know untl I looked it up.

You will get to know where it is mined. The lapidary (opal cuttng) machinery you will need to work with it. How to set it, value it, and sell it.

The book also tackles the challenge of how to turn your hobby into a business, for, afer all, there’s no point having a lot of stones decoratng your workshop while the bills pile up.

Working from home is the dream of many a hobbyist and with today’s revolutonary communication systems, there’s no reason why your hard work and fun in the garage cannot be turned into cash.

Cash that can not only pay bills but also buy more sophistcated equipment to make your hobby even more interesting.

Gone are the days when you had to put an advert in the local classifieds to try to sell something. There’s a world out there on the internet waitng to buy things. You just have to have a few clues about how to take advantage of it whether it be through eBay, free advertsing sites, or building your own blog or website. (Incidentally, the word ‘blog’ comes from ‘weblog’ and is really just another website, but focusing more on an exchange of conversaton) And of course, even if you use your creatons as gifs, it saves on buying gifs from shops, and that in itself means money.

After all, that’s just what happened to most opal cuters and dealers like myself, and if I can do it, nearly anyone can. Have fun…..And keep in touch with us through www.opalmine.com where you can join to receive our newsletter.

So you are an ordinary “bloke” or “guy” or “gal” as the Americans would put it!! Maybe you’re not so ordinary. Maybe you know a lot more about the gem industry than I do.

Maybe you are an experienced lapidarist (rock cutter).

Whoever or whatever you

are, it d o e s n ’ t r e a l l y matter, the learning process never ends if you are open minded enough to recognize that fact.

After cutng opal for about 30 years, one day an old bloke walked into the Opal Miner’s Hut and said: “How do you “dop” an opal?”

After a lengthy description of the traditonal heated sealing wax method, he said, “That’s a bit of a long-drawn-out way of doing it!”

I swallowed my pride and listened to his simple suggeston. His idea revolutonized my thinking of this procedure and started my use of tmber glues for dopping instead of epoxy. This in turn got me thinking about a more effective way of using water on wet and dry sandpaper for sanding. (More about that later) What is learned from an experience like that is that we don’t stop learning no matter how much we think we know about a subject.

From my experience in life, the danger in being an “expert” is that you can become tunnel-visioned in your approach to things.

Click HERE for some pics of the Opal fields

Rockhounds (lapidary people), have a name for being helpful. No Matter how much experience you’ve had, there will always be someone who will disagree with your methods and come up with another idea. If you have a better idea please talk about it at this blog: htp://opalmine.com/services/opal-cutng-and-polishing/.

Having said that, I believe that what is needed to work the stone, and gain tremendous satsfaction out of producing a gem, is a little common sense and ability to work with your hands.

Most of us started of without the valuable experience recorded in this book, so if you read it carefully, in just a short time, you should accomplish what it took me ten years and thousands of dollars’ worth of mistakes to find out.

I must also state that I have more than one reason for writng this book. Not just to teach you about opal but to hopefully make more people aware of this magnificent stone, and get much pleasure out of either cutting it, dealing in it, or both.

Secondly it may encourage more people to buy it and help all the people including myself and the rest of the battling opal miners in Lightning Ridge and other fields to sell more opal.

The more people know about opal, the more opal will be bought and sold. Then everyone will be making a better living. That is why the book does not just tell you about opal itself, but later lets you know how you can do to turn your hobby into a business. With modern communicaton and freight systems, it doesn’t matter where you are on the planet. You can inspect parcels of rough opals by email and source rough opal supplies and the equipment it takes to process it.

Of course, you can only get a certain amount of help out of books.

The rest is lef up to practice. You have to experience the feeling of stones popping off “dop sticks” to learn how to avoid it.

If you want to give yourself a kick-start, why not join a lapidary club for a while? There’s probably one not far from you. The name should appear in your telephone directory under “Lapidary Clubs”. Or you can just type ‘lapidary clubs’ along with your locaton into your internet browser. You might find out there’s one just around the corner from you.

As mentioned before, “Rockhounds” as they are called, are usually an obliging bunch, partcularly if you have a nice opal specimen that you could part with or swap for something else as a little payment. If you do this, however, take this tp from a person who has had a lot to do with all sorts of gemstones apart from opal over the past thirty years.

If you want to become an opal expert, don’t get side-tracked into learning other lapidary arts such as faceting (Stones cut with multiangled tables or facets like diamonds), at least untl you master cab cutng.

Faceting takes a lot more expensive equipment, is more difficult to learn, takes a lot of tme (one stone could take a day to cut), and in most cases the eforts are not rewarded because the job is already being done very cheaply by large well-organized companies using cheap labour.

You could spend days perfecting a sapphire facet, only to find that you could buy the whole stone for a few dollars from someone importng from Thailand. To a degree, the same thing applies to

cabochons, (dome topped stones) but the difference with opal is that much of the better quality rough from Lightning Ridge is ofered on an individual basis to whoever has the money at the tme the Miner Finds it, and whoever is willing to ofer the best price.

Opal is a different scene altogether. Apart from some of the lower grades of stones, opal mining is stll very much a family business.

Partcularly the black opal in Lightning Ridge and the Queensland Boulder opal mines.

Opal is so difficult to find that it’s really not cost efective for big companies to get involved. So, there is stll a chance for the little dealer and the collector/hobbyist to get some of the act. Partcularly in the area of processing the stone from its raw state to something that can be worn as jewelry or put in a showcase.

Some of the larger buyers, who can afford to just sit and wait for the miners, offer such low prices that Miners hesitate to sell it to them. Hence, the one who gets the rough is usually the luck of the draw making it a more even playing field.

Opal is stll very much a family orientated industry and the average person like you or I can stll find a little niche in the industry and without too much efort, produce some very good quality gems either for personal apparel, as gifs, or for resale.

Another thing about cutng a cabochon (round topped) is that it is a process that really just enhances the natural colors in a stone.

Partcularly in the case of opal, the play of color has already been completed by nature.

In the case of a white diamond, white sapphire, white topaz or crystal quartz for example, the play of color is developed by the applicaton

of facets. If it were not for interference by man, they would resemble common glass. It’s true that colored stones such as rubies and blue sapphires have bright colors but, unless they are party colored stones (such as some sapphires with yellow, blue, and green features) are just single colors. Cabochon cut opal is different. The color is already there. The cuter just shapes and polishes it.

In 1977 an old shop wa s turned into The Opal Miner’s Hut and for nearly 30 years thousands of people from all over the world have visited, along with hundreds of opal miners and dealers on their way to and from the outback opal mines.

Unfortunately, the old shop was demolished to make way for modernity, but the memories remain, and the knowledge gained can be shared.

Maybe this book will afect the way you view life and give you an extra interest that will be satsfying, rewarding, and, hopefully, not too frustratng.

Be patent as you experiment with the methods I have described. It takes time to learn, so be sure to have fun while you’re learning. Hope you enjoy the presentation as you embark on a journey of opal discovery. Meet some Opal Miners (below)

The Author and Jim Haywood at Lightning Ridge

Click HERE to see pictures of animals in the outback opal fields

Ralf Liebig topping up the old 4wd (note the bottle)

CHAPTER 1 The Rainbow Stone with a Personality

Most people do not realize it but precious opal is comparable in price and is ofen more valuable than diamonds. And when you think of it, to the average person, if you’ve seen one diamond, you’ve seen the lot. To most of us they all look basically the same, unless you have technical knowledge. Most gemstones only come alive afer they have been tampered with by men.

Yet the opal will dazzle you in its natural state as it comes out of the ground. Some stones are lef just as they are and set into jewellery.

Others are shaped and polished to suit the taste of the owner, or the imaginaton of the cuter.

Boulder opal set in rough state

Crystal Opal finished of

Opal has been called the ‘Personality Stone’. Just like people who are individually unique.

There are stones which feature Red, Green, Yellow, Blue, Pink, Orange, and all the colors of the rainbow.

Yet in each of these featured colors, you will find subtle and sometimes very strong hints of other colors to complement them.

In fact at tmes, it’s difficult for your eyes to determine what the ‘theme’ color is because other colors keep fooding in.

The uniqueness of natural opal is that it is not just a rich man’s stone.

While it is true that it may cost $30,000 or more to own one of the rarer stones such as the ‘Red Robin’ or the “Butterfly’, stll the average person can share a small refecton of this glory for just a few dollars, and when the wearer is asked by a friend, “Is that a REAL OPAL?”, whether it cost $50 or $50,000, one can truthfully say, YES. Not so with diamonds or sapphires, or any other gemstone. If you want a big diamond for example, and you can’t afford $20,000 or so, you have to opt for a Cubic Zirconia or one of the other synthetic stones which while admittedly gorgeous, are not natural gems.

Not only do opals have a personality of their own but you can select the stone which you feel personally suits you. Your complexion. The type and color of clothing you prefer.

Remember than even though the stone you buy may be one of the lesser expensive ones, there is no other stone in the world exactly the same as it. Oh yes, there may be some similar but if you look at it carefully (without the aid of an eyepiece) you will be able to recognize it among others.

And if you want to be really adventurous you can go for boulder opal fun stones. These magnificent gems are often quite cheap. Ranging in price from around $20, to whatever you want to pay. They often have ironstone inclusions in their face, and all sorts of interestng, pictures and paterns are observed that make them even more unique than the average opal.

These stones stmulate the artstic imaginaton of designers because they are usually not cut into traditonal oval shapes but can come in any shape that is decided upon by the cutter.

Boulder opal with ironstone inclusions showing unique patterns

So when deciding on YOUR opal, think about your own personality, and how you would like to express it in your jewelry.

There is an opal with its own personality, waitng to be worn or designed by someone who will match it with theirs.

Chapter 2 Defining Terms Related to Opal (Click here for additional online comments) Please note that there are quite a lot of differences between The American and the Britsh way of spelling English. For example, the mother language uses ‘jewellery’ whereas in American English its ‘jewelry’ so please excuse us if there are some mistakes according to your partcular system. My word processer currently speaks American so we will stay with that for the time being.

As I indicated before, for every suggeston made about the gem cutng procedure, there will be someone who disagrees with it. If you think you've got a better suggestion, or would like to put your point of view, please take advantage of the chat program on the www.opalmine.com blog, or just send an e-mail to me (Peter): peter@opalmine.com I’m always open for new ideas or suggestions to pass on to the ever- increasing family of Gem Cutters, the world over.

To understand how the change of color phenomena happens in opal you need to know the various terms associated with the movement of light so in this secton we will address those details.

Other definitons will help you understand how various opals are identfied and put into different categories or groups. So we will make sure that these words are explained simply. Let’s start of with the most important word itself. ‘OPAL’ One definition is: Opal Latn: ‘opalus’ to see a change in color.

1590s, from Fr. opalle, from L. opalus (Pliny), supposedly from Gk. opallios, possibly ultimately from Skt. upala-s "gem, precious stone."

A translucent mineral of hydrated silica, often used as a gem.

(Translucence as it is applied to opal means that you can quite often, but not always, see right into it) in the case of jelly opal, it almost becomes transparent.

Words and meanings associated with opal a) Opalescence: Having a play or “show” of colors similar to an opal. b) Opaque: Not lettng light through. Not transparent. Dense.

c) Amorphous: Shapeless. Not consistng of crystals. Non crystalline.

(Glass is amorphous. Sugar is crystalline.) d) Silica: Silicon Dioxide a hard, white or colorless substance that in the form of quartz, enters in to the composition of many rocks, and is contained in sponges and certain plants. I’ve heard it said (but I haven’t checked), that the needle in the mouth of a female mosquito is made of silica. Flint, sand, chalcedony, and opal are examples of silica in different forms. e) Hydrate: A compound produced when certain substances chemically combine with water. f) Translucent: Lettng light through without being transparent. g) Transparent: Easily seen through. Like glass. h) Incandescent: Glowing with heat (red or white hot) as in a light bulb which glows white hot, but produces a light that has yellow overtones that more closely resembles natural sunlight. i) Fluorescent: A light produced by the electrical stmulation of a gas or vapor. (i.e. fuorescent lights which have a similar efect on opal as a bright cloudy day. Not so conducive to showing the colors in opal). j) Deflecton: From ‘deflect’. (To turn aside, to bend) The bending of rays of light from a straight line. k) Diffracton: From ‘diffract’. (To break in pieces) A breaking up of a ray of light into either a series of light and dark bands, or into color

l) Diffuse: To spread out so as to cover a larger space or surface. To scatter. m) Spectrum: (from ‘specere’ “to look at”. . . hence “spectacles” or “inspect” The band of colors formed when a beam of white light passes through a prism, or by some other means. (e.g.. mist or spray, in the case of a rainbow.) The full range of spectrum colors are red, orange, yellow, green, blue, indigo and violet. n) Sphere: A round geometrical body whose surface is equally distant at all points from the centre

Lighting & Color As an opal dealer, you will want to fatter your stones and present them in their best dress so as to speak. Use either ordinary incandescent lights, (such as a bed lamp or ofice lamp), floodlights, or if you want to keep the heat down, a 12v lightng system. Not fuorescent lights.

(There are some exceptions to this rule. Some feel that some opals show up better in half-light or in fuorescent lights. This of course is a matter of opinion, but as a general rule, incandescent lights are recommended, unless you are photographing opal, in which case the rules are completely changed) Explaining the Color in Opal In the past, there have been lots of theories about how this happens.

Since the development of the electron microscope this suggestion has been made:

Random spheres

Difracton and deflection

Uniform spheres

Precious opal is made up of microscopic uniform spheres of transparent hard silica, which fit together in an orderly threedimensional frame, sitng in a ‘bath’ of silica soluton. It is the orderliness of the spheres (extreme right above) that separates precious opal from random structured common opal (See deflection and diffracton above) Light passes through the transparent spheres in a direct line, but when it hits the ‘bath’ of silica, it is bent and defected at different angles, thus producing a rainbow and change of color efect.

