Gemological Institute of America

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Diamond Essentials

1. Diamonds and Diamond Value 2. Clarity and Value 3. Color and Value 4. Cut and Value 5. Carat Weight and Value 6. The Daily Retail Business 7. Presenting Diamond Jewelry Diamond Essentials Cut Supplement

6/2019

Diamond Essentials Assignment 1

Diamonds and Diamond Value . . . . . . . . . . . . . . . . . . 1

Assignment 2

Clarity and Value. . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Assignment 3

Color and Value. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Assignment 4

Cut and Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Assignment 5

Carat Weight and Value . . . . . . . . . . . . . . . . . . . . . 129

Assignment 6

The Daily Retail Business. . . . . . . . . . . . . . . . . . . . . 157

Assignment 7

Presenting Diamond Jewelry . . . . . . . . . . . . . . . . . . 189 Diamond Essentials Cut Supplement . . . . . . . . . . . . 223 For Further Reading . . . . . . . . . . . . . . . . . . . . . . . . 253

©

©2019 The Gemological Institute of America All rights reserved: Protected under the Berne Convention. No part of this work may be copied, reproduced, transferred, or transmitted in any form or by any means whatsoever without the express written permission of GIA. Printed in the United States.

Welcome to Diamond Essentials! This course is your introduction to the wonderful world of diamonds. With the knowledge you gain from this course, you’ll be able to: • Demonstrate a solid foundation of diamond product knowledge and the skills you need to present diamonds effectively • Explain diamond clarity, cut, color, and carat weight to customers and help them understand how these factors relate to the diamond’s value • Discuss how gemological laboratories measure diamonds and grade them for color, clarity, and cut Cover photos (top to bottom): Sylvia Bissonette/ J. Grahl Design Valerie Power/GIA Ashton Mining Limited Martial Trezzini/Keystone/ AP Wide World Photos Eric Welch/GIA Robert Weldon/GIA EyeWire/Getty Images

• Present the basics of recognizing and disclosing treated, laboratory-grown, and imitation diamonds • Advise customers about diamond durability, care, and cleaning • Demonstrate awareness of basic procedures for jewelry store security • Use product knowledge along with features and benefits to present diamonds ethically with full disclosure

Diamonds and Diamond Value

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Diamonds, Value, and the Four Cs . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 What is a Diamond? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Meet the Four Cs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Clarity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Carat Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Why Diamonds are Forever . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Hardness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Toughness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Stability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Learning from this Course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Checking Your Progress. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 The Final Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Help Isn’t Far Away. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 What’s to Come . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

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Welcome to Diamond Essentials Assignment 1. With the knowledge you gain from this assignment, you’ll be able to: • Understand and explain the Four Cs and how they relate to diamond rarity and value. • Define basic diamond clarity factors. • Understand the relationship between diamond and color. • Identify the major parts of a polished diamond. • Explain how diamonds are weighed. • Explain the three components of diamond durability.

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Diamonds and Diamond Value

Rene Macura/AP Wide World Photos

Diamond jewelry can range from simple, traditional engagement rings to elaborate pieces like these.

Diamonds and Diamond Value The staff at Sutton Jewelers was having its weekly sales meeting. Sutton is a medium-sized store, part of a three-store chain, all in the same state. The assembled sales associates were discussing some of their successful sales of the past month. Just as important, they were also talking about the ones that weren’t so successful. “That sale I lost last Monday reminded me how important it is to use just the right combination of product information and sales technique,” said Adam Stone. Adam has worked at Sutton for 10 years, and is one of the store’s top sales associates. His story was proof that even the best associate can lose a sale. “I knew the customer had shopped at other stores, and that he’d seen a ring he liked somewhere else,” Adam continued. “I don’t know if it was price or quality—I couldn’t pin him down. If he’d told me more about

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Diamond Essentials 1

Joel Beeson/GIA

Staff meetings allow sales associates to share their experiences and listen to others. This helps everyone improve sales success.

what he’d seen, I could have focused on something specific. But he just kept saying he’d seen something he liked better, and wouldn’t tell me any more than that.” “That’s frustrating,” said Janet Lee. Janet manages the store, and she regularly holds meetings like this with the staff. “What did you do?” “I started out right—I explained the quality of our diamonds,” Adam replied. “But by the end, I was just hammering away about clarity grades and color, and I forgot to sell. I’m afraid I was lecturing the poor guy. He almost ran out of the store just to get away from me.” “What do you think you could have done to save the sale?” Janet asked. “I should have been more careful about the quantity of information I gave him. And I should have asked specific questions to make him feel better about telling me what he’d seen in the other store. Then I would have had something to work with. I could have compared our diamonds’ qualities to what he’d seen elsewhere.” “What was he shopping for?” asked Carol James. Carol, who has worked at the store for a couple of years, is also one of the store’s best sales associates. “An engagement ring,” Adam replied.

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Diamonds and Diamond Value

Sylvia Bissonette/J. Grahl Design

Bridal jewelry—engagement rings and wedding bands—is the type that’s most often sold in retail jewelry stores.

“Then maybe it would have helped to talk about romance a little,” Carol said. “Probably,” replied Adam. “I started pushing so hard for the sale that I missed the basics.” “I asked because I had a similar situation last week,” said Carol. “There was a couple shopping for a wedding set. They seemed to like what I showed them, but wouldn’t commit to the sale. I finally figured out that they had shopped around. When I asked, they admitted they had, and they’d seen a set of rings they liked. They couldn’t remember any details about it—just the fact that it cost a little less than the sets I’d been showing them.”

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Diamond Essentials 1

KEY CONCEPTS

Romance is an important factor in diamond jewelry sales.

Devan Muir/iStockphoto

Diamonds have come to symbolize love. You can use romance, along with an explanation of diamond quality, to present diamond jewelry with enthusiasm and confidence.

“I heard your presentation,” Janet said. “It was brilliant. Tell us what you did.” “I just did what Adam taught me when I first started working here,” said Carol. “I needed to get them to relax a little, so I started asking about their wedding plans—where they planned to honeymoon, that sort of thing. I wanted them to loosen up and start talking about themselves. “After they got more comfortable, I pointed out that the prices between the two stores weren’t very far apart. I showed them how the quality of our rings justified the price—that they were getting good value for their money. “I finally said that their love for each other was obvious, and that their commitment deserved special rings, and while I didn’t know the quality of the diamonds they’d seen in the other store, I could assure them that

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the quality of our diamonds was worthy of that commitment. When I finished I could tell by the looks on their faces that they were ready to buy from me.” “Good job!” Janet said. “Too often we forget how special diamonds are— how they symbolize so much in people’s lives. To a pair of young newlyweds, diamonds mean love. They also might represent beauty, purity, and success. While the details of a diamond’s quality are important sales tools, the romance and magic of a well-cut diamond are just as important.” The meeting broke up shortly after that. Later that day, Adam redeemed himself by selling an expensive ring to a customer named Mike Morgan. You’ll read about that sale in the next assignment. And you’ll get to know the rest of the staff at Sutton Jewelers as you progress through Diamond Essentials. Their stories will help you use what you learn in this course to sell more diamond jewelry. They’ll illustrate why you need to understand diamond quality and value. And they’ll show you how fascinating and appealing diamond jewelry can be.

Diamonds, Value, and the Four Cs n

What are a diamond’s special properties?

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How do the Four Cs influence diamond value?

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What is the relationship between the Four Cs and rarity?

The fascination with diamonds isn’t a modern phenomenon. The history of diamonds is entwined with the history of the world. Pliny, a Roman naturalist in the first century ad, described diamond as “...the most valuable, not only of precious stones, but of all the things in this world.”

To Help You Learn… • Key Concepts are brief statements in the margins that help you focus on the most important points in each assignment. They’re also listed at the end of the assignment to help you review what you’ve learned. • Questions that introduce each main section are there to give you an idea of what to expect and get you thinking before you start reading. You don’t have to write them down: They’re intended as an extra learning aid for you. • Key Terms are new words or phrases that will help you understand the material in this course. Each term is italicized in the text, and a brief definition appears in a nearby margin and also in a list at the end of the assignment.

One of the first things most people learn about diamonds is that every diamond is unique. Diamonds come in many sizes, shapes, and colors, and with a variety of internal and surface characteristics.

What is a Diamond? What makes diamonds so special? Different people have different answers to that question. A research scientist might say it’s the conditions under which diamonds form in the earth. An economist might say it’s their rarity. A consumer might say it’s their association with love and beauty. And they’d all be right. The natural world is commonly divided into three kingdoms: animal, plant, and mineral. Members of the animal and plant kingdoms are alive—or were at some point. That means they’re organic. Minerals aren’t alive, and never have been: They’re inorganic. Diamond is a mineral. Other minerals are common table salt and the tiny quartz grains in beach sand.

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Diamond Essentials 1

Diamond’s characteristic chemical composition and crystal structure make it a unique member of the mineral kingdom.

Atoms are the basic structural units of all matter. Every mineral is defined by the types and relative quantities of its atoms. This is called chemical composition. It’s also defined by the arrangement of its atoms—its structure—which is usually orderly and predictable.

Tino Hammid/GIA

This lab-grown spinel is made of three chemical elements. Diamond, on the other hand, is made of carbon. It’s the only gem made of a single element.

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Differences in chemical composition and structure give minerals their unique properties. Variations in either one can result in a very different mineral. For example, the atoms in a spinel (a type of colored stone) are arranged in ways similar to diamond’s. But spinel is made up of different chemical elements. A chemical element is a substance that consists of only one kind of atom. Most minerals are combinations of two or more elements. Colorless laboratory-grown spinel, for example, looks a little like diamond at first glance. In fact, it was once used in jewelry as a common diamond imitation. But it’s made of three elements: magnesium, aluminum, and oxygen.

Diamonds and Diamond Value

Value factors—Features used to judge the quality and value of all gemstones. Four Cs—Four value factors (clarity, color, cut, and carat weight) that describe the quality of a finished diamond.

Robert Weldon/GIA

Atoms of chemical elements other than carbon—called trace elements—caused the beautiful color of these natural fancy-colored diamonds.

Diamond is the only gem made of a single element: carbon. Diamond is typically about 99.95 percent carbon. The other 0.05 percent can include one or more trace elements, which are atoms that aren’t part of a diamond’s essential chemistry. Some of them can influence its color or shape.

KEY CONCEPTS

Diamond is a mineral made of a single element: carbon.

Formation conditions also help determine a mineral’s identity. Diamond forms under high temperature and pressure conditions that exist only within a specific depth range beneath the earth’s surface. Graphite, like diamond, contains only carbon, but its formation process is very different. The result is that graphite is so soft that you can write with it, while diamond is so hard that you can only scratch it with another diamond. Without any one of these factors, diamond might be just another mineral. Fortunately, though, the magic combination of composition, structure, and formation gives diamonds the qualities that make them extraordinary.

Meet the Four Cs Gemstone value is based on a combination of features, sometimes called value factors. As with other gemstones, diamonds with certain qualities are more rare—and more valuable—than diamonds that lack them. Without a systematic way to evaluate and discuss these factors, there would be no way to compare one diamond to another. Diamond professionals use a special set of four value factors to describe and classify diamonds: clarity, color, cut, and carat weight. These are known as the Four Cs. When used together, they describe the quality of a finished diamond, which is directly related to its value.

The Four Cs are a universal and effective communication tool for members of the diamond industry.

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Dave Bartruff/Index Stock

Eyal Warshavsky/AP Wide World Photos

Whether they’re buying diamonds set in jewelry for a retail store (left) or selling loose diamonds at wholesale markets (above), industry professionals rely on the consistency that the Four Cs provide.

KEY CONCEPTS

A diamond’s value is based on its own unique combination of the Four Cs.

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Each diamond’s value is based on its own unique combination of the Four Cs. Often, a diamond has one value factor that stands out because it’s so rare. For example, colorless diamonds are scarce—most diamonds have tints of yellow or brown. So a colorless diamond has a higher color rating than a diamond that’s light yellow. Value and rarity are related: In this case, a colorless diamond is more rare and more valuable than one with a slight yellow color. As you’ll learn in this course, the same relationship between rarity and value also exists for the other value factors.

Diamonds and Diamond Value

Most diamonds have yellow or brown tints. Absolutely colorless diamonds are extremely rare and valuable.

The Four Cs describe the qualities of a diamond in very precise terms. They’ve become an international language that jewelry professionals can use to describe and evaluate diamonds. And they have a long history. Three of them—color, clarity, and carat weight—were the basis for the first diamond grading system established in India over 2,000 years ago. Cut wasn’t important then. For one thing, nobody knew how to shape and polish a diamond. They might have been able to split one by striking it, but this wasn’t a common practice. Fortunately, that has changed. Modern cutting brings out the best in a diamond. Today, cut is an important factor in determining a diamond’s value. This assignment will give you an overview of the Four Cs. The next four assignments will examine the Four Cs individually, and in greater detail.

Inclusion—Clarity characteristic totally enclosed in a polished gemstone or extending into it from the surface. Blemish—Clarity characteristic that’s confined to the surface of a polished gemstone. Clarity characteristics—The collective term for inclusions and blemishes.

Clarity Few things in nature are absolutely perfect. That’s as true of diamonds as anything else. Diamonds have internal features, called inclusions, and surface irregularities, called blemishes. Together, they’re called clarity characteristics. Clarity is the relative absence of inclusions and blemishes. Among other things, blemishes include scratches and nicks on a diamond’s surface. Inclusions are on the inside, or they might extend into the interior from the surface of the stone. You’ll learn about different kinds of clarity characteristics in Assignment 2.

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Eric Welch/GIA

An expert diamond cutter studies diamond rough carefully before cutting. During the cutting process, undesirable clarity characteristics might be cut away to increase the diamond’s value.

KEY CONCEPTS

Inclusions normally have more impact on a diamond’s beauty and value than blemishes.

Clarity characteristics might have negative influences on diamond’s value, but they have positive effects as well: • The very different inclusions found in natural diamonds, lab-grown diamonds, and diamond imitations help gemologists separate them from each other. • Because no two diamonds have exactly the same clarity characteristics, they can help identify individual stones. • They provide scientists with valuable information about how diamonds form. Inclusions normally have more impact on a stone’s beauty and value than blemishes. That’s because many blemishes are relatively easy to remove. A fashioned diamond can sometimes be recut or repolished to remove or reduce grade-setting characteristics, possibly resulting in a higher clarity grade. Whether or not a diamond’s clarity can be improved depends on

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Diamonds and Diamond Value

John Koivula/GIA

John Koivula/GIA

No two diamonds have exactly the same clarity characteristics in exactly the same locations. This fact helps gemologists identify individual diamonds.

Gerry Penny/AFP

The complete absence of clarity characteristics is one of the features that make this 203.00-ct. Flawless diamond—the Millennium Star—virtually priceless.

the depth of the grade-setting characteristics, the presence of other characteristics, and the weight of the diamond. Removing too much weight can lower a diamond’s value, even while improving its clarity. Like the rest of the Four Cs, clarity’s influence on value is directly related to the concept of rarity. flawless is the top grade in the GIA clarity grading system. Diamonds graded Flawless don’t have visible inclusions or blemishes when examined under 10-power (10X) magnification by a skilled and experienced grader. Flawless diamonds are very rare—so rare, in fact, that it’s possible to spend a lifetime in the jewelry industry without ever seeing one. As you might imagine, they command top prices. At the lower end of the scale are diamonds with inclusions that can easily be seen by the unaided eye. The stones that make up the bulk of the retail diamond market fall between the two extremes. They usually have inclusions that are visible only under magnification.

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Shane F. McClure/GIA

Many people don’t know that diamonds come in a wide variety of exotic colors.

Color People outside the diamond trade often misunderstand the relationship between diamonds and color. Many people think of diamonds as colorless. In reality, truly colorless diamonds are quite rare. Most diamonds used in jewelry are nearly colorless with yellow or brown tints—most often light yellow. As you study color in more detail in Assignment 3, you’ll see that the variations in color can be very subtle. Diamonds come in many colors other than yellow and brown. Some of the most rare colors are red, purple, and green. With colored diamonds, more color usually means higher value, so the brightest, purest colors are the most desirable. As you’ll learn later, size makes a difference in a diamond’s color—the bigger the diamond, the more obvious its color. The differences in color can be subtle, but they can cause dramatic variations in price.

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Lab-Grown Gemstones and Simulants The jewelry industry uses special terms for manufactured and lookalike gemstones: lab-grown (or synthetic) and simulant. The differences between them are subtle, but very important. Lab-grown refers to a manmade (synthetic) material with the same chemical composition, crystal structure, and optical and physical properties as the natural gem material. Lab-grown diamonds contain carbon atoms. They’re arranged the same way in both natural and lab-grown diamonds. Lab-grown industrial diamonds, which are used as abrasives and in cutting tools, have been manufactured since the mid-1950s. Gemquality lab-grown diamonds have been commercially produced in limited quantities since the mid-1990s. Materials that simply look like natural gems are called simulants or imitations. The materials can be either natural or manmade. “Substitute” is an older term for the same thing. A number of materials have been used as diamond simulants. Some of the classics are glass, zircon, and colorless lab-grown spinel. YAG (yttrium aluminum garnet) and GGG (gadolinium gallium garnet) were developed in the late 1960s. Today, those simulants have been almost entirely replaced by CZ— synthetic cubic zirconia. It has “synthetic” in its name because cubic zirconia actually exists in nature, but in crystals too small for use in jewelry. Synthetic moissanite was introduced in the late 1990s as a diamond simulant. It was so successful that, today, it’s sold mostly as a gem in its own right. You’ll learn more about lab-grown diamonds and simulants if you go on to take the GIA Diamonds & Diamond Grading course.

Joseph Schubach

Bettmann/Corbis

Researchers have been synthesizing diamonds since the 1950s. Lab-grown diamonds are used mostly in industry, as abrasives and cutting tools.

Lab-grown gem— A manmade (synthetic) gem with essentially the same chemical composition, crystal structure, and properties as its natural counterpart. Simulant—A natural or manmade material that resembles a gem (also called imitation).

John Harrington/AP Wide World Photos

The manufacturer of synthetic moissanite markets its product by setting the gem in attractive contemporary settings (left) and by using in-store promotions (right).

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Diamond Essentials 1

The Federal Trade Commission As you progress through this course, you’ll notice certain words and terms appearing regularly. One of the most important of those will be Federal Trade Commission (FTC). In 1914, the US Congress created the FTC to protect American consumers from unlawful business practices. Since then, the FTC has been active in four main areas: • Monitoring business activity to assure that businesses comply with existing federal trade laws. • Providing Congress with information that relates to pending legislation. • Assisting the US Department of Justice in enforcing federal laws that deal with monopolies and trade restrictions. • Enforcing legislation that prohibits illegal or deceptive trade practices. Over the years, the FTC has published guidelines affecting a range of consumer products, including jewelry. Although the FTC’s jurisdiction is limited, its guidelines and trade practice rules are the basis for many state and local laws. The guidelines are widely accepted standards for ethical business behavior. Also, in the absence of existing law, the US Courts tend to rely on them when settling legal disputes. In 1957, the FTC published Trade Practice Rules for the Jewelry Industry, which dealt with many areas of gem and jewelry merchandising. Those guidelines have been revised several times since then, most recently in 2018. The guidelines are called Guides for the Jewelry, Precious Metals, and Pewter Industries.

The FTC publishes guidelines that address many of the issues concerning ethical business practices in the jewelry industry. Since the guidelines were first published in 1957, the FTC has updated them periodically.

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These guidelines, of course, apply only to the US. Other nations have their own guidelines, which vary from country to country. If you’re engaged in trade in a country with its own guidelines in place, it’s your responsibility to become familiar with them. Not only are there legal consequences if you don’t, there are ethical consequences as well. These can adversely affect your reputation and hurt your business.

Diamonds and Diamond Value

Brightness—The effect of all the diamond’s internal and external reflections of white light. Fire—The flashes of color you see in a polished diamond. Scintillation—The flashes of light and the contrasting dark areas you see when the diamond, the light, or the observer moves.

crown

girdle

pavilion

Crown—Top part of the gem above the girdle. Girdle—The narrow section of a finished gem that forms the boundary between the crown and the pavilion and functions as the gem’s setting edge. Pavilion—Lower part of a faceted gem below the girdle. Facet—A flat, polished surface on a finished gem. Culet—Small facet at the bottom of a finished gem.

©Harold and Erica Van Pelt

How well a diamond displays brightness, fire, and scintillation has a lot to do with the quality of its cut.

Cut A well-cut diamond can make light perform in breathtaking ways, resulting in a magnificent display of three important diamond attributes: brightness, fire, and scintillation. Brightness—called brilliance by many in the trade—is the combination of all the white light reflections from the surface and the inside of a diamond. Fire is the word for the flashes of color you see in a polished diamond. Scintillation describes the flashes of light and contrasting dark areas you see when the diamond, the light, or the observer moves. The three major parts of a polished diamond, top to bottom, are the crown, the girdle, and the pavilion. The crown and the pavilion—and sometimes the girdle—have small, flat, polished surfaces called facets. Some polished diamonds also have a flat facet at the bottom of the pavilion, called the culet. This basic information will help you throughout the rest of this course and also in the retail store. After all, you won’t gain much respect as a jewelry professional if you describe the bottom of a diamond as “the pointy end.”

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The term brilliant cut is used as a general term for gems of any shape with facets that are mostly triangular or kite shaped and that radiate from the center. In most retail settings, the standard round brilliant is by far the most popular diamond cut. It has 57 or 58 facets, depending on whether there’s a culet or not. Very small round diamonds are sometimes fashioned as single cuts, with just 17 or 18 facets. Peter Johnston/GIA

A standard round brilliant diamond has 33 facets above the girdle and 24 or 25 below the girdle, depending on whether or not there’s a culet.

Shapes or cutting styles other than the standard round brilliant are called fancy cuts. Fancy cuts also have names of their own. The most familiar are the marquise (mar-KEYS), princess, pear, oval, heart, and emerald cut. You’ll learn more about each of these in a later assignment. Some fancy cuts are brilliants, and some are step cuts. Their “steps” usually consist of three rows of four-sided facets that are parallel to the girdle on the crown and pavilion. The emerald cut is the most popular step cut. Like standard round brilliants, emerald cuts normally have 57 or 58 facets. The table is usually rectangular, with beveled corners.

Peter Johnston/GIA

A single-cut diamond has a table, eight crown facets, eight pavilion facets, and sometimes a culet.

Baguettes are small, rectangular or tapered stones, often used as side or accent stones for a large center stone. Baguettes are step cuts with only two rows of facets and unbeveled corners.

Brilliant cut—Cutting style with triangular or kite-shaped facets that radiate from the center toward the girdle. Standard round brilliant—A round brilliant-cut stone with 57 or 58 facets. Often called a full cut. Single cut—A round stone with 17 or 18 facets. Fancy cut—Any gemstone shape or cutting style other than a standard round brilliant. Step cut—A cutting style that features long, narrow facets in rows parallel to the girdle on both the crown and pavilion. Baguette—A small, four-sided step cut that’s rectangular, square, or tapered.

Jeffrey Scovil

Many customers love the variety offered by fancy-cut diamonds. They provide alternatives to the traditional round brilliant.

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Diamonds and Diamond Value

Mixed cut—Cut that combines brilliant-cut and step-cut styles. Branded cut—Cutting style that’s developed, named, and promoted by a specific manufacturer. Metric carat—The international unit of measurement for gem weight. One carat equals one-fifth of a gram (0.200 g).

Robert Weldon/GIA

A step cut has long, narrow facets parallel to the girdle. The emerald cut’s understated elegance makes it the most popular step cut.

A brand name can be a selling feature for certain diamonds. This fancy brilliant cut is marketed by its manufacturer as a Quadrillion®.

People tend to prefer fancy shapes for large diamonds. Brilliant cuts generally show more fire than step cuts, but step cuts usually show color better. Mixed cuts feature a combination of brilliant and step facets. Usually, the step facets are on the crown and the brilliant facets are on the pavilion, but sometimes it’s the other way around. Specific manufacturers have developed and named their own cuts. This category is called branded cuts. Their names are sometimes trademarked or protected by copyright. If you’re handling a branded cut, use its name as one of its selling points. From time to time, you might encounter diamonds cut in novelty shapes like stars, fish, birds, butterflies, crosses, horse heads, and cloverleaves. Some people like them because they’re different.

Sometimes, cutters fashion diamonds into imaginative shapes to satisfy a unique segment of the market.

Carat Weight Many goods are sold by weight—by the kilogram, ounce, pound, or ton. Even people who have never bought a diamond are used to the idea that weight and price are related. They understand that a larger diamond is probably more valuable than a smaller one. But there are two things that often surprise people when they start learning about diamonds and carat weight. The first is the precision with which diamonds are weighed. Diamond weights are stated in metric carats, abbreviated “cts.” One metric carat (abbreviated “ct.”) is one-fifth (0.200) of a gram—just over seven thousandths (0.007) of an ounce. One ounce contains almost 142 carats.

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Diamond Essentials 1

Eric Welch/GIA

Tiny diamonds are measured in points. When quantities of them are used together, they make brooches and other jewelry items sparkle.

Point—One hundredth of a carat (0.01 ct.).

Weight equals money, so cutters try to retain as much weight as possible when they fashion diamond rough.

The metric carat is divided into 100 points. A point (abbreviated “pt.”) is one hundredth of a carat. An easy way to remember this is to think of carats as dollars and points as pennies. They’re even written the same way: $1.34 means one dollar and 34 cents, and 1.34 cts. means one carat and 34 points. Diamonds are weighed to at least a thousandth (0.001) of a carat and then rounded to the nearest hundredth, or point. Fractions of a carat can mean price differences of hundreds—even thousands—of dollars, depending on the quality of the gem. Over a carat, diamond weights are usually expressed in carats and decimals. A 1.03-ct. stone, for example, would be described as “one point oh three carats,” or “one oh three.” Weights for diamonds that weigh under a carat are usually stated in points. A diamond that weighs 0.83 ct. is said to weigh “eighty-three points,” or described as an “eighty-three pointer.” The second aspect of carat weight that surprises people is the relationship between rarity, weight, and value. People expect a pound of sugar to cost twice as much as a half pound of sugar. But diamonds aren’t sold like sugar. Their prices depend on a number of variables—weight is just one of them. So it’s not always easy to understand, or explain, why a 1.00-ct. diamond is worth, say, $6,000, while a 2.00-ct. diamond of similar quality might be worth $15,000. It’s really a simple concept: Large diamonds are more rare than small ones. You’ve already seen the relationship between rarity and value. The more scarce something is, the more it’s worth. So a larger stone doesn’t just cost more. It also costs more per carat. A 1.00-ct. diamond weighs the same as four 0.25-ct. diamonds. But even if all the other quality factors are equal, the larger diamond is worth much more than the sum of the four smaller diamonds.

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Diamonds and Diamond Value

Alex Mak/ORO Diamante Inc.

Large diamonds are much rarer than small ones, so they’re much more valuable. Weighed together, the small diamonds in these rings would still be worth less than a single large diamond of the same weight.

Carat weight can also be symbolic. While the difference between a 0.98-ct. diamond and a 1.01-ct. diamond is almost invisible, many people will choose the larger stone—even at a much higher price. You’ll learn more about this in Assignment 5.

Karat—A unit of measure for the fineness of gold, abbreviated “K” or “Kt.”

Don’t confuse the term carat with karat. Karat is a unit of measure that describes the purity—or fineness—of gold.

Durability—A gemstone’s ability to withstand wear, heat, and chemicals.

Why Diamonds are Forever

Hardness—How well a gemstone resists scratches and abrasion.

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What are the three components of durability?

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How does diamond durability compare to the durability of other gems?

Toughness—How well a gemstone resists breaking and chipping.

“A Diamond is Forever” is one of the world’s best-known advertising slogans. It has many different meanings. It refers to diamond’s timeless appeal. It refers to diamond’s icy beauty. And it also refers to diamond’s durability. Durability is a gemstone’s ability to withstand wear, heat, and chemicals. It varies from gem to gem, depending on chemical composition and structure. Earlier, you learned a little about how diamonds form. One result of the diamond formation process is incredible durability. Durability consists of three properties: • Hardness • Toughness • Stability Many people think hardness and toughness are the same thing. In everyday speech, they’re often interchangeable. But in gemology, they have specific—and separate—meanings. Hardness means resistance to scratching—how a stone’s surface responds to contact with a sharp point, to the edge of another object, to abrasive powders, or to another gem. Toughness means resistance to breaking, chipping, or cracking—how well a stone can survive impact from a fall or a blow.

KEY CONCEPTS

Diamond is the most durable gemstone.

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Diamond Essentials 1

Diamonds Don’t Grow on Trees The arid deserts of South Africa. The permafrost of Siberia. A barren region of Western Australia. Frozen tundra in Canada’s Northwest Territories. The featureless ocean off the southwest coast of Africa. That diamonds form at all is something of a miracle. That they survive a brutal and violent trip up from deep inside the earth is another. And that people cherish them enough to seek them out in such remote and inhospitable places is a third. Mining companies not only have to dig mines and build large processing plants in remote locations, they must also build the equivalent of small cities to house, feed, and entertain hundreds of workers. Mining involves a lot of money and labor for relatively small quantities of diamonds. It costs millions of dollars to identify a possible diamond deposit. It costs even more to build and operate a mine in a location that’s found to contain diamonds.

Diamonds are mined in a variety of remote and challenging locations, from the frozen terrain of northern Canada to the bottom of the Atlantic Ocean.

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The ratio of diamond to ore is usually about 0.30 ct. of rough diamond per metric ton (1.102 US tons) of ore. That means mine workers have to process about a ton of rock to recover less than half a carat of rough diamond. Obviously, a mine can’t survive if the ore doesn’t yield enough diamonds to cover the mining costs.

Diamonds and Diamond Value

The complexity of diamond mining adds to the value of the gems. Mine operators must sometimes build living quarters for hundreds of workers alongside elaborate processing plants (left). Mining can be dangerous, requiring a courageous and competent workforce (right).

Unlike apples—which grow on trees—the supply of diamonds at any given mine is limited. The Ekati mine in Canada, for example, started production in 1998. Projections are that it will operate for about 20 more years, and produce 3 million to 4 million carats of rough diamonds per year. The quantity of a mine’s diamonds isn’t the only factor in its profitability. The quality of the diamonds matters, too. Some mines produce lots of low-quality diamonds. Others produce fewer, better-quality diamonds.

Ric Taylor

Both the rarity of diamonds and the tremendous efforts and high costs invested in mining them can be useful points to make in a sales presentation.

Most diamond mines are large-scale operations, but there are still a few individual miners who might spend entire days sorting through worthless pebbles before discovering a single diamond.

Low-quality diamonds make up the bulk of rough recovered from many mines.

KEY CONCEPTS

Diamonds are expensive because they’re rare and costly to mine.

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Diamond Essentials 1

Stability—How well a diamond resists chemicals and temperature changes. Mohs scale—Ranking of the relative hardness of 10 minerals.

Jade, for example, is very tough but not very hard. It can’t easily be broken, but it’s soft enough to be carved with simple tools. A diamond, on the other hand, can only be broken with a blow in the right place. But it’s so hard that it can only be scratched by another diamond. In diamond, stability is fairly simple: It describes how well the diamond resists chemicals and temperature changes.

Hardness The Mohs scale (pronounced MOZE) rates the hardness of gems and minerals. The scale originated in 1822 when Friedrich Mohs chose ten minerals and assigned numbers to them, based on the relative ease or difficulty with which one could be scratched by another. His studies resulted in this scale: Diamond

10

Corundum

9

Topaz

8

Quartz

7

Orthoclase Feldspar 6 Tino Hammid/GIA

The more durable a gem is, the more suitable it is for use in frequently worn jewelry. The peridot in this ring is fairly durable, but diamond is many times more durable.

Apatite

5

Fluorite

4

Calcite

3

Gypsum

2

Talc

1

According to the Mohs scale, quartz can scratch any mineral with a hardness of 7 or less. Corundum (which includes rubies and sapphires) can scratch any mineral with a hardness of 9 or less. Only a diamond can scratch a diamond. But the Mohs scale is deceptive. The steps between the minerals are not evenly spaced. Diamond is only one number away, but it’s many times harder than gems in the corundum family.

If they become loose in their settings, diamonds are hard enough to damage the precious metal around them.

Something the Mohs scale doesn’t show, but that’s equally important to the diamond industry, is that diamond can also scratch any of the precious metals used for settings. That means a diamond that’s loose in its setting can wear through a prong over time.

Toughness Any stone, including a diamond, will fracture if it’s hit hard enough in the right place. Toughness is a measure of how well a gem can survive an impact and resist breaking, chipping, or cracking.

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S O F T E R

H A R D E R

Diamonds and Diamond Value

10

9

8

7

6

5

4

3

2

1

MOHS RANKING Peter Johnston/GIA

The scale introduced by Friedrich Mohs in the 1800s is still used today to gauge the hardness of gems and minerals. The great distance between diamond and corundum shows how much harder diamond is when compared to any other gemstone.

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Diamond Essentials 1

Hearts on Fire is one of several companies that use laser inscriptions to brand their diamonds.

Branded Diamonds KEY CONCEPTS

Brand names are effective diamond sales tools.

A successful brand name creates an image that inspires consumer desire and confidence. A woman chooses a certain line of hair care products because she’s “worth it” (desire). Or a couple buys a certain make of automobile because its name conjures up the idea of safety (confidence). Branding can distinguish products from their competitors. And it can increase profits when consumers are willing to pay more for a name they know and trust. Many diamond manufacturers develop and market “brand-name” diamond cuts and branded bridal jewelry. The branding concept for diamonds isn’t new. Bridal jewelry brands like Keepsake captured consumer awareness in the late 1950s and remained popular through the 1970s. And in 1985, Lazare Kaplan introduced its Lazare Diamond—a brand based on the concept of the ideal cut, which you’ll find out more about later. Manufacturers build consumer loyalty to their diamond brands with a variety of techniques. They use consumer advertising and in-store displays. Lazare offers an identifying number that’s inscribed on the gem’s girdle with a laser. Hearts on Fire—another branded diamond cut—shows off its proportions by using a special viewing device. Lazare and Hearts on Fire are only two of the many names vying for attention in the branded diamond market. Ekati diamonds from Canada have emerged as another important brand. It’s clear that branded diamonds are here to stay.

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Diamonds and Diamond Value

A gem’s toughness is a function of its structure. The way diamonds form affects their physical and optical qualities. When the atoms come together under extreme temperature and pressure conditions, they bond to each other more tightly in some directions than they do in others. Diamonds are tougher in the directions where the atoms are bonded tightly together, less tough where they’re not so tightly bonded. The weakest directions are the ones where the atoms are farthest apart. It’s easier to break a diamond in those directions, which are called cleavage directions. A cutter can cleave a diamond by hitting it sharply in the cleavage direction. But even after cutting, a hard blow can still cleave or fracture a diamond. This can happen during the setting process, or even when it’s being worn. Sometimes the toughness of a diamond is related to its cut features and shape. For example, a diamond with an extremely thin girdle is especially vulnerable to damage. Also, some shapes are more prone to breakage than others. Pears and marquises, for example, have points that are vulnerable to damage if they’re not covered by prongs.

This diamond suffered thermal shock when it was exposed to a sudden and extreme change in temperature.

Stability Stability is a term that describes how well a diamond resists temperature changes and chemicals. Diamonds are very stable. They’re invulnerable to virtually all acids, for one thing. The cutting process generates a lot of heat, but diamonds usually endure intact. Situations that are more threatening to a diamond’s stability are those that involve sudden and extreme temperature changes. Those changes can cause thermal shock, which can create new fractures and cleavages or cause existing ones to spread.

Thermal shock—Damage caused by sudden, extreme temperature changes.

Diamonds will burn at about 1562°F (850°C). House fires and jewelers’ torches can reach that temperature. If you work in the industry long enough, you’ll probably see diamonds that have been burned. They look white and cloudy. Sometimes a burned diamond just looks dirty, and a jeweler will try to clean it. But it’s not dirt, and cleaning won’t improve its appearance. The burn actually marks the diamond’s surface, so repolishing is the only way to restore its beauty. Usually this can be done without difficulty, and with little weight loss.

Nicholas DelRe/GIA

Nicholas DelRe/GIA

A house fire caused the white, cloudy appearance of this diamond (left). The stone was recut to remove the burned area, reducing the diamond’s size but leaving no sign that it was ever damaged (right).

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Diamond Essentials 1

Eric Welch/GIA

The wealth of information in this course will provide you with the essential tools you need to sell diamonds and diamond jewelry with confidence.

Learning from this Course n

How can you begin using what you learn in each assignment?

