This neckpiece is forged from18 karat gold with platinum

Forged Neckpiece By Keith Farley

18 karat yellow gold forged neckpiece with platinum insert where diamonds are to be set in the pavé style. Please click on any of the three image icons to see larger images

Click here to see a larger image of the drawing I began with. I was sent a drawing giving a general idea what was wanted in terms of a frontal view of the neckpiece. After discussing the project and some of the anticipated pitfalls I was foreseeing, I attempted to devise the most effective way to overcome some of the engineering problems as well as methods of containing the costs. What follows provides a brief description of some of the processes I employed in bringing this piece to fruition. View from front

Already off to a bad start, I can't locate the images I have of the raw 18 karat gold bars or the platinum sheet. Add to that the images of the hammers and the two 18K metal pieces as they underwent the forming and annealing processes. Once I locate them, I'll place them on this page. Seen to the left are the two pieces that were first brought to a finished state and then soldered together.

Shown to the left and the right are images of a single wax from different views. Click on these images to see larger versions. I carved it very specifically to hook over the top of the V in the neckpiece and to settle flat against the front surfaces that it contacted. I allowed for the wax to extend beyond the back side beneath the V. Once cast and fit into place, the extra metal was hammered around the back of the V acting as a sort of bezel to hold it securely in place.

The wax is shown with a series of wax sprues to insure a complete casting. I cast the piece in 18K gold using the lost wax method of casting.

The resulting piece is shown to the left after having been desprued. Still required were a series of finishing processes before assembling and securing it to the neckpiece.

This particular part shows the basis of my solution to some of the engineering problems I encountered. Those I won't get into here. I also felt there to be an aesthetic problem. I wanted to provide a very clean and logical way to incorporate the platinum into the neckpiece. What looks good on paper doesn't always translate well as a three dimensional piece.
In the end, it worked well. Shown to the right is a third view of the neckpiece more from the side. Please click on it to view a larger image. I packed it up and sent it to my customer. He'd arranged to have a stone setter he knows set the platinum portion with diamonds and I look forward to seeing this neckpiece when completely finished. It's going to be stunning.

Click here for more jewelry to be worn on the neck.

As seen from an oblique angle

Questions and comments? Please email me here.

Post Office Box 184

Telephone (859) 635-1996

Alexandria, KY 41001 USA

Fax (859) 635-6562

http://artwork-inform.com

Forged Neckpiece By Keith Farley

18 karat yellow gold forged neckpiece with platinum insert where diamonds are to be set in the pavé style. Please click on any of the three image icons to see larger images

Click here to see a larger image of the drawing I began with.	I was sent a drawing giving a general idea what was wanted in terms of a frontal view of the neckpiece. After discussing the project and some of the anticipated pitfalls I was foreseeing, I attempted to devise the most effective way to overcome some of the engineering problems as well as methods of containing the costs. What follows provides a brief description of some of the processes I employed in bringing this piece to fruition.			View from front

Already off to a bad start, I can't locate the images I have of the raw 18 karat gold bars or the platinum sheet. Add to that the images of the hammers and the two 18K metal pieces as they underwent the forming and annealing processes. Once I locate them, I'll place them on this page.				Seen to the left are the two pieces that were first brought to a finished state and then soldered together.

	Shown to the left and the right are images of a single wax from different views. Click on these images to see larger versions. I carved it very specifically to hook over the top of the V in the neckpiece and to settle flat against the front surfaces that it contacted. I allowed for the wax to extend beyond the back side beneath the V. Once cast and fit into place, the extra metal was hammered around the back of the V acting as a sort of bezel to hold it securely in place.
The wax is shown with a series of wax sprues to insure a complete casting. I cast the piece in 18K gold using the lost wax method of casting.			The resulting piece is shown to the left after having been desprued. Still required were a series of finishing processes before assembling and securing it to the neckpiece.

This particular part shows the basis of my solution to some of the engineering problems I encountered. Those I won't get into here. I also felt there to be an aesthetic problem. I wanted to provide a very clean and logical way to incorporate the platinum into the neckpiece. What looks good on paper doesn't always translate well as a three dimensional piece. In the end, it worked well. Shown to the right is a third view of the neckpiece more from the side. Please click on it to view a larger image. I packed it up and sent it to my customer. He'd arranged to have a stone setter he knows set the platinum portion with diamonds and I look forward to seeing this neckpiece when completely finished. It's going to be stunning. Click here for more jewelry to be worn on the neck.			As seen from an oblique angle

		Questions and comments? Please email me here.

Post Office Box 184			Telephone (859) 635-1996
Alexandria, KY 41001 USA			Fax (859) 635-6562



	http://artwork-inform.com