Depending on the size of the spheres, varying colors of the spectrum will be diffracted.(see definiton below) So it is a combinaton of defection (bending) and diffracton (breaking up) of light rays that creates the color in opal.

If you move the stone, the light will hit the spheres from different angles and bring about a change in color. (Which apparently is what the name opal actually means?)

Types of Opals

White Opal: (above)Pale opal that is white-ish in color, which is opaque (not translucent or See-through-surface color) Sometmes called “milk” opal.

Crystal Opal: (above) Pale opal with brighter stronger colors that are semi translucent. (i.e., you can see into the stone.)

However crystal opal is often quite opaque as well even though you can look into the stone as the name implies. The color is stronger and denser than jelly opal, and hence the eye is constrained from looking deep into the stone.

Keep in mind that the term ‘crystal’ was used by the old miners who really didn’t have any other way of describing it. They chose this term because of its crystal like qualites but in no way is the word connected to the technical meaning of crystal which applies to stones with a crystalline structure. This is another subject altogether.

Jelly Opal: (above left) Pale or dark opal that is like jelly. It often has a litle color but can be seen right through

Jelly Crystal: (above right) A cross between Jelly and crystal. Stone at top right has more dense color and leans toward crystal

Black Opal: Opal with a pitch-black background, thus causing the foreground of the stone to have a darker and brighter appearance.

Opals that are different shades of grey in the background were called ‘Semi black’ opals in the past but the new opal nomenclature (naming system) classifies them as ‘dark opals’ All Black and grey opals are dark opals but not all dark opals are black opals.

Only those with very dark grey to black backgrounds. Dark opals without much color are sometmes called “muggies” but this is an unoficial nick name.

For the sake of understanding common terms used in general conversation about opal we will include the following term in the definiton.

A rare parcel of calibrated black opals from Lightning Ridge

Semi Black Opal: - Same family as black opal but with a grayer background. This can range from light Grey, to quite dark grey, coming into black. The darker the background directly beneath the color, the brighter and more defined is the foreground.

Sometimes the back of a stone will look really black but if there is a lighter color bar in between the color face, and the black back, it can turn a black opal into a semi black.

Sun flash: Black opal that is very dark with just a hint of color coming through as the stone is tlted back and forth. (below right)

Dark Opal

Purple Jelly

Dark Crystal

Dark Crystal: (above right) Dark or Black opal, usually without a black back, that is slightly translucent like crystal opal. The dark, smoky background is right through the stone instead of just in the background like black opal.

This partcular specimen is not so dark and not a good example but it illustrates the point.

Rough Black Opal rubs: (above) Black that has been cut out of the mother rock but left in an unprocessed state. Usually called ‘rubs’

Coober Pedy Crystal Rough (above) mine run. That is unprocessed from the mine (left) Rubbed (middle) unprocessed (right)

Rough Boulder Opal from the Quilpie fields. Stone (left above) has been split out of large boulders and has a natural polished face. Middle and right are boulder opal rubs, cleaned up ready to complete.

Seam Opal (above) from Mulga rush and the Sheepyards field near Lightning Ridge, which has been rubbed so as to expose the color. This opal often has a ‘flat-ish’ appearance in the rough usually found in horizontal ‘seams’ or lines in the opal dirt. It is not always flat. It often comes in lumps like ‘nobby’ opal.

Coober Pedy opal is also seam opal. The centre stone above has some black potch in the surface giving a good example of how the potch often comes with the color. This could have been cut out but has been left as an excellent specimen.

When buying rough opal from dealers, you can ask for rubs in preference to just rough. This is a much better propositon than buying mine run because there is little risk since you can what you are gettng and you save money on freight costs by eliminatng waste.

If you ask nicely, sometimes the dealer will throw in some extra ‘potch and color’ to practce on and you will often be surprised what you find in this free material. Sometimes it pays for half the parcel.

Color Bar: A line or bar of color going through the stone with potch on either side. This can be straight or bent, horizontal or vertcal. (Term often used in connecton with South Australian ‘Seam’ opal.)

Large specimen showing color bar-Coober Pedy or Lambina

Black, Grey, and Magpie Potch. From the Sheepyards, Grawin, Glengarry opal fields near Lightning Ridge field.

Some good stones can be found hidden in this potch at tmes and if not it provides excellent backing for doublets and triplets (explained later) If you look closely at the picture on

the right you will see a tny sparkle of color indicatng that there could be more color inside.

Click any of the above pictures to see boulder opal set in rings

Boulder Opal: As the name suggests, this opal comes in fine seams or veins embedded in the boulders which are called (probably incorrectly) ironstone. (More likely hardened desert sandstone.)

These boulders can be as small as a pebble or up to a meter thick and are usually smashed into subjecton with sledgehammers.

A lot of opal is often destroyed in this process. Very large diamond saws are sometimes used if the color is obvious. But usually at least some hammering takes place to identfy whether or not some color exists in the rock.

Cutting boulder opal is a very muddy experience.

Boulder Opal Split faces: 5 classic split faces that were cleaved from the veins of a large chunk of boulder opal. Stones like this are usually set ‘as is’.

That is, they have a natural polish that does not require further work. The shapes are just cleaned. The edges smoothed to take metal claws and set as pendants and rings that produce stunning designs.

Boulder opal Matrix. The term ‘matrix’ is associated with maternal or ‘mother’ In this case, the brown ironstone is ‘mother’ to the veins of brilliant opal color which is the ‘baby’

Natural Boulder Matrix from the Winton area.

Carvings (below)

Boulder opal

Boulder Matrix

Boulder Opal

Nobby Opal: Similar to ‘Seam’ opal only that the stone is lumpier in shape and more randomly found in the opal dirt. It ofen comes in fossil crustaceans, called ‘Chinaman’s Hats’ (because of their shape).

Although most contain just black potch, they are highly sought afer by the prospector because they are the miner’s best indicaton of finding precious opal.

When nobbies are sliced in two, there is no telling what will be found inside. Some of the amazing shapes and patterns in themselves curiosities, worth collecting, so look out for them, when slicing the colorless potch.

You will find some interesting surprises. I just call this one, “The Well” (bottom left)

‘The Well’

Ridge ‘Nobby’

nobbies and seam

Chapter 3. Fossilized Opal “Eric” the pelycosaur (an extnct marine reptle) with a large head, shorter neck and strong jaws and teeth. Australia is the only country where these skeletons have been found Opalized.

Extreme left and right (above) are simulations of ‘Eric’

Actual Opalized disc of ancient Pelycosaur without color-White Cliffs

Belemnites: Cuttlefish fossils. These are mostly found in Coober Pedy but can also be discovered at Lightning Ridge and other fields. They are just one of the many interesting Opalized fossils that we will discuss

Polished Belemnites showing full opal color

Opalized Shells: Found mostly in Coober Pedy, but can be found in Lightning Ridge and other fields. Some of these shells can cost many thousands of dollars.

Coober Pedy is famous for its white opal and crystal opal shells.

They are well sought afer by collectors and the of-cuts make very bright solid opals and doublets. Sometimes they

are backed with boulder opal ironstone and look for the world like solid boulder opals, unless you know what to look for. Always be careful when buying a boulder opal to make sure that it is not really a Coober Pedy shell with a boulder back.

A slight prick with a sharp needle on the side of the stone where the ironstone meets the opal will indicate whether or not the back has been cemented on.

Opalized shells from Coober Pedy in South Australia

Opalized shell that as a ring, surrounded by diamonds and rubies.

Opalized Snails: Also common mainly to Coober Pedy, they are not as plentful as the shells.

Opal Snails (above) with near full color

Other Fossils (unknown origin)

Unknown snakeskin-like markings in boulder opal.

Claw

Starfish?

Fossil bone

Andamooka Matrix (treated): A natural -porous limestone containing mostly opal. A process of boiling it in sugar or glucose and sulfuric acid accentuates the color.

The sugar soaks into the porous rock and the acid turns the sugar into carbon, which of course turns the stone black, thus giving it a black opal appearance. Less invasive methods

are used today by similar soakings in caramel sugars. Best to join the forums at www.opalmine.com to discuss more modern methods.

A large specimen of Andamooka Matrix featuring a strip of orange-red standing out against the green.

Painted Lady: A thin white- ish or crystal layer of opal color attached to a white or creamy colored rock found in Andamooka.

It is possible to cut stones from it in a similar fashion to Queensland boulder opal but it is usually lef as a specimen.

In fact with a little imaginaton one could call it South Australia’s boulder opal without the stark colors familiar to the Queensland stone which stand out against a background of brown ironstone rather than pale hardened sandstone.

Andamooka Painted Lady

White Clifs ‘pineapple’

Winton Pancakes: (below) The name again is very descriptve. They are boulder opals, very flat-ish, often with very pretty bands of ironstone, and can achieve an excellent polish, similar to some Yowah nuts. Opal found in this type of stone is often very valuable with a nice cleanly polished back.

This chunk was cut from a Winton ‘Pancake’

Yowah Nuts: As the name implies, these are found in ‘nutlike’ formatons, as small as a pea to approximately fist size. They are really miniature boulder opals but are famous for their fascinatng bands of ironstone with associated natural matrix opal. The most

sought afer these has a kernel of pure opal, but also in big demand by collectors are the unusual paterns and pictures caused by the veins of opal in the ironstone.

Rough Yowah Nuts

‘Cartwheel’s’

Yowah conglomerate

Yowah Matrix

Picture Stone

Empty Nut Kernel

Gem filled Kernel

Black Gate matrix-Yowah region

Koroit Opal Koroit (which is a lesser known field not far from Yowah) produces nuts similar to Yowah although generally they are larger and often have different unique shapes that often resemble trees, grass, sky scenes and all sorts of weird looking circular and worm like features.

The amazing varieties of these remarkable stones often resemble something we know of in nature but also are like original abstract works of art. Hence (for the sake of a better descripton) in this book we have applied the phrase ‘abstract opal’ in an attempt to capture the ambiance or character of this remarkable natural phenomenon. Koroit ironstone is often extremely hard and polishes like a mirror. This field also produces boulder opal similar to what is found further north in Quilpie and Winton.

Koroit boulder opal

Koroit ‘mushroom’

Opal Carvings Accomplished using either a dremmel or a flexishaft dental drill. Method explained later.

Abstract carving

boulder opal leaf

boulder crocodile

Copi is a White-ish impurity in opal from the Lightning Ridge area. I have not seen it happen myself but I believe that it can grow inside the stone and destroy the color.

Cobweb. Stringy cobweb like inclusions that take away from the quality of the stone

Cobwebs inside a dark opal from Lightning Ridge

Fire Opal. I’ve heard different definitons for this term. Some say that it must be red and fire-like, but depending on where you come from, the term is ofen applied to just any brilliant opal with a fiery look to it, whether it’s red, blue, yellow, orange or green. I suppose, when you look at real fire, you often see all those colors in it.

Brilliant red fire opals from the Winton fields

Concrete. Porous limestone matrix from Andamooka. Typically Pinfire in pattern. Ofen difficult to polish. Usually needs to be varnished. Similar more porous material called ‘Fairy stone’ is found in the Queensland fields but is more likely Sandstone.

Untreated Fairy Stone from Queensland Ginger Whisker: Rusty marks in the opal, often along crack lines.

Gypsum: An impurity in the opal like a needle. right through the stone.

Sometimes travels

Opalized wood: Old stcks, tree trunks, palm fonts, replaced by opal.

The original shape is encased in clay, rots away, and the cavity is replaced by opal, either precious or potch. (The same thing happens with all sorts of other fossils.)

Cut and polished Opalized wood from Qld

Opal Patterns Here are just a few examples of patterns that have been identfied, but it is only a small glimpse of the variations that could exist. There are an endless variety of paterns probably not even identfied yet.

Amazing stones that lie in some opal miner’s biscuit tn, which have never been seen by the public. I personally have had many of these stones put aside over a 20-year period and many are being shown for the first time in this book.

Pinfire: The color can be very bright but not as showy as other patterns. It resembles tny pinpricks across the face of the stone.

Pinfire pattern Andamooka matrix

Pine fire black Opal

Broad flash: (Also rolling flash) the color bounces back and forth in a wide angle across the stone. Whole sections of color appear and disappear.

Broad flash opal from Lightning Ridge Harlequin: this is the most valuable and rarest opal patern. The name came from the spangles of a Clown’s outfit.

Well-defined separatons show between the colors in square-ish paterns. The more perfect the distnctions of these squares and contrasts, the more valuable the harlequin. There are many variatons to this

patern and a lot of unique descriptons have been ofered. (Fish scale, Fan, Cartwheel, Flagstone)

These examples are not true harlequin but serve to illustrate some of the very defined slab-like patterns that are a feature of this opal.

Floral Pattern Opal that resembles the shapes of flowers and leaves as shown in this large Lightning Ridge Specimen below.

Floral Pattern Dark Opal Rainbow Opal. (Our terminology) As the name suggests, the color is arranged in the fashion of a rainbow. The drop shaped piece below is from Lightning Ridge

Rainbow Opal Straw Pattern: Spindles of color criss-crossing just like grass or straw.

A thinner version of this is ofen called “Grass Pattern”. (example below). The example below is not a good one but it illustrates the point.

Straw Pattern Chinese Writng: Looks vaguely like Chinese characters if you stretch your imaginaton. The piece (below centre) is an example but the piece on the right is actually a boulder opal picture stone, not

classified as Chinese writng but we have included it as an example of some of the amazing things you see in this type of opal.

Chinese ‘Da’ (tall)

Writing

Picture Stone

Ribbon: Pattern is like ribbons or strips of color flashing across the face of the stone.