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What’s the importance of assignment questionnaires?

The overall goal of Diamond Essentials is to give you the tools you need to sell diamond jewelry ethically, honestly, and effectively. There are seven assignments in the course: 1—Diamonds and Diamond Value. This assignment introduces the Four Cs and gives you the foundation you need to start learning about diamonds and diamond jewelry. 2—Clarity and Value. This assignment tells you more about inclusions and blemishes. You’ll also learn about the internationally accepted and respected GIA clarity grading system. 3—Color and Value. You’ve already learned that diamonds come in different colors. In Assignment 3, you’ll learn how diamonds are graded for color. And you’ll see how color influences value. 4—Cut and Value. To many people, the term “cut” simply means shape or cutting style. You’ll learn in Assignment 4 that there’s more to it than that. You’ll see how modern technology is changing the way the jewelry trade thinks about cut. You’ll see, too, how the quality of a diamond’s cut contributes to its overall beauty.

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Diamonds and Diamond Value

5—Carat Weight and Value. In this assignment, you’ll learn that it’s not always a case of bigger costs more. You’ll also learn the differences between size and weight. 6—The Daily Retail Business. This practical assignment describes two important functions in the operation of a retail jewelry store. The first is security. The second is the care and cleaning advice you should give your customers. 7—Presenting Diamond Jewelry. This assignment brings together the product knowledge you’ve gained in the rest of the course. You’ll learn how to combine that product knowledge with solid sales techniques to complete more sales. Each assignment takes a practical approach to its subject. You’ll learn more than the technical aspects of clarity grades, for example. You’ll learn to use the information to do everything from reading a gemological lab’s grading report to explaining the relationship between clarity and value to a customer. You’ll find that your retention increases as your study habits become more consistent. Pay special attention to italicized words in the text and keep a dictionary handy—all of the gemological terms are explained in the course, but occasionally you might come across words that are unclear to you.

KEY CONCEPTS

Consistent study habits are the key to success.

Checking Your Progress The short Diamond Essentials questionnaires are great ways to determine what you’ve learned and what you might have missed. The questionnaires also give GIA an idea of your progress. Another terrific way to check your progress is to review the Key Concepts and Key Terms at the end of each assignment. If you run across a concept or term that isn’t clear to you, you can easily turn back to the part of the assignment where it’s discussed in detail. Just look for its mention in the margin. Now that you’ve finished Assignment 1, complete the first questionnaire. It’s important to do the questionnaires as soon as you finish the assignments—you might forget some of the information in the assignment if you put the test aside to do later.

The Final Examination There will be a final exam at the end of the course. You must complete each questionnaire with a minimum score of 75 percent in order to take the final exam. (You can retake the questionnaires as many times as you need to.) After you complete and pass all the questionnaires, you can take your final exam. Then, to receive your Diamond Essentials certificate, you must score at least 75 percent on the final.

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Diamond Essentials 1

Help Isn’t Far Away GIA instructors are gemology experts with many years of trade experience. They’ll answer your questions, clarify any parts of the text that you’re unsure of, and help you with study hints. You’ll also receive feedback in the form of comments that accompany the answers to your questionnaires. By using all the resources available to you as you progress through this course—and others you might take in the future—you’ll get the most out of your GIA learning experience.

What’s to Come You’ve learned a lot in this first assignment. The rest of the course will help you understand how diamonds are evaluated and traded in today’s jewelry industry by building on what you’ve learned so far. In the next assignment, you’ll learn more about diamond clarity. You’ll learn about the GIA diamond clarity scale, and see how clarity affects diamond value. You’ll also see how a seasoned sales associate—Adam Stone—explains clarity to a retail customer. It’s a lesson worth learning. The Applied Jewelry Professional (AJP) diploma from GIA (top) is a great achievement. These credentials on your business card (bottom) show customers that you’re knowledgeable and serious about your work.

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Diamonds and Diamond Value

KEY CONCEPTS Romance is an important factor in diamond jewelry sales. Diamond is a mineral made of a single element: carbon. A diamond’s value is based on its own unique combination of the Four Cs. Inclusions normally have more impact on a diamond’s beauty and value than blemishes.

Diamond is the most durable gemstone. Diamonds are expensive because they’re rare and costly to mine. Brand names are effective diamond sales tools. Consistent study habits are the key to success.

Key Terms Baguette—A small, four-sided step cut that’s rectangular, square, or tapered.

Karat—A unit of measure for the fineness of gold, abbreviated “K” or “Kt.”

Blemish—Clarity characteristic that’s confined to the surface of a polished gemstone.

Lab-grown gem—A manmade (synthetic) gem with essentially the same chemical composition, crystal structure, and properties as its natural counterpart.

Branded cut—Cutting style that’s developed, named, and promoted by a specific manufacturer. Brightness—The effect of all the diamond’s internal and external reflections of white light. Brilliant cut—Cutting style with triangular or kite-shaped facets that radiate from the center toward the girdle.

Metric carat—The international unit of measurement for gem weight. One carat equals one-fifth of a gram (0.200 g). Mixed cut—Cut that combines brilliant-cut and step-cut styles. Mohs scale—Ranking of the relative hardness of 10 minerals.

Clarity characteristics—The collective term for inclusions and blemishes.

Pavilion—Lower part of a faceted gem below the girdle.

Crown—Top part of the gem above the girdle.

Scintillation—The flashes of light and the contrasting dark areas you see when the diamond, the light, or the observer moves.

Culet—Small facet at the bottom of a finished gem. Durability—A gemstone’s ability to withstand wear, heat, and chemicals.

Point—One hundredth of a carat (0.01 ct.).

Simulant—A natural or manmade material that resembles a gem (also called imitation).

Facet—A flat, polished surface on a finished gem.

Single cut—A round stone with 17 or 18 facets.

Fancy cut—Any gemstone shape or cutting style other than a standard round brilliant.

Stability—How well a diamond resists chemicals and temperature changes.

Fire—The flashes of color you see in a polished diamond.

Standard round brilliant—A round brilliant-cut stone with 57 or 58 facets. Often called a full cut.

Four Cs—Four value factors (clarity, color, cut, and carat weight) that describe the quality of a finished diamond.

Step cut—A cutting style that features long, narrow facets in rows parallel to the girdle on both the crown and pavilion.

Girdle—The narrow section of a finished gem that forms the boundary between the crown and the pavilion and functions as the gem’s setting edge.

Thermal shock—Damage caused by sudden, extreme temperature changes.

Hardness—How well a gemstone resists scratches and abrasion.

Toughness—How well a gemstone resists breaking and chipping.

Inclusion—Clarity characteristic totally enclosed in a polished gemstone or extending into it from the surface.

Value factors—Features used to judge the quality and value of all gemstones.

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Diamond Essentials 1

Questions for Review n

What are a diamond’s special properties?

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How do the Four Cs influence diamond value?

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What is the relationship between the Four Cs and rarity?

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What are the three components of durability?

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How does diamond durability compare to the durability of other gems?

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How can you begin using what you learn in each assignment?

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What’s the importance of assignment questionnaires?

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Clarity and Value

2

Diamond Clarity and Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Diamond Formation and Clarity . . . . . . . . . . . . . . . . . . . . . . . . . 42 The Cutter’s Contribution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Clarity Treatments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 The GIA Clarity Grading System . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Flawless . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Internally Flawless (IF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Very Very Slightly Included (VVS1 and VVS2) . . . . . . . . . . . . . . . . 51 Very Slightly Included (VS1 and VS2) . . . . . . . . . . . . . . . . . . . . . . 51 Slightly Included (SI1 and SI2) . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Included (I1, I2, and I3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Diamond Plots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 GIA Diamond Reports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Selling Clarity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

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Welcome to Diamond Essentials Assignment 2. With the knowledge you gain from this assignment, you’ll be able to: • Understand how diamond formation and the cutting process affect diamond clarity. • Define the basic clarity characteristics in a diamond. • Explain the GIA clarity scale to your customers. • Recognize the clarity notations in a GIA Diamond Grading Report. • Understand the relationship between clarity, rarity, and value.

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Clarity and Value

GIA & Harold & Erica Van Pelt

The qualities of extraordinary diamonds like this 100.2-ct. beauty usually include very high clarity.

Clarity and Value Adam Stone removed the ring from the display and polished it with his gem cloth. Then he handed it to Mike Morgan, his customer. Mike had purchased other jewelry from Adam, but this was his biggest jewelry purchase ever. It was a fifteenth-anniversary gift for his wife Tess, so he wanted it to be very special. Adam gave Mike a moment to admire the ring, then said, “It’s a beauty. The center stone is a unique cut called a Princess cut. It weighs 1.01 cts. and its color grade is H—that means it’s nearly colorless. The clarity grade is VS2—it has a couple of small crystals inside it.” Mike understood diamond color grades: He’d purchased diamonds before, and Adam had done a good job of educating him over the years. But he still wasn’t too clear about clarity grades. And, since this was to be a very special gift, he asked for more information.

Princess-cut diamonds give a contemporary look to three-stone anniversary rings.

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Diamond Essentials 2

Visual aids are helpful when you’re explaining diamond features to a customer. This set-up connects a video screen to a microscope so you can display a magnified view of a diamond.

“What does that mean? Where are those crystals?” he asked. He tried to see them by bringing the ring closer to his eyes and squinting. “Oh, they’re very small—you can only see them under magnification,” Adam said. “Here, let me show you.” Adam put the ring in a holder mounted on a microscope. There was a video camera attached to one of the microscope’s eyepieces. A plot can be modified for diamonds of any shape. When complete, a plot simplifies the task of finding a diamond’s clarity characteristics.

Plot—A color-keyed diagram of a gemstone’s significant clarity characteristics.

“There—you can barely see one crystal there—just to the left of the table, which is that large, flat facet on top,” Adam said, pointing to the enlarged image of the diamond on the video monitor. Adam had examined the diamond before, so he knew that there was something else inside the diamond, but he couldn’t find it right away. He consulted the Diamond Grading Report from the GIA Laboratory that accompanied the ring. The report included a plot, which was a diagram of the diamond with its inclusions marked in color. The plot reminded him where to look for the other included crystal. It was more difficult to find because it was under the crown facets. Using the crystal he had already found as a reference point, Adam oriented the diamond to match the plot on the report. He located the second crystal immediately. “There it is—it’s difficult to see, even with magnification,” Adam said, using his pen to point the crystal out to Mike.

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Clarity and Value

“I told you I want to get her the best diamond I can,” Mike said. “I’m not sure that I like the idea of giving her one with these crystal things inside— it seems like buying a new refrigerator with a dent in the side or something.” “Well, unlike refrigerators, diamonds grow in nature,” Adam explained. “Diamonds form inside the earth under tremendous temperature and pressure. Given those conditions, it’s almost inevitable that a diamond would have some irregularities. Some have more, some less. “Diamonds with fewer characteristics are more rare, so they tend to be more valuable. I can show you a diamond with no clarity characteristics, but it will cost you about three times more than this one if you want the same size and color. I can assure you, though, that this diamond’s clarity is very good,” Adam continued. “The crystals inside this diamond have been there since it formed,” he went on to say. “They make the diamond unique. I can’t even guess at the odds of finding another diamond with the same color, weight, and two identical crystals in the same locations. You can tell that to Tess when you give it to her—this diamond is truly one of a kind. There’s not another one exactly like it.” Pointing to the plot on the Diamond Grading Report, Adam added, “See how small the crystals are in relation to the overall size of the stone? As important as they are to the diamond’s unique identity, you’ll never see them, even though you’ll know they’re there. Think of them as the diamond’s fingerprint.”

Alan Jobbins

Diamonds form inside the earth under extreme heat and pressure conditions. This one is still embedded in the rock that delivered it to the surface.

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Diamond Essentials 2

Ryan McVay/PhotoDisc

Alexander Scott/zefa/Corbis

Romantic packaging can add to diamond jewelry’s appeal.

You should be able to convey a diamond’s qualities without diminishing its importance as part of a happy occasion.

KEY CONCEPTS

Even very small clarity characteristics can have a large influence on diamond value.

As the sales presentation continued, Adam explained how the cut contributed to the diamond’s beauty. Mike asked questions about the diamond’s weight, the quality of the cut, and the metal content of the ring. In the end, he bought the ring. When Tess unwrapped it during their romantic anniversary dinner, she didn’t care about clarity and cut. At that moment, all she cared about was that her husband had given her a beautiful, sparkling diamond ring. But Mike knew that he had given Tess the best ring he could afford—and that it was a very good ring, set with beautiful diamonds. And he knew that he had made his wife exquisitely happy. That’s what jewelry should do: make people happy. In this assignment you’ll learn about the characteristics that determine diamond clarity. You’ll discover what they’re called, how to look for them, and how they affect a diamond’s value. You’ll also learn how the cutter can reduce the impact of some characteristics, and how the cutting process can add a few of its own. And you’ll read about the techniques used to treat some characteristics. Finally, you’ll learn about the internationally accepted clarity grading system developed by GIA.

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Clarity and Value

Diamond Clarity and Value n n

n

How do clarity characteristics help determine a diamond’s value? What are some effects of diamond formation and the cutting process on clarity? What are some of the treatments that can improve a diamond’s appearance?

Most people are like Mike. Unless they’re lucky enough to get a sales associate like Adam, they won’t know that there are few things in nature as rare as a truly flawless diamond. As you learned in Assignment 1, clarity is one of the four value factors (Four Cs) that describe and determine the value of a finished diamond. Its classic definition is “a gemstone’s relative freedom from inclusions and blemishes.” Instead of “clarity,” some industry professionals use the term “purity.” Other people, especially in Europe, might call it “quality.”

Clarity

The difference between inclusions and blemishes is based on their locations. Inclusions are enclosed within a gemstone. They might also extend into the diamond from the surface. Blemishes are confined to the gemstone’s surface. Together, inclusions and blemishes are called clarity characteristics. Clarity characteristics can help establish a gem’s identity and quality. As you’ll see, different clarity characteristics appear at different stages in the diamond’s development. Many are introduced during or after formation, but they can also be caused by the cutting or setting process, or even occur when the diamond is being worn. As you learned in the first assignment, rarity and value are related. The less there is of something, the more valuable it is (as long as there’s a demand for it). Diamonds with no clarity characteristics are more rare— and more valuable—than diamonds that have just a few. A small, seemingly insignificant clarity characteristic can make a difference of thousands of dollars in the value of a diamond.

Peter Johnston/GIA

Diamond clarity characteristics can be either blemishes or inclusions. Left to right, the illustrations show a blemish, which is limited to the diamond’s surface; an inclusion that extends from the surface to the diamond’s interior; and an inclusion that’s completely enclosed within the diamond.

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Diamond Essentials 2

Magnifiers

Loupe—A small, portable magnifying lens used for examining gemstones. Binocular microscope—A tabletop magnifier with two eyepieces.

One of the most amazing things about clarity characteristics is how small they are. Most often, you need some sort of magnification to see them at all. Diamond professionals, industry organizations, and government agencies agree that 10X magnification is the standard for clarity grading. “10X” means that the item being viewed is magnified ten times. It’s sometimes called 10-power. The two types of instruments used most frequently in the jewelry industry are the loupe and the binocular microscope.

Loupes The loupe is the most convenient and affordable magnifier used for diamond grading. It’s small and portable: You can carry a loupe in your pocket or purse, or wear it on a chain around your neck. And, when used by someone with an experienced eye, a loupe is very accurate. Loupes come in two varieties: hand loupes and eye loupes. Hand loupes are held in one hand for viewing the stone. Eye loupes are either

KEY CONCEPTS

A loupe is convenient and portable and can be very accurate. Microscopes are useful tools for retail sales presentations.

Eric Welch/GIA

The loupe is a magnifier used throughout the diamond industry. It takes practice to use one, but they’re very convenient.

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Clarity and Value

held in the eye socket (like a monocle) or attached to eyeglasses. They can be a little awkward at first, but they do leave both hands free. Although 10X is the standard for diamond grading, loupes are available in a variety of magnifications from 4X to 30X. You’ll find many loupes in use in the wholesale trade, where most diamonds are loupe graded. It takes practice to handle and use a loupe effectively. But loupes are efficient: An experienced grader or buyer can use a loupe to work through a large number of stones in a very short time.

Microscopes Many in the trade use a microscope to locate and identify characteristics during the clarity grading process. But the gemological microscope is also the magnification tool of choice in a retail setting. It’s an excellent sales tool because it makes it easier for you to show a diamond’s clarity characteristics to a customer. This part of the sales presentation can be as easy as adjusting the microscope’s focus. Diamond grades are always determined at 10X, but most gemological microscopes let you increase magnification beyond 10X. The higher powers help you locate and identify inclusions. Gemological microscopes generally feature different types of lighting that can be used to locate different types of clarity characteristics.

People in the wholesale trade use their loupes constantly, every day. The loupe is a very efficient tool for grading large quantities of diamonds.

James Aronovsky/GIA

The microscope can be a valuable sales tool. Customers appreciate it when you back up your spoken information with a magnified view of their diamonds.

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Diamond Essentials 2

Clayton Welch/GIA

Clarity characteristics make every diamond unique, especially if they have unusual shapes. This heart-shaped inclusion—shown magnified 45 times (45X)—can make the diamond irresistible to romantics.

Clarity characteristics do more than tell how rare and valuable a diamond is. As Adam explained, they also make every diamond unique. It’s extremely unlikely that two people have identical fingerprints, or that two snowflakes are exactly alike. It’s just as unlikely that two diamonds have the same clarity characteristics in identical locations. The next section will introduce you to the kinds of clarity characteristics you’re likely to encounter.

Diamond Formation and Clarity You’ve already learned that small crystals can become trapped in a diamond when it’s forming. There are also some other types of clarity characteristics that can occur during diamond formation.

John Koivula/GIA

The whitish lines in this diamond are called internal graining. It resulted from irregularities that developed during growth. (10X)

Feather—A collective term for diamond cleavages and fractures.

Sometimes as a crystal grows, it develops irregularities in its atomic structure. When that happens, it forms a clarity characteristic called graining. Graining often looks like faint lines or streaks. Sometimes the lines are parallel and sometimes they intersect. A clarity characteristic that can develop during or after formation is a break. There are two types of breaks: cleavage and fracture. Cleavage is a break parallel to the weakest direction in the gem’s structure. It sometimes has a step-like appearance. A fracture is a break in any other direction. In the trade, cleavages and fractures are generally called feathers. That’s because they have a white, feathery appearance. The most damaging breaks occur along the weakest directions in the crystal structure, especially if those breaks pass through the girdle or occur near points or corners. A hard blow in the wrong place can chip or crack a diamond. There’s less danger once a stone is mounted, though. Diamonds are subjected to extreme stress when they’re polished and set. If a diamond survives that, it can probably survive normal wear.

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Clarity and Value

Clarity Grading Factors Five factors determine the overall effect of characteristics on a clarity grade. Most of them have to do with how readily the grader can see the characteristics. The five factors are: • Size • Number

Gary Roskin

Size influences the effect of a characteristic on a diamond’s clarity grade. This diamond contains some fairly large crystals. (30X) .

The number of inclusions makes a difference in the clarity grade. This diamond has several. (20X)

• Location (Position) • Relief • Nature

➤

The effect of size is obvious: Large inclusions affect clarity more than small ones.

The number of inclusions is also important, but it’s not just a matter of counting them. A stone can have many tiny inclusions and still be high Gary Roskin on the clarity scale. One or The position of the feather under the two of the largest inclusions crown facets was a factor in this usually set the grade. Also, an diamond’s clarity grade. A lower clarity inclusion might be small and grade would result if the same feather in an inconspicuous place. But was located under the table. (30X) if it’s reflected in the pavilion facets, it looks like many inclusions, not just one. When this happens, it’s called a reflector. Reflectors lower the clarity grade more than similar, non-reflecting inclusions.

Gary Roskin

The type, or nature, of an inclusion is an important factor in a diamond’s clarity. This diamond has a very large white feather that might threaten its durability, so it received a low clarity grade. (10X)

An inclusion’s location also affects its visibility. Cutters call the area right under the table the “heart” of the stone. Inclusions are much more visible there than they are under the bezel facets or near the girdle. Relief means the contrast between the inclusion and the diamond. Inclusions that are very bright, dark, or colored are easier to see, so they have a greater impact on the clarity grade than transparent inclusions. Nature refers to the type of characteristic and its potential effect on the diamond. For example, an optical irregularity in the crystal structure would have far less impact on clarity than a physical break in the diamond. Very deep feathers that extend from the crown to the pavilion pose durability concerns and can lower the grade.

Gary Roskin

These high-relief crystals are easy to see because of their color. If they were colorless, the diamond’s grade would be higher. (30X)

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Diamond Essentials 2

KEY CONCEPTS

A skilled cutter can often improve the clarity of a diamond by eliminating or hiding clarity characteristics.

Clayton Welch/GIA

Clarity characteristics make every diamond unique, especially if they have unusual shapes. This heart-shaped inclusion—shown magnified 45 times (45X)—can make the diamond irresistible to romantics.

The Cutter’s Contribution Manufacturer—An individual or company that cuts and polishes diamonds and colored stones.

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Cutters—often called manufacturers—enhance the natural beauty of the diamonds they shape and polish. They can eliminate some clarity characteristics by cutting or polishing them away. Sometimes, this creates an extra facet. If a characteristic can’t be eliminated, the cutter can sometimes position it so it’s less visible.

Clarity and Value

Eric Welch/GIA

During the bruting stage (right), the cutter shapes a round or rounded-shape diamond’s basic outline to prepare it for faceting. Many modern automated bruting machines make use of laser technology (above).

The cutting and polishing process can also create clarity characteristics. For rounds and rounded shapes, one of the first steps in the cutting process is to form the diamond’s basic face-up outline. This is called bruting, rounding up, or girdling.

Bruting—Forming the basic face-up outline of a round or rounded-shape diamond to prepare it for faceting.

Today, technology exists that can brute diamonds on automated machines. Many of the newest models use laser technology. However, many diamonds are still bruted in the traditional way: by mounting the diamond on a lathe and shaping its girdle with another diamond. Unless this is done carefully, bearding can result. Bearding consists of small feathers that extend from the surface of the girdle into the stone. Cutters who want to demonstrate that they’ve retained the maximum possible weight and diameter from the rough will leave part of the crystal’s original surface on a fashioned diamond. The area where the original surface shows is called a natural. Sometimes, a feather breaks away and leaves a hole or space called a cavity. Cavities can also result when a crystal that reached the surface falls out or is removed during polishing. A chip is a rounded, shallow opening on a facet junction. It’s usually the result of damage that occurs during or after fashioning. Polish lines are fine, parallel grooves and ridges that are created during the manufacturing process. Unlike grain lines, polish lines don’t extend past facet junctions. Polish lines might appear on adjacent facets, but because each facet is polished individually, the lines run in different directions.

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Diamond Essentials 2

Inclusions

Inclusions and Blemishes Defined In this assignment, you’ve learned about a few types of clarity characteristics. Here are some images and brief definitions to help you identify some that you might see or read about on diamond reports. Remember that inclusions are inside the iamond or extend into the diamond from its surface, and blemishes are limited to the surface. Each characteristic has an abbreviation that makes notation more convenient. All of the pictures are magnified to show detail. Don’t expect all clarity characteristics to look exactly like the pictures: They’re here just to give you an idea of what each one might look like.

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Gary Roskin

Bruise (Br): A tiny area of impact accompanied by very small, root-like feathers; typically occurs at a facet junction.

John Koivula/GIA

Cavity (Cav): An opening on the surface that occurs when part of a feather breaks away, or when a crystal drops out or is forced out, typically during polishing.

A. de Goutiére

Cloud (Cld): Many tightly grouped pinpoints that might be too small to distinguish individually but together have a hazy appearance.

Chip (Ch): A shallow opening that occurs at a girdle edge, facet junction, or culet; caused by damage to the stone’s surface.

Vincent Cracco/GIA

Crystal (Xtl): A mineral crystal contained in a diamond.

Etch Channel (EC): An angular opening that starts at the surface and extends into the diamond.

John Koivula/GIA

Feather (Ftr): General trade term for a break in a gemstone, often white and feathery in appearance.

Indented Natural (IN): A portion of the rough’s original surface, or skin, that dips below the polished diamond’s surface, with depth visible at 10X.

Vincent Cracco/GIA

John Koivula/GIA

Internal Laser Drilling (ILD): Laser drilling within a diamond that doesn’t reach the surface.

Knot (K): An included diamond crystal that extends to the surface after fashioning.

Internal Graining (IG): Lines, angles, or curves that might appear whitish, colored, or reflective, or affect transparency at 10X; caused by irregularities in crystal growth.

Laser Drill-hole (LDH): A tiny, surface-reaching tunnel produced by a laser light beam.

Clarity and Value

Blemishes

John Koivula/GIA

Gary Roskin

Needle (Ndl): A thin, elongated crystal that looks like a tiny rod at 10X.

Burn (Brn): Whitish haze across a facet, or within a concentrated area, caused by exposure to excessive heat during polishing, or occasionally from a jeweler’s torch.

Extra Facet (EF): A facet that’s not required by the cutting style, placed without regard for the diamond’s symmetry; most often found near the girdle.

Vincent Cracco/GIA

Mitchell Moore/GIA

Gary Roskin

Lizard Skin (LS): Wavy or bumpy area on the surface of a polished diamond.

Natural (N): A portion of the original surface of a rough diamond left on a fashioned stone; usually on or near the girdle.

Nick (Nck): A small notch on a facet junction with no readily apparent depth at 10X, usually along the girdle edge or at the culet.

Polish Lines (PL): Fine parallel grooves and ridges left by polishing; can occur on any facet but do not cross facet junctions; transparent or white.

Rough Girdle (RG): Irregular or granular girdle surface.

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Abrasion (Abr): A series of minute scratches and pits along a fashioned diamond’s facet junctions, producing a white or fuzzy appearance.

Patch of Color (Patch): A naturally occurring radiation stain left on a polished diamond.

➤

➤ Gary Roskin

Gary Roskin

Pinpoint (Pp): A very small crystal that looks like a tiny dot at 10X.

Pit (Pit): A small opening that looks like a tiny white dot at 10X.

➤

Twinning Wisp (TW): A series of pinpoints, clouds, and/or crystals that forms in a diamond’s growth plane; associated with crystal distortion and twinning planes.

John Koivula/GIA

John Koivula/GIA

Scratch (Scr): A thin, dull white line across the diamond’s surface; shows no apparent depth at 10X.

Surface Graining (SG): Similar to internal graining, except it appears on the surface; results from irregularities in crystal structure.

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Diamond Essentials 2

Clarity Treatments At one time, skilled cutting was the only way to improve a diamond’s clarity. But this had its limitations. The success of the operation depended on how close the characteristic was to the surface. This changed when lasers were introduced to the diamond industry in the 1970s. Laser drilling makes it possible to treat inclusions deep inside the stone. The treatment creates an opening in the diamond that provides access for lightening or dissolving dark inclusions with bleach and reducing their visibility. It results in a laser drill-hole or internal laserdrilling channel, depending on the method used. Both of these features are considered clarity characteristics. While laser drilling often improves a diamond’s appearance, the characteristic that results from the treatment is considered a clarity characteristic. In fact, GIA graders always note the presence of laser-drilling features.

Skilled technicians use precise, sophisticated equipment for laser drilling diamonds. The laser can provide an opening for further treatment.

Laser drilling—Treatment that involves using a concentrated beam of laser light to reach a diamond’s dark inclusions and to disguise or eliminate them. Fracture filling—Treatment that involves injecting a molten glass substance into a diamond’s surfacereaching feathers or laser drill-holes. Apparent clarity—A term used to describe the effects of treatments on the visual appeal of a gemstone.

A second clarity treatment is fracture filling. This involves injecting a glass filler into a clarity characteristic to mask it. The characteristic must reach the surface to accept the filler. For a clarity characteristic that doesn’t reach the surface, the technician can use a laser to drill a channel for the filling, but this is not common practice. Fracture filling doesn’t “heal” the fracture or improve the diamond’s actual clarity. The original fracture is still there, it’s just more difficult to see. Fracture filling works because the filling material has a refractive index (RI) that’s closer to diamond’s RI (2.417) than to the RI of air (1.000). A material’s RI is a measure of its ability to bend and slow light. The filling’s RI makes light behave almost as if it were passing through diamond. As a result, when the filler replaces air in the fracture, the closer RI makes the fracture almost invisible. Fracture filling can make a stone appear to improve by one or two clarity grades. This means it affects the diamond’s apparent clarity, or visual appeal, but it doesn’t change its actual clarity. An improvement in apparent clarity improves a diamond’s marketability. A customer who’s more interested in size than clarity, for example, might choose a fracture-filled diamond. That way, the customer gets a larger, cleaner-looking diamond than would have been possible before the development of laser drilling and fracture filling.

John Koivula/GIA

John Koivula/GIA

Before fracture filling, the feather is reflective and obvious (left). After treatment, it’s almost invisible (right). This improves the diamond’s appearance and marketability, but its actual clarity remains the same. (20X)

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Clarity and Value

Clarity and The FTC Guides In the US, Section 23.13 of the FTC’s Guides for the Jewelry, Precious Metals, and Pewter Industries addresses the use of certain diamond clarity terms. (a) It is unfair or deceptive to use the word “flawless” to describe any diamond that discloses flaws, cracks, inclusions, carbon spots, clouds, internal lasering, or other blemishes or imperfections of any sort when examined under a corrected magnifier at 10-power, with adequate illumination, by a person skilled in diamond grading. (b) It is unfair or deceptive to use the word “perfect,” or any representation of similar meaning, to describe any diamond unless the diamond meets the definition of “flawless” and is not of inferior color or make. (c) It is unfair or deceptive to use the word “flawless,” or “perfect” to describe a ring or other article of jewelry having a “flawless” or “perfect” principal diamond or diamonds, and supplementary stones that are not of such quality, unless there is a disclosure that the description applies only to the principal diamond or diamonds.

GIA grades laser-drilled diamonds because the treatment is permanent. But fracture filling is not considered permanent, so GIA and many other labs do not grade fracture-filled diamonds. Industry professionals and regulatory agencies around the world agree that all gem treatments, including laser drilling and fracture filling, should always be disclosed. This includes any treatments that you might only suspect are present. Disclosure is good business practice whether you’re selling diamonds or colored stones. Your reputation will benefit, and your customers will appreciate your knowledge and your honesty.

KEY CONCEPTS

Fracture filling only improves the apparent clarity of a diamond. Industry professionals agree that disclosure of gem treatments is good business practice.

The GIA Clarity Grading System n

What are the categories of the GIA clarity grading system?

n

How is a diamond’s grade determined?

n

How is a diamond’s grade illustrated and reported?

As you saw in the first assignment, one of the functions of the Four Cs is to give you and other jewelry professionals a way to discuss and evaluate diamonds. It’s awkward to say, “This diamond has two clouds, an included crystal, and a small feather.” This approach is especially difficult when you’re dealing with many diamonds at once.

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Diamond Essentials 2

You need a system that you can use to explain a diamond’s clarity to retail customers. Reciting a long list of inclusions and blemishes might scare a customer away. And it really doesn’t tell a retail customer anything they can use to make a buying decision. That’s where GIA’s clarity grading system comes in. Eleven clarity grades are the heart of the system. The grades are: • Flawless • Internally Flawless • Two categories of Very Very Slightly Included (VVS1 and VVS2) • Two categories of Very Slightly Included (VS1 and VS2) • Two categories of Slightly Included (SI1 and SI2) • Three categories of Included (I1, I2, and I3) When you know the system, you can say, “It’s a VS2,” instead of “This diamond has a small cloud, an included crystal, and a natural on the girdle.” Another industry professional will know exactly what you mean. If you work with retail customers you can add something like, “That grade is based on minor characteristics that don’t affect the diamond’s beauty or durability.” Blemishes usually only affect the clarity grades in the top two categories (Flawless and Internally Flawless). Inclusions affect all grades.

Flawless

The GIA clarity scale includes eleven diamond clarity grades.

Flawless diamonds show no inclusions or blemishes of any kind when examined under 10X magnification. Flawless diamonds are extremely rare. You’ll hardly ever see one in a jewelry store. A diamond can have these characteristics visible at 10X and still qualify as Flawless: • Extra facets not visible in the face-up view • Naturals confined entirely to the girdle, as long as they don’t thicken the girdle or distort its outline • Internal graining that’s not reflective, white, or colored, and that doesn’t significantly affect transparency • Inscriptions that don’t appear to penetrate the surface when viewed at 10X

KEY CONCEPTS

Blemishes usually only affect the top two clarity grades, while inclusions affect all grades.

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Internally Flawless (IF) An IF diamond shows no inclusions when examined under 10X magnification. It does, however, have some minor blemishes, such as surface graining, naturals, and extra facets. Except for surface graining, the blemishes can often be removed by having the diamond repolished. This increases an IF diamond’s clarity grade to Flawless, but it’s rarely done.

Clarity and Value

Christie’s Images Inc.

The magnificent 20.81-ct. diamond in this ring has Internally Flawless clarity. The ring’s estimated sale price at auction is more than US$1 million.

Very Very Slightly Included (VVS1 and VVS2) VVS diamonds contain minute inclusions that range from extremely difficult (VVS1) to very difficult (VVS2) to see at 10X magnification. Typical inclusions that might set the grade include pinpoints, needles, internal graining, tiny feathers, and tiny chips.

Very Slightly Included (VS1 and VS2) VS diamonds contain minor inclusions that range from difficult (VS1) to somewhat easy (VS2) to see at 10X magnification. Typical inclusions that might set the grade include small crystals, distinct clouds, and small feathers, but all inclusion types are possible.

John Koivula/GIA

A VS diamond contains only minor inclusions.

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Diamond Essentials 2

Loupe clean—Term that describes a diamond that might have surface blemishes, but shows no inclusions under 10X magnification. Piqué—A general term for included stones.

International Clarity Terms GIA’s clarity terms are known worldwide. They’re the common language that unites the world’s diamond professionals. However, you might hear some other clarity terms from time to time. Loupe clean is one; it indicates a diamond that might have surface blemishes, but shows no inclusions at 10X magnification. Its companion on the opposite end of the scale is piqué (pee-KAY), a general term for included stones. Piqués are usually subdivided according to the prominence or severity of the inclusions. The terms used by diamond professionals originally included variations on the word “imperfect,” as in very very slightly imperfect, very slightly imperfect, slightly imperfect, and imperfect. In recent years, the term imperfect was replaced by the word included. These terms were shortened to the initials VVS, VS, SI, and I. The abbreviations eventually gained acceptance throughout the international diamond community. Their use is now widespread regardless of how the words they stand for translate into various languages. Very may translate to très in French, for instance, but in France a very slightly included diamond is still a VS. Even a country with a completely different alphabet—like Russia—uses the same abbreviations.

Because of the rarity of Flawless and Internally Flawless diamonds, the highest grades carried by most fine retail stores are in the VVS to VS ranges.

Slightly Included (SI1 and SI2) John Koivula/GIA

Inclusions that are noticeable at 10X give a diamond a Slightly Included (SI) grade.

SI diamonds contain noticeable inclusions that are easy (SI1) or very easy (SI2) to see at 10X magnification. Typical inclusions that might set the grade include crystals, feathers, clouds, and twinning wisps, but all inclusion types are possible.

Included (I1, I2, and I3) Diamonds that fall in the I range contain inclusions that are obvious under 10X magnification. They might contain large feathers or large included crystals. In some cases the inclusions affect transparency and brilliance.

John Koivula/GIA

The Included grades are used for diamonds with clarity chacteristics that are obvious at 10X.

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There is certainly a market for I1 and I2 diamonds, and they’re carried in many retail stores. They’re especially attractive to the customer who wants the largest stone possible and is willing to compromise on clarity to get it. Diamonds in the I3 category are less popular: They often lack transparency and durability.

Clarity and Value

Diamond Plots Photographs are excellent as permanent records of what a diamond looks like, but they can’t really capture the subtleties involved in clarity grading, especially considering the small size of most clarity characteristics. That’s why diamond graders make a plot, which is a map of a diamond’s interior and exterior. Some wholesalers and retailers use plots to identify stones, support clarity grades, and detail a diamond’s current condition. In a retail setting, such as the one at the beginning of the assignment, they can be used to help locate clarity characteristics during a sales presentation. Graders use a set of standardized symbols to indicate the relative size, number, position, and nature of inclusions and blemishes. The standard plotting tools are fine-tip ballpoint pens with green, red, and black ink. The green pen is used for blemishes, the red pen for inclusions. Sometimes, the nature of an inclusion—if it reaches the surface, for example—calls for the use of both green and red ink. The black pen is used to indicate extra facets and, if the stone is mounted, the position and shape of the metal. No plot can reproduce the actual appearance of a stone. Many plots look more cluttered than the stones they represent. Remember, too, that diamonds and their clarity characteristics are three-dimensional, but diagrams and symbols are flat. Drawings simply can’t reproduce the true appearance of inclusions, which range from very faint clouds to dark, solid included crystals. Even if you never pick up a plotting pen, you can read a plot prepared by a qualified diamond grader. And you can interpret a plot for your customers, too. Some retailers believe that a clearly explained plot increases the customer’s understanding of the purchase and also their confidence in the seller. Diamond graders usually only plot characteristics that set the grade, identify the stone, and establish its condition. A report also has a comment section where clarity characteristics can be noted. For example, if the stone’s IF grade is due to surface graining, the grader simply notes it in the comment section. Very faint clouds are also usually noted with a comment rather than a plot notation.

Valerie Power/GIA

Computer technology allows GIA Laboratory graders to plot diamonds electronically.

KEY CONCEPTS

A diamond plot is a useful record of the diamond’s clarity. A clearly explained plot can increase the customer’s confidence in their purchase and in you.

GIA Diamond Reports On a GIA Diamond Grading Report, the clarity grade is recorded on the middle left, written as one of the internationally accepted clarity abbreviations: VVS, VS, SI, and so forth. The form also has an illustration that gives a graphic representation of the entire GIA clarity grading scale.

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Diamond Essentials 2

Plotting Symbols and Abbreviations Inclusions

Blemishes

Crystal (Xtl)

Natural (N)

Needle (Ndl)

Extra facet (EF)

Pinpoint (Pp)

Pit (Pit)

Cloud (Cld)

Nick (Nck)

Twinning wisp (TW)

Scratch (Scr)

Laser drill-hole (LDH)

Polish lines (PL)

Knot (K)

Burn (Brn)

Feather (Ftr)

Lizard skin (LS)

Bruise (Br)

Abrasion (Abr)

Chip (Ch)

Cavity (Cav)

Indented natural (IN)

Other Features

Etch channel (EC)

Metalwork (Metal)

Note: The symbols on a diamond’s plot indicate the types of characteristics it contains. Red or red-and-green symbols indicate inclusions, while green symbols indicate most blemishes. Black is used to illustrate extra facets and diamond-mounting metalwork. Blemishes, other than naturals and extra facets, are not plotted on a GIA Report, but might be shown on other trade-generated diagrams such as appraisal documents.

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Clarity and Value

A GIA Diamond Grading Report gives a diamond’s full description, and includes a plot of the diamond’s clarity characteristics.

For diamonds under two carats, GIA offers a condensed diamond grading report— without a plot—called the Diamond Dossier®.

A plot with crown and pavilion views shows the factors that influenced the recorded grade. As with plots from most gemological laboratories, not all clarity characteristics are recorded on the plots, only those that identify the stone and set the grade. Some labs, including the GIA Laboratory, offer condensed reports. The GIA Diamond Dossier®, for example, is available for stones smaller than two carats. It doesn’t contain a plot. To ensure that the correct report goes with the appropriate diamond, an identification number is laser inscribed on the diamond’s girdle.

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Diamond Essentials 2

Selling Clarity n n

KEY CONCEPTS

The relationship between clarity, rarity, and value is an important tool in sales presentations. Stress diamond value in your sales presentations.

How can you sell diamonds at all grade levels? What’s the best way to stress the relationship between clarity, rarity, and value?

Always remember that there’s a strong relationship between clarity, rarity, and value. Flawless diamonds are many times more valuable than diamonds with just one or two small clarity characteristics. This is important information to communicate to your customer, especially when you’re selling a diamond that has a grade of VS or higher. But that doesn’t mean there’s something wrong with SI or I diamonds. In fact, there’s a huge market for them: SI diamonds are the best-selling diamonds in retail stores. The important thing is to tailor your presentation to the diamond and the customer. If you’re selling an SI2, for example, you might say something like, “This diamond does have some internal clarity characteristics—we call them inclusions. But you can’t really see them unless you look at the diamond under magnification—and that’s true even of diamonds with higher clarity grades. Inclusions make a diamond unique and special. And affordable.” If you’re selling a higher clarity grade, remember to stress the rarity of such diamonds, as Adam Stone did at the beginning of this assignment.

Clarity and Value IF

VVS1

VS1

improving clarity

SI1 I1

increasing price per carat Peter Johnston/GIA

As clarity increases, and if all other value factors are equal, diamond price per carat also increases.

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Clarity and Value

Valerie Power/GIA

Clarity is important, but it’s not the only factor that influences a diamond’s appeal and value. Those things are also influenced by its color, cut, and carat weight.

Just be careful to avoid statements like, “The high clarity makes this diamond expensive.” The word “expensive” has a negative meaning for most people. Instead, make statements like: “This VVS2 is a very high-quality diamond. Diamonds that have few clarity characteristics are very rare and special.” “This diamond is a VS1—it has one or two minor inclusions that are invisible unless you look at the diamond under magnification. It’s a very beautiful diamond, and one that you can really be proud to possess.” “This Internally Flawless diamond is very rare. It has an extra facet—the cutter probably put it there to remove something on the surface of the diamond. The inside of the diamond is absolutely clean under 10X magnification—which makes it very rare. Few diamonds have a clarity grade this high.” With statements like these, you’re displaying your knowledge of diamond clarity and also letting your customers know that you’re not trying to hide anything from them. Customers will appreciate your knowledge and your honesty. This helps with the current sale, but it also can serve as a foundation for future business with the same customer. And a happy customer means referrals as well. As you move through the next three assignments and learn about color, cut, and carat weight, you’ll be adding to your diamond knowledge. And you don’t have to wait to use that knowledge: Start sharing information with your customers as you learn it, and you’ll see a steady improvement in your confidence and in the quality and quantity of your sales!

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Diamond Essentials 2

KEY CONCEPTS Even very small clarity characteristics can have a large influence on diamond value.

Blemishes usually only affect the top two clarity grades, while inclusions affect all grades.

A loupe is convenient and portable and can be very accurate.

A diamond plot is a useful record of the diamond’s clarity.

Microscopes are useful tools for retail sales presentations.

A clearly explained plot can increase the customer’s confidence in their purchase and in you.

A skilled cutter can often improve the clarity of a diamond by eliminating or hiding clarity characteristics. Fracture filling only improves the apparent clarity of a diamond. Industry professionals agree that disclosure of gem treatments is good business practice.

The relationship between clarity, rarity, and value is an important tool in sales presentations. Stress diamond value in your sales presentations.

Key Terms Apparent clarity—A term used to describe the effects of treatments on the visual appeal of a gemstone.

Loupe—A small, portable magnifying lens used for examining gemstones.

Binocular microscope—A tabletop magnifier with two eyepieces.

Loupe clean—Term that describes a diamond that might have surface blemishes, but shows no inclusions under 10X magnification.

Bruting—Forming the basic face-up outline of a round or rounded-shape diamond to prepare it for faceting. Feather—A collective term for diamond cleavages and fractures. Fracture filling—Treatment that involves injecting a molten glass substance into a diamond’s surfacereaching feathers or laser drill-holes. Laser drilling—Treatment that involves using a concentrated beam of laser light to reach a diamond’s dark inclusions and to disguise or eliminate them.

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Manufacturer—An individual or company that cuts and polishes diamonds and colored stones. Piqué—A general term for included stones. Plot—A color-keyed diagram of a gemstone’s significant clarity characteristics.

Clarity and Value

Questions for Review n

How do clarity characteristics help determine a diamond’s value?

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What are some effects of diamond formation and the cutting process on clarity?

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What are some of the treatments that can improve a diamond’s appearance?

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What are the categories of the GIA clarity grading system?

n

How is a diamond’s grade determined?

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How is a diamond’s grade illustrated and reported?

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Color and Value

3

Diamonds and Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Diamond Color Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Grading Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 The Masterstones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 The Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 The Grader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Fluorescence and Diamond Color. . . . . . . . . . . . . . . . . . . . . . . . 73 Colored Diamonds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Grading Colored Diamonds . . . . . . . . . . . . . . . . . . . . . . . . . 78 Color Treatment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Adding and Enhancing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Removing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Selling Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

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Welcome to Diamond Essentials Assignment 3. With the knowledge you gain from this assignment, you’ll be able to: • Understand the often subtle differences in diamond color. • Convey your knowledge of the diamond color scale to your customers. • Appreciate the special qualities of colored diamonds. • Understand possible color treatments. • Understand the relationship between color, rarity, and value.

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AFP

Fine red diamonds are the most rare and valuable of all gems.

Color and Value Nancy Snyder was shopping for a present for herself. There was no special occasion. She just wanted to treat herself to something nice. She really wanted a diamond tennis bracelet—what some people call a line bracelet. That’s what brought her to Sutton Jewelers one Saturday afternoon. The store manager—Janet Lee—was helping her with her selection. Janet had already asked enough questions to have a good idea of what Nancy was looking for. She brought out a line bracelet with 45 diamonds and a total weight of 1.68 cts. The diamonds were in the SI range, and had a very light yellow color. “Are these really diamonds?” Nancy asked after looking at the bracelet for a minute. “Yes, they are,” Janet answered. “What makes you think they’re not diamonds?”

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KEY CONCEPTS

The color in most diamonds is very subtle.

Diamond line bracelets come in a variety of styles to appeal to almost any consumer.

“They look yellow,” Nancy said. “They’re very pretty, but they are yellow.” “You have a good eye for color. The yellow is very subtle—so subtle that many people don’t notice it. Diamonds actually come in many different colors, but the most common colors are subtle shades of yellow and brown. Diamonds are graded on a color scale that begins at D—that’s a colorless diamond—and ends at Z—light yellow or brown,” Janet explained. She then reached for a cardboard display with the color scale printed on it to show Nancy. Janet took another bracelet out of the display case and laid it next to the first one. The diamonds in the second bracelet were comparable in size and clarity to the diamonds in the first bracelet. The only noticeable difference was that the diamonds in the second bracelet looked colorless. “The diamonds in the first bracelet fall in the middle of the scale—their color grades range from M to O,” she continued, pointing at the M-N-O range on the printed scale. “To me, they have the romantic look of candlelight.”

In nature, colorless diamonds are extremely rare. Most gem-quality diamond rough ranges from near colorless to light yellow or light brown.

“The diamonds in the second bracelet are in the G-to-J range—they’re near-colorless. Maybe they’re closer to what you had in mind. Which do you like better?” Nancy didn’t answer right away, so Janet picked up the first bracelet and draped it over Nancy’s wrist. “Let’s see how they look on you,” Janet said. Nancy held her arm out so she could get a better look at the bracelet. She watched the diamonds flash and sparkle as she turned her wrist back and forth. She put the first bracelet down and went through the same motions with the second. “Is there a price difference between the two?” she finally asked.

Near-colorless—A general term for diamonds in the G-to-J color range.

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“Yes, there is,” said Janet. “The first bracelet is $1,975. The second—the one with the near-colorless diamonds—is $2,500.” “Why the difference?” Nancy asked.

Color and Value

“Diamonds with less color are much more rare than those that show some yellow,” Janet answered. “Because of that, they’re more valuable,” she continued. “I see,” Nancy said. “So a diamond with color isn’t worth as much as a colorless diamond?” “Well, not always,” said Janet. “As I said earlier, diamonds come in many colors. Some have more color than diamonds with a Z color grade. And some diamonds come in colors like blue and pink: Those are very rare and valuable. “See those two rings?” Janet asked, pointing at two rings in the display case. The ring on the right was set with a clear, transparent center stone. The one on the left was set with a transparent light pink stone. “That center stone is a diamond,” Janet said, pointing at the ring on the right. “Its color grade is G. It has just a hint of color, but the color is so faint that gemologists describe diamonds like that as near-colorless. “The pink stone in the other ring is a diamond, too. It’s from a mine in Australia that’s famous for its pink diamonds. Both of those diamonds weigh about the same, and both have the same clarity grade. The ring with the near-colorless diamond sells for $4,500, while the ring with the light pink diamond is $8,500. It’s worth that much more because pink diamonds are extremely rare.

In nature, colorless diamonds are extremely rare. Most gem-quality diamond rough ranges from near colorless to light yellow or light brown.

“But, back to the bracelets,” Janet said. “Which one do you like better?” She was already thinking ahead and trying to decide what to show next if Nancy didn’t like either of the bracelets. She didn’t have to worry. Nancy had been pondering the question since Janet first asked it. She really liked the look of the faint yellow diamonds. When Janet mentioned candlelight, it made Nancy think of romantic dinners with her husband. She also liked the fact that the diamonds were different, even if they were not as rare as colorless diamonds. And she liked the price, too.

Shane McClure/GIA

Colored diamonds can be more valuable than diamonds with little or no color. At auction, this 5.54-ct. Fancy Vivid orange diamond—set in a ring at the time—fetched an astounding $1,322,500. At the same auction, a 28.00-ct. near-colorless diamond sold for $745,000.

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John A. Rizzo/PhotoDisc

You can add value to the diamonds you sell by helping customers link them to romantic and meaningful events. After a successful presentation, customers might find that the pale, delicate yellow of a diamond reminds them of a romantic candlelit dinner.

“Will you take a check?” she asked, picking up the bracelet. She draped it over her wrist again, and added, “If you will, I’ll wear this home.” During her sales presentation, Janet did a good job of explaining the general topic of color in diamonds. She also gave Nancy a helpful explanation of how color can impact value. That’s not always easy to do. Unlike the strong color found in most colored stones, color in diamonds is generally delicate and subtle. The subject is also complicated by the fact that many people think that all diamonds are colorless. This assignment will help you understand and explain diamond color, the delicate differences between color grades, and the impact of those differences on value. Regardless of your position in the diamond trade, it’s an understanding that’s essential to your success.

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Most people think of diamonds as colorless, but they also come in many colors, including vibrant yellows, soft pinks, and rich browns.

Diamonds and Color n

How is a diamond’s color grade determined?

n

What are the three most important elements in color grading?

n

How does fluorescence affect color?

Many consumers are like Nancy. They think that all diamonds are colorless, and are surprised to learn that diamonds actually come in a wide range of colors. Other people have heard of diamonds like the famous blue Hope diamond, but don’t understand the relationship between the relative rarity of a diamond’s color and its value. As you learned in Assignment 1, diamonds come in many colors. The diamonds that range from colorless to light yellow, brown, and gray fall

Color

KEY CONCEPTS

It’s important to explain the relationship between color, rarity, and value to consumers, who often aren’t aware of it.

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KEY CONCEPTS

Color and Value

Slight differences in color can cause dramatic differences in value.

improving color

The D-to-Z scale describes the normal color range of diamonds.

increasing per carat price Peter Johnston/GIA

In the normal color range, the closer a diamond gets to colorless, the higher its percarat price. There’s an especially large leap in the price of a colorless diamond, which is extremely rare.

within the normal color range. Within the normal color range, colorless diamonds are the most rare, so they’re the most valuable. They set the standard for grading and pricing other diamonds in the normal color range. Subtle differences in color can dramatically affect the value of a diamond. Two diamonds of the same clarity, weight, and cut can differ in value based on color alone. Even the slightest hint of color can make a dramatic difference in value, as it did with the bracelets that Nancy was considering.

Diamond Color Scale The color grading scale that Janet explained at the beginning of this assignment was developed by Richard T. Liddicoat at GIA in the 1950s. It describes the normal color range from D (colorless) to Z (light yellow, brown, or gray). Today, the GIA Color Scale is the most widely used diamond color-grading system in the world, and the normal color range of diamonds is often called the “D-to-Z scale.”

The GIA D-to-Z scale is the industry standard for color-grading diamonds. Each letter represents a range of color based on a diamond’s tone and saturation.

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The letters in the D-to-Z scale don’t describe actual colors, or hues. Each letter actually represents a range of color that’s based on a combination of tone—darkness or lightness—and saturation—intensity. The combination is called depth of color, and it’s a measure of how noticeable a color is. Diamonds can differ slightly in their depth of color, but still be assigned the same color grade. Color is easier to see in larger stones than in smaller ones. In weights under 0.25 ct., only trained graders can distinguish between diamonds in the D-to-F range—and then only if the stones are not in a setting.

Color and Value

Normal color range—Range of diamond colors from colorless to light yellow, brown, and gray. Hue—Your first impression of a color; the basic color of an object. T o n e

Tone—A color’s degree of darkness or lightness. Saturation

Hue

Saturation—A color’s strength or intensity, ranging from a dull hue to a pure, vivid hue. Depth of color—The combination of tone and saturation that determines how noticeable a color is.

Peter Johnston/GIA

The three-dimensional color globe shows the relationship between hue, tone, and saturation. The globe’s equator shows the range of possible colors, or hues. The vertical bar shows a range of lightness to darkness, called tone. The horizontal bar indicates a range of saturation, or intensity.

Tino Hammid/GIA

These diamonds—graded E, K, and Z— represent diamond colors that are near the top, middle, and bottom of the GIA Color Scale.

Maha Tannous/GIA

These brown diamonds from the Argyle mine in Australia are arranged according to depth of color, from less to more noticeable.

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A diamond’s mounting can influence its apparent color. The diamond color is the same in both photos, but the yellow gold setting (left) masks the slight amount of yellow, while the white metal (right) makes the color more obvious.

KEY CONCEPTS

It’s difficult to accurately determine a diamond’s color grade if it’s mounted.

When mounted, G, H, and I diamonds might look colorless face-up. That’s why most gemological laboratories don’t grade mounted stones. Part of the difficulty in color-grading mounted diamonds is that the mounting affects the apparent color by covering part of the stone. Another factor that affects a diamond’s apparent color is the color of the mounting itself. Yellow gold makes slight amounts of yellow or brown less obvious, while white metal mountings make the color in yellow or brown stones more apparent. On the other hand, white metals enhance the appearance of colorless stones. Face-up and set in yellow gold, J, K, and L diamonds that weigh less than 0.50 ct. look nearly colorless to the untrained eye. The color is easy to see in larger diamonds or when the setting is white metal. Beyond M, most consumers can see color pretty easily. As the grade gets closer to Z, the color is obvious even in small diamonds.

What Happened to A, B, and C? Probably the most frequently asked question about the GIA Color Scale is “Why does the system start at D?” Before GIA introduced the D-to-Z scale, diamond professionals used a variety of other symbols. Some dealers used the letters A, B, and C without clear definition, while others started grading their diamonds double A (AA). Other systems used numerals—both Arabic (0, 1, 2, 3) and Roman (I, II, III). Systems that relied on descriptive terms like “blue white” or “fine white” were the most dubious of all. Terms like those were the least precise, which left them open to error and misinterpretation. The creators of the GIA system wanted to start fresh. They wanted symbols that would not have any association with the inadequate systems that came before. Thus, the GIA scale starts at the letter D. While other color grading systems are still in use, no other system has the universal acceptance of the GIA scale.

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Grading Color Diamonds are color graded under controlled conditions by comparing them to round brilliant diamonds of known color, called masterstones. Each masterstone represents the least amount of color in its color range. Consistent color grading depends on:

Masterstones—A set of color comparison diamonds that defines GIA’s diamond color grades in the normal (D-to-Z) range.

• The masterstones • The environment • The grader Because each color grade represents a range, stones that fall on the borderline between two color grades can be challenging. When this happens, the grader has to make a judgment.

The Masterstones If you’ve ever tried to pick matching paints or fabrics without a sample, you know how tricky “color memory” can be. Some medical professionals say there’s no such thing. Color grading diamonds from memory is asking for trouble. Many dealers and retailers learned this the hard way. They bought diamonds that looked colorless, only to find that the stones showed color when they were graded.

KEY CONCEPTS

“Color memory” is not a reliable tool for color grading.

That’s where masterstones come in. Diamonds in the normal color range are graded against a colorless-to-light-yellow master set. Subtle color differences are usually more visible through the pavilion, so diamonds in the D-to-Z color range are graded table-down. But to get a reliable impression of color, graders also compare stones (especially colored diamonds) face-up and from different directions. Brown diamonds in the D-to-Z range, which are fairly common, are graded with some modifications. Graders describe brown diamonds that are K color or darker with the letter grade and an accompanying colored diamond grade: Faint brown for K to M, Very Light brown for N to R, and Light brown for S to Z. So an N-grade brown diamond would be graded as N-Very Light brown. This distinguishes brown stones that are K color or darker in the normal range from yellow stones in that range. The grading process for gray diamonds is similar to—but not the same as—that used for browns. In the colorless to near-colorless range (E to J), they are graded with D-to-Z letter grades. Beginning at K, the grade ranges are the same as for brown diamonds, but their word descriptions consist of only the terms “Faint Gray,” “Very Light Gray,” or “Light Gray.” Eric Welch/GIA

People who work with color will tell you that it’s very tricky to depend on memory when matching colors. That’s why decorators use color swatches and diamond graders use masterstones for comparison.

Tino Hammid/GIA

To eliminate the guesswork from grading diamond color, graders compare the diamond to masterstones that represent known colors in the GIA D-to-Z scale.

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Clara Zink/GIA

Eric Welch/GIA

A grader’s general health is important, but for consistent diamond grading, there’s no substitute for plenty of practice.

Accurate color grading requires a controlled environment. At the GIA Laboratory, neutral colors and consistent lighting form a reliable color-grading workplace.

The Environment The colors of the walls and furniture in the grading area can affect a grader’s consistency. Neutral or subdued colors are best. Neutral gray and white might be too sterile for a retail store or dealer’s office, but they’re ideal for the walls and furnishings of a grading lab. Any bright color can be distracting. Bright colors can reflect in the diamond and mask its color, too. People in the trade once thought that daylight from a north-facing window (or a south-facing window in the southern hemisphere) was the most consistent source of light for diamond grading. The problem with that is that daylight itself is too variable to be a good, consistent light source for color grading. “Daylight equivalent” fluorescent bulbs are readily available and widely used as a consistent color-grading light source.

The Grader

KEY CONCEPTS

Training and a lot of practice are what make a good diamond grader.

By far the most important component of the grading process is the grader. Quality training is important and so is practice: Good graders exercise their skills often. But other factors, like general health, mood, and diet, also affect a grader’s consistency. With stones that fall on the border between grades, something as trivial as a bad cold can affect a grader’s judgment. Color-deficient vision (commonly called color blindness) isn’t necessarily a liability to a color grader. That’s because in the normal D-to-Z range, the grade is based on the depth of color, not the hue itself.

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©Harold and Erica Van Pelt

©Harold and Erica Van Pelt

This necklace and earring set contains 155 cts. of diamonds with varying degrees of fluorescence. The differences are invisible under normal light (left), but the range of fluorescence shows up under longwave UV light (right).

Fluorescence and Diamond Color Many diamonds emit a visible light called fluorescence when they’re exposed to ultraviolet (UV) radiation. Although invisible to the human eye, UV radiation is everywhere. Sunlight contains it. Fluorescent lights emit it, too. Under the right conditions, you can see fluorescence in about 35 percent of gem diamonds. Blue is the most common fluorescent color in gemquality diamonds, but other possible fluorescent colors include white, yellow, and orange.

Fluorescence—Emission of visible light by a material when it’s exposed to ultraviolet radiation. Ultraviolet (UV)—Light wavelength that’s invisible to the human eye.

Color-grading Environment GIA Instruments supplies light sources specifically designed for color grading and diamond displays. The GIA DiamondDock™ provides a permanent setup and a neutral background for grading color and other diamond qualities. The user can switch between spotlighting and daylight-equivalent fluorescent lighting or use both at the same time.

The GIA DiamondDock™ provides a neutral background and an option for daylight-equivalent fluorescent light. This makes it an ideal color-grading environment. Eric Welch/GIA

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Strong blue fluorescence can make a light yellow diamond look closer to colorless in sunlight. Blue and yellow are color opposites and tend to cancel each other out, so blue fluorescence masks the yellow color. If the fluorescence is too strong it might make the stone look cloudy or “oily.” And that can lower the value of the diamond.

Colored Diamonds Diamonds in colors outside the normal color range—like the pink diamond Janet pointed out in her sales presentation—are called colored diamonds. You might also hear them called “fancies” or “fancy-colored diamonds.” While colored diamonds have traditionally been a small part of the diamond business, their popularity and availability have increased in the past decade. The FTC provides no guidelines for describing colored diamonds in the US, but there is general agreement in the international trade that colored diamonds display one of these face-up features: Christie’s Images Inc.

Jewelers achieve beautiful results by combining colored diamonds with diamonds in the normal color range. Colorless diamonds surround a pearshaped Fancy Vivid blue diamond in this exquisite pendant (left). The earrings (right) feature clusters of colorless and colored diamonds.

Colored diamonds—Yellow, brown, and gray diamonds with more color than the Z masterstone, or that exhibit any other color face-up.

• They are yellow, brown, or gray diamonds with more color than a Z masterstone • They exhibit a face-up color other than yellow, brown, or gray As you saw at the beginning of this assignment, diamonds in the D-to-Z range usually decrease in value as the color becomes more obvious. Just the opposite happens with colored diamonds—value usually increases as the color deepens. Colored diamonds come in almost any color you can imagine. Red, green, purple, and orange are generally the most rare, followed by pink and blue. Yellows and browns are the most common colored diamond colors. Many colored diamond colors, however, are not strong and pure. They’re often blended with other colors and muted by grayishness or brownishness. Large, vivid colored diamonds are extremely rare. They’re also very valuable. Black and milky white diamonds are considered colored diamonds, too, and some have been fashioned into gems. The 67.50-ct. Black Orloff diamond is the most well-known example.

KEY CONCEPTS

The value of colored diamonds generally increases with the strength and purity of the color.

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Public awareness of colored diamonds has increased since the 1980s. That’s when the Argyle mine in Australia began marketing its brown stones under trade names like “Champagne” and “Cognac.” Argyle reached its goal of making the public more aware of colored diamonds and dropped its marketing campaign in the late 1990s. Today, the Argyle mine still produces brown diamonds, but it’s more famous as the world’s major source of pink diamonds. Spectacular prices in high-profile auctions are another factor in the increased awareness of colored diamonds. In May of 2012, at Christie’s Hong Kong, a 12.04-ct. Fancy Intense pink diamond, called the Martian Pink, sold for $17,395,728—a price that amounted to about $1,444,823 per carat.

Color and Value

Christie’s Images Inc.

This magnificent 12.45-ct. pear shape with internally flawless clarity is one of Argyle’s best pinks.

Chris Grey/Harold Freeman Co.

Black is considered a colored diamond color. Tiny black and white diamonds give these rings a distinctive, modern look.

Jack Kelége & Co.

Combinations of diamond colors—like the yellow and colorless diamonds in this platinum ring—can create striking contrasts. Each year, the Argyle diamond mine in Australia produces hundreds of carats of diamonds in various shades of pink.

In April of 2013, Bonham’s sold a Bulgari ring set with a 5.30-ct. Fancy Deep blue cushion-cut diamond for $9,500,000—or $1,800,000 per carat. For the sake of comparison, a giant—and extremely rare—101.73ct. D-color, flawless, pear-shaped diamond was sold by Christie’s in 2013 for $26,737,913—about $254,400 per carat.

Christie’s Images Inc.

Not all colored diamonds command such high prices. Many people consider yellow, brown, and gray colored diamonds less desirable than near-colorless stones of equal weight and clarity. And deeper yellows, browns, and grays are generally less valuable than other colors.

Astounding auction prices have given colored diamonds newfound recognition. This ring, with its 4.37-ct. Fancy Deep blue oval-cut diamond, sold for almost two and a half million dollars in 1995.

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Famous Diamonds: The Hope Rough weight: 110.50 cts. Modern cut weight: 45.52 cts. Shape: Cushion Color: Fancy Deep grayish blue Clarity: VS1 ©Tino Hammid

The history of the diamond that’s today known as the Hope goes back to mid-seventeenth century India, when Jean Baptist Tavernier bought a sapphire-blue diamond and named it the Tavernier Blue. In 1669, he sold the stone to Louis XIV, France’s Sun King. It became known as the Blue Diamond of the Crown and remained with the royal family until 1792. The diamond later surfaced in London, where Henry Philip Hope bought it sometime before 1839 and gave it his family’s name. The stone stayed with the Hopes until 1901. It then took two side trips to owners in Turkey and Paris. In Paris, Pierre Cartier tried to enhance the diamond’s appeal. He used fictional tales and exaggerated stories to create the Hope’s famous “curse,” which implied that bad luck followed anyone who owned it.

Joe McNally/TimePix

The Hope (top) is one of the world’s most famous blue diamonds. Today, it’s on public display at the Smithsonian Institution in Washington, D.C., in the necklace worn by actress Michele Pfeiffer (bottom).

The diamond crossed the Atlantic to America in 1911, where Evalyn Walsh McLean bought it for $180,000. Having been treated royally for better than two centuries, the Hope got something less than deep respect from the flamboyant McLean. She kept it in a shoebox and often lent it to friends to wear, including her Great Dane, Mike. McLean died in 1947 and willed the Hope to heirs, who sold it in 1949 to pay debts and claims against the estate. Harry Winston bought the Hope, along with McLean’s other jewelry, for about $1.3 million. In 1958, Winston donated the diamond to the Smithsonian Institution in Washington, D.C., where it’s still on public display and said to be the museum’s most popular attraction.

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Color and Value

Bettman/Corbis

The eccentric Evalyn Walsh McLean was one of the Hope diamond’s many owners.

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Diamond Essentials 3

Rules and Industry Practice The US FTC Guides addresses the subject of diamond color descriptions that can be misinterpreted in SECTION 23.15: Misuse of the term “blue white.” It is unfair or deceptive to use the term “blue white” or any representation of similar meaning to describe any diamond that under normal, north daylight or its equivalent shows any color or any trace of any color other than blue or bluish.

Grading Colored Diamonds Colored diamond graders use the same standard viewing environment and lighting as they use for D-to-Z grading. However, the grade descriptions and observation methods are very different. Unlike D-to-Z diamond grades, which are based on an absence of color, colored diamond grades are based on the presence of color—variations in hue, tone, and saturation. Also, colored diamonds are evaluated face-up rather than through the pavilion. The first grading step is to identify the diamond’s characteristic color. This is the dominant face-up color of the diamond, excluding surface reflections, fire, and dark or washed-out areas. After identifying the characteristic color, the grader determines the grade by comparing the diamond to known color references. The final color grade includes the diamond’s hue along with one of these grading terms, which describe the combined effect of tone and saturation: • Faint • Very Light • Light • Fancy Light • Fancy

Characteristic color—The basic faceup color of a colored diamond.

• Fancy Intense • Fancy Vivid • Fancy Dark • Fancy Deep The first three grades (Faint, Very Light, and Light) apply to all colors except yellow. A stone that shows a natural yellow color stronger than the Z master would be called “Fancy Light yellow.” Descriptive terms are different for natural black and opalescent white diamonds, which are described simply as “fancy black” and “fancy white” to avoid redundant expressions like “dark black” and “light white.”

Robert Weldon/GIA

The GIA grading system for colored diamonds was designed to accommodate the varying intensities of different hues. These four diamonds share the same yellow characteristic color, but they vary in saturation. Their grades are (left to right) Fancy Light yellow, Fancy yellow, Fancy Intense yellow, and Fancy Vivid yellow.

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Color and Value

Various treatment methods can enhance diamond color. The colors of the diamonds in these channel-set rings are a result of laboratory irradiation.

Consumers must be informed if a diamond’s color is a result of treatment. The promotional information clearly states that the diamond in this ring was treated to give it its blue color.

Color Treatment n

Why don’t most gemological laboratories grade coated diamonds?

n

Is irradiated color permanent?

n

What treatment can remove color from diamonds?

Researchers have made countless efforts to intensify or remove color in diamonds. They’ve had more success with attempts to add or enhance diamond color than with those to remove color. Either way, all the processes fall under the general heading of treatments. As you learned in Assignment 2, a treatment is any human-controlled process that improves gem appearance. Gem treatments generally improve apparent clarity or enhance or remove color. Some treatments are completely legitimate and some are questionable. Most treated diamonds are presented honestly. But a treated diamond might re-enter the market if a long-time owner wants to sell it, or if someone inherits the diamond with no knowledge of its history. The fact that it was treated might be forgotten or unknown. If it’s also undetected, it might be presented as a naturally colored diamond. The equipment available in a typical retail store can’t positively identify many of today’s diamond color treatments. However, laboratory gemologists working with the proper equipment can detect them. That’s why a lab report is helpful: It can assure you and your customer of a legitimate transaction. As you learned in Assignment 2, the seller of a treated stone is responsible for honestly and accurately representing its treatment history. There are no allowances for lack of training, equipment, time, or opportunity to determine origin of color.

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KEY CONCEPTS

Diamonds can be treated to alter or add color by coating, irradiation, heating, or by a combination of irradiation and heating.

A coating of nail polish on the surface of this 10.91-ct. yellow diamond gives it a deceptively pink hue.

Adding and Enhancing Color Efforts to add color range from the primitive to the highly sophisticated. One of the earliest color treatments was coating. Most coatings were super-thin layers of chemicals applied to a few of the pavilion facets, or to a tiny spot on the culet or around the girdle. If the stone remains in its mounting, a coating can go unnoticed for years. Then it might be discovered if the stone is repolished, which usually removes the coating. Early coatings were not very durable. Modern technology, however, has produced tougher coatings, similar to those used on camera lenses and optical instruments. Coatings are fairly common, and might be difficult to detect. At a major auction house in the 1980s, someone switched a valuable pink diamond with a very pale yellow one that had been coated with pink nail polish. Careful attention caught the deception before the auction took place. It’s a good idea to check for coatings when you take diamond jewelry in for repair. Experienced diamond professionals often sense immediately when something about a color doesn’t look right. The color might appear unnatural and hard to classify. Revealing the coating is then a matter of patient, careful examination with a microscope. When in doubt, send any questionable stone to a lab for confirmation. Irradiation—A treatment that changes the color of a gem by exposing it to radioactive materials.

While coatings are confined to the surface of a stone, and are easy to remove or damage, irradiation penetrates the stone. It changes the color by altering the crystal structure of the diamond, so it’s more permanent than a coating. The irradiation process dates from about 1904, when British scientist Sir William Crookes buried some diamonds in radium salt for a year. As with diamonds exposed to radioactive rock in the ground, Crookes’ diamonds

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Annealing—A gemstone heating process that can be used alone or to stabilize irradiated color.

Eric Welch/GIA

It’s important to be aware that the flame of a jeweler’s torch can alter the color of some color-treated diamonds.

turned green. But they also became radioactive. This hazard has been overcome since then by advances in radiation treatment. From time to time, however, dealers and retailers who specialize in antique jewelry still encounter radioactive diamonds. Modern radiation treatments are byproducts of the nuclear age. Technicians can now duplicate most natural diamond colors. Color-treated bluegreens, yellowish greens, yellows, browns, and oranges were the first to be readily available. Now even rare colors like pure blues, purples, pinks, and greens, can be treatment-induced. Irradiated diamonds have become common and accepted alternatives to the more valuable naturally colored diamonds. Annealing, or heating, can influence the color of some diamonds, but it’s often used to stabilize irradiated color. Heat can also be combined with high pressure to induce color. There will be more on this subject in the GIA Diamonds & Diamond Grading course. Be cautious when you accept colored diamonds for repair—especially yellows and browns, which are the most common results of diamond color treatments. Always consider the possibility that they might have been treated. Heat—like the flame of a jeweler’s torch—can affect irradiated color in undesirable ways: Some irradiated diamonds change color if they’re heated. A common repair job, like retipping, can lead to disaster if this happens. If a diamond changes color while in your care, you could have a very unhappy customer on your hands. Fracture filling, as you learned in the previous assignment, conceals diamond fractures by filling them with glass. It can also affect a diamond’s apparent color. But fracture filling doesn’t change the actual color of the diamond, and the apparent color will change if the filling material is ever removed or damaged.

Bettman/Corbis

When British scientist Sir William Crookes uncovered the diamonds he had buried in radium salt for a year, he discovered that they had turned green. Unfortunately, they were also dangerously radioactive.

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Phillip Hitz/Gübelin Gem Lab

Mitchell Moore/GIA

An inscription on the girdle identifies this diamond as one that had its color improved by HPHT treatment.

Removing Color Until the late 1990s, efforts to remove color from diamonds were not very successful. That changed in March 1999 when Lazare Kaplan International (LKI) announced that it had worked with General Electric (GE) scientists to develop a treatment to improve the color of some diamonds in the normal color range. This treatment uses a combination of high pressure and high temperature (HPHT)—the same critical forces in diamond formation—to lighten or remove diamond color. After treatment, the color of the treated diamonds usually falls between grades D and H. Phillip Hitz/Gübelin Gem Lab

In the late 1990s, Lazare Kaplan International and GE developed a method for lightening or removing diamond color with a process that combines high pressure and high temperature. After processing, the color in the diamonds (top) disappeared almost completely (bottom).