Cartwheel Ribbon pattern (our terminology)

Chapter 4. WHERE OPAL IS FOUND IN AUSTRALIA

Opal Fields Checking the map above, there are three major opal-producing areas in Australia. They are located in South Australia (SA), New South Wales (NSW), and Queensland (Qld) Opal has also been found in small quantities in Western Australia (WA) In the Coolgardie region, and Tintenbar, on the North Coast of NSW has a small quantity of jelly –crystal and black opal found in top soils of farming areas.

Opal in a crystallized form, in the middle of thunder eggs has been found in the hills of Mullumbimby, also on the NSW north coast.

Coober Pedy S.A. (and associated fields nearby) Andamooka, Mintabie and Lambina

Aerial view of Coober Pedy

underground

Town of Coober Pedy

The Author with some friends at Coober

Original example of mining operation

Local aboriginal folks

Lightning Ridge (and Associated fields nearby), plus larger fields away from the town - Coocoran, Sheepyards, Glengarry, Grawin, Mulga Rush Carters Rush and Mehi. (From “Opals in NSW – Dept of Mineral Resources) I n r e c e n t y e a r s, since the discovery of the Coocoran fields.

Lightning Ridge has expanded to such an extent, so as to rival the size of the Coober Pedy field and it always happens when a major ‘strike’ is found, there is an immigration of miners and dealers between the fields.

Renate defying the rules Ian unsure of his direction at the Ridg

Let’s Go!

Travel to Lightning Ridge from Brisbane and the Gold Coast (red dots)

Introduction to that eccentric town. Lightning Ridge

Nobody knows how many live at Lightning Ridge

Coopers Cottage

Syd and Georges cottage

The “Bore baths” (below right) at Lightning Ridge. Piping hot water pours out from the underground artesian basin. People from all over the world; come to this litle spot for relief from Arthritc pain.

The Author –Coopers Cottage

Hot Bore Baths at Lightning Ridge

Main Street of Lightning Ridge

Example of LR sense of humor

Old houses in Lightning Ridge Township

Aboriginal Artworks-main street Lightning Ridge

Herman (the German) and Sandy Kreller (left)

Can house Lightning Ridge

Zerif

White Cliffs (NSW), not far from the SA border, near Broken Hill, was the largest opal producing field in the world untl the opal was prety well mined out and found again in Andamooka and Coober Pedy to the north west of S.A. White Clifs now boasts an excellent underground motel and some of the underground houses are luxurious. The temperature is mild and constant. (Approx. 23% Celsius), a lot cooler…than……living above. (40degrees)

Living underground at White Cliffs

Today, White cliffs is a small mining community that, from tme to tme, stll produces excellent parcels of crystal. Many folks have given up city life to live in this outback community where, in recent years the government has done a lot of experimentng on the use of solar power in this town.

Like Yowah, in Queensland, many retired folks either live there or at least spend time there each year. Some have built luxurious homes in old dugouts. They like the community atmosphere far away from the rush of the city… and there is always the chance that they will find opal.

Quilpie, and associated fields - Eromanga and Bull Creek, Duck Creek, Coperella. Winton, and associated fields Kynuna, Opalton, Jundah, Koroit, Yowah, and associated field - Black Gate. There are other smaller fields in these areas. Approximately 17 in all including the major areas.

Quilpie town back in the 20’s

Boulder Opal Stones from the Quilpie

Some boulder opals are very large and have to be atacked with a Sledgehammer before finishing the job with large diamond saws Of course many precious opal bearing boulders have been destroyed using this method but there seems to be no practcal alternative other than to use very large diamond blades which are usually uneconomical.

Some say you haven’t experienced the outback if you haven’t sat near a fire of Gidgee coal. (Gidgee is an extremely hard wood found in these areas.) In the winter, the crisp clear nights with unbelievable skies, a “cuppa tea” and a good “yarn” (talk) cannot be matched in the city.

There are genuine trees called by this name in Queensland, but this one is a litle different. Some miner with a good sense of humor.

“Botle Tree” – Winton

Fossicking at Grawin

Chapter 5. Opal mining and Fossicking Prospectng drill: This is usually a nine inch auger (that’s the size of the drill itself) other equipment are blowers (bottom right) which are like giant vacuum cleaners that suck the overburden out from underneath the ground where it is trucked to another location. This saves a lot of time shovelling and wheeling rickshaws.

Slope driving at Koroit

In past years, the decision as to where to start digging an opal shaf was left largely up to chance.

Many theories have been proposed as to the best spot to dig, from walking around with a divining stick, to tossing a coin. From checking the type of trees growing in an area, to the shapes of hills. A nineinch prospectng drill gives the miner some idea of what is underneath.

If there is evidence of precious opal or potch, or if the sandstone has the right color, further investigation is considered worthwhile. Some experienced miners just check where new prospectors have been inspecting and a closer analysis of the little

piles of dirt that the drill has lef behind give them clues that maybe others have missed.

When a digging decision is made, the large one meter ‘Caldwell’ drill (shaft bottom middle) is brought in, which replaces the need for the miner to actually dig the shaf by hand as it was done in the past.

First shaft 1885

1 meter opal shaft

Mullock Heaps

Mullock (above right with Dry Puddler in foreground): The opal dirt that is removed from the mine and left in heaps at the top of the hole. Or transported to dumps where a lot of tourists gather to fossick for ‘the one that got away’ (Hence the term -‘Mullock heaps’)

Mike checking the level

Mike and young Max

Rickshaw: (below) A two wheeled, a hand driven trolley like a wheelbarrow, used to cart the opal dirt from the face of the tunnel back to the shaft. The dirt is unloaded into buckets, which are drawn to the surface using either a windlass or a hoist.

Windlass: The instrument used in tmes past (and sometimes today) to bring the mullock up out of the shaf.

Windlass at the ‘Ridge’

How they are made

Video here

Hoist: An automatc system that has all but replaced the Windlass for removing opal dirt from the shaf. (Picture: Dept of Mineral Resources, NSW-) This system enables a miner to remove the opal dirt without an assistant. It can be a ‘one man show’ although advisable for safety reasons to always have a mining partner.

Butch’s Hoist and underground digger - (lightning Ridge)

Jackhammer: (below) A vibratng Chisel-like instrument, driven either by electricity or an air compressor, that replaces the old hand pick, used to loosen and dig out opal dirt, and hopefully opal rough.

Jackhammers

Automatic hoist

Agitator

The mullock when it has been brought to the surface is loaded on to a truck and taken the agitator (above right) for washing and sortng (tail-out)

Spider: A term used to describe the piece of wire stuck into the wall of the mine used to hold a candle underground. (Rarely used today.

Generator driven lights have taken over.)

Toe Dirt / Pay Dirt: The opal dirt that is closer to the ‘toe’ or foot of the miner.

It is the dirt that is away from the opal level and is generally less likely to contain opal. Usually (but not always) the opal is found near the “head” of the miner. (In contrast to the “toe”) He works under the level, and this is called ‘pay dirt’ for obvious reasons. (See “working the level” at the end of this chapter)

Pay Dirt

Toe Dirt

Tail-out

Slide / Blow: The area underground where the opal level slips or slides or changes directon. It is generally believed that opal occurs more frequently when these changes take place.

Tail-out: This contains all the hard bits and pieces that were in the opal dirt or clay. Hopefully, opal potch and precious opal.

This is poured out onto a sortng table where the miner carefully sorts through to locate precious opal. The tail-out above has already been separated from valueless potch and lumps of sandstone.

Snips: A handhe ld tool that is used to check rough opal in the tailout. By snipping the edge carefully, it can be established whether or not there is color in the stone without actually using the diamond blade. This procedure is risky.

So, miners are careful to snip just a small amount at a tme in case they crack a stone. Impatence has caused many valuable gems to be ruined.

Dry Puddler: Used instead of an agitator to extract opal. In this case the goods are shaken and sieved to find the rough opal. NOTE: The (below) process is mainly used at Lightning Ridge where nobby opal is mined. The nobbies tend to be spread out more sparsely in the opal dirt, hence requiring a large amount of the dirt to be washed. In the

case of seam opal, the miner has a better chance of locatng the seams underground and plucking them out of the wall of the mine, thus eliminatng the need to wash all the dirt. This makes seam opal mining very appealing, partcularly during a drought when water is scarce or the agitator site is a long way from the mine.

Dry Puddler

Brian McCudden’s Opal Shop

Opal Level: The level under the ground where opal is more likely to be found. Usually associated with clay and sandstone. These are probably the sludge leftovers from giant floods that took place thousands of years ago.

There is much speculaton by evolutionists and creationists as to the age of events. There is much disagreement among scientsts about the various clocks used.

Experiments at Lightning Ridge show that opal (albeit not secure enough to use for commercial purposes) can grow in a matter of years in the mullock, given the right chemical combinatons and reactions.

Len Cram’s experiments in coke bottles in his back shed testfy t o the truthfulness of this statement. This a u t h o r h a s personally inspected them.

Chapter 6. OPAL CUTTING MACHINES If you have the money, and want to get started quickly, just go to a Lapidary store afer you read this book and buy yourself the equipment.

There are water cooled diamond grinding machines with rubberized diamond wheels in different grits. These machines are good but can be expensive. You could pay up to $3000 and more for a good set up. (Below lef)

All diamond sander-polisher

cheap homemade machine

But can save yourself a lot of money by just staying with the old time proved systems using carborundum wheels with wet and dry sandpaper. The machine on the right is the other extreme but stll does a good job.

Homemade sanding machines can be made from old washing machine motors from the dump or second-hand store. The RPM of the sanding head runs at the same speed as the motor, which would be too fast normally, but with the water atachment, the heat of the stone can be controlled, and the dopping medium kept f rom overheatng.

Keep in mind as mentoned before that the pulley (ofen already atached to the motor when you get it) can be used as a base for a small sanding wheel (lap) when some plywood and rubber backing have been attached to it as described.

However it’s probably best to purchase at least the Carborundum grinding machine and diamond slicing machine, unless you are experienced in the use of bearings, pulleys and shafs. A typical grinder has two wheels. One 220 and the other 320 grit (See below)

Click here to see video

close up of grinding wheel

If you want to attempt to make this yourself, you will need to take a look at one, either at your local lapidary club or at a shop, and you should be able to duplicate it with little difficulty.

The only thing to remember with this is the following in regard to speed of operaton. If you want to build the whole system, below is a plan for a grinding machine made at home.

You just need to buy shafs, belts, taps, wheels, pulleys etc and most of the rest can be made of bits and pieces of wood, screws, drills and wire.

Many lapidaries will tell you to run the diamond blade slowly with opal. This is a big mistake. Opal is not such a hard material like agate for example.

Opal slicing is best done either in water or with water passing over it at a speed that will be achieved from an ordinary 1440 RPM, ¼ H.P. motor with a 6” pulley on the motor and a 1 & ½” pulley on the shaf. If you don’t force the stone and you have plenty of water passing over it, you will not cause any damage.

Freehand slicing machine with 6” diamond blade

In fact, your diamond blades will last longer because they will not buckle as easy. (See an example of this machine in the chapter on “Opal Cutng”)I personally prefer diamond blades that have the water passing over them and then down into the drain.

First, the water is always clean and cool, second, particularly if you are cutng boulder opal, it does not become muddy and warm, and third, you won’t run the risk of getting the bottom part of your diamond blade rusted up and ruined, because you forgot to drain the water.

My grinder runs on 4” to 4” pulleys with a 1/3 HP motor. (1/4 is OK if you are not doing a lot of heavy grinding work.)

“If you are short of money, have plenty of time, and you like fiddling about inventng things, why not have a go at making your own sanding machine.”

The following information is a bit difficult to explain, but it should give you a few clues as to what to do and you can experiment and improve on it as you see fit.

You can mount an ordinary old washing machine motor (below) on a bench top with a couple of aluminium or steel straps. Lay some old rubber or foam down first. (Try to get a motor with a platform on it if you want to avoid the straps.)

¼ or 1/3 HP motor strapped to the bench

This will take care of all your sanding and polishing needs as described later. Often, old washing machine motors have a pulley already mounted on the shaf.

Rather than buy an expensive work head, you can turn the pulley into a work head without much difficulty. If your motor already has a pulley on it, then screw a piece of round plywood on to it, making sure that the screws are countersunk so that the surface is smooth.

If you find the above instructions difficult to follow just join the discussion at www.opalmine.com for some more help.

To make your sanding discs Cut out some wooden discs from 3/8” to 1/” ply, whatever size you decide on. (Anything from 4” to 8” will be fine. Try to make your discs to a size that will give you the best value from your sandpaper sheets. Screw or cement these discs centralized onto the pulley of the motor (if there is a pulley) If not, you might have to buy some fitngs for this.

Stck some fat rubber onto the face of the discs with Contact cement. Turn the motor on and hold some very course sandpaper on a lump of wood, against the rubber. As the work head spins, you can make the rubber nice and smooth. Work it just like a lathe.

Keep doing this untl all the rough, uneven spots are out, and the surface is perfectly fat and the edge, round, with no rough spots.

(Be careful using sharp instruments such as knives while doing this.

It is easy for the blade to get caught on the wheel and jump back into you. It nearly happened to me!)

Sanding disc

polishing

sanding using water spray

Homemade sander with Foot Peddle water control

By the time you have finished this process, you will have a perfectly even work head with few vibratons.

Coat it with disc cement, which is like Contact cement that doesn’t dry out (from a hardware store) and allow to dry preferably overnight.

(Better to give it a couple of coats.) Don’t atempt to put sandpaper on it while it is stll tacky or you will end up with a mess. When it has dried, you will be able to put on and pull of your various grades of sandpaper with ease.

Build a housing (or frame) around it out of wood and you have yourself an efectve work head. Cut yourself a piece of split chrome leather, (Ask your local leather supplier) and stck this with contact cement onto the face (not the back) of a piece of circular sandpaper. This will allow you to peel the leather pad of when finished and stick the sandpaper disc back on.