KEY CONCEPTS

A combination of high pressure and high temperature can lighten, remove, or create diamond color.

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LKI markets these diamonds under the brand name Bellataire. To help the jewelry industry identify and disclose them, the company applies a laser inscription to each diamond’s girdle. The earliest inscriptions said “GE POL” (POL is an acronym for Pegasus Overseas Limited, an Antwerpbased subsidiary of LKI that’s the exclusive agent for these diamonds). Now, each diamond is inscribed “Bellataire.” While the GIA Laboratory won’t grade diamonds that have been subjected to certain treatments (coating or fracture filling, for example) because the effects of the treatments are not permanent, it does grade HPHT diamonds. The lab notes the fact of the treatment on the report and uses an inscription on the diamond’s girdle to identify the treatment used. Today, many companies worldwide use HPHT treatments to remove diamond color and also to create diamond colors like green, yellow, blue, and pink. You’ll learn more about these treatments in the GIA Diamonds & Diamond Grading course.

Color and Value

KEY CONCEPTS

The Two Rs—rarity and romance—are critical to successful sales presentations.

When you sell jewelry, try to relate diamond color to romance. If you describe colorless diamonds as symbols of pure and eternal love, you can help customers connect emotionally with the jewelry.

Selling Color n

How can rarity help you explain diamond value?

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What is the most important element in most sales presentations?

In some sales presentations, you might have to go into some detail about how diamonds are graded, just as Janet did with Nancy at the beginning of this assignment. Most customers think all diamonds are colorless. Others will need to be assured that color grading is a precise process, and that the grade on a diamond report is accurate. Some people will want to know more about the grading system in general. While all of that can help you answer a customer’s questions and concerns, the most important part of most presentations will revolve around two key points: rarity and romance. Think of them as the Two Rs. Use rarity to explain value, just as Janet did in her presentation. People want to be assured that they’re getting good value for their money. Rarity can help you assure them that they’re getting what they’re paying for, especially if you’re selling a colorless or near-colorless diamond. And rarity is obviously important when you present a colored diamond. As important as rarity can be, romance is usually more important. Jewelry is an emotional item, and color is an emotional topic. Use romance to sell a diamond’s color, and to make it exotic and special. People respond better to descriptions like, “This diamond has a beautiful cognac color,” than “This diamond is a nice shade of brown.” In your sales presentations, use words to make the color come alive.

One of a diamond’s greatest selling features is its rarity. Just as perfectly colorless diamonds are rare, so are colors like the bold, black diamond that stands out against its platinum mounting.

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Christie’s Images Inc.

You can compare the bright hue of these heart-shaped yellow diamonds to golden sunshine to make the color come alive for customers.

As always, remember that the best diamond color is the one the customer likes best. If you go back and read the sales presentation at the beginning of this assignment, you’ll see that the sales associate, Janet, was very careful not to try to convince the customer to choose one color over the other. But she did help Nancy make a choice between the two bracelets by using good sales practices.

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Torsten Blackwood/AFP

Whether a diamond is colorless or colored, color is one of its most distinguishing features. Knowing how to provide information about diamond color while using imaginative language makes the most of this very important feature.

Use what you’ve learned about color in this assignment to prepare sales presentations for the diamonds in your inventory. Practice explaining the color-grading scale—and invent creative ways to talk about the color of the diamonds you sell. The more you know about color, and the more you practice presenting it, the better you’ll be at promoting this important aspect of diamond appearance.

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Color and GIA Laboratory Diamond Reports On both the GIA Diamond Grading Report and the Diamond Dossier®, the color grade is located on the left side of the page, and fluorescence is noted under it. There’s also an illustration of the grading scale for the normal color range. Both reports show the full range of the D-toZ color grading scale, which can help you explain diamond color to your customers.

A GIA Diamond Grading Report can help you explain diamond color to your customers.

Although the principles are the same, color grading at the GIA Laboratory is different from color grading in a retail store or dealer’s office. For one thing, GIA graders work with many masterstones, while the sets found in retail stores or dealers’ offices usually contain five or fewer masterstones. Grades that fall between the masters have to be estimated.

Colored Diamond Reports As you’ve learned, colored diamond grading is different from D-to-Z grading in important ways. First, the color grade of a colored diamond is based on the presence, rather than the absence, of color. Second, a colored diamond’s characteristic color is judged in the face-up position rather than through the pavilion.

The GIA Lab issues a separate grading report for colored diamonds. It states the color as well as whether it’s natural or treated.

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The GIA Laboratory offers a separate colored diamond grading report. It’s similar to a Dto-Z report, but it indicates the diamond’s color and whether it’s natural or treated. It also includes a graphic that helps place the color grade of the individual colored diamond in relationship to other colored diamond color grades.

Color and Value

KEY CONCEPTS The color in most diamonds is very subtle. It’s important to explain the relationship between color, rarity, and value to consumers, who often aren’t aware of it. Slight differences in color can cause dramatic differences in value. The D-to-Z scale describes the normal color range of diamonds. It’s difficult to accurately determine a diamond’s color grade if it’s mounted. “Color memory” is not a reliable tool for color grading.

Training and a lot of practice are what make a good diamond grader. The value of colored diamonds generally increases with the strength and purity of the color. Diamonds can be treated to alter or add color by coating, irradiation, heating, or by a combination of irradiation and heating. A combination of high pressure and high temperature can lighten, remove, or create diamond color. The Two Rs—rarity and romance—are critical to successful sales presentations.

Key Terms Annealing—A gemstone heating process that can be used alone or to stabilize irradiated color. Characteristic color—The basic face-up color of a colored diamond.

Masterstones—A set of color comparison diamonds that defines GIA’s diamond color grades in the normal (D-to-Z) range. Near-colorless—A general term for diamonds in the G-to-J color range.

Colored diamonds—Yellow, brown, and gray diamonds with more color than the Z masterstone, or that exhibit any other color face-up.

Normal color range—Range of diamond colors from colorless to light yellow, brown, and gray.

Depth of color—The combination of tone and saturation that determines how noticeable a color is.

Saturation—A color’s strength or intensity, ranging from a dull hue to a pure, vivid hue.

Fluorescence—Emission of visible light by a material when it’s exposed to ultraviolet radiation.

Tone—A color’s degree of darkness or lightness.

Hue—Your first impression of a color; the basic color of an object.

Ultraviolet (UV)—Light wavelength that’s invisible to the human eye.

Irradiation—A treatment that changes the color of a gem by exposing it to radioactive materials.

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Questions for Review n

How is a diamond’s color grade determined?

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What are the three most important elements in color grading?

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How does fluorescence affect color?

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Why don’t most gemological laboratories grade coated diamonds?

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Is irradiated color permanent?

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What treatment can remove color from diamonds?

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How can rarity help you explain diamond value?

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What is the most important element in most sales presentations?

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4

Light, Proportions, and Finish. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 A Little About Light Performance . . . . . . . . . . . . . . . . . . . . . . . . 95 Proportion Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Girdle Outline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Table Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Crown Angle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Girdle Thickness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Pavilion Depth Percentage . . . . . . . . . . . . . . . . . . . . . . . . . 109 Total Depth Percentage . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Culet Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Length-to-width Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Appealing Proportions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Finish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Polish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Symmetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Excellent/Excellent Ratings . . . . . . . . . . . . . . . . . . . . . . . . . 118 Selling Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

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Welcome to Diamond Essentials Assignment 4. With the knowledge you gain from this assignment, you’ll be able to: • Understand how light interacts with a diamond. • Recognize the relationship between a fashioned diamond’s proportions and its light performance. • Explain the many careful steps involved in cutting a diamond. • Identify basic diamond proportions and their possible variations. • Use diamond cut as part of an effective presentation.

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Carin Krasner/Gettyone

Diamonds can be cut in a wide variety of exciting shapes and styles.

Cut and Value Janet Lee was getting discouraged. Her customer, John McDowell, was shopping for a twentieth anniversary present for his wife. Janet had shown him every anniversary ring in her inventory, but nothing appealed to him. She couldn’t think of another item in the regular inventory that would fit his needs. John was frustrated, too. This was the third jewelry store he had visited. He wanted to give his wife a distinctive piece of jewelry, but with one son in college and another headed there next year, he was on a tight budget. Janet had explained the significance of anniversary rings, and she had shown him some really nice ones. But nothing met his double requirement of something noteworthy that also fit within his budget. Janet finally hit on a solution to the problem.

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Eric Welch/GIA

A bench jeweler can help when a customer likes a particular style of jewelry but wants to choose the diamonds it contains.

“I have an idea you might like,” she said as she pulled a three-stone anniversary ring that she had shown him earlier out of the display case. All three diamonds were round brilliants, and all were H-color, VS2. “You seemed to like this ring the best of all the ones that you’ve seen so far, right?” she asked. “It’s the closest thing I’ve seen to what I want,” John said. “But it costs a bit too much, and it still isn’t exactly right.” “We can set it with different diamonds that weigh just a little less—that will help bring the price down. And to give it a more distinctive look, we can set it with oval-cut diamonds instead of round ones. Ovals are brilliant and fiery, and they tend to look larger than rounds of the same weight. What do you think?” Janet asked. John looked at the ring, trying to imagine what it would look like with oval diamonds. After a minute, he said, “It sounds interesting, but I just can’t visualize it.”

Similar jewelry designs can look entirely different with just a change of diamond shape. A three-stone anniversary ring set with round brilliant diamonds has a traditional look (top). Set with oval diamonds, a similar setting looks more modern and distinctive (bottom).

“How about this,” asked Janet. “I have a copy of this ring in stock that hasn’t been set with diamonds yet. And I know we’ve got some nice oval diamonds that are the same quality as the ones in this ring. I’ll have our bench jeweler set the ring with the three oval diamonds. Can you come back tomorrow and see it? No obligation—if you don’t like it, I’ll put it in the regular inventory.” John was interested enough to make an appointment for the next day. Janet was waiting for John with the ring when he returned. She was beaming. “I think you’re really going to like this,” she said, opening a ring box and placing it on the counter. “The oval stones really complement the design—they give the ring a completely different look than the round diamonds did.”

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John picked the ring up and held it out at arm’s length. After looking at it he asked, “Is it really the same design? It looks so much better like this. But you said you’d put in smaller diamonds. These don’t look any smaller.” “That’s one of the benefits of oval diamonds—they can look larger than rounds of comparable weight. By using these ovals, we reduced the total weight enough to lower the price without sacrificing quality. These diamonds have the same color and clarity as the round ones you looked at yesterday. Isn’t the ring beautiful?” Janet asked. John didn’t answer right away. He looked at the ring again. While he didn’t say so, he was mentally comparing it to a ring he saw in a different jewelry store—one he visited after leaving Janet’s store the day before. He liked Janet’s ring better—the diamonds she chose were brighter and had nicer flashes of color than the diamonds in the competitor’s ring. But the competitor’s ring cost several hundred dollars less than Janet’s, so it was within the budget he had set for the present. Janet’s ring was still more than he’d planned to spend. Janet didn’t know about the other ring, of course, but she correctly interpreted his silence to mean that he still wasn’t completely sold on the ring, and that he was still concerned with price. “These oval diamonds are cut to exacting standards, so they’re very brilliant—see how light blazes out of them?” Janet asked. “Ovals that aren’t cut this well aren’t as brilliant—some even have little dark spots in their centers. These are gorgeous, well-cut stones.

George Shelley/Corbis Stock Market

By helping your customer select the perfect piece for an important occasion, you can promote the joy that diamond jewelry purchases often represent.

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KEY CONCEPTS

Cut isn’t only about shape: It affects many aspects of a diamond’s appearance.

Eric Welch/GIA

The way a diamond is cut makes an essential contribution to its interaction with light. Skilled cutting gives a diamond incredible brightness, fire, and sparkle.

Cut

“In fact, their cut, combined with their color and clarity, makes these diamonds really outstanding. When you give this ring to your wife, you can point out how the shape and fine cut of the oval diamonds makes them exceptional. And you can tell her we selected the diamonds just for her. I think she’ll love that—don’t you?” “Yes, I do,” John said. “John, this is the ring you should give your wife. How would you prefer to pay?” Janet asked. John was silent for a moment. He was still hesitant about the price, but he liked what Janet had just said. He could see how delighted his wife would be when she opened the ring box, and how much she would like the overall look of the ring. And he knew that she would adore the fact that the diamonds were oval, and how unique that made them. Then it dawned on him that the difference between his budget and the ring’s actual cost was very small compared to their 20 years of happiness.

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“You can put it on my credit card,” he said, reaching into his coat pocket. At first, the subject of cut might seem pretty straightforward. To most people, it simply means the shape of the diamond. As you’ve just seen, shape is certainly important. But there’s more to cut than that. The way a diamond is cut can affect its clarity, and even its color. Cut governs the interaction between a diamond and the light around it, and that interaction determines the diamond’s overall appearance. Despite its importance, many salespeople overlook cut when they present diamond jewelry. They’re missing an important sales tool. Cutting style is an important aspect of cut. You can use your knowledge of cut to help a customer who wants something other than a traditional round brilliant. Some people prefer step cuts, for example. By explaining a little about how cut and cutting style influence a diamond’s optical properties, you can increase your customer’s appreciation for the quality of the diamond you’re showing. In this assignment, you’ll learn that the angles and relative measurements of a diamond—its proportions—have a dramatic effect on how light performs when it strikes the diamond. This aspect of cut is an increasingly important topic in today’s jewelry industry. You’ll also learn about finish: the details and final touches that make a diamond shine. Even if it’s well proportioned, a diamond with poor finish won’t live up to its optical potential. Combined, proportions and finish constitute a diamond’s make. So, when you hear a diamond described as having a “good make,” you know that it’s probably well proportioned with a good finish. The quality of a diamond’s make is critical to its beauty and appeal because a well-made diamond creates a dazzling display of light.

Light, Proportions, and Finish n

How does light interact with a diamond?

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What proportions are critical to maximum light performance?

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How does finish affect a diamond’s overall beauty?

Joel Beeson/GIA

Round brilliants are very popular, but some customers prefer the elegant look of step cuts like this lovely emerald-cut trio.

Proportions—The angles and relative measurements of a polished gem, and the relationships between them. Finish—The quality of the polish and precision of the cut of a fashioned gemstone. Make—The qualities of a faceted diamond’s proportions and finish.

KEY CONCEPTS

Proportions play a key role in a diamond’s appearance.

Understanding what happens when light strikes a fashioned diamond is critical to knowing why diamonds show brightness, fire, and scintillation. A diamond’s proportions determine how it interacts with the light around it. And its finish allows a diamond to show off its beauty to the fullest.

A Little About Light Performance When a light ray strikes a diamond, it either reflects off the surface or enters the diamond. If it reflects off the surface, you see it as a flash of white light, which is part of the diamond’s brightness—also called brilliance.

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Valerie Power/GIA

Peter Johnston/GIA

Refraction makes this straw appear to bend in the water, when it’s actually the light that’s slowing and bending. Air and water have different RIs, so the light strikes the straw differently in each material. Refraction also helps to create a diamond’s dazzling light display.

White light that enters a diamond is dispersed into its spectral hues. The separated rays bounce off the diamond’s internal surfaces and return to the eye as fire.

Refraction—The change in speed and possible change in direction of light as it travels from one transparent material to another.

Some of the light that leaves the diamond is bright white light, which adds to the diamond’s brightness. Other white light rays divide into colored flashes that are commonly called fire. Fire is the result of dispersion, which is the separation of white light into its spectral colors. The spectral colors are the colors of the rainbow: red, orange, yellow, green, blue, and violet.

As a light ray travels from the air into a diamond, it slows down. If the ray enters at an angle, it also bends: This is called refraction. The light ray, now moving more slowly and at a different angle, travels through the diamond and strikes an interior surface. One of two things will happen next. It will continue to reflect off the inside surfaces of the diamond until it finally exits, or it will exit the diamond right away. A measure of a diamond’s capacity to slow and bend light is called its refractive index, and it’s abbreviated “RI.”

Refractive index (RI)—A measure of the change in the speed and angle of light as it passes from one material to another.

When the diamond, the light source, or the observer moves and the diamond catches the light around it, it sparkles with flashes of white and spectral-colored light. The sparkle is called scintillation.

Dispersion—The separation of white light into spectral colors.

There are many other influences over light performance in a diamond, which you’ll learn about in detail in the Diamonds & Diamond Grading course.

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Roger Antrobus/Corbis

Dispersion occurs when white light passes through a prism and separates into its spectral colors.

Robert Weldon/GIA

Eric Welch/GIA

In diamond, dispersion causes beautiful flashes of rainbow colors called fire (right). Different diamond shapes and proportion variations result in differing amounts of visible fire (above).

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A Brief History of Diamond Cutting There was a time when people believed that diamonds had magical qualities. They thought that rough diamonds had the power to ward off evil spirits, cure all kinds of ailments, and make the wearer as indestructible as the gem. They also believed that altering a rough diamond took away those powers. When people became less influenced by magic and superstition, diamonds began to lose their appeal. After all, other than perfectly formed octahedrons with clear, glassy surfaces, diamonds aren’t very attractive in their rough state. The irregular surfaces of most rough diamond crystals hide their wonderful optical qualities. Things began to change in the fourteenth and fifteenth centuries, when polishing techniques began to develop in India and Europe. While they still hadn’t found a way to shape a diamond, the earliest polishers discovered that they could use diamond powder to remove roughness and make the natural surfaces more transparent. They called the resulting polished octahedrons point-cut stones. In the sixteenth century, polishers were able to shape a diamond by grinding away the upward-facing point, creating a flat table facet. The result was called a table cut. In the early seventeenth century, the grinding process advanced a little further: Polishers used it to create rose-cut diamonds, with flat bottoms and faceted tops that came to a point. While this process did produce a more finished-looking diamond, it resulted in the loss of a lot of the original rough’s weight. People began to split, or cleave, diamonds in the seventeenth century. At last, they were able to derive a basic shape from the rough before polishing. Because they no longer had to grind a diamond down in order to shape it, this resulted in less weight loss. The rotary diamond saw, introduced around 1900, and lasers, introduced in the 1970s, give modern cutters an even greater ability to shape rough diamonds into glittering gems. Modern diamond cutting consists of three or four steps: cleaving or sawing (sometimes both), bruting, and polishing. The steps and procedures in diamond cutting—often called diamond manufacturing—are covered in greater detail in the diamond-cutting assignment of the Diamonds & Diamond Grading course.

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Christie’s Images Inc.

Diamond-cutting methods have improved dramatically since the eighteenth century, but beautiful rose-cut diamonds from that period still appear at auctions and estate sales.

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Diamond Manufacturing The combined skills of planners, cutters, and polishers are required to unlock the beauty within a rough diamond crystal. Every step requires precision and careful consideration.

Eric Welch/GIA

Eric Welch/GIA

The planner determines where a piece of rough diamond should be sawn, and makes an ink line to mark the proper location (top left). He determines how to get the best yield from the rough by inspecting the diamond’s structure and interior features (top right). A sawing machine (center) divides the rough according to the planner’s markings. The sawing factory’s rows of sawing machines (bottom) can process many diamonds at once.

Eric Welch/GIA

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Eric Welch/GIA

Cut and Value

Eric Welch/GIA

Eric Welch/GIA

After the diamond rough is divided, the next step is to prepare it for bruting by attaching it to a holder, called a dop (top left). The bruting process can be automated (top right) or manual (bottom), and traditionally involves forcing one diamond against another. It results in a roughly shaped outline of the future finished diamond.

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Eric Welch/GIA

Eric Welch/GIA

A skilled cutter can set up several diamonds in holders and pull them in to work on them one at a time (top). The operation might also be automated, with several machines monitored by a single operator (bottom left). This is the blocking stage, during which the diamond gets its first 17 or 18 facets (bottom right). This stage establishes the gem’s basic symmetry.

Eric Welch/GIA

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Eric Welch/GIA

Eric Welch/GIA

Eric Welch/GIA

Robert Weldon/GIA

During the cutting process, a cutter checks the diamond’s pavilion angle (top left). A specialist called a brillianteer polishes the final facets on the diamond (top right). One of the last steps is the polishing or faceting of the diamond’s girdle. This is often an automated process (bottom left). The end result of the manufacturing process is a diamond’s spectacular display of brightness, fire, and scintillation (bottom right).

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Proportion Variations A finished diamond’s proportions affect its light performance, which in turn affects its beauty and overall appeal. If light enters through the crown of a poorly proportioned diamond, it might exit through the pavilion, making the diamond look dark and unattractive. Diamonds with good proportions, symmetry, and polish make better use of light, and will be bright, fiery, and sparkling. A diamond’s basic proportions include: • Girdle outline • Table size (table percentage) Robert Weldon/GIA

Some combinations of diamond proportions result in superior displays of brightness, fire, and scintillation.

• Crown angle • Girdle thickness • Pavilion depth percentage (or pavilion angle) • Total depth percentage • Culet size • Length-to-width ratio (fancy shapes) The diamond industry has long known that some proportion combinations make light perform better than others. In recent years, however, scientists in the GIA Research department and the GIA Laboratory have shown that there are many possible variations and combinations of proportions that will maximize brightness and fire in round brilliant diamonds. This research led to the development of the GIA cut grade for round brilliants, introduced in early 2006. The cut-grading process involves a combination of visual observation and careful, computer-based measurements.

Girdle Outline A diamond’s face-up shape is called its girdle outline. Girdle outline usually doesn’t affect the appearance of a round brilliant unless it’s really irregular. Round brilliants generally have balanced outlines, and usually deliver attractive brightness, fire, and scintillation.

A round brilliant’s girdle outline should be symmetrical (top). A diamond that is noticeably out-of-round (bottom) can be unattractive and also difficult to set.

KEY CONCEPTS

Round brilliants usually deliver excellent brightness, fire, and scintillation.

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With fancy shapes—all shapes other than round—not all stones of a given shape are equally attractive. Table size, crown angle, and pavilion depth have something to do with this, of course, but it also depends on how pleasing the shape’s girdle outline is. An evaluation of girdle outline also involves other, more practical considerations. For example, shape itself can make a difference: A bench jeweler might have a difficult time setting a stone with an unusual shape. Visual appeal and practical considerations often work together to result in a diamond that’s both beautiful and durable. Rectangular cuts, for example, have beveled corners for a variety of reasons. First, beveled corners add visual appeal: They give a dynamic quality to what would otherwise be a

Cut and Value

Parts of a Round Brilliant Diamond

table

bezel facet

star facet

upper half facet

crown

In emerald cuts, smoothly beveled corners add visual appeal and provide a secure setting area for prongs.

girdle

pavilion culet

lower half facet

pavilion main facet

Peter Johnston/GIA

Tino Hammid/GIA

A round brilliant diamond’s light performance is governed by the relative sizes of its facets and the angles between them. A knowledge of the names of those facets will help you present diamonds professionally.

Pears should have gently rounded shoulders and wings for an appealing girdle outline.

plain rectangle. They’re also practical: They provide a secure setting area for prongs and make the stone less vulnerable to chipping. The size of the beveled corners matters, too. If they’re too narrow, they give the stone an odd look and make it difficult to set.

Girdle outline—Face-up shape of a polished gem.

Shoulders are located near both ends of oval shapes and near the rounded end of pear shapes. They should be gently and evenly rounded. Squaring the shoulders makes the diamond weigh more, but it makes pears look triangular and ovals look chunky. In the same way, a distorted curve on the lobes of a heart can make it look squashed or flat.

Shoulder—One of the two sides adjacent to the rounded end of a pear or oval shape. Wing—One of the two sides near the point of a marquise, pear, or heart shape.

On marquises, pears, and hearts, the sides near the points are called wings. They should form attractive arches. If they’re too flat, they make the stone look too narrow. If they’re too rounded, they make it look short and stubby.

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Marcel Tolkowsky— Father of Modern Cut Research Few people have had as dramatic an influence on the diamond cutting industry as Marcel Tolkowsky (1899-1991). He wrote a small book called Diamond Design in 1919, based on research he did while earning an advanced engineering degree. In that work, Tolkowsky produced a mathematical study of the way light performed within a round Peter Johnston/GIA brilliant diamond. Marcel Tolkowsky played an important early His findings influrole in diamond cut research. enced diamond cutting for decades. Vincent Cracco/GIA

Advances in technology have brought diamond cut research to a new level. Researchers today use three-dimensional computer models of “virtual diamonds” to simulate the impact that cut and proportion variations have on a diamond’s appearance. The virtual diamond’s profile (top) and face-up views (center) can be matched with images of actual diamonds (bottom) to confirm the research results.

Tolkowsky’s two-dimensional mathematical model made an attempt to derive the “best” table size, pavilion angle, and crown angle for a round brilliant. Tolkowsky argued that certain values for these three proportions produced “the most fire and greatest brilliancy.” The modern ideal cut evolved from his work. As important as his findings were, though, they were not the final answer. Today’s scientists have the benefit of advanced equipment that wasn’t even dreamed of in Tolkowsky’s day. Using computers, they can create threedimensional models of a diamond. This allows them to analyze the complex ways light behaves when it strikes and enters a diamond. While there’s still a lot for modern researchers to learn about the way a diamond’s proportions affect light performance, there’s one thing for certain: They owe Marcel Tolkowsky a debt of gratitude for paving the way. They can build on his work to develop a whole new way of evaluating and discussing diamond cut.

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Table Size The size of the table is important because it helps determine how much light enters and leaves the diamond. Table size or table percentage indicates how large the table is in relation to the diameter of the stone. In a round brilliant, it’s expressed as a percentage of the average girdle diameter, which is determined by measuring the girdle in several directions and then adding the smallest and largest measurements and dividing by two. The average girdle diameter is an important figure: It’s used as a basis of comparison for many other diamond dimensions.

girdle diameter 100% table size 57%

Before the invention of the rotary diamond saw, table percentages were as small as 40 to 50 percent. This was mostly because grinding was the only way to shape a diamond. Cutters were forced to form each piece of rough into a single finished stone. A small table allowed the cutter to keep more of the diamond’s rough weight. When the rotary diamond saw came into use in the early 1900s, cutters found they could get two stones from one well-formed rough crystal. They were able to cut large tables and still retain a high percentage of the original rough weight. After that, cutters began cutting larger and larger tables. Eventually, many diamonds were cut with tables so large that they caused a reflection that overpowered the light from the other facets. Today, most round brilliant table sizes are in a range that reflects a compromise between weight retention and optical beauty—somewhere between 50 and 66 percent. This may seem like a wide range, but in a 1-ct. stone, it’s a difference of less than one millimeter.

Peter Johnston/GIA

When a diamond grader expresses a round brilliant diamond’s table size, it’s stated as a percentage of its average girdle diameter.

Table percentage (size)—Table size expressed as a percentage of a round brilliant’s average girdle diameter.

Peter Johnston/GIA

The invention of the diamond saw allowed cutters to divide diamond rough into two or more sections. Before that, the top of an octahedron had to be ground away, yielding just one stone per piece of rough.

John Koivula/GIA

John Koivula/GIA

Average girdle diameter—The result achieved by adding the smallest and largest girdle measurements of a round brilliant and dividing by two.

John Koivula/GIA

Table size influences the amount of light that enters and exits a diamond. On round brilliants, tables under 50 percent are sometimes considered too small (left) because they diminish brightness. Diamonds with medium-sized tables—between 50 and 66 percent— are usually the most attractive (center). Tables over 66 percent can create a flash of brightness that overpowers a diamond’s other features (right).

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crown height

Peter Johnston/GIA

The crown angle is measured where the bezel facets meet the girdle plane.

Andrew McKinney

The bezel setting is used in many attractive and interesting jewelry designs. It’s also a protective setting because it completely surrounds a stone with precious metal.

Crown Angle Crown angle—The angle formed by the bezel facets and the girdle plane.

The crown angle is the angle that’s formed where the bezel facets meet the girdle plane. It’s related to crown height and table size: The higher the crown and the smaller the table, the greater the crown angle. Most diamonds have crown angles between 25° and 35°. Diamonds with crown angles shallower than 25° can be quite bright, but they are more susceptible to damage than stones with higher crowns. Diamonds with shallow crowns should be set in mountings that protect the girdle area, like bezel settings, which surround the stone with a rim of precious metal. Shallow diamonds are better suited for use in jewelry where they’re less vulnerable to damage, like earrings and pendants. Stones cut from shallow rough are a challenge for the cutter who tries to get the largest girdle diameter and the highest possible weight retention. As a result, they’re usually cut with shallow crowns and pavilions. They also tend to have larger table percentages and thin girdles.

Girdle Thickness

John Koivula/GIA

While you can measure girdle thickness and express it as a percentage of average girdle diameter, most people judge it by eye. Much of its influence depends on the size of the stone. A thick girdle can create unattractive, large, fuzzy, gray reflections in the stone. If it’s too thick, it can make the entire stone look darker. On the other hand, a thick girdle might actually enhance the face-up color of a fancy-color diamond.

A diamond’s girdle should be uniform and not too thick. If the girdle is bruted, it should look frosted or waxy (top). Girdles that are too thick add unnecessary weight and, when bruted, can trap dirt and cause the stone to look dark (bottom).

Uniformity is another consideration. On a step cut or a rectangular brilliant, the girdle should be the same thickness all the way around. On a round, oval, or cushion-shaped brilliant, it should be slightly thinner between pairs of mains and half facets, and thicker where the points of crown and pavilion main facets meet.

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Gary Roskin

Girdle thickness can be increased in certain locations on some fancy shapes. This heart’s cleft is much thicker than the rest of its girdle.

The development of mechanized cutting techniques made faceted girdles more common. Faceting can make the girdle less obvious and brighten its reflections.

Extreme variations in girdle thickness can cause problems when the stone is set. But sometimes the variations are intentional. The girdles of marquises, pears, and hearts are often slightly thicker at the points to reduce the possibility of chipping. Hearts have thicker girdles in the clefts, too.

The girdle might also be polished or faceted. A polished girdle has a smooth surface, while a faceted girdle has a series of smooth, flat facets. Polishing or faceting a thick girdle can make it less obvious, and also make the girdle reflections brighter. When you judge girdle thickness, it doesn’t matter whether the girdle is bruted, polished, or faceted.

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pavilion depth 44%

The girdle on a diamond can be unpolished, which is called a bruted girdle. A bruted girdle should look frosted or waxy. If the girdle-shaping process is done incorrectly, the girdle will have a rough, granular surface. A rough girdle can trap oil and dirt, and it can eventually get so dirty that the stone will look dark.

girdle diameter 100%

Peter Johnston/GIA

On a round brilliant, pavilion depth is measured from the girdle to the culet, then expressed as a percentage of average girdle diameter.

Pavilion Depth Percentage Pavilion depth percentage is the distance from the bottom of the girdle plane to the culet. On a round brilliant, it’s expressed as a percentage of average girdle diameter, and it can be judged visually, or measured and calculated. While diamond cutters have long known that pavilion depth percentage is important to brightness, GIA researchers have found that it’s critical to fire, too.

Pavilion depth percentage—The distance from the bottom of the girdle plane to the culet, expressed as a percentage of the average girdle diameter.

When you look at a face-up view of a diamond with a pavilion depth of around 40 percent, part of the girdle often reflects through the table, especially if you tilt the diamond slightly. In many round brilliants with pavilions shallower than 38 percent, the girdle reflection forms an unattractive gray ring under the table. The ring might also appear in stones that have both a pavilion depth around 40 percent and a large table. The effect is called a fisheye. It gives the stone a dull, flat look.

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In the US, FTC guidelines can help you describe diamonds accurately and ethically. The FTC considers it unfair and deceptive not to describe uncut or unfaceted diamonds as “rough.”

Cut and the FTC The FTC Guides for the Jewelry, Precious Metals, and Pewter Industries addresses several aspects of cut. It starts by making cut an essential part of the definition of diamond itself. Section 23.12 Definition and misuse of the word “diamond.” (a) A diamond is a mineral consisting essentially of pure carbon crystallized in the isometric system. It is found in many colors. Its hardness is 10; its specific gravity is approximately 3.52; and it has a refractive index of 2.42. (b) It is unfair or deceptive to use the unqualified word “diamond” to describe or identify any object or product not meeting the requirements specified in the definition of diamond provided above, or which, though meeting such requirements, has not been symmetrically fashioned with at least seventeen (17) polished facets.

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Note to paragraph (b): It is unfair or deceptive to represent, directly or by implication, that industrial grade diamonds or other non-jewelry quality diamonds are of jewelry quality. (c) The following are examples of descriptions that are not considered unfair or deceptive: (1) The use of the words “rough diamond” to describe or designate uncut or unfaceted objects or products satisfying the definition of diamond provided above; or (2) The use of the word “diamond” to describe or designate objects or products satisfying the definition of diamond but which have not been symmetrically fashioned with at least seventeen (17) polished facets when, in immediate conjunction with the word “diamond,” there is either a disclosure of the number of facets and shape of the diamond or the name of a type of diamond that denotes shape and that usually has less than seventeen (17) facets (e.g., “rose diamond”). Later in the Guides, the FTC goes into more detail on the use of cutting terms as well as specific facet requirements: Section 23.16 Misuse of the term “properly cut,” etc. It is unfair or deceptive to use the terms “properly cut,” “proper cut,” “modern cut,” or any representation of similar meaning to describe any diamond that is lopsided, or is so thick or so thin in depth as to detract materially from the brilliance of the stone. Note to Section 23.16: Stones that are commonly called “fisheye” or “old mine” should not be described as “properly cut,” “modern cut,” etc. Section 23.17 Misuse of the words “brilliant” and “full cut.” It is unfair or deceptive to use the unqualified expressions “brilliant,” “brilliant cut,” or “full cut” to describe, identify, or refer to any diamond except a round diamond that has at least thirty-two (32) facets plus the table above the girdle and at least twenty-four (24) facets below. Note to Section 23.17: Such terms should not be applied to single or rose-cut diamonds. They may be applied to emerald- (rectangular) cut, pear-shaped, heart-shaped, oval-shaped, and marquise- (pointed oval) cut diamonds meeting the above-stated facet requirements when, in immediate conjunction with the term used, the form of the diamond is disclosed.

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John Koivula/GIA

A round brilliant diamond with a shallow pavilion might show an unattractive gray ring under its table (left). This is called the fisheye effect. When the pavilion is too deep, a diamond can look dark in the center (right). This is called a nailhead.

Most stones with pavilions deeper than 49 percent look dark in the center. A pavilion depth of 50 percent or more can produce a dark area under the entire table. This is sometimes called a nailhead. To put this into perspective, it helps to remember that the difference between a pavilion that’s too shallow and one that’s too deep is about 10 percent. On a round brilliant, this corresponds to a difference of only a few degrees in the pavilion angle, which is the angle between the pavilion main facets and the girdle plane. Some people use the pavilion angle instead of the pavilion depth percentage when they evaluate a diamond’s proportions. Pavilion depth percentage and pavilion angle are two different ways of looking at the same thing: The steeper the angle, the greater the depth percentage. With some fancy shapes, variations in the pavilion angle often cause a dark bow-tie to appear across the width of the diamond.

Pavilion angle—The angle formed by the pavilion main facets and the girdle plane. Pavilion bulge—Larger-than-usual pavilion angles on the middle tier of facets, designed to add weight to a step-cut stone. Total depth percentage—Table-toculet depth, expressed as a percentage of average girdle diameter.

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Round diamonds have almost the same pavilion angle all around, so they also have the most even light display. On fancy shapes, though, pavilion angles are more variable from one part of the stone to another. This causes variations in light display. One of the most common effects, especially in marquises, ovals, and pears, is the dark bow-tie, which looks just like its name. A cutter can balance light display in a fancy shape by cutting an elongated culet or changing the angle of its pavilion facets. To increase the weight of finished emerald-cut diamonds, some cutters increase the pavilion angles of the middle tier of facets, and cut a larger pavilion. This changes the overall profile of the diamond. The result is called pavilion bulge. Its disadvantage is that it often reduces the diamond’s brilliance. A large bulge can make a diamond difficult to set, and it adds to the weight—and the cost—without adding to the diamond’s beauty.

Total Depth Percentage Total depth percentage is the diamond’s table-to-culet depth. On a round brilliant, it’s expressed as a percentage of the diamond’s average girdle diameter.

Cut and Value

If total depth percentage is less than 55 percent, the stone probably has a shallow crown or pavilion, along with a large table, shallow crown angles, or a combination of these features. If it’s more than 65 percent, the crown or pavilion might be deep, and the girdle is probably thick. In either case, the proportion variations might affect the diamond’s beauty.

girdle diameter 100%

total depth 59%

To many people, a 60 percent total depth percentage means that the stone is well proportioned, but this isn’t necessarily true. The total depth percentage combines crown height percentage, girdle thickness percentage, and pavilion depth percentage, so it’s meaningless if any of those three percentages fall outside the “normal” range. Examples would be a diamond with an extremely thick girdle, or one with a very shallow crown and an overly deep pavilion.

Peter Johnston/GIA

Total depth percentage is the diamond’s depth from table to culet, expressed as a percentage of its average girdle diameter.

While total depth percentage is a good indication of a diamond’s proportions, it can’t tell the whole story. It’s no substitute for careful inspection and analysis of the relationship between a diamond’s proportions.

Culet Size Most fancy cuts have culets, while many rounds don’t. The culet’s primary purpose is to protect the bottom of a gem against accidental chipping or abrasion. Diamond graders estimate culet size visually. You can see a medium culet through the table with 10X magnification, but not with the unaided eye. A large culet, on the other hand, is easy to spot through the table without magnification. And the octagonal outline of a very large culet is clearly visible. Many old-style cuts have extremely large culets by today’s standards.

Eric Welch/GIA

Large culets, like the one seen through the table of this old-style cut, were common in stones cut in the nineteenth century.

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Length-to-width Ratio The length-to-width ratio is an important proportion consideration for fancy shapes such as marquise, emerald, princess, pear, heart, and oval cuts. You calculate it by dividing the diamond’s length by its width. Then, you assign a value of one to the width and state the relationship as a ratio. If an emerald cut measures 4 mm × 2 mm, for example, its length-to-width ratio would be 2:1, and stated as “two to one.” Some length-to-width ratios are more visually pleasing than others. And each shape has its own “preferred” ratios. Marquises are most popular in length-to-width ratios between 1.75:1 and 2.25:1. People tend to prefer ovals between 1.33:1 and 1.66:1. Emerald cuts, rectangular cushions, and pears are most popular in length-to-width ratios between 1.50:1 and 1.75:1. And hearts are generally considered most attractive at 1:1. A stone with a length-to-width ratio that falls outside these ranges is still marketable, but would probably sell at a lower price. Fancy shapes have certain proportions that are commonly considered more attractive than others. This oval has a length-to-width ratio that is visually pleasing (top), but the marquise falls outside the preferred ratio for its shape (bottom).

Length-to-width ratios might affect durability and practicality. A long, thin stone, for example, might break easily, especially if it has points, like a marquise or a pear. Stones with unusual length-to-width ratios often require custom mountings like the ones found in high-end jewelry.

Appealing Proportions For round brilliants, most table percentages are between 50 percent and 66 percent, most crown angles are between 25° and 35°, and most pavilion depths are between 42 percent and 44 percent. In small stones, the primary optical goals are brightness and scintillation, so there’s not much concern about subtle proportion variations. Deep pavilions are common, and very small, round diamonds might carry 10 percent of their weight in extra girdle thickness.

Andrew McKinney

The unusually elongated pear-shaped diamond and the triangle cut are both enhanced by custom mountings.

With fancy shapes, there’s less of a consensus about appealing proportions, and the variations are greater. Emerald cuts with tables over 70 percent and pavilion depths of 50 percent or more are common. So are marquises, ovals, and pears with shallow crown and pavilion angles. The variations in shoulders, wings, bellies, and bulges are endless. A diamond’s proportions can provide a way for appraisers and other diamond professionals to estimate its weight if it’s mounted. This involves the use of a series of mathematical formulas, along with the proportions that can be measured within the limitations imposed by the mounting. Gem professionals often get fairly accurate results, but proportion variations can affect weight estimations.

Length-to-width ratio—Comparison of the length to the width of a fancyshaped diamond.

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A thick girdle, for example, represents a significant amount of weight because it’s located at the diamond’s widest point. Small stones and fancy shapes are most likely to have thick girdles in order to save weight. Experienced jewelers know they have to account for this when they’re estimating weight.

Cut and Value

Eric Welch/GIA

After examining the rough carefully, a cutter might intentionally introduce proportion variations to save weight or remove clarity characteristics that might lower a diamond’s value.

Without the special formulas and correction tables that exist to help adjust for proportion variations, an estimate of a diamond’s weight might be off by 25 percent or more. This means an estimate on a 2.00-ct. stone might be as low as 1.50 cts. or as high as 2.50 cts. This could translate into a difference of thousands of dollars. Proportion variations can also greatly affect appearance, which can make a difference in a diamond’s value. Stones of comparable color and clarity can weigh about the same and cost about the same, but proportion differences alone can make one look larger, another brighter, and give still another more fire. A cutter might intentionally introduce a proportion variation to save weight or to remove a clarity characteristic. Every extra point of retained weight and every step up the clarity grading scale can translate into an increase in value. Here’s an example: Say a cutter examines a piece of rough and determines that shaping a diamond with a 57 percent table, 34.5° crown angle, 43 percent pavilion depth, and a medium girdle will result in a finished diamond that weighs 0.99 cts.

Ralph Gabriner/Michael David Designs, Ltd.

Designers use very small round diamonds to create jewelry with a lot of brightness and scintillation. Minor proportion variations in the tiny diamonds have little effect on the overall appearance, as long as they’re well matched.

As you’ll learn in the next assignment, if all other value factors are equal, there is a dramatic difference between the value of a 0.99-ct. diamond and one that weighs 1.01 cts. So the value of this diamond will increase significantly if the cutter can squeeze an extra two points (0.02 cts.) out of the rough. Making the girdle just a little thicker can accomplish that goal. When cutters vary proportions to increase weight or to avoid inclusions and blemishes, they have to be careful to work within a very tight range. A noticeable variation will lower the value of the diamond, not raise it.

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Tom Stewart/Corbis Stock Market

Regardless of a diamond’s exact proportions, its beauty and the feelings it inspires are what really matter.

Ideal Cuts Many manufacturers and retailers promote the concept of “idealcut” round brilliants, claiming that their specific proportions create the right balance between brilliance and fire. Consumers who need reassurance like the idea of evaluating a diamond’s cut based on specific standards. Unfortunately, there’s no positive proof that any one set of proportions is truly “ideal.” Cut research results suggest that many different proportion combinations succeed equally well. Currently, manufacturers who classify diamonds as ideal cuts use proportions within certain limits. But ultimately, consumers decide which set of proportions looks best to them. The modern round brilliant remains popular among consumers, even though its table is usually larger and its crown height shallower than those of the various ideal cuts. Partly because of the active marketing of ideal cuts, today’s diamond customers are more knowledgeable about differences in diamond proportions.

Although there’s no single definition of what constitutes an “ideal cut” diamond, manufacturers today use the concept to market their particular brands of diamonds.

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Advanced gemological equipment lets jewelers show customers how one diamond cut compares to another. Countertop diamond imaging systems, such as The Brilliant Eye, can help educate consumers about cut. A sales associate can use a diamond imaging system to display a diamond’s dimensions and print a report. The report adds authenticity to the diamond and credibility to the sales presentation. Many diamond experts contend that proportions don’t tell the whole story when it comes to light performance and appeal. In the end, the perceived beauty of the diamond is what really counts.

Cut and Value

Finish A diamond’s finish consists of two qualities: polish and symmetry. Polish is the overall condition of the facet surfaces of a finished diamond. Symmetry is the balance of the diamond’s cut, including the exactness of its shape and the placement of its facets. Individual finish characteristics might be difficult to detect, but they make the difference between good and superb cutting. John Koivula/GIA

Polish Because of its hardness, diamond will take and keep the best polish of any gem. Good polish is essential for maximum brilliance, fire, and scintillation. The primary factors that enter into an evaluation of a diamond’s polish are:

The polishing process can leave marks on a diamond. White polish lines across facet surfaces are commonly seen.

• Abrasions • Lizard skin • Nicks • Pits • Polish lines • Burn marks • Rough girdle • Scratches Diamond graders describe the quality of a diamond’s polish as excellent, very good, good, fair, or poor, based on the presence of these characteristics and their overall visibility at 10X magnification. In polish, excellent means “superior,” not “perfect,” so—for example—a diamond with just a few very hard-to-find polish lines or tiny nicks would be rated excellent.

Polish—The overall condition of the facet surfaces of a finished diamond. Symmetry—The exactness of a finished gem’s shape and the placement of its facets.

If a stone has only faint polish lines or other minor polish features in inconspicuous places, its polish is very good. A diamond with a polish rating of good might show noticeable white polish lines or a few burned facets. Obvious polish features, such as burn marks across several facets, put a stone in the fair category. Polish features that reduce the diamond’s overall transparency, such as heavily burned facets, call for a poor rating. You’ll usually see a poor finish rating on diamonds with low clarity.

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Symmetry A symmetrical diamond has an even display of brilliance, fire, and scintillation. Symmetry variations, which result from the way a diamond is cut, include: • Table or culet off-center • Girdle outline out-of-round • Facets that fail to point properly • Misaligned crown and pavilion facets When graders evaluate the symmetry of fancy-shaped diamonds, they look for things like a balanced and even outline and symmetrically sized and shaped facets. The shoulders on this pear shape are uneven.

• Table not a regular octagon • Misshapen facets • Extra facets • Uneven outline Most diamonds have some symmetry variations. There are essentially no perfectly round diamonds, not all tables are perfectly centered, and not every corner, wing, or lobe is precisely the same size and shape as the one opposite it. Diamonds are examined for symmetry variations under 10X magnification. Like polish, graders use five terms to describe symmetry: excellent, very good, good, fair, and poor. Diamonds with excellent symmetry might have one or two tiny, inconspicuously placed extra facets, a few very slightly misshapen facets, or a few facets that do not point precisely. If a stone has a few small extra or misshapen facets, slight pointing problems, or slight misalignment between the crown and pavilion, its symmetry is very good. If a diamond has a table or culet that’s noticeably off-center, several extra facets, noticeable facet shape and pointing problems, or a noticeably uneven outline, its symmetry is good. When the variations become obvious, often affecting the diamond’s overall appearance when viewed with the unaided eye, its symmetry is fair. If symmetry variations are prominent and significantly affect the diamond’s overall appearance when viewed with the unaided eye, the diamond gets a poor rating. This is extremely rare today, with the new consumer awareness of cut and the presence of new cutting technologies.

Excellent/Excellent Ratings As you’ve learned, diamond graders use the same five terms to describe a diamond’s polish and symmetry. These terms appear on many diamondgrading reports, including those from the GIA Laboratory.

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Cut and Value

A Round Brilliant Diamond’s Cut Grade The GIA cut-grading system gives you an easy-to-understand way of explaining why a diamond looks the way it does. It applies to the most important commercial cut—the standard round brilliant—in all clarities across the D-to-Z color range. There are five cut grades: Excellent, Very Good, Good, Fair, and Poor.

Cut-grading Factors A GIA grader must consider several of a round brilliant diamond’s features together before arriving at a cut grade. The major contributors to the cut grade include girdle thickness, table percentage, crown angle, and pavilion angle.

Graders rate a diamond’s polish and symmetry under Finish on a diamondgrading report. “Excellent” ratings can mean high value, especially with diamonds of exceptional color and clarity.

Besides proportions, the cut grade also includes appearance considerations. These include the traditional factors of brightness, fire, and scintillation. These appearance factors, along with proportions, are a direct result of the fashioned diamond’s design and craftsmanship. Design is determined during the fashioning stage. It’s a diamond’s physical shape, including its proportions and durability. The category also includes a judgment of the diamond’s weight as it relates to its proportions. A grader might consider a diamond “overweight” if it weighs more than its face-up appearance would suggest. Craftsmanship is the care that goes into the fashioning of a diamond during the polishing stages. Ratings for polish and symmetry are included in this category.

The Diamond Report The GIA Diamond Grading Report™ lists the cut grade and ratings for polish and symmetry along with other grading factors. A scaled illustration also displays the diamond’s essential proportions. The diamond report can be a valuable tool to help you identify an individual diamond and also explain its qualities and value to a customer.

Design—A diamond’s physical shape, including its proportions and durability, determined by decisions made during the fashioning process. Craftsmanship—The care that goes into the fashioning of a polished diamond, as confirmed by its finish.

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KEY CONCEPTS

An excellent/excellent polish and symmetry rating adds maximum value to a well proportioned diamond.

Starting in the mid-1990s, buyers and sellers started paying more attention to these terms because a rating of excellent/excellent for polish and symmetry meant an increase in value. For the same reason, cutters and manufacturers pay extra attention to polish and symmetry details on high-clarity and high-color stones. Paying extra attention to these small details can mean a dramatic jump in value.

Selling Cut n

What should you stress in a sales presentation?

n

What are the benefits of different diamond shapes?

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Who should decide what makes a well-cut diamond?

You won’t sell much diamond jewelry by giving lectures on the relationship between crown angle and brightness. But you can use what you’ve learned to help your customers understand that diamonds are cut to exacting standards. Precision is necessary because diamonds are valuable, and every point of saved weight means more value. More important, exacting standards lead to breathtaking displays of brightness, fire, and scintillation. Be prepared to match the benefits of specific cuts to help your customers find just the right piece of diamond jewelry. There are some things to keep in mind when you’re helping match a diamond’s cut to a customer’s needs.

Designers can combine several diamond shapes to create one unique piece of jewelry. This ring features a beautiful mix of baguettes and square and triangular brilliants.

The round brilliant offers an excellent display of light performance. It’s a classic that’s always in fashion. It’s the shape everyone thinks of when they picture a diamond. The facet arrangement hides inclusions. And there are generally more sizes to choose from than there are for any other shape. Triangular brilliants also offer good light performance. They’re a nice alternative to a traditional round brilliant for people who want something different. In smaller sizes, triangular brilliants make nice side stones. Ovals can look larger than round diamonds of equal weight. They’re good alternatives to the round without being too flashy or unconventional. Pear shapes look graceful and stylish without being trendy. They’re beautiful for drop pendants and earrings. Their graceful, tapered shape can be flattering to the finger and hand. They’re often the shape of choice for large diamonds, which tend to look heavy when they’re fashioned as rounds.

Christie’s Images Inc.

Many people think that large diamonds look best as fancy shapes. These earrings feature a 10.93-ct. colorless diamond and an 11.54-ct. Fancy Intense blue diamond. Both pear shapes hang gracefully from smaller oval cuts.

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Fancy shapes such as marquises find their way into a variety of attractive jewelry designs. A marquise can complement a long finger. Like other fancy shapes, marquises can appear larger to the eye than round brilliants of equivalent weight. Heart shapes reflect the romantic sentiments of the people who wear them. They look particularly nice in solitaire pendants. Heart-shaped diamonds have a very bright look.

Cut and Value

Martial Trezzini/Keystone/AP Wide World Photos

Heart shapes are the most romantic of diamonds. They can be particularly striking when set in solitaire pendants. This exceptional 28.03-ct. Internally Flawless heart sold at an auction in 2001 for over US$1.5 million.

Linda Urban/Mira

You can use your knowledge of cut and proportions as a sales tool. It can help you explain how these factors influence a diamond’s beauty.

Princess cuts are excellent alternatives to emerald cuts for people who like square or rectangular shapes, but want the look of a brilliant cut. They have great optical effects, and look flashy but solid. They’re especially good for men’s jewelry or channel settings. Some proprietary square and rectangular cuts are called Radiants and Quadrillions. Many people associate emerald cuts with elegance. Their simplicity of design and bold, geometric symmetry emphasize diamond’s transparency. It’s important to be able to explain the benefits of all the diamonds in your inventory, no matter how they’re cut. It’s also important to remember that different customers will find different aspects of diamond cut important. Some customers are more interested in the carat weight of a diamond than in its optical performance. Your job is to help your customers go home happy, with the diamond that, to them, is the most beautiful and well cut.

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How GIA Grades Diamonds

Eric Welch/GIA

Valerie Power/GIA

Every diamond submitted to the GIA Laboratory is handled carefully and securely every step of the way. The grading process begins when a diamond arrives at the lab. It might be delivered from anywhere in the world by courier or submitted personally by a client (left). A member of the Client Services Staff accepts client submissions through a secured booth (right).

Valerie Power/GIA

Valerie Power/GIA

Each diamond is assigned its own tracking number and placed into a transparent storage case (left). This assures good visibility of the diamond as well as the client’s anonymity. The tracking number helps identify the diamond as it makes its way through the grading process. The first step is for the diamond to be carefully weighed (above) and measured.

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Cut and Value

Valerie Power/GIA

Precision instruments determine the diamond’s measurements, proportions, and facet angles (left). A screening device (right) detects characteristics that indicate the submitted gem might be a lab-grown diamond or a simulant, or if the diamond’s color is lab-induced rather than natural. If necessary, it would be sent for further testing to determine its identity and origin of color.

Valerie Power/GIA

At the client’s request, the diamond can be laser-inscribed with its unique GIA report number or even with the client’s choice of text or symbols.

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Visual Assessment A diamond’s clarity and finish are graded under 10X magnification and standard viewing conditions. To get the most complete picture of these factors, the grader examines it with both a gemological microscope (right) and a loupe (below). At this stage, the grader also checks for treatments such as laser drilling and fracture filling. This stage also includes a visual assessment of the diamond’s culet size and girdle thickness. Along with finish and proportions, these factors help determine the diamond’s cut grade.

Suchada Kittayachaiwattana/GIA

Valerie Power/GIA

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Eric Welch/GIA

A neutral background and controlled lighting conditions provide the lab grader with an ideal color-grading setup. The grader makes an independent determination of a diamond’s color, clarity, and finish. As the diamond moves through the grading process, additional graders examine it until a final grade is determined.

After a diamond’s grading process is complete, GIA issues its individual diamond report. This might be a full grading report or a Diamond Dossier, designed for diamonds that weigh under two carats.

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KEY CONCEPTS Cut isn’t only about shape: It affects many aspects of a diamond’s appearance.

Round brilliants usually deliver excellent brightness, fire, and scintillation.

Proportions play a key role in a diamond’s appearance.

An excellent/excellent polish and symmetry rating adds maximum value to a well proportioned diamond.

Key Terms Average girdle diameter—The result achieved by adding the smallest and largest girdle measurements of a round brilliant and dividing by two.

Pavilion depth percentage—The distance from the bottom of the girdle plane to the culet, expressed as a percentage of the average girdle diameter.

Craftsmanship—The care that goes into the fashioning of a polished diamond, as confirmed by its finish.

Polish—The overall condition of the facet surfaces of a finished diamond.

Crown angle—The angle formed by the bezel facets and the girdle plane.

Proportions—The angles and relative measurements of a polished gem, and the relationships between them.

Design—A diamond’s physical shape, including its proportions and durability, determined by decisions made during the fashioning process.

Refraction—The change in speed and possible change in direction of light as it travels from one transparent material to another.

Dispersion—The separation of white light into spectral colors. Finish—The quality of the polish and precision of the cut of a fashioned gemstone. Girdle outline—Face-up shape of a polished gem.

Refractive index (RI)—A measure of the change in the speed and angle of light as it passes from one material to another. Shoulder—One of the two sides adjacent to the rounded end of a pear or oval shape.

Length-to-width ratio—Comparison of the length to the width of a fancy-shaped diamond.

Symmetry—The exactness of a finished gem’s shape and the placement of its facets.

Make—The qualities of a faceted diamond’s proportions and finish.

Table percentage (size)—Table size expressed as a percentage of a round brilliant’s average girdle diameter.

Pavilion angle—The angle formed by the pavilion main facets and the girdle plane. Pavilion bulge—Larger-than-usual pavilion angles on the middle tier of facets, designed to add weight to a step-cut stone.

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Total depth percentage—Table-to-culet depth, expressed as a percentage of average girdle diameter. Wing—One of the two sides near the point of a marquise, pear, or heart shape.

Cut and Value

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How does light interact with a diamond?

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What proportions are critical to maximum light performance?

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How does finish affect a diamond’s overall beauty?

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What should you stress in a sales presentation?

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What are the benefits of different diamond shapes?

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Who should decide what makes a well-cut diamond?

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The Obvious C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Expressing Diamond Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Computing Diamond Cost . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Diamond Weight and Value . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Hanging in the Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Diamond Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Measuring Diamonds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Diamond-Measuring Instruments . . . . . . . . . . . . . . . . . . . . . . . 145 Millimeter Gauges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Hole Gauges and Templates . . . . . . . . . . . . . . . . . . . . . . . . 148 Optical Measuring Devices. . . . . . . . . . . . . . . . . . . . . . . . . 149 Selling Carat Weight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

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Welcome to Diamond Essentials Assignment 5. With the knowledge you gain from this assignment, you’ll be able to: • Understand how to determine and express diamond weight. • Compute a diamond’s total price and per-carat price. • Identify the various instruments used to measure diamonds. • Explain how a small difference in weight can make a big difference in value. • Use diamond weight as part of an effective presentation.

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Tao-Chuan Yeh/AFP

This striking marquise-shaped diamond weighs an impressive 23.80 cts.

Carat Weight and Value Not long ago, a young couple walked into Sutton Jewelers. Carol James approached them with a smile, greeted them, introduced herself, and said, “How can I help you today?” “We’re shopping for an engagement ring,” the young man replied. After a few minutes of questions and answers, Carol had a good idea of what the couple was looking for. She also knew that their names were Elizabeth and Scott, and that they planned to get married the following year. She led them to the diamond ring counter and brought out a ring that featured a 0.77-ct., G-VS2 round brilliant diamond. She cleaned it and handed it to Scott, who slid it onto Elizabeth’s finger.

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Eric Welch/GIA

Customers often consider the size of a diamond first. This gives you the opportunity to explain how size relates to clarity, color, and cut to help determine a diamond’s value.

Carat—The international unit of measurement for gem weight. One carat equals 1/5 of a gram (0.200 g).

“The setting is 14-karat gold. The diamond weighs just over three-quarters of a carat.” Having given them these two important pieces of information, she fell silent to let them admire the ring. Elizabeth held her hand out so she and Scott could get a better look at the ring. After turning her hand and seeing the brilliance and fire, she said, “It’s beautiful—it’s just what I wanted!” “Do you like the size of the diamond?” Scott asked, looking at Elizabeth. “I hadn’t thought about it. Is this a good size?” Elizabeth asked Carol. “It’s a wonderful size,” Carol replied. “As I said, it weighs a little over three-quarters of a carat—the exact weight is 77 points, or 77-hundredths of a carat. The color grade is G, and that’s very good. The clarity is good, too. It’s a VS2, which means it has a couple of minor inclusions inside it—things that are so small that you can’t see them with your naked eye. “The clarity is better than most of the other diamonds in this display,” Carol went on to say. “We can certainly find you a larger diamond, but you’ll either need to pay more or get one with a lower color or clarity grade—or maybe one that isn’t cut as well as this one is. But, for the money, this diamond is one of the best values in the store.” “I think it’s perfect,” Elizabeth said, looking at Scott.

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The presentation went on for a few more minutes. The couple asked about the price of the ring and they discussed payment options. Carol explained how to clean the ring. With all that out of the way, Elizabeth and Scott left the store, happy with their new purchase. The 0.77-ct. diamond gleamed on Elizabeth’s finger—it was almost as brilliant as the smile on her face. This couple illustrates the fact that different customers are concerned with different things. Elizabeth and Scott probably didn’t know the details of clarity, color, or cut—they might not even have known that diamonds come in different colors. But they did know that diamonds come in different sizes. And they brought up a question about the size even before they asked about price. They probably understood that big diamonds cost more than small ones, even though, as you will learn in this assignment, that isn’t always true. But that’s about as far as it went for them—and for many other customers as well. Besides weight, a diamond’s dimensions are also important. As you learned in Assignment 4, you use dimensions to analyze a diamond’s proportions. You also need to know the dimensions to select the proper setting for a loose diamond or to estimate the weight of mounted diamonds. Few retail customers realize how precisely diamonds are weighed and measured. You might not be too clear on it, either. If you work in a retail store, especially if you sell only mounted goods, you might not have to weigh or measure diamonds. But you probably have to explain carat weight to your customers. This assignment will make that job easier for you.

The Obvious C n

What units of measure are used to describe diamond weight?

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What is the best way to describe diamond weight to a retail customer?

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What are some common instruments for weighing diamonds?

As you know, diamond weights are expressed in metric measurements called carats. One carat is equal to 200 milligrams, 1/5 of a gram, or 0.200 gram. A carat is pretty small: It takes 142 of them to make an ounce. The majority of diamonds used in jewelry weigh under one carat.

Eric Welch/GIA

A carat is a small unit of weight: 142 of them make an ounce. In the US, that’s the weight of a first-class letter, so you could send 142 one-carat diamonds in an envelope with a single postage stamp.

KEY CONCEPTS

A diamond’s carat weight and dimensions influence its value. The majority of diamonds used in jewelry weigh under one carat.

When written, carat is usually abbreviated “ct.” Carat weights are usually expressed as decimal numbers: 1.00 ct., 0.23 ct., 1.57 cts., and so on. A carat is the standard unit of weight for most gemstones, not just diamonds. As you learned in Assignment 1, the metric carat is divided into 100 points. The abbreviation for point is “pt.” There are many ways to describe a diamond’s weight. You might state it one way to a retail customer, another way to a supplier. You’ll learn about the different ways to express diamond weight in the next section.

Carat

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Expressing Diamond Weight Imagine that you’re showing a diamond to a retail customer. The diamond weighs 0.47 ct. Which of the following is the best way to describe the weight in a sales presentation? “This diamond weighs 47 points.” “This diamond weighs just under a half carat.” Valerie Power/GIA

Tiny diamonds are weighed in hundredths of a carat. These pink diamonds weigh between 0.01 and 0.10 ct. Among trade members, their weights might be described as one to ten points.

“This is a half-carat diamond.” “The diamond weighs point 47 carat.” One of these descriptions is just plain wrong. It isn’t a half-carat diamond. It weighs almost a half carat, but that doesn’t make it a half-carat diamond. As you’ll learn later, the diamond must weigh no less than 0.495 ct.— 49.5 points—for you to ethically describe it as a “half-carat diamond” in a sales presentation or advertisement. Of the other descriptions, “This diamond weighs just under a half carat” isn’t bad as long as you state the exact weight at some point in the sales presentation. You can write it on the sales receipt, or you can state it verbally. That’s what Carol did at the beginning of this assignment. But you must state it somewhere, somehow. Always make sure that your description of a diamond’s weight is clear, understandable, and accurate.

Ethical presentation of jewelry includes clear and accurate descriptions of diamond weight.

KEY CONCEPTS

Make sure that your description of a diamond’s weight is clear, understandable, and accurate.

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Eric Welch/GIA

When you show an item with small diamonds, you can express their weight in points, but it’s also important to let your customer know how that weight translates to carats.

Carat Weight and Value

Underwood & Underwood/Corbis

The carat was standardized in the early twentieth century. This gave dealers a uniform and universally accepted weight standard for diamonds.

History of the Carat As you learn more about gemstone weight, you’ll realize just how important it is to have a small, accurate unit for precise weight measurements. Modern technology has made such precision possible, but in ancient times, digital scales didn’t exist. The carat system sprouted from a carob seed. The carob seed comes from the locust tree. The seeds grow in pods that are used for flavoring and for livestock feed. Because the small seeds are fairly uniform in size and weight, they provided a fairly consistent basis for gem weight. Early gem merchants and jewelers used them as counterweights in hand-held balance scales. Even when more-precise weighing methods evolved, carat weight wasn’t constant: A “one-carat” diamond might have weighed anywhere from 0.95 to 1.07 metric carats. This was true until the early twentieth century, when a carat was standardized as 0.20 gram. The carat now stands for the same gem weight in every corner of the world.

Polygal AG

The modern carat system started with the carob seed. Early gem traders used the small, uniform seeds as counterweights in their balance scales.

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Melee: Very Small Diamonds You’ve probably seen jewelry set with very small faceted diamonds. Those very small diamonds are called melee (rhymes with belly). They might be used alone or grouped with other melee, or they might provide a glittering backdrop for a large central diamond or colored stone. The exact size range of melee varies from country to country, and from one segment of the trade to another. For some people, melee must weigh less than 10 points; for others, less than 15 points. Some people set the size limit for melee at 17 or 18 points. Still others reserve the term for diamonds between 8 and 13 points in size. Ralph Gabriner/Michael David Designs, Ltd.

Very small diamonds, called melee, are often set in rows or clusters. There are 78 of them in this ring, and each one makes its own contribution to the ring’s overall beauty.

No matter what the weight boundaries are, all agree that melee are very small. But because they’re diamonds, they can still return light to the eye with dazzling efficiency.

What about stating the weight in points—as in “This diamond weighs 47 points”? There’s a good reason why you shouldn’t say this to a retail customer: Few people outside the jewelry trade are familiar with the term. The US Federal Trade Commission (FTC) says that giving the weight in points without further explanation is “unfair or deceptive.” They recommend that you also state the carat equivalent. In other words, you should say something like this: “This diamond weighs 47 points—that’s 47-hundredths of a carat.” If you put it in writing, it should read “0.47 ct.”

Eric Welch/GIA

The diamonds in this ring weigh .05 ct. each, so you can express the total weight as 0.25 ct., or “point 25 ct.”

Melee—Very small faceted diamonds. Total weight—The combined weight of all the diamonds in a piece of jewelry that only contains diamonds.

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So, in this example, the best way to accurately describe the diamond’s weight to a retail customer is, “The diamond weighs point 47 carats.” To give your customer a reference point, it helps to add, “That’s just under half a carat.” Describing diamond weight is a little more complicated if you’re dealing with a piece of jewelry that’s set with more than one diamond. Then you need to state the total weight of all the diamonds. If you’re showing a piece with more than one diamond, be sure to state the sizes, or size range, of the stones clearly. You might say something like this: “The diamonds in this ring weigh between a quarter and a third of a carat each; the total weight is 1.42 cts.”

Carat Weight and Value

If an item contains both diamonds and colored stones, or all colored stones, the weight of all the gems is called total gem weight. You should state it something like this: “This bracelet contains rubies, sapphires, and diamonds that weigh between a quarter and a half a carat each. The total gem weight is 1.75 cts.” Gem professionals have their own ways of expressing weight. One term you might hear from a dealer is light half. It refers to a stone that’s somewhere between 0.45 ct. and 0.49 ct. A light carat is between 0.96 ct. and 0.99 ct. Wholesalers often assemble parcels of similarly sized stones and describe the weight of the stones in ranges. The stones in a parcel of “thirds”— meaning one-third of a carat—might range from 0.30 ct. to 0.37 ct. A parcel of “halves” might range from 0.50 to 0.69 ct. Dealers and other businesses that buy large lots of stones use these specialized trade terms as a type of verbal shorthand. It’s a good idea for you to be familiar with them, but be especially careful not to confuse retail customers by using trade terms.

Total gem weight—The combined weight of all the stones in a piece of jewelry that contains a variety of gems. Light half—A trade term for a diamond that weighs between 0.45 ct. and 0.49 ct. Light carat—A trade term for a diamond that weighs between 0.96 ct. and 0.99 ct.

KEY CONCEPTS

Don’t use trade terms to express gem weight to customers.

There’s something you might notice about the weight examples in this assignment: They’re all stated in hundredths of a carat—that is, to two decimal places. What you might not know is that it’s diamond industry practice to weigh diamonds to a thousandth of a carat (three decimal places), then round the weight to a hundredth of a carat. So if a diamond weighs 1.699 cts., its weight would be rounded to 1.70 cts. The FTC says that stated diamond weight should be accurate to the last decimal place.

John Parrish

When a piece of jewelry contains a variety of gems, you can determine the total gem weight of the item by adding the weights of all the gems together. The total gem weight of this ruby and diamond ring is 7.95 cts. Clara Zink/GIA

Wholesalers have their own ways of expressing diamond weights, especially when they deal in parcels. But trade terms can be confusing for retail consumers. It’s best to use terms they’re familiar with, like carats.

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The FTC’s procedure for rounding diamond weight is slightly different from the practices generally followed by the jewelry industry. Here are the general rules for rounding that you can follow to be in compliance with FTC guidelines: • If the number in the thousandths place is less than 5, drop it and make no changes. A diamond that weighs 1.684 cts. should be stated as 1.68 cts. • If the number in the thousandths place is 5 or more, drop it and increase the number to the left of it by 1. A diamond that weighs 1.686 cts. would be rounded to 1.69 cts. If the number to the left is a 9, you’ll have to keep rounding and moving left. For example, a diamond that weighs 1.696 cts. would be rounded to 1.70 cts., and a 1.995-ct. weight would be rounded to 2.00 cts. Using these rounding guidelines to think of weight in another way, a 1.52ct. diamond can range in weight from 1.515 cts. to 1.524 cts. Many in the diamond trade follow stricter rounding guidelines. This international practice is set by the World Federation of Diamond Bourses and followed by the GIA Laboratory and many other organizations. According to these guidelines, a diamond’s weight can be rounded up to the next higher hundredth only if there’s a nine in the thousandths place. A stone that weighs 1.768 cts. would be rounded to 1.76 cts., but one that weighs 1.769 cts. would be rounded to 1.77 cts. It might have occurred to you that all of this concerns very small differences. But, as you’ll learn, even small differences can make a significant difference in value.

The center diamond in this necklace weighs 0.399 ct., so accepted diamond trade practice would round it to 0.40 ct. In the US, the FTC would allow rounding to 0.40 ct. if it weighed 0.395 ct. or more.

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Computing Diamond Cost There’s an important element that you need to understand: per-carat price. It’s the figure that many wholesalers use to quote the price of single diamonds and parcels. It’s also a useful tool for comparing the prices of different diamonds.

Per-carat price—The price of a gem divided by its weight.

You can figure out the total cost of a diamond if you know its weight and per-carat price. The formula is simple: Cost = Carat Weight × Per-carat Price Here’s an example using two different diamonds: 0.96 ct. × $4,295 per carat = $4,123 1.02 cts. × $5,150 per carat = $5,253 If you know the total price and the diamond’s weight, you can compute the per-carat price. Here’s how: Per-carat Price = Total Price ÷ Carat Weight Here’s an example using the same two diamonds: $4,123.00 (Total Price) ÷ 0.96 ct. = $4,295 per carat $5,253.00 (Total Price) ÷ 1.02 cts. = $5,150 per carat Note that these diamonds aren’t much different in size, but their total and per-carat prices are very different. You’ll learn why this is important and how you can use this information later in the assignment.

Practice Makes Perfect Here are some sample problems you can use to practice computing cost and per-carat price. Round your answers to the nearest dollar. Don’t send your answers to your instructors—these problems are for practice only. The answers are printed below. 1. What is the total cost of a 0.99-ct. diamond with a per-carat price of $5,125? 2. A 0.77-ct. diamond wholesales for $3,600. What is its per-carat price? 3. What is the per-carat price of a 0.24-ct. diamond that wholesales for $1,895? 4. A 0.37-ct. diamond has a per-carat price of $2,195. What is its total cost?

Answers: 1. $5,074; 2. $4,675; 3. $7,896; 4. $812 139

Diamond Essentials 5

Both by Christie’s Images Inc.

Large gems are much rarer than small ones, so two pieces of jewelry with similar total weights might have very different prices. The ring’s center diamond weighs 23.34 cts., and the ring sold for over $350,000. The necklace contains much smaller diamonds with a total weight of about 25 cts., and it’s valued at $25,000.

Diamond Weight and Value Bigger is better—and costs more, right? As far as diamonds go, that’s often the case. If all other value factors are equal, a 1.50-ct. diamond is much more valuable than a 0.50-ct. diamond. But if you compare a D-Flawless, 0.51-ct. diamond and a P-I3, 1.01-ct. diamond, which one do you think is more valuable? Because of their differences in color and clarity, it isn’t the big one. Many people think that a larger diamond is more expensive, but that isn’t always true. Differences in color and clarity can make a small diamond much more valuable than a large one. The size difference of these diamonds is dramatic, but the 0.51-ct. D-color Flawless diamond is worth many times more than the 1.01-ct. P-color diamond with I3 clarity.

As you’ve learned throughout this course, a diamond’s value is based on a combination of the Four Cs. That’s a key tool you can use with retail customers—just as Carol did at the beginning of this assignment when she said, “We can certainly find you a larger diamond, but you’ll either need to pay more or get one with a lower color or clarity grade—or maybe one that isn’t cut as well as this one is.” In that single statement, she presented the customers with a clear choice— to get a larger diamond without paying more money they would have to trade down on one or more of the other value factors. You might have noticed that Carol’s customers didn’t ask about price until late in the transaction. That’s probably because, throughout her presentation, Carol assured them that they were getting a good value. That’s often what people really want to know: “Am I getting a good value? Am I getting what I’m paying for?”