This way (if you want to avoid making two work heads, one for polishing and one for sanding, you can use the leather lap on the same machine as your sanding discs. If you are a little smart, by using course sandpaper, you can even make do without a Carborundum grinder untl you can afford one.

If you want to get really sophistcated, buy yourself an old windscreen wiper/washer set from the wreckers or from your local spare parts dealer. Mount the tank on the side of your work and install the small motor somewhere close by. If you like you can purchase a small on/of switch from Tandy (or other electronics shop) and screw it somewhere handy.

But I prefer to have a water tank somewhere above your workspace with a hose and a tap that will operate with springs and string atached to a foot pedal. This way you will have a water source that you can turn on and of with your foot as you work your stones, thus leaving both hands free to work.

If you feel the stone is getting a little hot or the sandpaper needs a little cleaning, give it a shot of water. This is a more permanent arrangement as the small wiper motors tend to wear out after a while.

If you use the above system, you can replace the epoxy on the dopstcks with con c re te r ’s or carpenters white glue. (We call it ‘Bond Crete’ and ‘Aquadhere ’in Australia) This is a much quicker

process, though it has to be lef overnight to set.

It’s superior to epoxy in that if it does overheat a little, if you stop in tme, it will reharden if you leave it for a few minutes.

But once epoxy has overheated, you have to start over again. (More about the dopping process later) The controlled spray of water is such an efectve way of cooling, cleaning, controlling dust and assisting in the sanding process. You will realize afer a while, that if you polish under water (as with the diamond machines) all the tme, it is difficult to see where the scratches are.

Dry sanding to me is more pleasant and satsfying, but the water is there when you need it, to cool and to check. And, as a bonus, you keep the dust down to a bare minimum without the use of noisy and expensive vacuum atachments.

Hang an old face towel over your legs and wear a waterproof apron, or you will get very wet. You will need the towel to wipe the stone as well to check progress.

However, as mentoned before, if you can afford a few dollars it might be worth your while to get the units already complete. There are some pretty neat litle machines out there that are not so expensive.

Some of them are very portable and if you are a rockhound or a trailer or caravan enthusiast, it would be hardly any room to throw in the boot of the car and you could do your opal cuttng on the run.

Here are some examples of machines that are available online. (I believe some of them even operate of a car batery) Leave a message here if you need help locatng them.

Saw and grinder

Diamond saw

Platform saw with grinder

Homemade Opal Sander

grinder/sanders

and end sander.

Peter in the workshop around 1981

CHAPTER 7 OPAL CUTTING & PROCESSING Click here to see pictures of opal cuttng machines Associated Terms: Opal Cutting: You would think, if you heard this term, that it means merely the cutng of the opal, but actually it encompasses the whole process of grading, sawing, sanding, polishing, weighing and ofen marketing the stone.

Back: Obviously the back of the stone. This can be black, semi-black, brown-grey, light-grey, white, transparent or full of opal color, depending on the type of opal. (See opal definitions.) In the mass producton of triplets, microscope slides are often used as a backing for triplets.

You can make your own natural backs for triplets and doublets out of sliced potch, black, white, or grey. (See secton on triplet and doublet cutng) Crystal tops are mass produced and available from specialized suppliers. You can make your own triplet top or cap from glass or crystal quartz. (See ‘triplet’ secton) Dop Stick: A stck which is glued or ‘dopped’ to the stone, so that it can be held in the hand and fashioned by the opal cuter. These dop stcks can be made from steel (as in large nails or aluminium), or wood.

(Made from doweling material used in curtains and available from hardware stores in various thickness)

Cabochon: ‘Cab’ for short. (French: caboche “head) A stone which is polished with a spherical top but not faceted. Cut and polished in a convex, or domed shape.

Craze: A crack in the opal, ofen seen only under magnificaton.

Calibrate: To cut the stone into a specific shape and size that suits the manufacturing jeweler. (Usually ovals, rarely rectangles) The most popular sizes are: 6mm(round) and ovals: 6x4mm,7x5mm, 8x6 mm ,10x8 mm,12x10mm,14x10mm,18x13mm,and for use in belt buckles, large pendants, bolas and brooches etc. 25x18mm, 30x22mm and 40x30mm.

Plastc templates giving all these sizes and more are available from most lapidary stores, but make sure the chart you buy has as many of these important sizes as possible. Partcularly 8x6mm, 10x8mm, 14x10mm and 18x13mm.

Carborundum: A diamond-like dust that comes in different grades of fine-ness that can be used as a gradual cutting and sanding medium to fashion stones. The dust can be used in a tumbler or vibrator to polish free shaped opals. It is also made into grinding wheels.

Freeform: An irregular shaped stone. Anything that cannot be described as an oval, a triangle or a square, etc.

Face: The top of the stone where all the color is found. Sometmes it is a challenge for the opal cuter to determine which side of the stone should be ‘faced’ when there is good color on both sides.

Lap: from Lapidary. (Pertaining to cutng precious stones.) A disc that revolves and can be fited with either metal impregnated with

diamond, Carborundum grit, wet and dry sandpaper and various other cuttng mediums and polishes. The lap can have a rubber, felt, or leather backing, depending on whether the stone is to be ground, sanded or polished.

Many modern laps come with various diamond grades from course to very fine so as to handle the complete process. Lapidary clubs can help define the procedures.

Some opal cutters prefer Felt, and others Leather, to complete the polishing process. Care with speed has to be taken with felt, as it tends to get very hot.

Some cutters allow grooves to develop in felt wheels and use Pumice powder as a pre polish before Cerium or Tin Oxide.

I have found this to be unnecessary if a proper pre polish is accomplished using 500,600,700 or 800 grit sandpaper. (They all do the same thing, depending on how much they are worn and which brand you use) Carat: A small weight standard used in measuring precious stones.

Originally, seed of the carob plant, used by the ancients as a weight standard. Five modern carats equal one gram.

Carats are used in weighing precious stones that have been completed. A 10x8mm solid opal with a medium dome weighs just over one carat, 8x6, just under. Carat scales.

These were the only thing available for weighing carats in tmes past but today are nearly reaching antque status.

The modern electronic scales - are more convenient to use, and not so expensive. The compact version of these is very handy.

Troy oz: A traditonal measurement used in weighing rough opal or other precious materials such as gold or silver.

A troy oz contains twenty pennyweights. 12 oz =1 pound. (0.82286 lb. avoirdupois) In recent times it has been the practce in Australia to use the decimal system for convenience since the troy system is not readily available and obviously more people are familiar with decimals.

Incidentally, in Lightning Ridge, rough opal is usually sold in job lots and not weighed at all, but in Coober Pedy, it is usually weighed A “Parcel”: The term used to describe an amount of opal (whether rough or cut) to be sold as one lot. Terms like “spliting the parcel” are obvious.

It happens when a customer likes one or more of the stones in the parcel but does not want to buy the whole lot. If the miner or cutter is willing, a price is negotated based on the quality selected and the amount chosen.

Solid Opal: An opal that is cut as a solid piece, without any added backing or capping.

Doublet: A finished opal consistng of an opal top cemented to a black potch backing.

The dark background then gives the appearance of natural black opal.

Triplet: A finished opal consistng of a quartz crystal top, a thin opal middle, and either potch or similar material

Buying Rough Opal for Cutting Untl a few years ago, most opal available for either amateur or professional cuters has been white or crystal opal from the South Australian fields.

In recent years, more opal has been found in the Lightning Ridge area and thus rough has been available for sale. Rough can be purchased in a variety or different conditions. As follows: Mine Run: Direct from the mine. The stones have not been cut or ground down. This means that there is more guesswork in the cutng. You have the chance of making a bonanza or you could lose some or all of your money. Purchasing opal this way can be risky if you are not very experienced.

Of cuts: You buy this afer the miner has removed whatever opal he has a market for. The quality of what is lef is more obvious (but not always) and you can tell basically what you are going to be able to cut. Of course attenton has to be paid to cracks in the opal or a good stone could be halved in value once the crack becomes obvious.

Rubs: This can often be the best way of buying rough if you are not very experienced. The miner has cut and ground the stones into basic shapes, afer having removed most of the rubbish.

What you have lef is the stone nearly ready for the dopping and polishing process. You can have the satsfaction of cutng your own stones without the high risk of buying mine run rough.

Tips for Cutting Opal is one of the easiest stones to cut. The problem is not in the cutng of the stone. The trick is in chasing the color and making sure

that you approach it from the right direction. This takes time to learn but more common sense than anything else.

You know that you want the greatest amount of color with the least imperfections to be exposed, so let your eye tell you what to do.

Just keep grinding away the imperfections as much as possible without losing the color.

Fashioning an opal out of the rough is a constant juggle between imperfections, cracks, the height of the dome and the thickness of the stone.

Your eye will tell you that a larger stone will need to be thicker than a small stone.

Obviously you want the dome, partcularly on an oval stone, to be nice and high so that when you go to set it, the claws or bezel (see jewelry making later) will easily fit and not chip away the edges of the stone.

A good move would be to spend a little time at a lapidary club and find out the basics of cabochon cuttng. Be sure to keep your end use in mind before you decide on shapes.

If you are just cuttng a piece to put in your collection, the shape may be of no consequence.

If however, you are going to have it set in a piece of jewelry, remember that it could make the job cheaper for you if you sacrifice a little of the opal and make it into a calibrated stone.

10 Steps in Cutting Opal Briefy, here are the main steps for cutng all opal except boulder opal.

1) Examine and select the rough stone. Separate the good from the poor quality. (This is called ‘grading’) 2) Clean the stone. This usually means a combinaton of grinding some potch away on the wet grinder, and slicing on the diamond blade, so that the direction of the color can be seen.

3) Decide on shapes. Allow the stone to dry and draw the shapes with a very sharp hard lead or aluminium pencil 4) Grind or slice of the unwanted areas, using the grinder and diamond blade once again.

5) Put the stones on dopsticks. So that you can hold them without grinding your fingers away..

6) Grind and clean them into the desired shapes.

7) Proceed with the sanding process, through approx. 3 different sandpaper or diamond wheel grades.

8) Final Polish. Using either Tin Oxide or Cerium oxide powder on a leather or felt buf.

9) Take the stones of the sticks with either boiling hot water, or if using sealing wax…in a freezer.

10) Reverse the stones, re - dop them, and repeat the process.

Now let’s look at each of these procedures more closely:

Startng from a piece of mine-run opal. (That is a piece of opal that is right out of the ground without any cutting or human interference.) This section applies mainly to seam, knobby, and pipe opal, not boulder opal. Boulder opal cuttng while based on the same methods has to be approached in a different manner. (See below)) 1. Examine the stone carefully for any hint of color. Use a lapidary grindstone that has water running over it. (Possibly a 220 or 320 grit carborundum or diamond wheel, or courser if you are careful) Carefully grind away the opal potch untl you can see where the color is going.

When you have exposed enough color, you must determine which side of the stone is going to form the top and which the back.

Sometimes there is more than one line or bar of colour. You have to decide where to slice the stone to get the most results from these bars.

This decision is based on where you think the color is going to be brighter and the back blacker. (In the case of a black opal) The same applies to white opal, but the back may be light in color or have no dark background at all in the case of a full crystal.

In the case of boulder opal, it is usually necessary to slice the stone with the diamond blade first and “block” it out. (That means to cut it into workable chunks) Examine very carefully which way the seams of opal are going, and then decide which side of the thin veins you will remove the ironstone.

This is very tricky, even for an experienced boulder cuter because you cannot see inside the stone and you will always cut through color that you should not but you just have to make the most of it and cut

the shapes according to where the slices happen to be. You can minimize this by using your wet grinder a lot to determine which directon the veins are going before you start slicing 2. When the face of the stone is completely exposed, allow it to dry out first and check for crazes. (Cracks) This is very important because many cracks do not appear untl the stone is dry. Mark these with a sharp hard lead pencil. (If you use a marker pen, in most cases it will wash off as you grind further.)

Use the same pencil to mark out the shape you want, carefully avoiding as many imperfectons as possible. You may be tempted to cut a large stone, but keep in mind that two or three perfect stones may be a lot more valuable than one big ugly one.

Having said that of course, if you are a goldsmith or you are familiar with the process of Electro-forming, you can cover some of these imperfections with gold or silver and make it part of the design.

3. Remember the end use of your stone. Perhaps you will need to calibrate it. In which case, get a pencil with very hard lead and make it very sharp. (Or make an aluminum (aluminium in Australia) pen out of a rod and sharpen it.)

This way you can lay your calibratng template over the area you want to cut and mark the exact shape on the stone. (Refer to ‘Calibrate’ to determine popular sizes.) With a lot of practce you can do this by eye, but this will get you started.

4. Use your diamond blade – (10 thou blade is a good all-round thickness.) When using the diamond blade, don’t force it to cut. Just rest the stone against the blade and allow it to do its job. If the stone

is quite thick, you may need to pull it away from the blade and allow the water to clean the incision.

If you are making an oval, you can cut the corners of and save the of cuts for use in chip jewelry. If you do this, be sure to leave at least a 1mm space, so you do not undercut the stone. The thickness of the stone is determined by the amount of opal you have to play with. If it is a thick stone, you may have to cut it down. Larger stones will be thicker, smaller stones thinner.

You have to get the feel of this. If the color is thick enough, you can consider slicing it down the middle and making two stones. But practce first or you could ruin some good stones. I remember turning a $6000 black opal into a $10,000 stone by making two stones out of one thick bar of color. The Miner was delighted!

5. Allow the stone to dry out and examine it carefully to make sure you have not missed any cracks (you might need one of these if your eyes are like mine after 30 years glaring at stones.) – It is now ready for dopping.

The old process of dopping - involved the use of sealing wax and a methylated spirits (wood alcohol) lamp, and was a drawn out process The most efficient method now, is to use quick dry epoxy (Called araldite in Australia.) Mix up just enough epoxy to do the stones you have cut.

Put the dopsticks in a stand, and put a little epoxy on each one. Then carefully balance the stones, back down (so that the face is looking at you) on the stcks. Leave them to dry preferably overnight, although if you are careful, you can work on them within an hour.

6. With your wet grinder, proceed to fashion the stones into the desired shape, taking of the rough edges It’s best to do this whole process with some cheap potch first so that you can get the feel of it before trying a good stone.

A few lessons at a lapidary club would be good before you attempt this because it is difficult to explain by writng. However, one hand is used to hold the stone and the other to twist it and rotate it so as to get a perfect dome or fat or whatever surface is desired. You are actually using your hands like a flexible lathe.

7. The next process is sanding. If using sandpaper, start with around 320 grit. If it is new paper, you may have to rub a little potch on it to take away the sharpness.

Keep in mind that if the edge of the wheel is a little worn, you can go towards the middle for a less worn sand. By using disc cement on your rubber lap, you can peel of each grade of sandpaper and replace it with another without having to have a whole lot of diferent laps.

Some cuters use sof rubber on the lap believing that it will be easier to fashion the stone, but I believe that harder rubber backing is better, partcularly when a fat surface is being sanded.

To get the scratches out of the middle of fat surfaces, you have to sand right on the edge of the stone. This means you have to make sure to cut your sandpaper discs about a quarter of an inch (8-10mm) wider than your sanding disc.

8. Remember that getting the “feel” of opal cutting involves the juggling of various grades of sandpaper.

A worn 320 can be

similar in efect to a new 600, and a worn 600 can have a similar efect to a new 1200. (Also remember that the higher the number on the sandpaper sheet or diamond powder, the finer the polish. i.e. a 600 sandpaper or diamond dust is much finer than 320 grit.)

It is important to detect whether or not your paper is cutng or polishing. If you have not removed all the scratches on the 320 paper or new 600, you will not get them out when the paper is worn or finer.

Of course if you have come of the 320 sander onto the 600 and the scratches are still not out, you can move the stone toward the middle of the lap (if it is a high domed stone) where you will find some 600 grit that is stll quite new, or you can work the stone at the extremities of the lap (if the stone is fat) where the acton is faster and more able to “dig” in more.

Be careful you do not slip or you will cut your finger on the edge of the sandpaper.

This is a way of gettng rid of scratches without going back to the previous polish. Of course you can only do this while there is life lef in your paper.

Eventually it will be worn right across the surface, or torn on the edges. Carefully examine each of the steps as you proceed toward the final process, checking minor scratches, and you will get an impressive polish.

While you are doing this, you will experience all the little annoyances, such as:

Sandpaper stcking to the disc and tearing as you take it off. This happens for two reasons. First that you have not allowed enough tme for the disc cement to dry afer you have given it a new coat, before putting the new sheet on, and secondly that you have lef the paper on for a long time and done a lot of sanding. The paper tends to “weld” itself to the rubber.

It’s wise to take the papers of the lap at reasonably short intervals if you want to avoid this. Of course if you have been pulling the sheets on and of for a long tme, the cement won’t be so stcky.

You will find that, even if the papers are threatening to drop off, once you heat the wheel up a bit by puttng pressure on it with a stone, the cement comes to life again. Disc cements can be restored to adhesion by heat, untl there is an excess of dust build-up.

If you find that your wheel is gettng full of bits of paper from the back of the sandpaper, use some Mineral turps, or Petrol (motor spirit) to clean the wheel, and eventually re-cement it with disc cement. Methylated spirits will not clean disc cement, only epoxy.

Stones ficking of sticks. This usually happens if you get them too hot, and is more prone to happen when you are cleaning the backs of the stones because the polished surface that is seated onto the Dopstck does not hold the glue as well as the rough back of the stone. Allow longer time to dry.

If you are using water based glue for dopping, allow plenty of tme to dry and if you want to be sure they won’t come of, turn the stcks the other way around and put some more glue on so that the whole stone is adhered. Then allow plenty of time for that glue to dry as

well. You can hurry this process up a bit by applying a blower heater to them but if you get yourself into a good system, it’s best to leave them overnight. If you are using quick dry epoxy, allow a few hours for it to dry, but……

BE VERY CAREFUL WHEN TAKING THE GLUE OFF THE TOP OF THE STONE. It is easy for the glue to “pull” sectons of the stone away.

Use boiling water to get the stones of the stcks and soak the stones in wood alcohol (methylated spirits or vinegar) to dissolve the epoxy.

Boiling water can also be used to remove stones from the water based white glue as well. If you are using wood glue, you won’t have this problem. You just soak it in water.

9. If the stone does not have a nice high dome and is rather fat, keep in mind that it is necessary to make sure it has a “settng edge” all around the stone.

The best way to explain what I mean by this is for you to imagine that you’re trying to close four gold claws over the stone, or you’re trying to rub a gold bezel over the edge of it to hold it in the settng. Every stone must have a “shoulder”, even if it is only a very small one.

If there is no “chamfer” or slight angle, or settng edge, it will be very difficult to close the claws or the bezel over it without chipping the edge. So, even if a bit of the black potch or ironstone backing shows as you grind the stone, it must not have a sharp edge around the rim. The greater the setting edge, the easier it is to set.

10. The Sanding Process proceed to the final stage, which is the polish. I find a leather lap the best, primed with cerium oxide. You can try various grades of this but some cerium is so good that you

can take some small scratches out with it even when you have missed them in the sanding process. This is done by priming it with a generous amount and holding the stone right on the edge of the leather lap, making sure that you don’t overheat it.

11. When the top of the stone is complete, it’s time to dop again, this tme with the front of the stone down. Then repeat the process mentioned above, to finish the bottom of the stone.

If you are cutng an oval and the shape is not perfect, you can ofen correct it while cutng the back, just by readjustng the side of the stone. At this point the stone can be weighed and bagged.

NOTE: The above process is applicable mainly if you are using the old fashioned sanding process, which I stll prefer. You can make it a lot easier on yourself if you go into a full diamond cutting and polishing system which could cost around $3000.

In which case, your suppliers may be able to arrange some lessons for you.

But my process can be assembled very cheaply and pieces of sandpaper are a lot less expensive to throw away than diamond wheels when they wear out.

And frankly, the system I use, in my opinion is just as efective, if not more. Please refer to the section, “How to build an opal cuttng machine” if you want to try your hand.

Traps for Young Players Here’s what happened to me when I started.

Stones kept coming of the dopstcks. (This was disastrous back then because we always used sealing wax on the dopstcks and the

wax would dig itself into the sandpaper, taking away it’s abrasiveness.)

Today with epoxies it’s not as bad, but stll annoying because you have to re-dop all the time. The main reason for this problem is that you are forcing the process too much.

Applying too much pressure and causing too much heat. Epoxy does not like heat. So have a few stones on stcks and if you feel one heatng up, put it down, let it cool and so onto another. Be patient!!!

Another problem was that the Carborundum wheel kept gettng out of balance. Make sure you purchase a diamond-correctng tool Learn how to even the stone up and keep the surface smooth. Of course if you are using diamond wheels, this will not be necessary.

Diamond wheels are fine for most opal cutng but, unless you have specialized round edge diamonds, they are no good for boulder opals or other opals with concaves (valleys) in the surface.

Be prepared for the stone that ficks of the stck and gets lost in the room. Try to have enough cover over your sander partcularly so that stones that come of are ficked back onto your work area.

(See my sander/polisher design) If you have a concrete floor, put an old piece of carpet under your workbench in case you drop a stone.

Make sure your lightng is good. Buy yourself a proper extendible desk light or two and keep them away from the water.

Make sure all switches and electrical motors are protected from splashing for obvious reasons.

Get yourself a comfortable chair. Preferably one that is adjustable so that you can get the right position. When sanding, remember the dust in the air and if you are not using water when sanding, be extra careful of breathing silica. Wear a face mask.

Opal Undulates (our terminology) Polishing uneven surfaces, partcularly boulder opal is a very skilful job that requires specialized assistance.

We have not covered these details extensively in this book so if you want to get more informaton on the subject, just join our newsletter at www.opalmine.com However you can take a look at the comments on the use of flexi drive equipment in the ‘Machinery’ section of this book.

CHAPTER 8. MAKING DOUBLETS & TRIPLETS Large manufacturers of triplets have special slicing machines involving the pumping of liquid carborundum grit over the stones which are cut into thin slices using a vibraton process.

There is really no point in trying to do this. Its better to just use your diamond slicing blade and use the edge of your grinding wheel as a fattng disc. Here is the process to make opal laminates (doublets and triplets) 1. Determine which side is to be the top and which the back.

Flaten the back on a wet diamond-fatting disc* or on the side of your Carborundum wheel. (You may have to remove the water jet from the top of the wheel and either hold it onto your work on the side of the wheel or rid up a jig to hold it.)

2. If there are any bits of dirt in the back of the opal slice, try to dig these out on the edge of your wheel. Or use a dental fexi drive** with a small diamond ball or bullet (if you have one), to grind away fine marks.

It doesn’t mater if there are a few holes (as long as they are not too deep) in the back of your slice because these will not be notced later when it is cemented onto the back. **Some hardware stores supply a cheap version of the dental machine, called a “Dremmel”.

3.

Please note that there is another way of making doublets without having to fatten the back. You can make them into boulder doublets but this means that the joining edge will be uneven and you must mix some very fine boulder ironstone (that you can collect from your grinding wheel) with epoxy.

4. Try to match it so that the glue line will look the same as the ironstone back, thus giving you a natural looking doublet that looks like a solid boulder opal. You will have to experiment with this one tll you perfect it as it takes a lot of experience.

If you are using this process with Coober Pedy Shell off-cuts, and there is a large area to fill with epoxy, you will have some cracking problems if the glue shrinks, so keep the cavity as shallow as possible.

This method will give you a better return from your doublet material, as there is very little waste.

Be very careful not to overheat the stone when sanding doublets.

You can easily crack the stone. Sand under water most of the time.

5. Save any black pieces of potch in a parcel. Slice them up for use as backings for doublets.

When they have been sliced, they are usually fat enough to attach the opal slice. At this point, an old electric frying pan can come in handy because you can warm your stone up on it, making sure there is no moisture lef on it.

Try not to touch the front of the stone with your fingers. Try to use tweezers, because the oils out of your skin could afect the cement later.

6. With the back of the opal slice facing upwards, black it out, using an Artline (or similar) spirit based texta pen (felt pen) so that no light is seen through the stone. (Don’t use water-based pens.) When you look at the face of the opal sliver, you will notce the depth of color coming out.

7.

The stone then starts to take on the appearance of a black opal. A good way of handling your work is to cut up pieces of glass or stone, and put some blue tack (stcky stuf like play dough) on

them. You can put your opal on the blue tack and handle it without gettng your fingers too stcky.

8.

Mix the “A” and “B” parts of the epoxy together with a little nigrosene powder, (usually available at lapidary shops) put some of the glue on the slice of the black potch.

Then place the opal slice, back (black side) down onto the slightly warmed potch backing. “Seat” it down so that all air bubbles are removed and allow to dry. (Not too much heat. Epoxy does not like to be overheated) If it is a cool day, just warm it up under the desk light for a while, or warm it on a hot plate.

Suggestion As already mentoned, if you need a heat source for your opal slices, use an old aluminium frying pan instead of an expensive heating plate.

It has a controlled head and does the same job. Note: There is a disagreement as to whether quick dry or slow dry epoxies are better.

I personally have not found any difference but slow dry is supposed to be a better cement so you can experiment with both.

9. When it is dry, you can pencil-draw the shape you want on the top of the stone and then slice and grind it into shape, afer which you just put it onto a dop stck, the same way as you would an ordinary solid piece of opal.

Then proceed to finish of the back in the same way as you would do with a solid, but make sure you don’t grind too much away from the edge of the back or you may undercut the opal on the top. (A Partcular problem with triplets because of the clear crystal cap.)

Experiment with a cheap one and you will know what I mean.

10.

As with solids, if it is a very fat stone, you need to cut a chamfer around the top to give it a setting edge. If you don’t do this, and if the stone is to be set by a manufacturing jeweler, he will find it very difficult to close the bezel or the claws on it without chipping the edge of the stone.

11.

Determine which side is to be the top and which the back.

Flatten the back on a wet diamond-fatting disc* or on the side of your Carborundum wheel. (You may have to remove the water jet from the top of the wheel and either hold it onto your work on the side of the wheel or rig up a jig to hold it.)

12. If there are any bits of dirt in the back of the opal slice, try to dig these out on the edge of your wheel. Or use a dental fexi drive** with a small diamond ball or bullet (if you have one), to grind away fine marks.

It doesn’t mater if there are a few holes (as long as they are not too deep) in the back of your slice because these will not be notced later when it is cemented onto the back. **Some hardware stores supply a cheap version of the dental machine, called a “Dremmel”.

NOTE: If you are unable to locate nigrosene powder, you can just use straight clear epoxy for your doublets. Just make sure that there is enough texta on the back of the opal slice so that no light is allowed to come through.

Some triplet cuters also use fat black spray paint to cover the back of the slice. This seems to work OK, but you would need to test it out before making a lot of stones. Some also use Indian ink…. and it may be possible to buy black epoxy. You can experiment.

Keep in mind too, that it doesn’t matter how solid your black color is on the back of the stone, if the front of the stone is very crystalline or jelly-like, and if you haven’t taken all the little marks out of the back in the grinding process, they will show up as you look into the stone.

Actually they will be accentuated (made to stand out) against a background of darkness. So afer you have cleaned up your doublet top, take a close look at it afer it dries to make sure that all rubbish is taken away from the back, before you blacken it.