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FTC Guidelines on Diamond Weight In 2001, the Federal Trade Commission (FTC) published its revised Guides for the Jewelry, Precious Metals, and Pewter Industries. As you learned in Assignment 1, the FTC has jurisdiction only in the US, but its guidelines are often accepted and followed by the international industry. Section 23.18 outlines the FTC’s guidelines on misrepresentation of diamond weight: (a) It is unfair or deceptive to misrepresent the weight of a diamond. (b) It is unfair or deceptive to use the word “point” or any abbreviation in any representation, advertising, marking, or labeling to describe the weight of a diamond, unless the weight is also stated as decimal parts of a carat (e.g., 25 points or .25 carat). NOTE: A carat is a standard unit of weight for a diamond and is equivalent to 200 milligrams (1/5 gram). A point is one onehundredth (1/100) of a carat. (c) If diamond weight is stated as decimal parts of a carat (e.g., .47 carat), the stated figure should be accurate to the last decimal place. If diamond weight is stated to only one decimal place (e.g., .5 carat), the stated figure should be accurate to the second decimal place (e.g., “.5 carat” could represent a diamond weight between .495 and .504). (d) If diamond weight is stated as fractional parts of a carat, a conspicuous disclosure of the fact that the diamond weight is not exact should be made in close proximity to the fractional representation and a disclosure of a reasonable range of weight for each fraction (or the weight tolerance being used) should also be made. NOTE: When fractional representations of diamond weight are made, as described in paragraph (d) of this section, in catalogs or other printed materials, the disclosure of the fact that the actual diamond weight is within a specified range should be made conspicuously on every page where a fractional representation is made. Such disclosure may refer to a chart or other detailed explanation of the actual ranges used. For example, “Diamond weights are not exact; see chart on p. X for ranges.”

When they did ask about price, here’s what Carol said: “This is a very good-quality diamond, with good color and clarity. Large, good-quality diamonds like this are rare, so it’s more valuable than a smaller diamond. This one sells for $3,500.” Even while quoting price, she was reinforcing the idea that they were getting a good value for their money.

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Eric Welch/GIA

Eric Welch/GIA

Electronic scales are extremely sensitive and accurate. Many weigh diamonds to thousandths of a carat.

The simple balance scale is a gem-weighing tradition, but many jewelers today use electronic digital scales.

Hanging in the Balance KEY CONCEPTS

Most jewelry professionals use electronic balances to weigh unmounted diamonds.

The image of a jeweler with an eye-loupe in one eye and a simple balance scale in one hand is certainly nostalgic. It’s also outdated in the modern jewelry trade. Most jewelry professionals use electronic balances to weigh loose diamonds. Electronic balances come in both portable and desk models. Each has its advantages and disadvantages. The portable model is light enough to carry, but the larger desk models are generally more precise. Most electronic scales weigh gems to a tenth of a point, or one thousandth (0.001) of a carat, with repeatable accuracy. Many also have the option of switching to gram or pennyweight readouts, which are used to weigh gold and other jewelry metals. All balances, even electronic ones, are susceptible to error caused by movement and vibration. Even air movement can affect the most sensitive scales, so they have glass doors to guard against false readings. Their delicate tolerances mean they also have to be adjusted for accuracy, or recalibrated, regularly. Most come with standard weights so you can do the recalibrations yourself.

Diamond Dimensions n

How do a diamond’s dimensions help you?

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How do you measure diamonds?

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What different kinds of instruments can you use to measure diamonds?

As you’ve seen, tiny differences in weight can make large differences in diamond value. That’s why weighing a diamond requires precise equipment.

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But precise weight is just part of the picture. Accurate dimension measurements are important, too. They’re essential if you need to: • Identify a stone • Choose the proper size mounting • Estimate the weight of mounted stones • Analyze proportions Diamond measurements are taken in thousandths, then rounded to hundredths, of a millimeter (0.01 mm). The illustration shows what a millimeter looks like, and how it compares to US inches. You have to imagine what a hundredth of a millimeter looks like—it’s too small to show in print.

Diamond measurements are stated in hundredths of a millimeter: a unit too small to show here.

Measuring Diamonds The ability to measure diamond dimensions is the sign of a true professional. An important diamond dimension is depth, which is measured from top to bottom, or table to culet. Other important dimensions are a round diamond's diameter and a fancy-cut diamond’s length and width.

Depth—The distance from the table to the culet of a polished gem.

The diameter of a round diamond is measured from one girdle edge to the opposite girdle edge, straight through the center. But no round diamond, no matter how well cut, is perfectly round. That’s why gem professionals usually use the diamond’s average girdle diameter. As you learned in Assignment 4, you find it by measuring the diamond in at least six directions and then taking the minimum and maximum diameters, adding them, and dividing by two. If the diamond is mounted, measure between the prongs. Don’t worry if you can’t get six diameter measurements: Get as many as you can and then average the smallest and largest of those. For example, if the diameter measurements are 4.23, 4.24, 4.26, 4.24, 4.27, and 4.28 mm, the minimum and maximum diameters are 4.23 and 4.28 mm. Here’s the calculation: 4.23 + 4.28 = 8.51 8.51 ÷ 2 = 4.255 mm Graders use the average girdle diameter as a basis of comparison for many other diamond dimensions. They also use it in formulas for calculating diamond weight. You’ll learn more about this in Diamonds & Diamond Grading. When you measure a fancy shape, you use length and width instead of diameter. Length is typically the stone’s longest dimension, end to end (not diagonally). Width is measured at a right angle (90°) to length. It’s easy to find the width on rectangular cuts: It’s the shortest dimension. With a heart shape, width is the distance between the widest parts of the lobes. Length is the distance from the point to an imaginary line across the tops of the lobes. On triangular cuts, width is the distance from corner to corner on the side that’s least like the other two, or on any side if they’re all equal. The length is the distance from that side to the point across from it.

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Peter Johnston/GIA

To measure the diameters of a prong-set diamond (top), measure at places where the prongs don’t cover the stone. On bezel-set diamonds (bottom), you have to estimate the location of the diamond’s girdle edge under the mounting.

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Diamond Essentials 5

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width

Peter Johnston/GIA

Use length and width instead of diameter when you measure fancy shapes. The length is typically the longest dimension and the width is at a right angle to the length.

You can measure between the prongs on most settings, but you have to estimate the diameter of bezel-set stones, which have a metal rim running all the way around the girdle. On a bezel-set round brilliant, you estimate the spot on the girdle where the bezel facets come to a point and measure from there. You use roughly the same method to estimate the length of mounted fancy cuts—marquises, for example—if prongs cover the points. On step cuts, you can judge the width of the outside facet by the width of the facets that aren’t covered by the setting.

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You might have to estimate the length of mounted fancy-cut diamonds if prongs cover their points.

Diamond mountings can interfere with accurate measurements. For bezel settings, you have to estimate the location of the gem’s girdle edges. Prong settings are a little easier: Just measure between the prongs in as many places as you can.

As you take measurements, it’s important to record each one immediately. Be sure to specify if it’s an actual or estimated measurement. With a round stone, record both the minimum and maximum diameters and depth; with a fancy shape, record length, width, and depth. Diamond measurements are usually recorded in a series. On round shapes, measurements are listed as “minimum diameter – maximum diameter × depth.” (Read it as “minimum diameter to maximum diameter by depth.”) Fancy-shape measurements are listed as “length × width × depth.” The depth measurement is always stated last.

KEY CONCEPTS

When you record a diamond’s dimensions, always specify whether they’re actual or estimated.

Diamond-measuring Instruments The precise measurement requirements for diamonds obviously demand the right instruments. That’s why there are instruments designed especially for use in the gem and jewelry industry.

Millimeter Gauges A millimeter gauge is a simple instrument, with jaws that hold the diamond and take the desired measurements. There are many types of millimeter gauges. Some models have a large dial marked in whole millimeters and tenths and a smaller one that records each 10-mm rotation. That way, each time the large dial goes around a full turn, it represents 10 millimeters.

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Eric Welch/GIA

Millimeter gauges are especially useful because they can measure the dimensions of mounted gems as well as loose ones.

To get an accurate measurement, you have to add the reading on the smaller dial to the one on the main dial. Otherwise, you could record 5.20 mm when the measurement is really 15.20 mm. To read the gauge, you have to estimate to hundredths of a millimeter. With a little experience, you can be very accurate.

KEY CONCEPTS

A millimeter gauge is very useful for measuring mounted stones.

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Some of today’s millimeter gauges have digital readouts, which eliminates the problem of adding the 10-mm reading. They also display hundredths, so you don’t have to estimate. Millimeter gauges are fine for measuring loose stones, but their real advantage is that they measure mounted gems as well. For example, if the stone is in a setting that leaves parts of the girdle exposed, you can use the gauge to take diameter measurements at the exposed areas.

Carat Weight and Value

Estimating Weight Well-cut diamonds have fairly standard proportions. For example, a 1.00-ct. round brilliant usually has a girdle diameter of approximately 6.50 mm. This consistency makes it possible to estimate the weight of a round brilliant by measuring its girdle diameter. The more precise your measurements, the closer your estimate will be to the diamond’s actual weight. The predictability is especially useful with smaller stones, which are difficult to measure accurately. But keep in mind that, if the small stones are single cuts, their weights will be slightly different from full cuts with the same dimensions. Weight estimation is never exact. There are ways to estimate weight with better accuracy by using additional measurements and a set of specially developed formulas. You’ll learn how to do this in the GIA Diamonds & Diamond Grading course.

Peter Johnston/GIA

Peter Johnston/GIA

These charts provide a quick way to estimate the weight of a diamond according to its diameter. The relationship between diameter and weight is different for full-cut and single-cut diamonds, so there are two sets of estimates.

FULL CUTS

SINGLE CUTS

Diameter

Approx. Weight

Diameter

Approx. Weight

1.3 mm 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8

0.01 ct. 0.02

1.0 mm 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0

0.005 ct.

0.03 0.04 0.05 0.06 0.07 0.08 0.09 0.10 0.11 0.125 0.14 0.15 0.16 0.17 0.18 0.20

0.01 0.015 0.02 0.03 0.035

(Single cuts larger than 0.04 carat are rare.)

Measuring the depth of a mounted diamond is easy if you can get the lower jaw of the gauge squarely on the culet. Place the upper jaw on the center of the table and read and record the measurement. Sometimes, the mounting gets in the way. If there’s a small hole in the back or if the stone is set unusually high, you can use a special attachment that comes with the gauge. If not, you might have to estimate. The jaws on some millimeter gauges are spring operated. If you let go, they’ll snap shut. This can damage the stone or the instrument or both. Always follow the operating and maintenance instructions that come with the instrument.

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Eric Welch/GIA

The openings in hole gauges are sized to various diamond measurements. They can be used to estimate diamond dimensions as well as weights.

Joel Beeson/GIA

Some hole gauges have round tabs in various sizes. The stone setter can match a tab to the opening in a mounting to determine what size stone would fit.

A template is a transparent piece of plastic with outlines of diamonds of various shapes and sizes. It’s also printed with an approximate weight for each size.

Hole Gauges and Templates Hole gauges are useful for estimating a diamond’s dimensions. They’re simply sheets of plastic or metal with holes that correspond to various diamond girdle measurements. They also often give an approximate weight for each diameter. Some hole gauges have round tabs that stone setters use to measure the spaces in settings that require replacement stones.

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Transparent templates are used to visually estimate diamond weights. They’re especially useful for estimating the weights of small diamonds in multi-stone settings. Templates are printed with outlines of diamonds in several shapes and sizes. Each outline is labeled with an approximate carat weight. Simply match the diamond being examined with the outline that most closely matches it and read the carat weight on the template. While this is a good way to get a quick reading of a diamond’s size, weights obtained this way are approximate. Templates only work for estimating diamond weights: They don’t work for colored stones.

Optical Measuring Devices An optical measuring device scans and measures a diamond, then projects its outline image. The system also provides the measurements and proportions you need to analyze and describe a diamond. The whole process takes just a few seconds, and it works for loose diamonds—fancy shapes as well as rounds. These systems do more than measure diamonds. They also perform some complex proportion calculations. Among other things, they calculate how much a diamond of those particular dimensions should weigh. If the calculated weight differs significantly from the actual weight determined on the scale, it’s a good indication that the stone is not a diamond.

Eric Welch/GIA

An optical measuring device scans and measures a loose diamond, then projects its image and proportions on a screen using special software. The results are very accurate.

Originally, optical measuring devices were very expensive and hard to calibrate and maintain. They’re still more costly than manual gauges, but they have become more affordable, accurate, and more readily available. No matter which instrument or measuring system you use, after you take and record the measurements, it’s a good idea to pause and take another look at the stone to make sure the figures make sense. You’ll avoid embarrassing and costly errors if you recognize right away that the weight or measurements don’t look right.

KEY CONCEPTS

Always examine the diamond after recording the measurements to be sure they make sense.

Selling Carat Weight n

How does carat weight’s relationship to rarity build value?

n

What are magic sizes and why are they useful in retail sales presentations?

Carat weight is usually one of the easiest things to explain in a sales presentation. But as you’ve seen in this assignment, it’s not as simple as some people might think. One way you can assist your customers with carat weight decisions is to use the “magic size” concept. Some weights are considered “magic sizes”: half carat, three-quarter carat, one carat, etc. The influence of the magic size effect is a little complicated. But if you understand it, you can make it work for you.

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A template is a transparent piece of plastic with outlines of diamonds of various shapes and sizes. It’s also printed with an approximate weight for each size.

Weight, Dimensions, and GIA Diamond Reports When a diamond is submitted to the GIA Laboratory, one of the first steps in the grading process is to determine the diamond’s weight and dimensions. To ensure precision, the lab uses an electronic micro-balance scale to weigh each diamond to the fifth decimal place—hundred thousandths of a carat. The weight is then rounded two steps down to the thousandths place following the simple rounding rule. The next step is to round that figure to hundredths following the stricter diamond-trade rounding rule, rounding up only when the last digit is a 9. This figure—the weight rounded to the hundredths place—is then recorded on the report. After the diamond is weighed, a high-definition optical measuring device is used to determine its basic dimensions, facet angles, and proportions. To assure the accuracy and consistency of the statistics listed on its reports, the lab adheres to strict calibration and maintenance procedures for its devices. Their procedures exceed even the manufacturers’ recommendations. In addition, the lab monitors and controls environmental conditions that might affect the quality of the results, such as room temperature and humidity.

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Diamond grading reports from the GIA Laboratory include statements of dimensions and weight.

Eric Welch/GIA

GIA offers the Diamond Dossier®, a condensed grading report without a plot, for diamonds that weigh up to 1.99 cts.

When a diamond is accompanied by a GIA report, the buyer can be sure of the stone’s exact dimensions, weight, and quality.

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Carat Weight and Value 1.00 ct.

increasing price per carat

0.75 ct. 0.50 ct.

0.25 ct.

increasing size Peter Johnston/GIA

In diamonds that are equal in every other way, value increases as size increases. At certain weight boundaries, called “magic sizes,” value increases dramatically. This is especially true at the magic one-carat size.

For example, if you think back to earlier examples, you’ll remember that one diamond weighed 0.96 ct. and the other weighed 1.02 cts. But the total price of the 0.96-ct. diamond was $4,123 ($4,295 per carat), while the total price of the 1.02-ct. diamond was $5,253 ($5,150 per carat). The price difference between the two diamonds was $1,130, or $855 per carat.

Maha Tannous/GIA

You can hardly see the difference between these diamonds, which all weigh around 1.00 ct., but their prices are very different. The stones that weigh just over 1.00 ct. are worth much more than the ones that weigh just under 1.00 ct.

There’s not much difference in their weights, but if both are D-color round brilliants with identical clarity and cut, the size makes all the difference. They really don’t look much different, but if your customer’s heart is set on the one-carat size, the difference is enormous. It’s the fact that the second stone is slightly over the “magic” one-carat size that gives it a 20 percent difference in price with only a 6-pt. (0.06-ct.) difference in weight. You can also use your knowledge of magic sizes when your customer can’t afford the price of a larger diamond, or when the size difference isn’t very important to them. You can show them another diamond that’s only a little smaller, but that costs much less. The size difference wouldn’t be obvious, so the customer gets the look of the bigger diamond without the extra cost that goes with the magic size. When you explain how a small increase in weight can cause a large increase in value, make sure that you stress rarity. A large diamond is much more rare and valuable than a small one. But this is only true if all other value factors are equal. In some cases, bigger doesn’t always mean more expensive.

KEY CONCEPTS

Stress rarity to explain value.

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A large diamond is extremely rare, but so is a diamond with top clarity or one with the highest color grade. Very few diamonds possess all three, and those usually demand the best possible cut.

Carat Weight and Value

Eric Welch/GIA

Few customers can buy diamonds that rate highly in all Four Cs. With your gem knowledge, you can help them choose the best combination of qualities to fit their budget.

You can help your customers balance their needs for one of the Four Cs against the others. But if they really want a big diamond, it’s your job to find them the biggest diamond they can afford. This means they might have to buy a diamond with a lower clarity or color grade. On the other hand, some customers might really want a diamond with high color and clarity, and not consider large size as important. It’s not too early to start using what you’ve learned in this assignment— and in the course so far—to help your customers make comfortable, informed buying decisions. Just remember that, just as different customers need different kinds of information about carat weight, some will be more interested in other aspects of diamond quality—the other Four Cs. Some will be more concerned with clarity, some will be curious about color, others will be more concerned with cut.

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No matter what its size, each diamond is a dazzling treasure. Use what you’ve learned in this assignment to accurately and enthusiastically present diamonds of all sizes to your customers.

As you’ve learned throughout this course, your job is to focus on the customer so you can deliver the information they need in a form they can use. The assignments you’ve completed so far are essential to developing the skills to help you do that. The next two assignments will help you focus even more on those skills.

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KEY CONCEPTS A diamond’s carat weight and dimensions influence its value. The majority of diamonds used in jewelry weigh under one carat. Make sure that your description of a diamond’s weight is clear, understandable, and accurate. Don’t use trade terms to express gem weight to customers. Most jewelry professionals use electronic balances to weigh unmounted diamonds.

When you record a diamond’s dimensions, always specify whether they’re actual or estimated. A millimeter gauge is very useful for measuring mounted stones. Always examine the diamond after recording the measurements to be sure they make sense. Stress rarity to explain value.

Key Terms Carat—The international unit of measurement for gem weight. One carat equals 1/5 of a gram (0.200 g).

Melee—Very small faceted diamonds. Per-carat price—The price of a gem divided by its weight.

Depth—The distance from the table to the culet of a polished gem. Light carat—A trade term for a diamond that weighs between 0.96 ct. and 0.99 ct.

Total gem weight—The combined weight of all the stones in a piece of jewelry that contains a variety of gems. Total weight—The combined weight of all the diamonds in a piece of jewelry that only contains diamonds.

Light half—A trade term for a diamond that weighs between 0.45 ct. and 0.49 ct.

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Questions for Review n

What units of measure are used to describe diamond weight?

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What is the best way to describe diamond weight to a retail customer?

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What are some common instruments for weighing diamonds?

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How do a diamond’s dimensions help you?

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How do you measure diamonds?

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What different kinds of instruments can you use to measure diamonds?

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How does carat weight’s relationship to rarity build value?

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What are magic sizes and why are they useful in retail sales presentations?

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6

Staying Secure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Burglary and Robbery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Smash-and-Grab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Sneak Thieves and Shoplifters . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Scam Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Care and Cleaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 In-Store Cleaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 At-Home Cleaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Damaging Conditions for Diamonds . . . . . . . . . . . . . . . . . . . . . 180 Selling Care and Cleaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

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Welcome to Diamond Essentials Assignment 6. With the knowledge you gain from this assignment, you’ll be able to: • Identify the components of a safe retail environment. • Use your understanding of the various types of theft to protect yourself and your coworkers. • Take in jewelry repairs in a way that protects both you and your customer from fraud. • Explain to your customers how to clean and care for their jewelry purchases.

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Andy Lucas/GIA

A jewelry store is a busy place with many challenges, including security awareness.

The Daily Retail Business Monday at 9:00 am, Adam Stone arrived at the store. He was a little ahead of his scheduled start time because the store’s manager, Janet Lee, had asked him to train a new sales associate. He wanted to be at the store before the new employee arrived. He told her to meet him in the parking lot at 9:15, but he knew from experience that new employees usually arrive early. The good ones do, anyway. He didn’t unlock the store and go in right away. Instead, he waited in his car for Anita Jones, the new associate. Just as he expected, she arrived a few minutes after he did. He got out of his car to greet her. “Good morning, Anita,” he said. “Welcome to the company!” “Thanks, Adam,” she replied. “I’m excited about getting started—a little nervous, too. And thank you for training me. I hope I don’t slow you down or get in the way.” “No worries,” Adam smiled. “In fact, the training has already started. We’re still outside because I want to walk you through the opening procedures, especially the security precautions we need to take. Rule number one— at this store, anyway—is that we never open the store with just one person. There are always at least two of us. Janet—the manager—and I usually open on Mondays. But she’s working late tonight, so she’ll be in later today. “Normally, one of us goes into the store and turns off the alarm while the other waits out here with a cell phone. That way someone can call the police if there’s any trouble. But we’ll go in together since it’s your first day. While I was waiting for you, I looked around the area. I didn’t see anything to make me suspicious.”

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KEY CONCEPTS

Security is a prime concern in the jewelry industry.

Joel Beeson/GIA

Jewelry store employees must be cautious, alert, and methodical to protect against theft. Locking security gates before and after business hours and following strict opening and closing procedures are two common safeguards.

“Wow,” Anita said. “We sure weren’t that careful about opening the electronics store I was working in.” “We have to be concerned with security every minute,” said Adam. “Unfortunately, jewelry is an irresistible target for thieves. We have to be alert and prepared. But we’ll talk about all that as the day goes on. Let’s go inside and get started.” With that, Adam led Anita to the front door. He looked around to make sure nobody was approaching or watching them, then quickly unlocked the door and ushered Anita inside. He immediately relocked the door behind them. He crossed the room and entered some numbers on a keypad that had started beeping when he opened the door. Only then did he turn his attention back to Anita. “Rule number two—lock the door after you, and keep it locked until opening time,” Adam said. “Once inside, you can’t waste any time. You only have 30 seconds from the time you open the door until the alarm goes off. If you don’t enter the correct number on the keypad within that time, the alarm goes off, the alarm company alerts the police, and the police show up almost immediately. Any questions?” “Not about what you’ve told me so far,” Anita replied, looking around at the display cases. “But all the displays are empty—I hope you left them that way last night,” she said with a nervous laugh. She was more than a little surprised that the displays were empty—and more than a little curious about all this attention to security. “We take almost everything out of the cases at night—especially the really valuable items,” Adam explained. “All the valuable merchandise goes in the safe. That way, if someone breaks in, they won’t get much. “Come on, I’ll show you the safe. We need to start setting up the displays. We’ve only got 45 minutes until we open,” he continued.

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Anita wasn’t the first new employee in a retail jewelry store to be surprised by all the security precautions the staff has to take. And it wasn’t the only surprise of her first day. She also learned that there’s a lot more to being a good retail jewelry sales associate than just showing jewelry. Like Anita, it’s important for you to know more than the Four Cs to be successful and effective as a retail jewelry sales associate. This assignment will introduce you to two more aspects of the job. You’ll learn how to keep the store, the merchandise, and—most important—you and your associates as safe as possible. And you’ll learn how to give your customers care and cleaning advice for their diamond jewelry.

Staying Secure n

What kinds of security concerns are typical in a retail jewelry store?

n

What precautions can you take to protect your store?

n

How should you react if you are robbed?

By 10:00 am that Monday, the store was open for business. The display cases were stocked and the front door was unlocked. Adam and Anita were doing a standard sales associate task—polishing the glass display cases. Adam talked as they worked.

Joel Beeson/GIA

Many stores have display windows that lock to keep the merchandise secure during the day. At night, they remove the contents and store them in a safe.

“Getting everything ready to go by opening time is always a big challenge. There’s a lot of merchandise to get out of the safe and into the cases. The diagram we have of each display helps—you don’t waste time trying to figure out what goes where. The diagrams also make it easier to see if something is missing during the day,” Adam said.

Eric Welch/GIA

When you set up displays, make sure they’re not too crowded, and that each jewelry item has its own specific location. That way, a missing item will be immediately obvious.

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KEY CONCEPTS

You should be aware of security without treating everybody who enters the store like a criminal. A burglar might know more about your store’s everyday operations than you do.

James Aronovsky/GIA

A potential thief might try to distract you with conversation or by causing a scene, and then pocket any unguarded jewelry items. One way to protect against this is to have another sales associate watching the store while you’re helping the customer.

“Do things just disappear?” Anita asked. “Well, not exactly, but sometimes, dishonest people try to get us to take out several pieces of jewelry at the same time. If they succeed, they then try to cause a distraction and pocket some of the merchandise,” Adam said. “You make it sound like everybody who comes in is going to steal from us,” Anita said. “You almost have to think that way. There are as many ways to steal from a jewelry store as there are thieves. Our job is to give all our customers the best service we can. We can’t make everybody who comes into the store feel like a criminal, but we do have to be on guard to protect the store and ourselves,” Adam said. Adam was right when he said that there were seemingly endless ways for thieves to steal from a retail store. You’ll learn about some of these ways in the next few sections. More important, you’ll learn how to protect the merchandise from theft and yourself from harm.

Burglary and Robbery Burglars and robbers operate in different ways. Burglars break into buildings after hours and rely on stealth to do the job. You’ll never see a skilled burglar, only the results of his work. Robbers, on the other hand, use face-to-face confrontation and violence, or threats of violence, to accomplish their crime. A burglar might know your store’s layout, security system, and personnel routines better than you do. Just as you study selling jewelry, a burglar studies stealing it. Some burglars pay as much attention to the latest trends and developments in the security field as you do—maybe more.

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KEY CONCEPTS

You’re particularly vulnerable to a robbery when you’re opening or closing the store. Using a weapon to defend yourself against a criminal is dangerous and ineffective. If you’re the victim of a robbery, obey the robber’s orders and stay calm.

Most thieves study a business before the actual break-in or armed robbery, so they know exactly where the most valuable items are kept.

Most jewelry businesses have an alarm system. The first part of a burglar’s job is to remove this obstacle to a successful theft. But modern alarm systems are sophisticated and fairly resistant to direct attack: Cutting their power or phone lines doesn’t always work. So thieves might choose a less direct approach and try to shake your confidence in the security system. One way they do this is to deliberately set off the alarm in the middle of the night, just before their planned robbery. When security officers report that the business appears untouched, the thieves are betting that they’ll be inclined to dismiss the next alarm as false. Some thieves might phone the owner or manager in the middle of the night, pretending to be someone in an official capacity, such as a policeman or a fireman. They tell the owner that his immediate presence is required at the store. They ambush him when he arrives and force entry into the store. As Adam explained at the beginning of this assignment, an ambush might also take place at opening or closing. These are times when alarm systems are being turned off or on, and both you and the store are especially vulnerable. In either case, the thief’s goal is to take you by surprise and get into the store before the alarm sounds. The armed robber is especially dangerous, particularly if you try to fight fire with fire. In the US, many jewelers keep weapons, and the weapons themselves can add to an already-dangerous situation. Statistics show that you are five times more likely to be killed or wounded if you try to resist.

©iStockphoto.com/michel de nijs

An alarm system is essential in a jewelry store, but thieves have ways of getting around even the most sophisticated devices.

The Jewelers’ Security Alliance (JSA) is dedicated to the protection of jewelers and their businesses. According to the JSA, there are things you can do to keep an armed robbery from turning deadly. They advise you not to say or do anything other than what the robbers tell you to say or do, including raising your hands. Assume that the robber won’t hesitate to shoot: Don’t try to disarm the robber or reach for a weapon or an alarm button. Prepare to be threatened, bound, and locked up, and do your best to stay calm.

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It takes courage not to panic during a robbery. Your calm, non-threatening attitude might keep the robber calm. And that might reduce the chance of violence. Remember, this person who has invaded your life is a criminal, with values and tendencies very different from yours. Your goal is to get him out of your life as quickly as possible. That means you should always be willing to trade replaceable goods for irreplaceable health.

Smash-and-Grab Thieves who smash display windows or showcases and quickly gather up as much merchandise as they can are called smash-and-grab robbers. Their work requires very little time or preparation. Aside from the time it takes to select a target, they’re usually finished and running from the scene in less than three minutes. If there are bars in front of the store window and the thieves don’t have an easier entry point elsewhere, they cut the bars and then smash the window. Generally, they hit stores at night, or very early in the morning. Some, however, are bold enough to strike during business hours. iStockphoto.com

Armed robbery is one of the most frightening types of theft. The best way to escape unharmed is to follow the robber’s instructions.

Smash-and-grab—A theft method that involves smashing windows or display cases to steal the merchandise inside.

Smash-and-grab theft is fast and destructive. Perhaps the best protection against loss is burglarresistant glass.

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Opening and Closing: It’s a Science You are particularly vulnerable to a robbery when you are opening for business in the morning or closing at night. Ideally, and depending on company policy, employees should not have to open or close by themselves. Some jewelry businesses insist that several employees open and close the store together. If yours is a one-person operation or no other employees are available, it’s a good idea to make arrangements with a neighboring business to watch as you open and close. Following some basic security procedures can make opening safer: • Watch for suspicious characters • Lock the door behind you as soon as you enter • Set out the displays you locked up for the night • Lock all cases before you open the door for business

Before you open for business, make sure all display cases are locked. Keep your keys with you throughout the day.

Looking out for suspicious characters is probably the most important test of your security awareness. Look for people standing nearby who appear to be glancing at you or your store or who start to approach you. If you see any, wait until they leave before you unlock the door. A second employee should act as a spotter and watch from a short distance away while you unlock and go in. The spotter should be ready to phone the police if anything goes wrong. Turn off the alarm only after you’ve locked the door behind you. From the inside, check the doors and windows for any sign of tampering. If anything looks strange, leave immediately and call the police. Do not re-enter until they arrive. As you set out the displays, check the cases. If you find one with a broken glass or lock, or with a loose top, leave it empty. For appearance’s sake, some stores fill empty cases with displays of dried flowers or something similar until they’re fixed. During the day, while you’re open for business, make sure that the rear door is locked at all times. On most rear doors, a latch or push-bar allows you to open the door from the inside to comply with fire regulations. When you close the store at night, you should be even more careful. After a long day, you might be tired and less alert, and robbers work best in the dark. Your closing procedures should be just the reverse of your opening procedures: • Take down the displays and lock the jewelry in the safe • While someone watches from outside, set the alarm, exit, and lock the door • Watch for suspicious people lurking nearby

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JSA: Jewelers Unite Against Criminals In 1883, when the Jewelers’ Security Alliance (JSA) was founded, telephone service was limited and unreliable. This made communication between police and crime victims difficult. As a result, it was a challenge to catch criminals and recover stolen jewelry. A group of jewelers and wholesalers who wanted to improve this situation organized JSA and hired the Pinkerton Detective Agency. On its first JSA case, Pinkerton apprehended a gang of burglars. The publicity that followed the arrests immediately attracted more members to JSA. Since then, JSA and Pinkerton have been instrumental in the capture of many jewelry thieves. Theft prevention—stopping crime before it happens—is also a major function of JSA. They do this by studying how criminals defeat security systems and break into jewelry businesses and

safes. Through its study of criminal techniques, JSA has gathered a wealth of information for jewelry professionals to use in mounting an effective defense against crime. JSA publishes the Manual of Jewelry Security, which provides a guide to the security problems that jewelers around the world face daily. One of JSA’s most important functions is its distribution of crime bulletins. Whenever a JSA member business is robbed, JSA immediately mails a description of the crime to its members. Police departments, the FBI, and insurance companies also receive the bulletin. If they have reason to believe a criminal is operating in an area, JSA might also warn local stores by phone. JSA’s efforts have helped many jewelry businesses avoid fraud and thievery, and many culprits have been caught because store personnel were alerted in advance. If you see a JSA bulletin in your store, pay close attention to its details.

One very important function of the JSA is the issuing of crime bulletins. They outline recent crimes and include warnings of possible threats from scam artists and criminal gangs. Bettman/Corbis

For over a century, the Pinkerton Detective Agency has worked succesfully with the JSA to locate and arrest some of the most notorious jewelry thieves.

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It only takes a few minutes for a thief to carry out a smash-and-grab jewelry theft. It takes a lot longer to recover from it.

Probably the most discouraging statistic about smash-and-grab operators is that they often revisit the same store after repairs are made and the inventory is restocked. Or, if they don’t return to the same store, they often hit the same neighborhood again. There are security procedures that a store can follow to protect against smash-and-grab robberies. One of the main ones is to put merchandise in a safe at the end of each day. Most jewelry store insurance policies come with an in-safe warranty. These warranties tie insurance coverage to the store’s promise to keep a certain percentage of goods in a safe at night. If the store fails to do so, the insurer might refuse to cover its losses. There are a variety of ways to protect the goods displayed in windows and showcases, including metal grates that cover windows and protectors that close over showcases. The best protection of all, especially against daytime thefts, is burglar-resistant glass. In fact, it’s recommended by Underwriters Laboratories (UL), an organization that conducts tests on the safety and effectiveness of a wide variety of products, including safety glass, burglar alarms, and safes. For security purposes, you should pay special attention to the merchandise that goes into the store’s displays and also to how it’s organized. Good security practices don’t have to detract from the effectiveness of the displays. Most of the time, good security and powerful display concepts can work together. Sometimes, however, your store manager will have to decide which is more important—a merchandise arrangement that promotes security or one that promotes the jewelry.

©iStockphoto.com/Nancy Louie

Merchandise that’s kept in a safe at night is well protected against most types of theft.

In-safe warranty—A condition in an insurance policy that ties coverage to a commitment to keep valuable merchandise in a safe at night.

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iStockphoto.com

One way to prevent smash-and-grab thieves from getting the most expensive goods is to keep high-priced jewelry toward the back of window displays.

KEY CONCEPTS

Staying aware of how merchandise is displayed is a good security precaution.

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Working within your store’s policies, there are ways you can help to prevent both smash-and-grab robberies and general theft. Don’t display all of the most expensive jewelry items in one area. Spread them around the store. This way, a thief who breaks into one case won’t get away with all of the best pieces. Smash-and-grab thieves tend to take what’s easiest to reach, so keep expensive items toward the back of window displays. In the showcases, place valuable items toward the front for the same reason. Set up displays so they’re attractive, but also easy to check. In a crowded case, it’s difficult to tell if anything is missing. Arrange the rings in a

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Small Steps to Better Safety and Security Burglar alarms, safes, and surveillance cameras play key roles in the security of a jewelry business. In addition, there are simple precautions you can take to improve the safety and security of your store, your coworkers, and yourself: • Note areas that are not well lit and suggest adding light to those areas. Light is not only good for safety, it can also enhance the appearance of the merchandise. • Make sure display cases and counter displays are locked when not in use.

Eric Welch/GIA

• Make it a part of your procedure to check all locks. If a lock is broken, report it immediately. • Pull up on countertops to see if they can be lifted. • Look around and be sure that observation mirrors are properly positioned and video cameras are in working order. • Periodically, and with your supervisor’s approval, check door buzzers and other signaling devices to be sure they work. You might not actually be responsible for the maintenance or operation of automated equipment, but most good security is just common sense. Be aware of your surroundings and the people you deal with. Alertness is critical; it not only prevents some crimes, it can also save your life.

The presence of a security camera (top) can discourage thieves from targeting a store for robbery. Cameras can help security personnel stay out of sight while they watch the entire store (bottom).

geometric pattern so you can tell at a glance if one disappears. Keep an eye on the trays and make sure that every space is filled, either with a ring or a place-filler that’s unique to your store and easily recognized. Some stores use pennies as place fillers, but many consider pennies too common. A thief can remove a ring and substitute a penny of his own. You might also be in charge of diagramming, or mapping, the store’s displays. If you are, it’s important to keep the maps current. When you sell something, either replace it immediately or change the map. If you’re not the one who does the mapping, you should still check the maps when you remove items from the displays.

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Equipped with a tool as simple as a nail file, a thief can open a display case and take out valuable items, even if you turn away for only a moment.

Sneak Thieves and Shoplifters Shoplifter—A sneak thief who steals items from countertops or displays.