If you don’t blacken the back of your opal slice, you will have trouble with air bubbles showing through. Professional triplet makers have this problem all the time when cementng on the clear crystal caps.

Experience will show you how to avoid this by being careful not to str the glue vigorously, and heating it to evaporate the bubbles. Some pass a careful fame over it to get the same effect.

If you were doing triplets on a larger scale, you would be better to experiment with ultra violet light sensitve glues. But these glues are not generally available in stores.

Doublets Note that doublet making is the same procedure as has been described for triplets except that a doublet is made of two pieces rather than one. A doublet is a triplet without the crystal cap, albeit the opal top is thicker.

JEWELRY DESIGN IDEAS CLICK HERE TO SEE PICTURES OF JEWELRY DESIGN IDEAS FOR OPAL

CHAPTER 9 SETTING YOUR STONES Basic Terms Associated with Jewelry Setting Findings: (Below) A piece of jewellery that has been cast. However, the term has been extended to encompass all cheaper settngs, some which are findings, others pressings. (Shapes cut out with a press.)

Plating: G.P (gold plate) thickness measured in microns. Ofen used in cheaper jewelry to give brass or another base metal a gold appearance. S.P, (silver plate) R.P (Rhodium plate) - rhodium is often used in cheap settings in preference to silver as it is harder and does not tarnish like silver. S.G.P., (silver gold plate) G.F (Gold filled) Filigree: Delicate, lace-like ornamental designs. Once done by hand, but now can be cast.

Usually associated with more ornate (complicated) jewelry rather than plain straightforward designs.

Antique: As the name suggests, it resurrects designs that could be hundreds of years old, ofen associated with filigree and ornate “scroll “and “leaf” shapes.

Organic: Designs that roughly resemble what is seen in nature, such as the roots of trees and leaves, etc.

Above is an example of a large free form triplet wrapped in 14k yellow gold using the lost-wax system of creatng organic designs.

Please note that definitons of jewelry items do vary from one country to another.

Claw set: Stone is held in by claws. Most popular, four claws, but there can be any amount.

Bezel set: (below left) Metal is actually rolled onto the stone, or in the case of cheap gold plated settngs, the bezel looks as though it is being held in by the gold. (Actually, it is the cement at the back of the stone doing the job.)

Bezels

Bales

Bell Caps

Jump rings

Bale: The small hanger attached to the top of a pendant that the chain goes through. Some bales are made as a part of the pendant itself. Others have to be atached by hand. (Above lef) Special Bales: (below) for use when a hole is drilled through a stone (boulder opal for example.) These pendant fitngs save a lot of manufacturing time and costs and display the pendant beautfully.

Hook-in Bales Fitted to drilled boulder opal

Pearl Bale

Bell Cap: A small cap that comes in various shapes and sizes that can be cemented onto the top of a cheaper stone to make it useable as a pendant with very little expense. Bales usually have to be fited to the top afer cementng. (Above centre right) Jump Ring: The small rings used to atach things onto a pendant or bracelet. (Above right) Parrot Clip: A small clip or clasp that looks a little like a parrot beak, used to join chains or bracelets together. (Below)

Parrot

Fishhook Continental butterfly clip butterflies

Fish Hook: Pierced earring fitng that resembles a fishhook. (Above) Continental Clip: Pierced earring fitng that resembles a fishhook but with a safety clip attached. (Above)

Butterfly Clip: A small pin that goes through the ear, usually with a small gold ball atached.

The clip is secured in the ear by a small clutch resembling a butterfy. These can be used either for stud or drop earrings. (Above) Stud Earring: (Below). Earring actually sits on the ear itself. can be either pierced, clamp or screw.

These

Drop Earring: (Below) When the stone or jewelry item drops or dangles from the ear lobe. These can be either pierced, clamp or screw.

Drop

Stud

Screw

Clamp

Clamp Earring: The fittng holds onto the ear lobe with a clamp system. (Above right) Screw Earring: The fitting holds on to the ear lobe using a screw system. (Above centre right) Screw Clamp: both an adjustable screw and a spring hinge hold the earring. (Similar to screw earrings above except for spring fitting) Shank: (In rings), the part that surrounds the finger. The top part is called the shoulder. The shank can be tapered, (wider at the top and narrow at the bottom, or the opposite (reverse tapered)

Other Fittings Bullets and clutches (below) Can be used to protect brooch pins and shorter versions can be used instead of butterfies for pierced earrings.

Bola Fittings To set stones into an adjustable pendant used with either a thin woven whip, leather chord, or black rubber hangers

Stone attachment Bezel settings

Catle head

Cord end fittings

Take a Look at Your Goals in Wanting to Deal in Opal If you want to specialize in cutng opal, (which in my opinion is the most satsfying and lucrative) then leave all the complicated stuf to the experts.

If you have had no background in manufacturing jewelry, this process is best lef up to someone who has learnt it from youth, unless your goals are in working with metal as well as or instead of stone.

There are plenty of small manufacturing jewelers (U.K spelling) who will make up your stones at a very reasonable price. Markets or Swap Meets are good places to locate these, or the business section of your telephone directory under ‘Manufacturing Jewelers’.

Many of these Jewelers may want to know who the heck you are, because they may be used to dealing with the ‘Trade’ and do not want to give the best prices to the ‘Public’ or people not in the ‘Trade’.

I found the best approach, (afer you speak with a little authority as a result of reading this book) is to tell them you are an opal dealer, embarking on a new business, and you would like to get prices on the following items: Pendants, rings, earrings, (most popular jewelry items) broaches, pins, bracelets, etc. (not so popular). If you have a fair for designing, then submit your own designs.

If not, get the jeweler to make suggestions and get him to quote you in whatever metal you want. Silver, 9, 10, 14, 18k gold (yellow or white), and whether you want some small diamonds to accompany the design.

Keep in mind that some jewelers specialize in certain metals. Some silversmiths don’t like working in gold and some goldsmiths don’t work in silver. Some do both. Some only do hand made goods. Some work in wax and do castng. You have to locate the right guy.

Take stone values into consideraton too. You would not want to put an expensive black opal in a silver settng and it would not be logical to put a cheap opal in solid gold. It would be better to put it in silver and if you like the gold tone, have it plated with gold.

This can be a bit of a problem with rings, as the platng does wear of in tme, so it may just be better to spend a little extra money and have it made in lower grade gold such as 9 or10k. Pendants and brooches, or anything that does not come in direct contact with the skin are fine in gold plate.

Gold: Because this metal is so often used in conjuncton with opal (as with all precious stones), I thought it informatve to give a brief descripton of its propertes. It comes in 10k, 12k, 14k, and 18 karat standards (a “Karat” or “Carat” – originally the horn shape pod of a carob tree used by the ancients) 14k & 18k (or ct.) is popular in the US,9k and 18k in the U.K. and 18k in Europe.

People often get confused between applying the term “carat” to both gold and precious stones. For this reason, we ofer an extended explanaton of a carat in this discussion about gold.

Carat: term expressing the ratio of precious metal to base metal in an alloy; also a unit of weight for precious stones. In the first sense, a carat (usually spelled karat) indicates 1/24 part by weight of a precious metal, such as gold, in an alloy.

Thus, 18-karat gold is 18/24 or 3/4 gold and 24- karat gold is pure gold. As a unit of weight for precious stones, Understanding this remarkable metal Pure gold is the most malleable and ductle of all the metals. It can easily be beaten or hammered to a thickness of 0.000013 cm (0.000005 in), and 29 g (1.02 oz) could be drawn into a wire 100 km (62 miles) long.

Gold is one of the softest metals (hardness, 2.5 to 3) and is a good conductor of heat and electricity.

Many people view the ownership of the gold as being more important than the wearing of it, and insist on either 22 or 24-carat (pure) gold. Others just enjoy wearing it for the beauty and rarity of the metal.

(For general purpose wearing, partcularly for rings with claws, this is not practcal, as the claws are so sof, it can release the stone.) Bezel or rub- in settings may be different, and it is easier for the jeweler to work in the sofer gold.

There are different ways or expressing the above standards. The standard described above is expressed in fractons of 24.The other system is decimal, expressed in percentage of 1000 as follows: Silver can be pure, or that near to it that it doesn’t mater. The Britsh standard, which is accepted practcally everywhere, is called Sterling Silver. (925) keep in mind that standards for silver definitely vary from one country to another, partcularly in third world countries.

A tourist may be told that an item is silver but it is not necessarily Sterling Silver and could be of inferior quality. Not that there is any big deal in this anyway as silver is a very cheap metal, costng in the vicinity of 50 cents per gram, depending on supply and demand, whereas pure gold can cost between $20 and $30 per gram.

As a rough guide, buying gold direct from the refiners (At the tme of the first edition of this book, October 1997) Gold cost approximately the same amount (or a little less) per gram as its carat standard. (i.e., 18 carat gold is around about US $10 to $15 per gram, depending on the price for the day and whether there has been a major war, or catastrophe, in which case many people start buying gold for security reasons.)

At this date, September, 2012, the price of gold has gone through the roof at around $1700 per troy oz. At least 5 times the price of what it was back then.

Another approach to having your opal set is to get a jeweler to make up a design to a specific calibraton such as a 10x8mm opal. (See section on calibrations) This can be done in a cheaper metal such as silver because you are not going to actually use the ring to wear or sell, you will keep it as a standard for mass production.

The jeweler who knows about castng will understand that he has to make the calibraton about 10% larger, because in the castng process, the gold shrinks slightly.

It’s a good idea to talk to a Caster about this before you see the jeweler, so that you know his methods because they all vary slightly.

You can find casters, again, in your telephone directory under ‘Jewelers-Casters’ or ‘Precious Metal Castngs’.

Some Casters have a catalogue of items already available in standard sizes, which could save you all the trouble of creatng a new design.

Prices of castngs will depend on the amount of items you order.

An Easier and Cheaper Method Keep in mind that, at least in the US and most of the Western world, for every person who can aford $500 for a jewelry item, there are 500 that can spend $50. This was much different in Japan. Untl the recent downturn, a Japanese opal dealer friend of mine, nearly a billionaire doesn’t bother much buying stones under $5,000. His best market is $10,000, and he sells lots of them between $20,000 and

$30,000. One day I was with him when he paid $35,000 for a stone, just with ‘pocket money’!

During one trip to Osaka, when I put on an Australian display in a little boutque belonging to a friend of mine, I was amazed at all the little ladies arriving on their push bikes with purses stufed with Japanese Yen. (They rarely use checks in Japan) In one week we sold around $50 000. (That was before the earthquake upset the economy. We will be going back again when things settle down. In the meantime I’m writng this book.)

Back to the point though: If the stone is nearly a popular calibrated size (such as 6x4, 7x5, 8x6 or 10x8 or any of the other size mentioned earlier) you can take a little extra time to calibrate it. Then you will be able to fit your stones very simply into standard gold plated and silver settngs, which will cost just a few dollars.

I am able to supply a lot of these ‘findings’ as they are called in Australia, but if you search, again, in your telephone directory under ‘Jewelry findings’ or ‘Plated jewelry’, you should be able to locate a catalogue. Items needed for settng cheap findings. Please leave a message here if you want to see our extensive range.

Shopping list for accessories to help in jewelry setting 1. Quick Dry Epoxy Resin, ‘A’ and ‘B’ packs. (Ask in your hardware store) 2. Blue-Tack (as it’s called in Australia) - a material that resembles chewing gum but not as Stcky. Normally used for the temporary stcking of things on walls.

3. Tooth picks or matches. (Flattened like a small spatula on the end for best control) 4. A good desk lamp. (100-150w) 5. Methylated spirits (wood alcohol - ‘metho’ for short) - for cleaning and removing poorly set stones, and wiping stcky fingers.

6. Some plastc or wooden rulers or strips of wood.

7.

Some cardboard. Small pieces of (Old business cards are perfect 8. Sheet of wet and dry sandpaper. (Can be from 220 to 600 grit.

Check at your hardware store.) This is easier to handle if you pin it or cement it onto a fat piece of wood 9. A heavy needle or better stll a sharp pointed instrument with a wooden handle that can be used for scratching metal surfaces.

10. A quantty of seal-top plastc bags.

11. A pair of setting pliers. Below is handiest little plier shape I have ever used.

Method

1. Cover your workplace with old cloth or a piece of newspaper to protect your desk.

2. Roll out some Blue-Tack and place it on a plastc ruler. (Or strip of wood) 3. Using the plastc bags, sort out what stones are to be set in what settngs. Make sure earring stones and earring/pendant sets match properly before startng. (Nothing worse than being in the middle of a setting job with the glue going of, and the wrong stones selected.)

4. Place the jewelry item (finding) onto the Blue-Tack, making sure it is as fat (horizontal) as possible. Use thicker Blue-Tack if your item is odd shaped underneath. Brooches always need a higher “hill” of blue tack so that they can sit evenly.

If you are gluing bell caps, stand the stones in the blue-tack, open the bell caps right up, and place a healthy dollop of the glue on top of each stone and seat the caps on top.

Allow drying before you close the extensions of the bell cap down.

5.

With a fattened toothpick or match, mix approximately equal portons of epoxy resin together on a piece of cardboard. (Don’t mix too much or you will waste your glue because it goes of quite quickly. As soon as it becomes tacky, you must stop using it.)

By experience you will learn, but for a start, only mix up enough to set about five pendants, if you’re doing bulk setting. If only one stone, just mix up the equivalent of about two match heads.

6. Make sure your setting is not too smooth. If the gold is very shiny, you should scratch it a little with a sharp instrument. If the

stone is too smooth on the back, rough it up a little on the sandpaper. This will prevent stones from becoming dislodged later, partcularly when you are relying totally on the strength of the glue, as in the case of cementng bell caps.

7.

Using the toothpick, place a drop of the glue in the middle of each settng, perhaps scattering it around a little. Trial and error will teach you not to put too much or too little glue in the settng, otherwise it will come out the sides. It’s better to put a little more than less, to make sure the settng is secure.

If a little comes out the sides, just wipe it away with a cloth, and clean the top of the stone with methylated spirits before it dries. If some glue remains after it dries, try scratching it of with your fingernail, or a sharp knife. But take care with the knife or you will pull some of the opal away.

8.

Sometimes the bezels (see jewelry definitons) on the cheaper jewelry are slightly larger than the calibrated stone. In this case, the stone has to be adjusted so that if there is a gap between the stone and the edge of the bezel, it is equal right around the stone.

In other words, you have to center the stone, otherwise it will slip to the side, and will have to be soaked overnight in metho (wood alcohol), removed and reset.

9. If you are settng a finding with claws and no back, just put a litle glue at the base of each of the claws to keep the stone in place untl you close the claws down. By bending two of the claws on one end of the settng, to the approximate shape of the stone, you can slip the stone under the bent ends and wait for it to dry. It is then simple to close the remaining claws. This method is very helpful for settng

clusters of claw settngs when it is difficult to get the settng pliers into the innermost claws.

10. Many of the finding suppliers also supply jewelry boxes for the varying types of settings. You can also find details for these in phone books under the heading ‘Jewelry boxing’.

If you don’t want to go to this expense cut pieces of neat white cardboard to fit sealed top plastc bags and use them as display packs.

You can use these either for pendants and brooches or for single stones. In the case of unset stones, if you have a carat scale, you can weigh them and show the carat weight neatly somewhere on the white card.

Caution: Be careful when removing doublets and triplets from settngs using methylated spirits.

If you leave them in too long, you can release the cap on the top of the triplet because metho dissolves epoxy resin, and some triplets are made from epoxy.

Try to have a little ventlation when using epoxies. As with all glues, it’s best not to inhale them too much. Perhaps a small fan will help, or just keep a window open, or at least work in an area that is not too closed up.

Choice of Stones for Setings If you want to turn your opal settng into a small business, you may want to consider buying some of your stones from a dealer in calibrated form, partcularly if you are catering for the lower end of the industry, selling to friends, at Swap Meets or Jewelry parties.

Keep in mind that many people like the look of the black opal, but obviously can’t afford to spend thousands of dollars.

In this case, triplets are the answer, and you can get a triplet price list and order them at your leisure to the exact sizes you want. I can help you with all sorts of calibrated stones if you need them.

And here is a good tp: An 18x13 bright triplet could cost in the vicinity of $50 or more, but the same thing in a ‘mosaic’ triplet may be around one third of that price. These stones are very interesting to look at.

18x13 Mosaic Triplets

These are suggestions. It’s up to you to experiment and test your market. Many people prefer the more delicate subdued color of the white opal.

These too are available as calibrated stones and you can set them in cheap jewelry the same way as described above. They are roughly the same price as the triplets in different grades.

Take a look here to see the different types of opal jewelry available

CHAPTER 10. VALUING YOUR STONES The following is an outline that will help you value your stones. The fact of the matter of course is that you be more accurate in assessing the value of opal through experience than by technical advice.

For a start, it’s best to work with someone who has had a good reputaton over a long period of time. Generally speaking, it would not be worth this person’s reputation to cheat you on prices.

You have to be careful, even in this case, but over the years I have found that people who are in the business for a long time have a certain honor that they try to maintain.

I am able to transfer many thousands of dollars worth of goods back and forward between these people without so much as an insurance policy. Having said that, the old adage stll applies…”let the buyer beware”.

Valuing opal is difficult because of the many factors, which must be considered.

It requires considerable experience and even then, it is open to questoning by others who have a diferent market demand, and afer all, it is people’s personal preferences that determine how much they are prepared to pay for any commodity.

Having said that, there is an basic criteria or accepted standard that can be considered that involves the presentation of color and, in additon, the perfecton of the cut and polish, and the size of the a cut stone.

Body Color: Black or dark opal is in generally more valuable than white or light opal, other things such as amount of color and perfection of shape being equal.

Play of color: Several aspects are taken into consideration: 1. The extent or overall completeness of the play of color.

The stone should face well, that is there should be an even play of color all over the stone with no dead patches of colorless or inferior opal.

2. The patern of the stone must be impressive and fashy, not static without activity.

3. The intensity or brilliance of the play of color.

The colors should be of maximum brightness and clarity, giving a sharp appearance. They must not be just surface colors but must be intriguing in that the eye is attracted to actually “look in” beyond the surface and search for more intrigue.

The stone must have the contrasts similar to a rainbow. For the ultmate value all colors of the spectrum should be present, especially red as well as violet/purple, which is very rare.

A top Gem quality stone (expressed as A1 by some) must be free from crazes or faws have a nice dark background. (The blacker the better) and have an excellent variety of color and brilliance.

The presence of Red makes it even more valuable but Gem quality stones can be in any color. Harlequin is the most valuable and rare opal patern. Our cover stone (shown again below) is a good example of this.

Multi colored boulder opal from our Winton mine

Don’t get discouraged by the above comments. What is preferred in opal color is largely a matter of personal choice. It’s true that price is afected by perfection but the fact is that opal is a personality stone, and what one person loves is not by another. I have shown large parcels of opal to very rich people who have chosen pasty white opal in preference to the high grade black.

Boulder opal picture and abstract stones are a classic example of how relatvely inexpensive pieces can be in such great demand. That’s the uniqueness of opal. You don’t have to be a millionaire to enjoy working with them because ofen the lower priced stones hold as much if not more fascination than the expensive ones.

The old Opal Miner’s Hut was just down the road from one of the premier entertainment centres in Australia.

Hence we constantly had visitors from internatonal people, keen to buy opal souvenirs.

Sammy Davis Jr. was an example of that. He just loved large white stones and bought a heap from me during his visit to Tweed Heads.

Rolf Harris, the singer and writer of “tie me Kangaroo down sport” loves boulder opal with all its unusual paterns. Stones that are not necessarily so expensive.

Neil Sadaka’s Soundman liked something completely different, while Charlie Daniel’s’ whole band loved everything and didn’t buy anything. (It was a bit of a rush behind the stage after his show..

And the lightng was lousy.)

The ‘Big River Band’ nearly had their fuzzy hair, full of infammable lacquer, set alight under the heat of my showroom lights. We wondered what the smell was. They didn’t buy anything either!

Valuing opal is not easy. Actually, apart from gold, which has a set value that is announced each day, very few things are easy to value.

How does a real estate agent work out how much your house is worth? Usually by finding out how much someone else’s house of equivalent size and quality, sold recently in your street.

The same goes for opal values. It is often established by what people are willing to pay for it. While it’s true that this value goes up and down in the short term, over a period of tme, the values keep climbing as you can see by the following chart of comparisons in the ten years between 1970 and 1980.

One estmate of Opal Price increases People have tried to establish constancy in valuations by controlling markets, as is the case of the diamond market. Diamonds would not be the value they are today, if they had all been released to the public.

Through Cartels, by controlling the fow of rough, prices can be maintained with more consistency.

The danger in this of course is that if another large quantty of diamonds are discovered and the new owners don’t join the cartel, the price of the commodity could suffer badly.

Admitedly this could be the case with any commodity including opal, but the difference is that opal finds its price level according to supply

and demand. Because this process is ongoing, what you pay for an opal is more likely to refect the actual price that someone is willing to pay for it, and therefore, it should be pretty close to market value.

Obviously if a miner sells his stones to you at the best price, you must have ofered at least a little more than the previous dealer. In fact, a miner will often tell you (whether this is correct or not) what ofers he has on the stone.

And of course, a dealer can compare between one parcel and another. Don’t be afraid to negotate to get the best price.

As already stated, how to actually know what a stone is worth is an art best lef up to the dealers who are buying and selling all the time.

As you cut more and more stones, and you get opinions from various dealers, gradually you will work out your own system and get a pretty good idea of prices.

With today’s communications system, you can browse lots of stones on the www.opalmine site, and gain valuable experience. You can leave questions on the chat forum here and communicate with me directly by e-mail if you need some help.

This is roughly how opal values are worked out.

Please note: Size of stones has a big bearing on values. For example you could buy a nice quality 7x5mm crystal for as little as $50 or less per carat, whereas the same quality stone in an 18x13mm size could be worth $150 per carat.

White opal: prices start at around $2 per carat, and go up to about $20 per carat. Crystal opal: prices start at around $10 per carat and

go up to around$200 or more per carat for exceptional pieces. But there are many crystals in the $50 per carat vicinity.

Semi black (dark) opal can start at around $10 per carat and go up to around$500 per carat for red on grey.

There are many stones in this category for around $100 to $200 per carat. As semi black gets darker, it becomes a matter of opinion as to whether it is semi black or black.

Black opals can start from around $50 per carat for blue on black which is not so bright, (cheaper if the color is weaker) up to around $100 to$200 if the blue is very bright on pitch black.

Blue-green stones start at around $100 per carat and can go up to$1000 and more, partcularly if they have a little yellow as well, in which case they can go up to $1500 per carat and more.

Orange/green on black can start at around $500 per carat if the patern and color is not so good, and go up to $2500 per carat and more for exceptonal stones.

Red on black can start at around $1000 per carat, but if the color is bright and the pattern sharp, they can go up to $5000 per carat and more. Exceptonal stones which combine all the spectrum colors in sharp contrast can be nearly priceless, but many have sold from $3000 to $5000 per carat. Some dull red on black or dark grey can start a lot lower in price.

If some of these stones have, in the opinion of some rich miners, sold cheaply to dealers, the miners will go to the dealers and buy them back at much higher prices and just bury them in the ground. During

the recent high demand for black opal, some big miners have tried to control the market in this manner.

Eforts have been made to establish values by committees such as the Lightning Ridge Opal Buyers Association. This only works to the extent that individual miners and dealers cooperate in the selling process.

Unfortunately, because the opal industry is so fragmented, with everyone being in various stages of financial need, the temptation is always there to sell cheaply if the fuel has to be paid.

A lot more could be said about opal colors and patterns, but that subject is best lef to experts in that field. Sufice it to say that there are paterns such as ‘straw’, ‘rolling fash’, ‘Chinese writng’, ‘Pinfire’, etc. The most sought afer and expensive pattern is called ‘Harlequin’. (Named afer the squares on a clown’s costume.)

Dennis at the Winton mine

Chapter 11. Selling Your Stones How to Become an Opal Merchant It must be said though, that some folks are just not good at being an entrepreneur. They hate meeting people, and they hate selling.

They don’t like the concept of selling, yet they fail to realize that if it had not been for high-pressure salespeople, hardly any of the modern day achievements would have been made. People had to be convinced to invest money in things by dynamic sales people.

If you are not this type of person, try to change, but if you cannot, it’s best to just hide yourself in your workshop and just get satsfaction out of your hobby. Who knows, if you give a few things away, you’ll be happier for it. (Remember the old true-ism, “there’s more happiness in giving than in receiving”) The art of selling is a wonderful art to develop, and it can contribute to the good of a person, if it helps that person to feel better and enjoy life more.

Selling things should not be confused with ‘conning’ people, or telling lies about things. Always tell the truth when selling. If you have a nice item to sell, and it’s well priced, you can be proud of it and you can be assured that those you sell to will recommend you to others, and you will be richer for the effort.

Let’s face it. Most things we ‘can’t do without’ in the Western world are not really necessary. For example, do we really need to have a garden around our house, or a tablecloth on the table? Not really, but many people have these things because it makes them and others feel better.

How about an opal ring? Is that really necessary? Of course not! But it’s such a beautful thing, to be admired by all, and it makes everyone feel better, just looking at it! (Of course it may make some people envious that they haven’t got it, but we can’t help it if they have a problem with covetousness.)

Keeping the above in mind, if you really love the stone as I do, what more pleasant thing could there be than recommending it to others.

The first time I laid my eyes on a piece of opal, I was totally fascinated by it.

It was easy to turn it into a business because I instantly saw the potental in it. I had never seen anything before like it. Rubies may be red, sapphires can be blue, green, yellow, white, or parts of all these colors, but nothing could change between all these colors so vividly as an opal.

Someone told me it was unlucky, and it was for me. “Unlucky” that I didn’t’ buy 10 kilos of it back in 1972 at $500 per oz for high quality crystal. Who could have predicted that red on black opal would get to$1000 per carat? But this figure was achieved nearly 20 years ago.

Since then, prices up to $12 000 per carat have been paid.

And no doubt, energetic salesmen such as the Shermans and Mark Tremont who believed in the stone, and had endless battles with Japanese customs gettng it into the country and promoted it in Japan and the US accomplished this.

At this point in tme (1996), because of the weakness of the Japanese economy, and the devastaton of the earthquake in Kyoto near Osaka, the price has come back a little. This is typical of mining towns like Lightning Ridge. Boom and bust is the order of the day.

Stll, at this point in time, the world stll hardly knows about opal.

The potental is nearly endless. So “luck” as it’s often called largely depends on the efort and the initative people put into things. If you go around trustng luck in life and not working hard for things, the adage might apply “what you believe, so you will receive.” Negativity breeds negativity.

How do you Find Prospective Customers?

Of course a lot of this depends on you. When I first started, a friend of mine ofered me a parcel to sell on consignment.

Now admittedly, consignment is a handy way to get started if someone trusts you, and you are short of money, but it’s always been my belief that you will never get a really good deal with consignment goods.

No one is going to give you the best price unless you come up with the cash. So I said to my friend: “Look, I’m sure I can sell those stones. Just give me the best deal possible, and I’ll buy them from you. I ended up closing the deal with him for around $600. ($200 discount) Then I thought to myself: “Where am I going to sell them?”. I always think backwards. In hindsight, I should have asked that question before I bought them; but anyway, I had this warm feeling inside me that if I loved the things so much, there must be a lot more people out there like me.