Sneak thieves, often called shoplifters, pick up items from the counter or from open displays. They don’t make elaborate studies of store security systems, and they usually don’t carry weapons. They only take what they can slip into their pockets. Shoplifters can actually cost a business more in lost merchandise than burglars or robbers. That’s because, even though the amounts taken per occurrence are fairly small, this type of theft occurs far more frequently. A shoplifting prevention organization estimates that, for every dollar stolen through burglary or robbery, $300 worth of merchandise is shoplifted. Shoplifters use various techniques to divert your attention. Then when you’re not looking, they take jewelry from a case or snatch it from the counter. They might pocket it or they might replace it with look-alike jewelry that contains simulants.

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Eric Welch/GIA

This store makes its one-item-at-a-time policy very clear. With many jewelry pieces out at once, it’s harder to notice if one disappears. It’s also possible for a thief to quickly pick up several items and escape with them.

There are a few ways to guard against this type of theft: • Never leave jewelry unattended. Keep the cases locked, and keep your keys with you at all times. • Show only one or two items at a time. When you have several items out on a counter, it’s easier for a thief to steal one item, or even to take several and run. • Make sure that the same person who takes an item out of the case is responsible for returning it. That way, there’s no doubt about who is handling a particular item. Besides paying close attention to the merchandise, it also helps to pay close attention to your customers. Watch everyone who comes into the store. Smile and make eye contact. It’s a good sales technique and it discourages thieves because they know right away that you’ve seen them.

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Eric Welch/GIA

You can create a safe, relaxed, and welcoming environment for your customers while still following common-sense security procedures.

If someone looks suspicious, try to create a mental picture of the person. Focus on such features as gender, age, and height rather than easily changeable things like clothes. And signal other employees about your suspicions. Use a pre-arranged word or phrase as a “code” between employees to share information about suspicious individuals. Your store probably has its own procedures for handling theft. Keep in mind that any act of thievery is abnormal behavior, and it’s almost impossible to know what a thief will do next. Proceed with caution.

Scam Artists Scam—A fraudulent business scheme or swindle.

A scam is a fraudulent business scheme or swindle. The key word here is “business.” The scam takes place within the context of a legitimate business transaction, but one of the parties involved is being deceitful. So what looks like a business transaction is actually theft. Many scams involve bad checks. Most businesses make it a policy not to accept a large check unless they can contact the customer’s bank and confirm that the check is good. But even this practice is not foolproof.

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A conscientious salesperson in one jewelry store fell victim to a fairly common scam. She dutifully called a number—given to her by the customer—for what she thought was an out-of-state bank. The person who answered the phone told her she could accept the customer’s check. It turned out that the bank didn’t really exist. The verification wasn’t issued by a banker but by the scam artist’s accomplice. To guard against this problem, many stores rely on electronic check verification services or check acceptance companies. Most people think cashier’s checks are as good as cash, but they can also be phony. And even if you’ve got a cashier’s check that’s real, there’s nothing to prevent the purchaser from stopping payment on it. To confirm the validity of a cashier’s check, contact the bank that issued it. Your store probably has its own policies and procedures for check verification. With FAX machines, 24-hour customer service, on-line banking, and automated systems, you should be able to rely on these procedures to help you avoid any questionable transactions.

Check verification services let you confirm the validity of a customer’s check quickly and efficiently.

Care and Cleaning n

What are the best ways to clean diamond jewelry?

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How can diamond jewelry be damaged?

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What are the steps you should follow when you accept jewelry for repair or cleaning?

By 11:30 am, Adam and Anita had finished cleaning the display cases. Monday is generally a slow day in the store, and this one was no exception. One man came in to get a new battery installed in his watch. And a woman came in to look around. The lack of customers gave Adam time to describe the security risks that a typical store faces. Anita also had a chance to admire the beautiful jewelry in the displays, and to ask questions about some of the pieces. She decided to take Adam’s advice and enroll in the GIA Diamond Essentials course to get a better understanding of diamond jewelry and how to sell it. Just before noon, a woman came in with a ring that needed cleaning. The ring had a large center stone bordered by rows of channel-set side stones. She brought it in because she noticed that the diamonds didn’t look as bright as they once had. With Anita observing, Adam used a loupe to inspect the ring. He saw that, in addition to a lot of accumulated dirt, the setting was loose and some of the diamonds had rubbed against each other. Luckily, there wasn’t much damage. “It’s a good thing you brought the ring in,” he said. “Not only does it need cleaning, but some of the diamonds are loose in their settings and have rubbed against each other. A few of the diamonds have minor abrasions because of that. Fortunately, you brought it in before there was any major damage.”

Robert Weldon/GIA

Over time, diamond jewelry might require care beyond regular cleanings. A bench jeweler can tighten loose settings to prevent diamonds from abrading one another or falling out of their settings.

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“Oh my,” the customer said. “I didn’t know such a thing could happen— I mean, how could the diamonds get loose?” she asked. “In a setting like this, the diamonds are held in place between two rows of metal. Gold is fairly strong, but if the ring gets bent just a little out of shape, the rows can move apart. This loosens the diamonds,” Adam explained. “Diamonds are very hard,” he continued, “But they can scratch each other. If they had loosened any more, they might also have chipped from rubbing against each other, or even fallen out. But they didn’t. Our bench jeweler can tighten the setting and make sure the diamonds are secure. Can you leave it with us overnight so the bench jeweler can repair and clean it for you?” The woman furrowed her brow, and a worried look crossed her face. She hesitated, then spoke. “I don’t mean to be rude, but I’ve heard stories about jewelers who take a ring and switch the diamonds for fake stones or something—I saw that on TV,” she said. Eric Welch/GIA

A jewelry professional uses a loupe to inspect items carefully before accepting them for repair.

“It pays to be cautious,” Adam replied. “Our store has been in business for 20 years, and our bench jeweler has been with us for almost eight years. We have thousands of satisfied customers.” The woman still looked unconvinced, so Adam asked, “How long have you had the ring?” “My husband bought it for me seven years ago,” the customer replied. “Do you know if it came with grading reports for the diamonds?” Adam asked. “I don’t think so,” replied the customer. “But we did have it appraised after we bought it.”

Vincent Cracco/GIA

If a diamond is loose enough in its setting to rub against other diamonds, its girdle can chip or show signs of wear.

KEY CONCEPTS

Diamonds that are loose in their settings can scratch each other, chip, or even fall out.

Take-in—A procedure for receiving customer jewelry for repair, appraisal, or cleaning.

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“If you want to bring in the appraisal report, I can show you how the description on the report matches the diamonds in the ring,” Adam said. “The appraisal might even have a plot of the center diamond—a diagram that shows its distinct characteristics. “After the ring is repaired, we can take another look at the diamonds and I’ll show you that they still match the appraisal. Would that make you feel better about leaving the ring with us for repair?” Adam asked. “There’s no need for all that,” the woman said. “You’ve already set my mind at ease.” “Glad to hear it. We won’t let you down,” Adam answered as he took out the store’s take-in form. Take-in is an industry term for the procedures to follow when receiving customer jewelry for repair, appraisal, or cleaning. If you work in retail, your store probably has its own take-in policies and procedures. On the take-in form, Adam printed the customer’s name, address, and telephone number. Under a column labeled “Description” he wrote, “Yellow metal ring stamped 14K, set with 15 colorless-looking roundbrilliant stones.” He also wrote instructions to the bench jeweler.

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Most take-in forms provide space for you to write a customer’s contact information, a complete description of the jewelry item, and instructions for the bench jeweler.

Adam knew that the reasons for this kind of description were grounded in security precautions. Say a scam artist brings in a ring for repair—and that the ring is set with a cubic zirconia worth about $5.00. Now suppose an unaware sales associate writes the following description on the takein form, “Gold ring set with large diamond.” The scam artist can then claim that the stone was switched at the store and use pressure and threats of legal action to get the store to pay the replacement cost for a diamond that never existed. For a similar reason, Adam described the ring as “yellow metal.” Without testing, he had no way of knowing if the ring was actually 14K gold.

KEY CONCEPTS

Be cautious and systematic when you accept jewelry for repair, cleaning, or appraisal. A few dishonest jewelers make customers suspicious of even the honest ones.

Adam asked Mrs. Morris to sign the form, and gave her a copy to take with her. “We’ll have your ring ready for you this time tomorrow, Mrs. Morris,” he said. Mrs. Morris smiled, thanked him for his help, and left. “She certainly was suspicious,” Anita said. “Unfortunately, a few dishonest people have made it tough on the rest of us with illegal acts like stone switching,” Adam said. “It’s the kind of thing that makes the news and makes our lives miserable at the same time.

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Jewelry store scams often make the headlines. Unfortunately, the public remembers stories of dishonest jewelers who take advantage of their customers.

“Some stores don’t give care and cleaning information when they sell a piece of jewelry. They make life tough for us, too,” Adam continued. “Whoever sold that ring to Mrs. Morris’ husband should have explained that jewelry needs regular cleaning, and that channel settings need to be checked and tightened periodically. Here, not only do we give care and cleaning advice as part of every sale, but we also tell the customers to bring their jewelry in every six months and we’ll clean it for free. That also gives us the chance to inspect the jewelry and make sure there are no problems—like Mrs. Morris’ loose diamonds.” “I was a little surprised when you told her that the diamonds had scratched each other. I didn’t think anything could scratch a diamond,” Anita observed.

KEY CONCEPTS

Diamonds are hard, but they’re not indestructible.

“That’s another reason you should take that Diamond Essentials course I told you about,” Adam replied. “If I remember correctly, durability is covered in the very first assignment. As I told Mrs. Morris, diamonds are hard, but they can be scratched by other diamonds. If they’re hit in just the right way, they can break, too,” Adam explained. As Adam said, durability was covered in the first assignment of this course. The section you are about to read builds on what you learned there. You’ll learn the best ways to clean diamonds and the metals they’re set in. And you’ll learn how to incorporate care and cleaning advice in your sales presentations. You should give your customers the information they need to take care of their jewelry. It’s a practice that promotes good communication and happy customers. That’s important because happy customers are repeat customers.

In-Store Cleaning Diamonds get dirty. This is partly because they have an affinity for grease and oils. They pick up oil from your hands. Dust and dirt then collect in the oil. That’s why you should handle loose diamonds with tweezers rather than your fingers. It looks more professional, too. You should also avoid touching mounted stones: Hold jewelry by its setting.

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Andy Lucas/GIA

The way you present jewelry to customers is important. Hold items carefully over a counter-top jewelry pad, and place them carefully on the pad when you put them down. Also, try to keep your fingers away from the stones when you hold a piece of jewelry.

Dirt can have a very negative effect on a diamond’s appearance. Things that are almost invisible to the casual observer become quite obvious when the stone is dirty. This is especially true of diamonds in the lower color and clarity ranges. Inclusions tend to show up more, and any color looks darker. Jewelry stores typically have an ultrasonic cleaner and a steam cleaner. Both are safe for most diamonds, but there are some things you need to know about them.

Ultrasonic cleaner—A machine that cleans jewelry with high-frequency sound waves in a liquid solution. Steam cleaner—A machine that cleans jewelry with high-pressure steam.

Ultrasonic cleaners send high-frequency sound waves through a liquid solution. This removes built-up dirt and grease from jewelry. Unfortunately, it can shake stones loose from their mountings. It’s safe for most diamonds, but ultrasonic cleaning might harm the filling in some fracture-filled stones. You shouldn’t use the ultrasonic cleaner for jewelry that contains porous stones like lapis and turquoise. It can also affect stones with low toughness—like opal. Oiled stones like treated emeralds should never be placed in an ultrasonic cleaner: Doing so can remove the oil. (There’s more about emerald oiling and other colored stone treatments in the GIA Colored Stone Essentials course.)

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John Parrish/Richard Krementz Gemstones

Some colored stones are especially vulnerable to ultrasonic cleaners. Rather than risk damaging the stones, use a gentle method for cleaning the jewelry that contains them.

Eric Welch/GIA

Joel Beeson/GIA

One of the safest methods for cleaning jewelry makes use of a toothbrush and warm, soapy water.

Ultrasonic cleaners use high-frequency sound waves to remove dirt. They’re safe for most diamonds, but they might damage stones that are fracture-filled or porous. The vibrations can also shake stones loose from their mountings.

KEY CONCEPTS

Ultrasonic and steam cleaners can damage many treated diamonds and colored stones. A soft toothbrush and warm, soapy water; a pulsed-water dental hygiene machine; and a soft, lint-free cloth are the safest ways to clean most jewelry.

The cleaning solution itself can also cause problems with certain colored stones. It can remove the dye from treated lapis and turquoise and can etch porous and organic colored stones. Keep this in mind if you have to clean jewelry that contains a combination of diamonds and other gems. Steam cleaners use high-pressure steam to quickly remove dirt and buildup. The problem is that the pressure can force dirt into cracks in the stone’s surface or loosen stones from their mountings. A diamond or other gemstone that’s blasted hard enough with a shot of steam can fly into a wall or the sink. If you use a steam cleaner, hold the jewelry or the gem you’re cleaning firmly with coated tweezers to avoid sending it flying across the room. Like an ultrasonic cleaner, a steam cleaner can damage some treated gems. If you are unsure, always assume a stone has been treated and do not subject it to ultrasonic or steam cleaning. There are some safe jewelry cleaning methods. They include warm water and mild soap, applied with a soft toothbrush; use of a pulsed-water dental cleaning appliance; and wiping with a lint-free cloth.

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Eric Welch/GIA

Steam cleaners are effective at quickly removing dirt and build-up, but the intense pressure can actually harm some stones and loosen others from their settings. Make sure that your customer’s jewelry is safe for steam cleaning by checking for loose stones first.

If you’re cleaning jewelry over a sink, make sure you plug the sink’s drain. This will save any gemstones that come loose while cleaning. Rubber mats (a “soft catch”) in the sink can stop stones from chipping if they drop.

At-Home Cleaning Some customers might want to clean their jewelry themselves. Some might ask about jewelry cleaning products—your store might even stock them. Commercial jewelry cleaners are almost always ammonia-based. They do a good job of cleaning precious metals, and they’re perfectly safe for diamonds and most colored stones, but not for porous gems like pearls. Chlorine bleach, a common household liquid, can pit gold alloys, as can prolonged exposure to chlorinated water. Customers who swim a lot in chlorinated pools should be aware of this. If an alloy becomes pitted, it weakens, making gemstone loss possible.

Exposure to chlorine—in a swimming pool or in household cleaners—can corrode and damage gold alloys.

As with in-store cleaning, the best tools for cleaning most jewelry are a soft toothbrush and warm, soapy water; a pulsed-water dental hygiene machine; and a soft, lint-free cloth.

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Although small ultrasonic cleaning machines are commonly sold, educate your customers on their proper use. As you’ve learned, there are some colored stones that should never go into an ultrasonic cleaner. And remember to tell a customer who buys a fracture-filled diamond that prolonged sessions in the ultrasonic cleaner might damage the filling.

Damaging Conditions for Diamonds KEY CONCEPTS

Diamonds can damage other diamonds, colored stones, or jewelry metals when they’re worn or stored close together.

In Assignment 1, you learned that diamonds are hard—very hard. But, as Adam explained earlier, they’re not indestructible. Without alarming your customers, you need to let them know about some of the dangers their new diamond jewelry might face. Sometimes, people wear two rings on the same finger, as in the case ofa wedding set. When that happens, one can turn or move slightly and scratch the other. It’s bad enough when they’re both set with diamonds, but a diamond can do a lot of damage to a softer colored stone. One possible solution to this is to solder the two rings together so they can’t move independently. Loosened diamonds can also scratch and damage jewelry metals. As you saw earlier, diamonds that are set side-by-side with no metal between them—as they are in a channel setting—might loosen and scratch one another. Even careless placement in a jewelry box can cause problems. If two or more diamonds are too close or loosely placed, they might end up scratching each other. During normal wear, earrings, pendants, and tie tacks are less susceptible to damage than rings, bracelets, and cufflinks. Some setting styles offer greater protection, too. Bezel settings, where the entire girdle is covered with a thin band of metal, provide more protection against chipping than prong settings do. When you accept a piece of jewelry for repair, appraisal, or cleaning, you should always inspect it carefully. Check for things like coatings or treatments, broken or worn prongs or ring shanks, clasps that don’t work properly, potentially damaging inclusions, and loose, damaged, or missing stones. Always check for these things in the customer’s presence. Point out anything you find before work begins, just as Adam did for Mrs. Morris. If a job presents unusually high risks (repairs on a ring with a fractured stone, for example), make sure that the customer understands the risks— and the limits of your liability. If you do accept a high-risk job, ask the customer to sign a release freeing you from liability if something goes wrong. It’s sometimes difficult to tell if diamonds are missing from a piece of jewelry, especially when they’re small and the piece is dirty. You might not even notice they’re gone unless you use a loupe. If there are a lot of stones, the examination can take a little time, but it’s worth it. The alternative could be that the store is later blamed for losing a stone and must replace it.

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Some settings offer extra protection for diamonds. Bezel settings like the ones in the diamond necklaces (top) provide maximum protection by completely encircling the stones in metal. The three-stone anniversary ring (bottom) has a white gold setting that covers the fragile corners of its princess-cut diamonds.

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Eric Welch/GIA

Jewelry should be carefully arranged in a box with padded compartments. That way, items won’t bump into and damage each other.

Selling Care and Cleaning

One of the most important things you can do as a jewelry professional is to advise your customers about the proper care and cleaning of their jewelry.

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How should you discuss care and cleaning with your customers?

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How much should you explain about durability?

A new car or major appliance always comes with an owner’s manual. A customer who spends good money for jewelry should be just as informed as a new-car buyer. Yet, too often, customers leave a jewelry store with little idea of how to care for a new piece of diamond jewelry. Many of them have an unreasonable expectation of a diamond’s durability. You can add to their long-term satisfaction if you take time to educate them. Many jewelers provide a guarantee and include verbal or written jewelrycare tips. An educated customer is less likely to return with problems. Remember, though, that there’s a difference between what you as a professional need to know about caring for jewelry and what your customers need to know. You need to know such things as the effect of cleavage direction on a diamond’s toughness and when to use ultrasonic or steam cleaners. They need to know such things as the harm chlorine can do to gold alloys or the damage that diamonds can do to each other or to colored stones. Common sense is your best guide in deciding what to tell your customers. You can, for instance, recommend that they use a jewelry box with

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iStockphoto.com

If you inform your customers about the care of their jewelry, you can help them get a lifetime of enjoyment and satisfaction out of their purchases.

individual plush-lined compartments. Tell them that it’s a good idea to have their jewelry cleaned periodically. Try to persuade them to have their jewelry checked every six months or so, especially if the item is worn frequently. They’ll be pleased with the way their jewelry looks, and you’ll have a returning customer and an opportunity to make a new sale every six months.

KEY CONCEPTS

You should fully inform your customers about how to care for their new jewelry.

The important thing is to let customers know that, if they want their diamond jewelry to stay beautiful, they have to take care of it. Your store might provide informational brochures and cloth pouches. These help to remind your customers of the importance of caring for their jewelry and of storing jewelry separately. This assignment has concentrated on two important facets of a retail sales associate’s job: store security and jewelry care and cleaning. The next assignment will pick up where this one left off. As Adam continues training the new sales associate, she—and you—will learn how to present jewelry in a structured and organized sales presentation. You’ll learn why preparation is important. You’ll also learn the important steps that you should follow to present diamond jewelry. This will make it easier for you to help your customers make informed and comfortable buying decisions. Everyone will benefit from your new knowledge: You’ll make more sales and your customers will get better service.

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Conflict Diamonds The United Nations defines conflict diamonds as “diamonds that originate from areas controlled by forces or factions opposed to legitimate and internationally recognized governments and are used to fund opposition to those governments…” Sierra Leone is a source of some of the world’s most beautiful diamonds. Unfortunately, throughout the 1990s, it was torn by bloody conflicts between opposing forces seeking control. Similar conflicts were also occurring in other parts of central and western Africa. These conflicts resulted in horrifying injuries and death to massive numbers of innocent civilians, including women and children. Ric Taylor

Sierra Leone’s diamond trading industry is still struggling, but the end of its decade-long civil war allowed the country to move toward more prosperous times.

In the late 1990s, it came to the world’s attention that diamonds played a role in funding these violent conflicts. Rebels were selling illegally obtained rough diamonds to raise money for their brutal efforts.

The Kimberley Process The global diamond industry, alarmed by the situation, decided to act. Industry representatives worked closely with the United Nations, governments, and non-governmental organizations (NGOs) such as Global Witness and Partnership Africa Canada. Their goal was to institute procedures that would eliminate conflict diamonds from the marketplace.

When the Kimberley Process Certificate accompanies a diamond shipment, it certifies that the diamonds inside are from conflict-free areas.

Out of this cooperation came the Kimberley Process, designed to monitor and certify rough diamonds as they make their way through the market. The industry officially declared “zero tolerance” toward conflict diamonds in 2000 and fully implemented the Kimberley Process in August of 2003. Here’s how the Kimberley Process International Certification Scheme works:

• Rough diamonds are taken from the mine directly to Government Diamond Offices, where their source is checked and confirmed as conflict-free. • Inspected diamonds are sealed and placed into tamper-resistant containers. The government issues a Kimberley Process Certificate with a unique serial number and attaches it to the sealed diamond shipment. • When the diamonds arrive in a cooperating country, the government customs office checks the certificate and makes sure the seals weren’t tampered with before allowing the diamonds to enter the country. • Once the diamonds have been legitimately imported, they can be sold, cut, polished, and set into jewelry. Each time a diamond changes hands, the invoice must contain a statement of its conflict-free origin.

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Ric Taylor

Ric Taylor

Diamond mining in Sierra Leone is backbreaking work. Individual miners— working for little or no pay—sift through baskets of mud in hopes of finding enough diamonds to support themselves and their families.

Rough stones like these will fetch high prices on the open market. A Kimberley Process certificate will accompany them as they make their way through the wholesale market.

• At the retail level, retailers are responsible for ensuring that the diamonds they buy are from conflictfree sources. While there’s no requirement to label each diamond with a conflict-free warranty, the information must be made available to the consumer if requested. • Only governments that follow Kimberley Process procedures are allowed to legitimately export and import diamonds. Today, Sierra Leone is a peaceful and democratic country. UN peacekeeping efforts ended its civil war in 2002. Conflicts in other areas have also come to an end. More than 70 governments worldwide have adopted the Kimberley Process into their national laws. As a result, more than 99 percent of the world’s diamonds come from conflict-free sources today. For more details about the history and current status of this important issue, check out http://www.diamondfacts.org, the official website of the World Diamond Council.

“War don don—We love peace,” says the sign hanging from this cannon, located in the Sierra Leone town of Koidu. The sign was placed there at the end of the war. Ric Taylor

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KEY CONCEPTS Security is a prime concern in the jewelry industry. You should be aware of security without treating everybody who enters the store like a criminal. A burglar might know more about your store’s everyday operations than you do.

Be cautious and systematic when you accept jewelry for repair, cleaning, or appraisal. A few dishonest jewelers make customers suspicious of even the honest ones. Diamonds are hard, but they’re not indestructible.

You’re particularly vulnerable to a robbery when you’re opening or closing the store.

Ultrasonic and steam cleaners can damage many treated diamonds and colored stones.

Using a weapon to defend yourself against a criminal is dangerous and ineffective.

A soft toothbrush and warm, soapy water; a pulsed-water dental hygiene machine; and a soft, lint-free cloth are the safest ways to clean most jewelry.

If you’re the victim of a robbery, obey the robber’s orders and stay calm. Staying aware of how merchandise is displayed is a good security precaution. Diamonds that are loose in their settings can scratch each other, chip, or even fall out.

Diamonds can damage other diamonds, colored stones, or jewelry metals when they’re worn or stored close together. You should fully inform your customers about how to care for their new jewelry.

Key Terms In-safe warranty—A condition in an insurance policy that ties coverage to a commitment to keep valuable merchandise in a safe at night.

Steam cleaner—A machine that cleans jewelry with highpressure steam.

Scam—A fraudulent business scheme or swindle.

Take-in—A procedure for receiving customer jewelry for repair, appraisal, or cleaning.

Shoplifter—A sneak thief who steals items from countertops or displays.

Ultrasonic cleaner—A machine that cleans jewelry with high-frequency sound waves in a liquid solution.

Smash-and-grab—A theft method that involves smashing windows or display cases to steal the merchandise inside.

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What kinds of security concerns are typical in a retail jewelry store?

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What precautions can you take to protect your store?

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How should you react if you are robbed?

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What are the best ways to clean diamond jewelry?

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How can diamond jewelry be damaged?

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What are the steps you should follow when you accept jewelry for repair or cleaning?

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How should you discuss care and cleaning with your customers?

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How much should you explain about durability?

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7

The Seven Steps to a Sale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Approach the Customer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Exchange Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 Build Value. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Handling a Customer’s Objections . . . . . . . . . . . . . . . . . . . 206 Create Desire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 The Trial Close . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 The Close . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Add-On Sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Follow-up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 Final Thoughts and Actions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Striking a Balance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 The Fifth C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Key Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

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Welcome to Diamond Essentials Assignment 7. With the knowledge you gain from this assignment, you’ll be able to: • Determine the best possible customer approach and information exchange. • Promote the value of the jewelry to create desire in your customer. • Follow up to retain customers and inspire their referrals.

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Eric Welch/GIA

Customers are sometimes bewildered by the variety of jewelry on the market. It’s your job as a knowledgeable sales associate to guide them through it.

Presenting Diamond Jewelry Monday at 1:30 pm, Adam Stone and Anita Jones were talking about the differences between selling jewelry and selling other types of merchandise. Anita described her experiences at the last place she worked: an electronics store. “Our biggest job there was explaining how the equipment worked. Every once in a while we’d get a customer who had done some research and knew exactly what they wanted.” “That’s one way jewelry is different from any other type of merchandise I can think of,” Adam said. “Jewelry is much more difficult to research. Every piece of jewelry is different. There are even big differences among mass-produced pieces.” “How can that be?” Anita asked.

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iStockphoto.com

Customers can have trouble understanding why seemingly small differences between jewelry items equal large differences in price. You can increase their understanding by using your product knowledge.

“Let me show you,” Adam replied. He reached into a case and took out two rings. Their designs were similar, and each was set with a single diamond. The diamonds looked like they were about the same size. “Aside from the slight design differences, do you see how these two rings are different?” he asked. “They’re both yellow metal, and each one has a diamond,” Anita replied. “Or at least I guess they’re diamonds—I remember what you said this morning about not assuming that all colorless stones are diamonds.”

KEY CONCEPTS

Variations in diamond quality might seem minor, but they can make a big difference in the value of diamond jewelry.

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“Good for you,” Adam laughed. “The ring in my right hand retails for $1,700. The one in my left hand goes for $3,000. Its diamond has higher clarity and color grades than the one in the first ring. These differences might seem small, but they can make big differences in value. That’s what makes selling jewelry such a challenge. “It’s difficult for customers who try to comparison shop, too,” he continued. “At least once a month, a customer says to me, ‘I saw a ring just like that at another jewelry store. It had a diamond that looked about the same size, but they were selling it for a lot less.’” “How do you handle people like that?” Anita asked.

Presenting Diamond Jewelry

“That’s where product knowledge really is important to the sales presentation. You usually get that kind of statement late in the presentation—after you’ve shown them the ring and are discussing price. You’re already past the information-exchange stage and are on to the stages where you’re about to build value and create desire,” Adam answered. “It usually makes my job easier if they know the other diamond’s carat weight, color, and clarity,” he went on to say. “Then I can explain the price differences without having to explain how diamonds are graded. I can give them information to help them understand how the two diamonds are different, and why our diamond is worth the price. Then I can get back on track with my sales presentation.”

KEY CONCEPTS

Product knowledge helps you explain differences in value to a jewelry customer. To successfully sell jewelry, you need an organized sales presentation.

“It sounds like you have a pretty formal sales procedure,” said Anita. “Well, it’s not all that formal,” Adam answered. “But it is very organized. I find that successful selling really requires an organized approach. Didn’t you have a system for showing the merchandise at your other job?” “Not really,” Anita replied. “Usually, people came in, asked a few questions, then either bought something or left. We just had to understand and explain how to operate the equipment.” “Selling jewelry is the same—but different,” Adam joked. “It was important for you to understand the equipment in order to sell it. That’s also true of selling jewelry: You need to know what makes it valuable. But I bet you could have sold more electronics equipment if you had combined what you knew about the merchandise with an organized, logical approach to selling. That’s how we sell in this store.”

Konstantine Sutyagin/iStockphoto.com

In some retail settings, customers know what they want before they enter the store. And they can “comparison shop” by reading each item’s posted features. Diamonds and other gemstones are mysterious to many shoppers, so the jewelry customer needs a sales associate’s knowledge and guidance.

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“Yes, but how can I memorize a sales procedure? I’ll be busy enough just learning about jewelry and how two diamonds can look the same but have very different prices,” Anita said. “Don’t worry,” Adam replied. “Organizing your presentation isn’t difficult—in fact, part of getting organized is getting to know the merchandise. And once you’ve done that, the rest is simply a matter of learning the steps that can help a customer make an informed and comfortable buying decision.” You might not realize it, but you’ve already seen the steps of a sale that Adam is talking about. They were demonstrated in the scenarios that opened each assignment. You’ve seen the importance of knowing the merchandise in your store, and of following some simple steps to guide your customer toward a buying decision. Without organization, it’s difficult—often impossible—to explain value factors in a way that’s understandable and reassuring to a customer.

Roberto Coin

If you combine product knowledge with an organized sales approach, you’ll have more jewelry sales success.

In this assignment, you’ll learn how to combine product knowledge with an organized approach to presenting diamond jewelry. To succeed, you must draw on everything you’ve learned about diamonds. You’ll see why it’s important to understand how differences in the Four Cs can make dramatic differences in value. And you’ll see how you can use this information to close more sales as well as to increase the average price of your sales.

The Seven Steps to a Sale n

What can you do when a customer says, “I’m just looking”?

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What role does product knowledge play in a sales presentation?

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What’s the main motivation for a jewelry purchase?

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Why is follow-up important?

Later that same Monday, Adam and Anita were still discussing the details of presenting and selling diamond jewelry. Adam was explaining the steps he follows in his sales presentations. “When people came into your old store, how did you approach them— what did you usually say first?” he asked. “Well, they’d usually be standing in front of the equipment they were interested in, so I’d walk up to them and ask, ‘Can I help you with anything?’” Anita answered. “And I’d bet that nine out of ten would answer, ‘No thanks, I’m just looking.’ Right?” Adam said. “That’s usually the way it went,” Anita replied. “I’d let them know I was there to help, then I’d keep an eye on them. I could always tell when they needed me to come back.”

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Focus on Features and Benefits Throughout this assignment, you’ll find photos that represent jewelry that your store might offer. The caption for each photo lists the item’s major feature and corresponding benefit. A feature is a distinctive part of a piece of jewelry. A benefit is the value that feature has for the customer. Another way to look at it is that features are technical—clarity grades, the hardness of a diamond, the toughness of a jewelry metal, the style of the mounting, or the size of the table on a round brilliant. Benefits tend to be romantic, emotional, or financial. Diamonds with higher clarity grades (features) are rare (benefit), the table on the diamond (feature) makes it shine and sparkle (benefit). Hamilton Jewelers

If your store carries jewelry that’s similar to the examples, try coming up with your own benefit, based on the example that accompanies each photo. Take a look at your store’s inventory and list features and benefits for each item. Once you’ve determined the features and benefits of the jewelry in your store, you’ll be ready to handle the temporary obstacles— called objections—that customers raise, and to address questions about value. Ultimately, discussing an item’s features and benefits will become second nature. Remember, though, that people have differing views of what’s important to them. This means that benefits will be different for each customer. Focus your discussion of benefits on the value a feature holds for each particular customer you serve.

prong (claw)

This diamond’s features—its exceptional clarity and large size—make it rare. Rarity is one of a diamond’s most valued benefits.

Feature—A characteristic or part of a piece of jewelry. Benefit—The value a feature holds for a customer. Objection—A temporary obstacle, raised by the customer, that delays or even stops the sale.

center stone

head side stones (accent stones)

trim plate setting

shank

It’s important to know the parts of a ring. It makes you appear more professional, and you can relate those parts—or features—to benefits that customers can appreciate.

Peter Johnston/GIA

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“That shows you have good sales instincts. They’ll serve you well here,” Adam said. “But you can increase the number of successful sales you have—we call it your closing ratio—by being more organized and systematic in your sales approach.” Adam explained the closing ratio a little more by using an example: “If you make 20 successful sales out of 100 sales attempts in a week, your closing ratio is 1-to-5.” Then, he went on to discuss sales procedures. “The first step is to approach the customer. This step is important—you won’t succeed if you don’t start by making a good impression,” Adam explained. Then, he went on to say, “So, at your old job, after you initially approached a customer and they said they were just looking, what usually happened next?” Barton Stabler/Artville/PictureQuest

The more information you have, and the more organized your approach, the easier it will be for you to overcome the barriers to successful jewelry sales.

“After a couple of minutes—if they were still there—they’d usually start looking around for me,” Anita said. “I’d go over and turn the equipment on for them and show them how it worked. If they liked it, they’d buy it.” “When did you discuss price?” Adam asked. “Lots of times, we didn’t,” Anita answered. “The prices were marked. Some people would ask, ‘Is that your best price?’ But our store didn’t negotiate: The price was whatever the sticker said it was.”

Closing ratio—The number of successful sales compared to the number of total sales attempts.

“As I understand it, your usual sales presentation went through three steps,” Adam said. “You approached the customer, sooner or later you demonstrated the product and told the customer something about it, then closed the sale—or not. Does that pretty much sum it up?” “I never thought of it that way, but yes, you’re right,” Anita confirmed. “I’ll show you how to break your presentations down into seven steps. Each step is important to the ultimate goal, which is to help the customer make an informed buying decision based on solid information,” Adam said. Here are the seven steps Adam told Anita about:

1. Approach the customer 2. Exchange information 3. Build value 4. Create desire 5. Trial close 6. Close 7. Follow-up

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Andy Lucas/GIA

Even a customer who’s “just looking” can be influenced by a positive attitude on your part. You can make a great first impression by approaching customers in a friendly, enthusiastic way.

Approach the Customer Greet customers and start a conversation. It’s important to make them feel welcome and at ease. You might be comfortable in the jewelry store, but it can be intimidating for someone who isn’t used to buying jewelry. Even the happiest of jewelry-buying occasions—shopping for engagement and wedding rings—can be stressful. The best way to make customers feel at home is to show interest in them, not just in a sale. Start a conversation with comments that show you care about them personally, rather than reciting a mechanical, “May I help you?” If customers don’t feel you sincerely care about meeting their needs right from the start, it’s unlikely you’ll get a second chance. You might say, “Welcome,” or even comment on the weather.

Feature: Solitaire rings Benefit: The setting offers a classic, timeless look that enhances any diamond, and allows a choice of diamond shapes to suit any taste.

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Eric Welch/GIA

Try to learn as much as possible about the diamonds in your inventory so you can explain how the Four Cs contribute to the value of each stone.

Teaching Customers the Four Cs It’s important for you to convey honesty and sincerity to your customers. When they accept that you’re sincerely interested in helping them, they’ll regard you as a trusted advisor who will help them select the right jewelry. A good way to start is by explaining the Four Cs of diamond quality and value. The reason for explaining the Four Cs is not to show off your knowledge or to pressure customers into making a purchase. Instead, the patience and concern you demonstrate by explaining how to choose a diamond will cement the bond with your customers and deepen their trust in you as a sales associate. A good opening question for your lesson on the Four Cs is, “What do you know about diamonds?” Listen to their answer and then invite them to learn more. Few people will refuse an opportunity to learn about something they’re interested in—especially when it involves something as emotionally and financially important as a jewelry purchase. Prepare for your presentation by learning as much as you can about the diamonds and diamond jewelry in your store’s inventory. Take the time to explain that the value of a diamond depends on its quality. Then explain that diamond quality depends on the relationship between its color, clarity, cut, and carat weight. These factors work together to determine the overall beauty—and quality—of the diamond.

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Ask open-ended questions—questions that require more than “Yes,” “No,” or “I’m just looking,” as an answer. A closed-ended question doesn’t require the customer to give you any information—and many won’t.

Open-ended question—A question that requires a thoughtful, specific answer other than “yes” or “no.”

“Are you shopping for yourself or for a gift?” is a good open-ended question. It gets customers talking—and the more they talk, the more you know about them. That increases your chances of ultimately closing the sale.

Closed-ended question—A question that only requires a “yes” or “no” response.