No one told me at the time that Australians don’t know much about their own gemstone, and hence they don’t realize the value of it.

They have succumbed to the “hard sell” of the De Bares organization and Marilyn Monroe who insisted that “Diamonds are a girl’s best

friend” (In fact, up untl recently, they hardly bought anything Australian, but they are learning) Not knowing this, I proceeded to make a trip into the country with my wife. We re-priced all the stones, put a healthy profit on them, and called on all the Hotel Managers in every town for about 300 miles. At that point I didn’t even have a business card. I just called into the pub, announced that I was an opal merchant, and asked if they would like to see my stock.

We sold nearly everything on that trip, and that was the start of Petren Products. (Peter and Renate Products) We started dealing in triplets and cheap jewelry, and I would sell Renate’s oil paintngs from door to door. My sister Malvie was a great help.

She was, and stll is an excellent salesperson, and dragged us out of many a financial predicament, by holding jewelry parties and selling to anyone she would come in contact with.

From these early beginnings, I had to get a litle more organized. We had business cards printed and I started making trips to capital cites, and calling on all jewelers that sold opal, mainly to the tourist market.

Later, in 1977, we opened up a retail store called ‘The Opal Miners Hut’. My sister Malvie, her son Peter, and Nick Kustic (a faithful employee), now own and stll run that shop which is a landmark in the Southern Gold Coast (Tweed Heads) area.

In the past few years, I have travelled with opal to a number of countries including: China, England, Europe, Holland, Hong Kong, Indonesia, Japan, New Zealand, Taiwan, U.S.A, etc. I have displayed at the world famous Tucson, Arizona Gem Show. Other gem shows

have been at the Hyat Hotel, Tokyo, for the internatonally known Mineral and Fossil Show, as well as shows in Hong Kong and other parts of Tokyo.

Presently I am concentrating on wholesale and export, and the Opal Miners Hut is now listed on the Internet at: http://www.opalmine.com. Shortly, afer this material is complete, I will be making it available on the Internet, along with some rough opal for practce. But where and how can you sell opals?

The answer is, practically anywhere, but first I will tell you how I would go about it today, and then I’ll give you some examples of how others have done it. But where and how can You sell opals? The answer is, practically anywhere, but first I will tell you how I would go about it today, and then I’ll give you some examples of how others have done it.

1. Get some business cards printed. Nothing too extravagant looking.

Just plain cards statng your name, address, phone and fax contacts if you have a fax, and of course, now, E-mail.

2. These new gadgets are very handy for international dealing, so if you don’t have a fax, try to get someone on side who will take messages. It’s difficult ringing someone up on the other side of the world if it’s 3am, and letters are too slow, but a fax can be picked up the next morning.)

Even better than a fax is e-mail because it is very cheap, and please check www.skype.com for the best type of communicaton where you can leave a message call a person skype to skype for free or skype to phone very cheap.

3. Then you can create your own web page. E-mail me if you want some help with this (peter@opalmine.com)so it is a good idea to become at least computer literate, although not absolutely necessary. I would recommend WORD PRESS blog as a format. Very simple and you can update it yourself.

4. Procure a telephone book (yellow or pink pages) for your major business areas, and find the section that says ‘Jewelers’,’ Jewels wholesale ‘,’ Lapidarists, Manufacturing Jewellers’ or ‘Jewelry Designers’ for a start. You can develop this further into the antque jewelry sites and numerous other businesses.

Make a few phone calls to these businesses and ask to speak to the manager or jewelry buyer.

If you have access to Google or another browser, just bring up yellow or pink pages and bookmark them for reference. Of course you can just search Google direct for people in your area, or for that matter, anywhere on the planet.

5. Another method, (which I personally prefer) is to just walk from one jewelry store to another, partcularly in the high rise ofices.

(Many manufacturing jewelers are all together in one skyscraper, such as in Hill St., LA, California, USA or 250 Pit St., Sydney, Australia) 6. Using this method, you don’t go necessarily expectng to make a sale (although it sometimes surprises you). You merely apologize for coming uninvited and ask them if you can exchange business cards with the store buyer, if possible, saying a quick hello to the buyer.

This way, you are accomplishing three very important sales assignments:

a) You show that you’re a polite, considerate person who takes into consideration peoples circumstances. Have consideraton for people who own shops. Having been a shopkeeper myself, I know what it’s like to have to pay the weekly rent and wages and have no one come into the shop but enthusiastc and often, ill mannered sales people. b) You have at least shown your face, if not your stock, which means that you are no longer a complete stranger. c) You know the name and phone number, if not the face of the person in charge of buying, so that when you either call in or make an appointment, you can say, “Can I speak to Mr ******, or ******?” Or whatever term you might use, depending on your first conversation with this person. d) In ringing for an appointment, you might say something like: “Hello, sorry to interrupt your busy day. My name is ******, I left my business card with Mr/Mrs. ****** about three weeks ago, and if possible, would like to make an appointment to show him/her my opal stock. Is that convenient?”

Most successful business people are polite and considerate, that’s how most of them got their job, unless they were born with money, or are dishonest and an ignorant type.

Life is too short to waste time with people like that so if you meet them just thank them politely and move one. There are plenty of nice people out there so just concentrate on them. The idea is to sell yourself first before trying to sell your products.

In making appointments keep all your calls in one area, work to a system. Otherwise you’ll find you’re running all over the city wasting

money on taxies and getting nowhere. Of course this is not always possible if you have a customer who just can’t fit in with your program. Be sure to be on time for appointments.

This can be difficult partcularly if you develop a good connecton with your client. Allow an hour between each appointment to give you some leeway.

Don’t try to accomplish too much at once. A mobile phone is handy for this because, if you are running a little late, you can call your next appointment and ask if you can put the appointment of for a little while. Often this fits in with your customer anyway as business people are ofen running late.

Whatever you do, don’t be ofended or insulted by any criticism of stock or accusatons that you are too hard to deal with. Always be good- natured and if possible have a little joke with them. (If they’re the types that can’t take a joke, be careful of this.)

On the subject of stock critcism. Many buyers use this method to get your stock at a cheap price. They will tell you that they think you are too expensive and that someone also came into the ofice recently and ofered them stock at half the price.

What they say may or may not be true, but never be unnerved by this. You might just say, “Well, you certainly did well on that deal. I wish I could have bought it at that price. Anyway, (as you start packing up your stock) thanks for having a look at my stones. Maybe I’ll have something more suitable next time.” This is a good test about their genuineness. If they are telling untruths, and really want

your stock, you will find they will change the subject and ask to see your stones again....”Just in case they’ve missed something.”

It’s all a game - this selling business. Opal selling can be the most interesting of the games. After you get the hang of wheeling and dealing, it is excitng and profitable, and you can make many business friends.

Of course as you start out, you won’t know the answers to all the questions. If you don’t, just admit it and tell them you are just startng out.

One jeweler recently told one of my customers that the stone I had sold her was not a solid opal, but a doublet.

(He came to this conclusion because there was a straight line along the edge of the stone that looked as though something had been ‘stuck’ on the back.) He could be forgiven for not recognizing this, as only trained opal cutters are experienced with this detail.

If he had really known his opal he would have immediately recognized it as a boulder opal with color on the front and natural brown ironstone back. Sometimes the natural line that joins the opal to the ironstone is very straight and can be mistaken for a doublet. But if he had looked under the magnifying glass, he would have picked it up. Mistakes like this are easily made and only experience and the aid of books like this will correct them.

Regrettably this is a problem that will not go away easily with opals, as there are not enough of them in the world for all jewelers to get to know. Unlike diamonds, which all look pretty much the same except for slight variations in color, clarity and inclusions, opals are all different. Keeping this in mind, it’s always good to inform a customer

(partcularly a retail customer) of this ignorance, in case a jeweler disappoints them.

Another thing to keep in mind along the same line is that some jewelers are a little peeved that you did not buy the stone from them, and develop the ‘sour grape’ syndrome, partcularly if you have been a faithful customer of theirs for many years.

This happened to me in Germany when I sold some beautiful opal triplets at wholesale to a friend that I stayed with. She took the stones along to the family jeweler, who valued them at a fraction of the wholesale price. You can imagine how we all felt afer that.

Taking the above into consideraton, if you are doing any retail selling (and this is quite a good idea if you try my method of just calling on business people who are not jewelers), it’s a good idea to develop a close relationship with a jeweler who knows about opal. (Or if he does not, lend him this book and teach him.) By doing this you can arrange to have this jeweler do all your settng work at a trade price, and if you are selling retail, double your money on your investment.

Other Methods Some dealers have built up a business by buying a parcel of opal at wholesale and put on a small opal show in their hometown. An advertsement in the paper could state: “New Stock from Opal Miner in Australia.

Selected gems to be sold direct to the public”. Depending on the security situation in your town, it may be necessary to hire some security guards. If you are worried about this, you may want to just show a phone number and ask for a reference from a local businessman if there is some reason for concern.

Then there are markets, swap meets, and your own retail store. The problem with markets is always correct lightng. If the sun is shining, that’s fine, but it can be too hot.

If cloudy, the color of the stone will not come out as well. You just have to do a compromise between an umbrella and the sun. Unless you have some 12v lightng systems you can fit. Of course if you are inside a building this is usually provided. But remember, you need incandescent, not fuorescent lights.

Setng up a shop is a different ball game, and unless you experienced you’d better stck to just wholesaling selling direct to the public by some sort of party plan letting your friends know what you are doing.

Many who prefer to buy gifs from you than from a retail store. And now of course, there is the Internet.

This is the ultimate selling tool for the little home based business. You have your store right on your desktop. If you decide to go this way, get in touch by e-mail and we will try to give you some guidelines. The reason I have been so successful in marketng opal online is because of my credibility.

You will notice at www.opalmine.com, that there is a whole page devoted to comments from my customers. These are only a few of the actual emails from real people who have agreed to communicate with you if you want to inquire.

On top of that I have a visitor’s book full of signatures of customers I have dealt with over a 20 year period. Nearly 8000 in all. This sort of credibility is not easy to come by, but you have to start somewhere and if you can begin to build your own file of happy customers, it won’t be long before people will be happy to deal with you.

Reportedly, many have had good results using this method, but of course you have to try these things out, and there is no reason why it will not pay of. One thing good about dealing in opal internatonally is that it’s just a tny thing to carry. Tens of thousands of dollars worth of it can be put in your pocket. Just try dealing in $10, 000 worth of chairs, tables or antque vases. Then you really know what trouble is!

Security When you are walking around in the big city, it’s best not to look too much like a “well to do businessman”. You can be neat and tdy, but there’s no need to take along a slick looking briefcase. It may give a beter impression to the shop owners, but it could also get you into a lot of trouble.

Just carry a modest carry bag that looks as though you are just going shopping, and keep a few docket books and necessities in that, in case it gets stolen. Keep your stock in the inside pocket of your jacket or somewhere else out of sight. The bag is just a decoy.

Always carry a few dollars in an old case you are mugged, and keep all your documents including credit cards and amounts of money in a wallet hanging your neck inside your shirt. The few dollars in the old wallet should keep thieves happy and your important goods safe.

Preparation of Stock Some opal dealers go overboard in the presentation of stock. They buy all sorts of fancy boxes and special tags and things that make displays bulky. This is not necessary. In fact in my experience the less elaborate the display, the more professional you appear. Buyers

like to think that they are gettng stones from as close to the miner as possible and the more you look like a rep the more they think you have loaded your prices.

All you need is nice clean seal top plastc gem bags. Get good quality cellophane type ones that don’t wear too quickly. You must change the bags on regular occasions if they are becoming too tattered and scratched.

Use plain white rectangle stckers available from the statonary stores and stck these at the corner of the bag. (About 20mm by 15mm is a good size.) Make sure you take extra bags and stckers with you in case you need to rearrange the stock as a result of sales.

Some reps don’t like having the total number of stones shown on the bag stcker because if some stones have sold the customer will notce that what is lef is maybe the rejects of the previous customer. So just keep your stone totals on a separate list.

You can put the carat weight of the stone on the sticker. (If you are weighing it.) It’s also a good idea to have a bag number, so you can make a list in a notebook and mark them of as they sell. Also, if you leave anything on consignment, you can number what you have left and keep a record of it.

Keep in mind 1. You may want to discount the stone sometme during the day if you want to clear some stock.

2. You may have a bag of stones to sell for a set price, and someone has just bought a few stones out of the bag. This may have an efect

on the original price. Having it in pencil means that you can adjust it without changing the whole stcker or bag. Otherwise just use a new stcker and change the details.

Speaking of parcels of opal, you may have ten stones for a certain price. Some good, some not so good. A buyer may want some of the stones, but not all.

For this reason it’s a good idea to decide beforehand the price if the customer takes all the stones or just a few. You could have (for example) a bunch of stones for $20 each if they take the lot, but $40 if they select the better ones.

Conclusion To conclude, please enjoy this gallery of picture stones from our collection.

There is not enough room to show them all but I know you will enjoy the ones we are presenting

Gallery of Picture Opals Four of these picture stones namely, “Pair of Sheep”, the “Prawn” or “Shrimp” the “Flying Kangaroo” and the “Praying Mants”, have never been seen by the public before.

These four Picture stones were first published on pages 6 & 7 of Len Cram’s famous book. “Beautful Yowah” but since have been republished on pages 92, 93 in a later (as at January 1999) and most exquisite book “A Journey with colour”

‘Flame in the Valley’ Take a look here to see the Picture Stone Gallery (if you have problems opening the link, copy and paste this htps://www.pinterest.com.au/petren/opal-picturestone-gallery/ into your browser For more informaton about this collection and a wonderful variety of rough, polished and set opal.

Go to www.opalmine.com click on the pink HELP buton or leave your details here: http://opalmine.com/contact-us/