You saw an effective use of an open-ended question at the beginning of Assignment 5 when Carol James asked the customers, “How can I help you today?” While it’s possible to give a short answer to that, most people will be inclined to answer just as Scott and Elizabeth did: “We’re shopping for an engagement ring.” If Carol had dropped the word “How” and asked, “Can I help you today?” the answer probably would have been, “No thanks, we’re just looking.” In that case, Carol would have had to work much harder. She would have had to follow up with an open-ended question to keep the conversation going. Here are some questions that can get past a “just-looking” response:

KEY CONCEPTS

Effective open-ended questions are essential to successful sales presentations.

• “Are you looking for a ring or some other type of jewelry?” • “We have lots of beautiful things to look at. Would you like to see diamond or colored stone jewelry?”

Don’t let “just looking” stop your sales presentation.

• “Are you looking for something for yourself, or for a gift?” Then, if they reply that they’re looking for a gift, you can follow up with, “What’s the occasion?”

Feature: Ring with emerald cut and baguette diamonds Benefit: This combines an elegant, sophisticated center diamond and side baguettes for a more opulent look.

iStockphoto.com

Shopping can be stressful. It’s your job to help customers feel relaxed and comfortable when they’re in your store. You can do this by showing interest in them personally.

Feature: Marquise-cut diamond ring Benefit: The marquise is a stylish, nontraditional shape that has a slimming effect on the wearer’s hand.

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Selling Color Explain to your customer that the most valuable diamonds display the least amount of color, unless they’re fancy-colored diamonds in prized, strongly colored hues, which are extremely rare and costly. Almost all diamonds have some yellowish or brownish tints. Sometimes these tints are barely noticeable unless the diamond is compared side by side with another diamond that has a different amount of color. They’re even more difficult to see when the diamond is set in a piece of jewelry. Jack Kelége & Co.

Many customers are unaware that diamonds come in colors. You can show them how fancy-colored diamonds can give a piece of jewelry an exciting look.

Small differences in color add up to big differences in price. A couple might select a color grade or two below what they planned when they realize they can’t see the difference.

Your attitude and manner are as important as the actual words you say. Try to match your body language and speech patterns to the individual customer. If a customer moves and speaks slowly, don’t rush around the counter and chatter rapidly. If someone laughs loudly and jokes, don’t respond in hushed, serious tones. Let customers set the pace during the approach. If a customer doesn’t want to chat, then move away, but stay visible and available.

Exchange Information

Some people are overwhelmed when they’re faced with too many choices. You can help them by asking the right questions and finding out what they’re really looking for.

During the information exchange, you find out what the customer wants. Be a good listener. Ask what they know about diamonds. If it’s appropriate, explain the Four Cs. Some customers might be overwhelmed by all the choices. Others will enter your store knowing exactly what they want. Either way, exchanging information with customers can help you show them jewelry that fits their individual wants and needs. Try not to begin your information exchange by focusing on mountings, setting styles, or diamond shapes. Ask questions that get customers to talk about themselves. This will help them feel at ease with you and also start building a bond between you and them. In addition to establishing trust with your customers, asking the right questions has another, equally important function. Customers’ individual stories can give you clues about their tastes in jewelry styles. For example, if a prospective bride shares her plans to wear a cuttingedge designer wedding gown, you might show her contemporary, fashion-forward engagement rings. If the couple shares a love of nature, you might show them a ring with a floral design. Help your customers find jewelry that reflects their personalities.

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Although you might be tempted to do so, don’t ask, “How much do you want to spend?” When a customer’s mind is on romance, this kind of question can be upsetting. And it can limit the size of your sale. You might have heard the advice, “Sell down to sell up.” This technique works especially well with customers who haven’t decided how much they’re willing to spend. Start by showing the most valuable jewelry in your inventory. Then “sell down” by showing a less costly piece that’s still fairly expensive. After confronting the possibility of buying a $10,000 ring, necklace, or bracelet, the idea of spending only $2,000 won’t be nearly as intimidating. On the other hand, a customer might insist, “I want to spend $1,500 and that’s my limit.” Don’t ignore him and take out a $3,000 item anyway, or he’ll probably be offended that you disregarded his wishes and go elsewhere to make his purchase.

Stuller/Platinum Guild International

Instead of being aggressive, get your customer to think about higher figures, even if they aren’t jewelry related. You might try saying something like, “I know that $3,000 sounds like a lot, but it’s still less than you’d spend for that seven-day cruise you mentioned earlier. And you’ll have this jewelry for the rest of your life.”

If you understand your customers’ preferences, you can show them jewelry styles that closely suit their needs and desires. This assortment of rings would appeal to someone with contemporary tastes.

If the customer asks to see a piece of jewelry that’s much less expensive than the one you’d hoped to sell, be graceful and enthusiastic when you present it. Handle a simple gold ring with a 0.25-ct. diamond with as much care as you would a $10,000 piece.

Tino Hammid/GIA

A customer is less likely to be shocked by the price of the jewelry they select if you start by showing them higher-priced items. The platinum and diamond line bracelet (right) is a more expensive version of the gold and diamond line bracelet (above) because of the metal choice, diamond quality, and total weight.

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Shutterstock

Important occasions inspire most jewelry purchases. If you show your customers that you honor those special times in their lives, you’ll earn their respect and appreciation.

No matter what color, clarity, cut, or carat weight diamond they eventually buy, or how much the precious metal mounting weighs, a jewelry purchase creates a memory that lasts a lifetime. Honor the moment and you’ll earn your customers’ respect—and future business.

Build Value

Feature: Matching gold and diamond wedding trio Benefit: The set provides a coordinated look that reflects the bridal couple’s sense of unity.

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Even if your emphasis is on romance when you sell jewelry, you need to give customers other reasons to buy. You’ve already helped them understand the Four Cs and how they relate to the unique item they’re selecting. Don’t forget to balance romance with information about the value of the jewelry you’re showing. A final purchase depends not just on emotional appeal, but also on the feeling that they’re getting good value for their money. What can you do if a customer falls in love with a certain style of setting but doesn’t care for the size or shape of the diamond? She might not buy from you, despite the personal connection you’ve made.

Presenting Diamond Jewelry

Selling Clarity Clarity is a diamond’s degree of freedom from inclusions and blemishes. In most diamond grades, inclusions are not visible to the unaided eye. And yet, their presence affects a diamond’s price. Make sure your customer understands that inclusions can affect a diamond’s value, even if they’re only visible under magnification. Customers can get a good idea of clarity if you let them compare two diamonds under magnification—one with many inclusions and one with few inclusions. You can also emphasize the value of clarity by mentioning that, according to industry estimates, fewer than one percent of diamonds mined are free of inclusions.

Gary Roskin

Most diamonds have inclusions that can be seen under magnification (top). Diamonds with exceptional clarity (bottom) are rare. Learn to use inclusions as features that make a diamond unique.

It’s not an issue of price but of personal preference. In fact, 72 percent of wedding-jewelry buyers surveyed by Bride’s Magazine said they’re not as concerned about bargain prices as they are about getting what they truly want. Surveys indicate that the same is true for people shopping for other types of jewelry. Many of them were willing to spend more than they actually did. Be prepared to meet any of your customers’ needs by knowing what options are available. Some stores offer a selection of semi-mounts, which are jewelry pieces preset with small gems surrounding a central area where a stone of the customer’s choice can be added. A semi-mount can be set with a variety of gemstone shapes, sizes, and types.

Feature: White and yellow gold semimount with baguette trim Benefit: The empty mounting allows flexibility in selecting the size, quality, and shape of the center stone.

Your customer might love a particular setting, but prefer a 1-ct. faint yellow diamond to the 0.50-ct. colorless diamond you offer. If your store carries a selection of loose diamonds, or if you can special order the diamond she wants, you might be able to accommodate her wishes.

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iStockphoto.com

Price is less of an issue when customers are happy with the jewelry they choose. Keep this in mind as you find ways to satisfy your customers’ wishes.

Manufacturers give customers many mix-and-match possibilities, from switching metals to changing the size of gemstones in a mounting. Take advantage of these options, and try not to lose sales over details you can be flexible on. As you start showing jewelry, you should also start pointing out features (specific characteristics) and benefits (the value each feature holds for your customer). Here’s an example: The fine, delicate platinum mounting around the point of a marquise center diamond in an engagement ring is a feature. The benefit is that the durability of the platinum will protect the diamond while giving the ring a sleek design.

Often, the same style ring is available in both white (top) and yellow (bottom) metals, and can contain diamonds with different clarity, size, cut, or color. Know what options your store offers so you can accommodate each customer’s individual preferences.

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You can draw on the product knowledge you’ve acquired in this course to identify features and translate them into benefits. You know how diamonds form, and that they come in different levels of color and clarity. You also know how cut affects beauty, and how rarity and value are related. All of these are keys to your sales success. You should be able to explain how the features and benefits of a piece of jewelry contribute to its emotional or financial value. That’s what Adam Stone did at the beginning of Assignment 2 when he said:

Presenting Diamond Jewelry

“Diamonds with fewer clarity characteristics are more rare, so they tend to be more valuable. I can show you a diamond with no clarity characteristics, but it will cost you about three times more than this one if you want the same size and color. I can assure you, though, that this diamond’s clarity is very good.” He also said, “The crystals inside this diamond have been there since it formed. They make the diamond unique. I can’t even guess at the odds of finding another diamond with the same color, weight, and two identical crystals in the same locations. You can tell that to Tess when you give it to her—this diamond is truly one of a kind. There’s not another one exactly like it.” He turned one feature (the clarity grade) into two benefits. One was financial, the other was purely emotional. In most cases, the emotional benefit will close the sale. Adam led with the financial benefit and ended with the emotional one because he wanted it to be foremost in his customer’s mind. Add tags to your feature and benefit presentations. Tags are simple questions that keep your customer involved in the sale. Always try to relate them to things you’ve learned about your customer. Here’s an example of a tag you might use in a sales presentation for a triangular diamond: Feature: “The diamond is a triangular brilliant.”

Valerie Power/GIA

The platinum mounting is a feature that can easily be expressed as a benefit. You can tell your customer that, with platinum holding the diamonds in place, this ring is likely to last a lifetime.

Tag—Restatement of a benefit, posed as a question, designed to elicit agreement.

KEY CONCEPTS

Benefit: “The diamond’s triangular shape has a fresh, contemporary look.”

Draw on your product knowledge to translate features into benefits.

Tag: “You said earlier that you wanted a modern style—doesn’t the diamond’s shape give this ring a modern look?”

People usually buy jewelry based on its emotional benefits.

Vincent Cracco/GIA

You can use inclusions as selling features that make a diamond one-of-a-kind, especially if the inclusions are extraordinary, like these vibrant red crystals.

Wedding rings symbolize the love and commitment between two people. Remind customers of this priceless emotional benefit.

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Selling Cut A diamond’s cut affects its brilliance. A poorly cut diamond is less brilliant, even if it has good color and clarity. Some proportion variations can make a diamond appear too deep or too shallow—two factors that affect how well the diamond takes in and reflects light. Fire and scintillation are also affected by cut. Let your customers tell you the look they like. Show them a range of diamond cuts, then listen to their responses. Each individual will have his or her own preferences. It’s important to understand those preferences. If customers like a dramatic display of light, they might choose a brilliant cut in either a round or a fancy shape. Customers who prefer a subtler look might choose a step-cut diamond. Brilliant cuts tend to show more “sparkle” than step cuts, but the latter tend to show off a diamond’s clarity and transparency. Or they might want a mixed cut, which combines the two.

Princess cuts display an impressive flash of brilliance (top) while emerald cuts have a more subtle, elegant beauty (bottom). If you show customers a variety of cuts, you can let their preferences guide you.

Handling a Customer’s Objections

Feature: Gold and diamond wrap-around ring Benefit: The setting fits around a solitaire to give it a larger look.

A customer might state an objection at any point during your sales presentation. Objections are a way for customers to request more information before they buy. Think of objections as challenges by your customer and as an opportunity for you to further refine your sales presentation. Most objections are centered on value. Customers will frequently ask, “Why is it so expensive?” They might make that statement in any number of different ways. Here are some examples: • “I’m sorry, but we can’t afford it.” • “I didn’t realize it was that expensive.” • “Sorry, honey, but this ring costs more than our car did.”

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Feature: Diamond stud earrings Benefit: Classic studs are versatile enough for day or evening wear and complement any outfit.

Most diamonds begin their journey to the jewelry counter in a mine and recovery plant much like this one. Explaining the complex mining and manufacturing processes to an unconvinced customer might help build the case for a diamond’s value.

Feature: Gold and diamond earring jackets Benefit: They give plain earring studs a new and dazzling look, and dress them up for social occasions.

This is a cue for you to skillfully apply your product knowledge. Describe the quality and rarity of the diamond. If there is more than one stone, point out how well the diamonds are matched to each other and to the overall design. Point out how well the ring is made, the type of metal, and the quality of the finish. It’s more difficult to respond to objections like this: “We can’t afford it at the moment, we’ve got so many other expenses to take care of.” Don’t forget that questions about price almost always indicate that your customer is seriously interested in buying the piece. Under other circumstances, they might be prepared to spend at least as much—if not more—on a cruise or a skiing holiday. They might just be having trouble coming to terms with the large price for such a small object. There are plenty of emotionally effective lines you can use: “This diamond is not just for today. That cruise you mentioned will be over in a week, but in 10 years, this beautiful ring will still be on your finger to remind you of the commitment you made to each other on your wedding day.” Diamond’s timeless, long-lasting appeal is a bonus, so don’t hesitate to emphasize it. Say something like, “You’ll treasure this beautiful ring, and so will your children and grandchildren.” There’s no reason why—if you feel you’ve established trust and the appropriate rapport with your customers—that you can’t use a little humor to lighten the atmosphere and speed the process up a little: “Jim, isn’t Anne’s happiness worth every penny? The only obstacles left are you and your checkbook... Go on, why not make her happy?”

Diamonds, with their timeless beauty, can become treasured family heirlooms. Add value to jewelry by telling customers that the jewelry they buy now might someday be worn by their grandchildren.

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Feature: Platinum pendant with bezel-set pear Benefit: The platinum bezel setting protects the pear’s point and makes it look larger.

Feature: White gold anniversary ring with diamonds at top and sides Benefit: The white gold enhances the colorless beauty of the diamonds. The stones set into the sides add unique sparkle. Alex Mak/ORO Diamante Inc.

Men’s jewelry that features diamonds comes in simple and classic or more ornate styles.

Create Desire Creating desire is a lot like establishing value. In fact, the stages are usually intertwined when you show jewelry. Your customers already have a desire for jewelry—they wouldn’t be in your store if they didn’t. Your job is to show the customer how a particular item matches their unique needs.

Feature: Gold and diamond earring jackets Benefit: They give plain earring studs a new and dazzling look, and dress them up for social occasions.

KEY CONCEPTS

A good way to create desire for an item is to let the customer try it on.

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For example, you might say, “You and Rachel are looking for a ring with sapphires as well as diamonds. These deep blue sapphire baguettes are a vibrant contrast to the stunning F-color diamond.” Or, “Since your fiancée is interested in jewelry with a traditional look, she’ll love this classic Tiffany mounting. Its elegance is timeless.” If a man dislikes fancy, ornate jewelry and prefers plain, streamlined designs, you might say, “This man’s wedding band is tasteful and elegant. Platinum is rich looking and lustrous.” A good way to arouse desire in any sales transaction is the “try-on.” Trying on jewelry gives the customer a sense of ownership and often adds special significance to the sale. When you’ve narrowed the potential purchase down to a few selections, remember the try-on. Don’t just hand over the ring—make a ceremony of it. If you’re serving a couple, ask the man if he’d like to place the ring

Presenting Diamond Jewelry

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You can help a customer connect emotionally to a piece of jewelry by suggesting that she try it on. If it’s wedding jewelry, make the moment special by allowing the groom-to-be to place the ring on his fiancée’s finger.

on his sweetheart’s finger, if store policy allows. If it’s a wedding band for him, ask if she’d like to place it on his finger. In a sense, the couple has just rehearsed their wedding with you as witness. And they’re likely to become emotionally wedded to purchasing from you as a result. But be careful when suggesting this type of try-on: Some couples are superstitious about acting out their ring exchange prior to the wedding. Just mention it casually and then abide by their decision. If a man or woman alone is making the purchase as a gift, you can still use the idea of the try-on by asking customers to visualize the ring on their loved one’s finger. “Can you imagine the expression on her face when you slip this breathtaking ring on her hand?” you might ask. Or, “Just imagine how he’ll be reminded of you every time he sees this impressive platinum wedding band on his finger.” In general, building desire is about linking the customer with the product. If you inspire the couple to feel a personal connection with a particular item, they’ll be more likely to buy it from you than to search for a better deal down the street or on the Internet.

Feature: Gold and diamond bangle bracelet Benefit: This is a style that’s versatile enough for day or evening wear.

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The Trial Close The trial close tests the customer’s readiness to buy. Use the trial close after you’ve narrowed the selection to a single special item, built up its value, and kindled desire. Handle the trial close delicately. After all, this isn’t a decision to be rushed. But if a customer seems ready to make a decision, ask a question that doesn’t require a commitment to buy, but instead requests the customer’s opinion. For example: • “How do you like the rich color of the 18K gold?” • “What do you think of the diamond’s brilliance?” • “I think she’ll love this exquisite platinum mounting, don’t you?” Richard Canedo

If the customer responds, “It’s great! I think she’ll really like it,” then close the sale.

Rarely does a major purchase have the lasting power of diamond. After several years, cars end up in junk piles, while diamonds remain as bright and beautiful as they were on the day they were purchased.

Of course, closing isn’t always easy, especially when a customer is buying jewelry that will last a lifetime. A man buying alone might hesitate because he isn’t sure his wife will like his selection. Or a woman shopping with her fiancé might be reluctant to choose something too expensive without a sign from him that it’s all right. Don’t interpret hesitation or objections as rejection. An objection can be an opportunity if you respond to it in the right way. Often, the customer merely wants reassurance that his or her selection is a good one. Try to pinpoint customers’ objections and find ways to address them.

KEY CONCEPTS

An objection can be a customer’s way of asking for reassurance, or for more information.

For example, if a man admits that he’s worried about choosing the wrong ring for his bride-to-be, offer to arrange an appointment for her to join him at your store and pick her favorite from his selections. Or offer him the opportunity to exchange the ring, if your store policy allows it. If the purchase price is a problem, emphasize value to the customer. Point out how long the jewelry will be cherished—now and into the future. “Would you pay that much or more for a new car, Mr. Peterson? Well, that new car will deteriorate and lose almost 90 percent of its value in 10 years. But this beautiful diamond will still be sparkling and bright. A diamond keeps its value over a lifetime and beyond.” Payment plans can help to overcome objections. Customers sometimes hesitate to admit financial concerns. Without assuming a couple’s credit status, mention the payment options your store offers. Written guarantees—if your store offers them—will reassure customers who are worried about getting their money’s worth. Some written guarantees include a one-year period during which the purchase will be repaired for free. Others might promise to accept the purchase as a tradein toward a more expensive diamond later on. A GIA Laboratory report can also be very reassuring for a customer contemplating a diamond purchase. Sometimes, “couple’s code” can help you understand the hidden meaning behind an objection. Couple’s code is simply a way for each partner to communicate with the other and to send messages that might not be obvious to a third person.

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Presenting Diamond Jewelry

Feature: Cocktail ring set with small rounds and baguettes Benefit: The field of small diamonds provides a lot of sparkle at a reasonable price.

Feature: Channel-set diamond ring Benefit: The setting provides sleek, contemporary styling and protects and secures the ribbon of stones.

Feature: Man’s gold ring with round brilliants Benefit: The bold look provides a symbol of success.

iStockphoto.com

Couples often communicate non-verbally with each other while making important purchases. Be alert to cues like a shared smile or knowing glance that might mean they’ve found exactly what they’re looking for.

For example, if a woman voices the concern, “It costs more than we’d planned to spend,” don’t bargain with her. Instead, turn to the man and ask, “What do you think, Martin?” Chances are, the meaning behind the woman’s “objection” was not “I think the price is too high” at all. Instead it was, “I really want this ring, but is Marty willing to pay for it?” If you give Martin time to respond to his girlfriend’s code, he’ll probably agree to pay the price. A couple’s code might also be nonverbal. Often, when a couple decides on the ring they like best, they will smile at each other, hold hands, or show other signs of affection. If you notice this type of body language, get ready to close the sale.

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Selling Carat Weight Many people like the opulent look of a single large diamond. Others might prefer the shimmer of multiple channel-set baguettes, or the classic symmetry of a three-stone ring with one large center diamond between two smaller ones. According to industry surveys, fewer than one percent of women will ever own a diamond of one carat or more. Nevertheless, size counts, even in diamonds under one carat. The larger a diamond, the more rare it is. That’s why a diamond’s price per carat tends to increase sharply as the size of the diamond increases. For example, a 1-ct. diamond weighs the same as four 0.25-ct. diamonds. But if all other factors are equal, the larger diamond costs much more than the sum of the four 0.25-ct. diamonds because large diamonds are so rare. Bigger is not always better. It depends on a customer’s taste and budget. If your customer considers some diamond attributes—such as cut or color—more important than size, she might decide to go with a small, high-quality diamond rather than a large diamond with lower clarity. Also, don’t give customers the idea that small diamonds lack beauty and rarity. People shopping for small diamonds today might be shopping for larger diamonds in the future. Large diamonds are much more rare than small ones. That’s why the collective price of the melee-sized diamonds (top) is much less than the price of the single large princess cut (bottom).

Robert Weldon/GIA

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Presenting Diamond Jewelry

Feature: White and yellow gold and diamond earrings Benefit: The two-tone look is sophisticated and coordinates with any other jewelry pieces being worn.

jacobson/iStockphoto.com

Asking how a customer will pay for an item is a simple and effective closing technique. Regardless of the method you choose, your close should leave people feeling confident that they made the right purchase.

The Close The close should always be sensitive, respectful, and ethical. And, as always, you should choose closes that work best for you and your customers. One smooth way to close a sale is the “assumed close.” For example, if you’ve discussed placing a 0.75-ct. princess-cut diamond in an 18K semi-mount with two trillion-cut diamonds, say something like, “So, I can have our bench jeweler set the diamond and we’ll have the ring for you shortly.” Then be prepared to do it.

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If a man or woman is buying a ring as a gift, a graceful way to close the sale might be, “Would you like me to gift wrap this for you?” Or, “We have a beautiful presentation box to put this in.” Another way to close the sale is simply to ask about the form of payment that they prefer.

Feature: Diamond and sapphire ring jacket Benefit: The combination of stones adds color and a fuller look to a traditional solitaire.

No matter how you decide to close your sale, think about adding the word “Congratulations,” accompanied by a warm smile. Always remember how significant this purchase is to your customers. You can make it a happy memory.

Add-On Sales When you sell jewelry, it’s always appropriate to suggest an add-on. A customer buying a ring might be interested in matching earrings or a matching necklace. Even if they don’t buy the suggested add-on right away, they might return for it later. A customer might be willing to buy an add-on but not want to spend a large amount of money all at once. If your store allows it, a tactful solution is layaway, which allows the customer to hold additional purchases until a later date. Don’t push add-ons if customers aren’t ready. Eagerness to increase the sale might tempt you to pressure your customer. But it can offend customers who have just begun to think of you as a trusted advisor.

Panfili Gianmaria/iStockphoto.com

Suggesting add-ons that complement or match the selected jewelry is always a good idea. Even if customers don’t purchase the additional jewelry right then, they might come back later.

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One way to build customer relationships is to record their special occasions and follow through with mailings.

Follow-Up Selling a ring, bracelet, or pair of earrings isn’t the end of the sales process. It offers an opportunity to embark on a rewarding, lifelong relationship with your customers. All it takes is a plan for following up the original sale and exploring other sales opportunities. Special occasions like Valentine’s Day, Mother’s Day, Christmas, and birthdays are all popular jewelry-giving occasions. Be sure to record your jewelry customers’ special dates at the time of the original purchase and follow through with mailings throughout the year in keeping with your store’s policy.

Feature: Heart-design teen ring Benefit: The ring has romantic styling, and it’s set with the perfect “beginner” diamonds.

Many stores ask customers to fill out cards while completing the transaction. These cards include contact information and a record of purchases, as well as blanks for the customer’s birthday, anniversary, and other important dates. Some people might not want to be contacted after the purchase. Respect their desire for privacy and don’t press the matter. For the people who do give you the information, though, try to make a follow-up telephone call as soon after the sale as practical—the next day, if possible. You need to reassure the customer that they made a wise purchase. Your call can also reinforce the emotional reasons for the purchase. If your customer bought the jewelry as a birthday present, for example, say something like, “I know your wife is going to love that very special ring you bought for her. Please let me know how it goes when you give it to her.” Just be careful not to give away the surprise if the wife answers when you call.

Feature: Heart-shaped pendant with baguettes Benefit: The shape gives it a romantic, feminine look and makes it the perfect gift for a wedding or for Valentine’s Day.

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A week or so after the purchase, send them a simple, handwritten note thanking them for their business. They’ll appreciate your thoughtfulness and respect your professionalism. It will also add to their positive feelings about the purchase and make them more likely to return to you for future purchases. Equally important, they’ll be more inclined to send friends to your store, too.

Final Thoughts and Actions Feature: Bee-shaped diamond pin Benefit: This fun novelty look can accent a lapel or shoulder.

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How can you use what you’ve learned?

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What are the benefits you get from taking this course?

You’ve learned a lot about diamonds in this course. You know the value factors. You know how diamonds are graded. You’ve read about the relationship between the Four Cs, rarity, and value. Your challenge is to put that information to work. This assignment has given you the tools you need to do that. The key is an organized and effective sales presentation.

Striking a Balance By the time you finish selling customers on each of the Four Cs, they’ll probably realize that selecting diamond jewelry is a delicate balancing act. Ultimately, customers must decide which aspects of diamond quality are most important to them. Don’t push one C on a customer at the expense of the others. Explain that each is important, and each affects quality and value. Then let your customers tell you what’s important to them. The best way to get customers to tell you what they want is to begin showing them jewelry. As their sales associate, you are the matchmaker between customers and their perfect diamond jewelry. In this course, you’ve gained the power and ability to present jewelry ethically and honestly. You can use what you’ve learned here to give customers accurate information about diamond jewelry. That will speak well of you as a professional, and also will reflect well on your store and on the jewelry industry as a whole. Peter Johnston/GIA

You can guide customers through the maze of jewelry buying by providing them with useful information, answering their questions, and showing them what’s available.

Don’t underestimate the power of that image. The jewelry industry is built on trust. Your customers rely on you to guide them through a purchase that can be as frightening as it is exciting. People worry that they won’t get good value for their money. They might worry that the quality of the diamond is less than you said it was. If you can answer their questions and objections with accurate and clear information, you will gain their trust. They’ll also respect your professionalism.

The Fifth C Now that you’re nearing the end of the GIA Diamond Essentials course, you’re more at home in the world of diamonds. This course has given you the vocabulary you need to make more sales. Now, when you talk about diamonds, you can easily use terms like “melee” or “feather.” You can explain fancy cuts and fancy colors.

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Presenting Diamond Jewelry

Kwiat/Platinum Guild International

No matter what style of diamond jewelry you’re selling, your knowledge of the Four Cs will help you present merchandise confidently and successfully.

When you look at a diamond mounted in a ring, you’re aware of the effort it took by nature and humans to put it there. And you know what might lie just beyond the surface—inclusions, treatment, dirt build-up, and wear around the prongs of a mounted stone. In addition, you’ve gained tangible proof of your achievement: a GIA certificate declaring your standing as a diamond professional. When you inform customers of your GIA education, you’ve made a big step toward gaining their trust. All these factors together provide you with the Fifth C—confidence. Your mastery over the Four Cs—color, cut, clarity, and carat weight—is a good foundation. This combination of knowledge and confidence helps you make your business—and the jewelry industry as a whole—better and stronger.

Your GIA education will help establish a customer’s trust in you as a competent jewelry professional.

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An Industry That’s Forever India was the only major source of diamonds until the 1730s. Brazil followed with supplies of its own until about 1870. But diamonds didn’t become really abundant until late in the 1800s, when significant deposits were discovered in South Africa. Cecil Rhodes was one of the major figures in the South African diamond industry’s early days, and the founder of De Beers Consolidated Mines. De Beers determined that the extraordinary output of the South African diamond mines would have to be matched by an increased demand for diamonds. At the time, diamond sales were limited to royalty and the wealthiest citizens. The company determined that ordinary citizens would have to become diamond customers, too. In the 1930s, after a series of reorganizations, De Beers formed the Central Selling Organisation (CSO) as a centralized buying and selling operation. Soon after that, they began to seriously pursue the great potential consumer market through their first US advertising agency, N.W. Ayer. The first advertisements for polished diamonds and diamond jewelry appeared in 1939. Ayer quickly discovered the effectiveness of promoting diamonds as symbols of love and romance. In 1948, to reinforce this idea, De Beers adopted the now-famous slogan, “A Diamond Is Forever,” the inspiration of a young Ayer copywriter named Frances Gerety. When surveys revealed that American consumers also bought diamonds for status, Ayer began to advertise diamonds as symbols of social and economic achievement. For this purpose, they adorned Hollywood stars in spectacular diamond jewelry and encouraged the press to feature them. They also worked with screenwriters to promote the association of diamonds with romance. In the early 1960s, De Beers expanded its campaign overseas. Their campaign to promote the diamond engagement ring was especially successful in Japan. In 1995, De Beers ended its longtime affiliation with N.W. Ayer and awarded its US advertising account to J. Walter Thompson, the advertising agency that was already handling the account in the rest of the world. At the time, De Beers was devoting enormous resources—about $200 million a year—to promoting diamonds worldwide. In 2001, the CSO became the Diamond Trading Company (DTC), which took over as the company’s buying and selling operation. In 2011, De Beers suspended its “Diamonds Are Forever” advertising campaign to concentrate on promoting its own brand.

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Since the late 1940s, De Beers’ worldwide advertising campaign has appealed to the public’s emotions to make the diamond a universal symbol of love and commitment. These ads are from the 1950s (above), the late 1980s, and the late 1990s (right).

In 2012, the company announced a change in its corporate identity by establishing the De Beers Group of Companies, which would eventually absorb the company’s other operations, including the Diamond Trading Company. In that same year, De Beers moved its sorting operation, along with a portion of its London staff, to Botswana. Today, the company continues in its role as a major player in the worldwide diamond industry, selling around one-third of the world’s rough diamonds.

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KEY CONCEPTS Variations in diamond quality might seem minor, but they can make a big difference in the value of diamond jewelry.

Draw on your product knowledge to translate features into benefits.

Product knowledge helps you explain differences in value to a jewelry customer.

People usually buy jewelry based on its emotional benefits.

To successfully sell jewelry, you need an organized sales presentation.

A good way to create desire for an item is to let the customer try it on.

Effective open-ended questions are essential to successful sales presentations.

An objection can be a customer’s way of asking for reassurance, or for more information.

Don’t let “just looking” stop your sales presentation.

Key Terms Benefit—The value a feature holds for a customer. Closed-ended question—A question that only requires a “yes” or “no” response. Closing ratio—The number of successful sales compared to the number of total sales attempts. Feature—A characteristic or part of a piece of jewelry.

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Objection—A temporary obstacle, raised by the customer, that delays or even stops the sale. Open-ended question—A question that requires a thoughtful, specific answer other than “yes” or “no.” Tag—Restatement of a benefit, posed as a question, designed to elicit agreement.

Presenting Diamond Jewelry

Questions for Review n

What can you do when a customer says, “I’m just looking”?

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What role does product knowledge play in a sales presentation?

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What’s the main motivation for a jewelry purchase?

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Why is follow-up important?

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How can you use what you’ve learned?

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What are the benefits you get from taking this course?

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Diamond Essentials Cut Supplement

CUT SUPPLEMENT

The GIA Cut-Grading System for Round Brilliant Diamonds. . . . . . 227 The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 A Diamond’s Proportions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 A Diamond’s Optical Attributes . . . . . . . . . . . . . . . . . . . . . . . . 232 Diamond Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 Design and Craftsmanship . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 A Diamond’s Weight and Proportions . . . . . . . . . . . . . . . . . 237 Interaction of Table Percentage, Crown Angle, and Pavilion Angle. . 240 Other Limiting Factors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Girdle Thickness Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Cut Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Cut Grade Reference Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 Key Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Questions for Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

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Welcome to the Diamond Essentials Cut Supplement. With the knowledge you gain from this supplement, you’ll be able to: • Clearly communicate a round brilliant diamond’s cut quality using the GIA Cut-grading system. • Understand how a diamond’s proportions contribute to its appearance. • Explain the importance of a diamond’s design and craftsmanship.

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Cut Supplement

Eric Welch/GIA, courtesy Finnell’s Jewelers

Your explanation of the Four Cs can now include a discussion of GIA cut grades and how they relate to differences in diamond appearance.

Introduction to the GIA Diamond Cut-Grading System A casually dressed but well-groomed man strode purposefully into Sutton Jewelers. Adam Stone, one of the store’s top sales associates, stepped up and introduced himself. “Nice to meet you, Adam,” the man responded briskly. “I’m Joe Henderson. I understand you sell diamonds here.” “You’re in the right place,” replied Adam with a smile. “One of my coworkers recommended your store,” said Joe. “He bought an engagement ring here and loved the service—said you worked with him and got things exactly right.” “Glad to hear it,” replied Adam. “We try to help people feel relaxed and comfortable in our store.”

Joel Beeson/GIA

The cut-grading system developed by GIA will help you understand and explain the appearance differences seen in round brilliant diamonds.

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“What can you tell me about cut grades?” asked Joe. “I did some research online, and I understand color and clarity, but I couldn’t figure out cut at all. There are so many numbers…” “If you’ve bought a piece of diamond jewelry before, you probably already know more than you think,” said Adam. As he directed Joe to a sales counter, he added, “I’ll just be a second—let me get something to show you.” Adam returned with two diamonds and their GIA grading reports. “These two stones are almost the same weight—both just above a carat. They have similar clarity and color, too.” He lined them up on a grading tray just an inch or so apart. “Now tell me which stone you like best.” “They both look nice,” said Joe, studying them intently. But after a second or two more he added, “Perhaps this one seems just a little brighter.” “Congratulations! You picked the one with the Excellent cut grade,” replied Adam. “Let me show you why you like this diamond better. Look at the pattern on the crown—the top of the stone. There’s good contrast between the light and dark areas. That’s what makes this stone so bright and lively.” Adam paused for a moment and let Joe examine the diamonds. “Now compare them a little more closely.” He slid the stones closer together with a pair of tweezers. “Can you see that the other diamond is a little dark around the edges and doesn’t seem quite as bright?” The GIA Diamond Grading Report™ can help you explain diamond appearance and sell more diamonds.

“Now that you mention it, its center looks a little dark, too. Why do they look so different?” asked Joe. “Here, look at the reports.” Adam unfolded the GIA grading reports for both diamonds. “Everything’s right with this stone,” he said, indicating the brightest gem. “But the other stone is just a little too deep.” “And that’s enough to make a difference?” asked Joe, looking carefully at the better diamond.

Eric Welch/GIA

Eric Welch/GIA

Slight differences in depth can cause diamonds to appear more (left) or less (right) bright.

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Cut Supplement

“Yes,” continued Adam. “A diamond’s facets are like tiny mirrors that reflect light from inside the gem back to your eyes. If any of those mirrors aren’t aligned quite right, the diamond doesn’t sparkle as much. You’ll see it even better if I rock and tilt the tray a bit.” “Wow,” exclaimed Joe, his eyes not straying from the gems. “This one has quite a bit more sparkle.” “It’s kind of like an orchestra,” continued Adam. “If one or two of the musicians are a little out of tune, then the performance isn’t as good. If everything is aligned just right in a diamond, it becomes a miniature symphony of light. Something special happens to give the stone more life. “This other diamond is still quite nice. It only suffers by comparison with the brighter one.” “Nice isn’t good enough,” said Joe firmly. “It needs to be perfect.” “Who’s the lucky lady?” asked Adam with a smile. “My wife—she’s one in a million,” replied Joe softly. “When we got married, I couldn’t afford much of an engagement ring. Now that we’re much better off, I want to make it up to her. I’m not looking for a big stone, but it has to be as beautiful as this one. And I want the jewelry to be special, too. Can you design something for me?” “That’s why we’re here,” replied Adam, picking up his sketchpad.

The GIA Cut-Grading System for Round Brilliant Diamonds n

How does the GIA cut-grading system help you sell more diamonds?

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How do a diamond’s proportions contribute to its appearance?

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Why are a diamond’s design and craftsmanship so important?

There are five GIA cut grades for standard round brilliant diamonds.

A beautifully finished diamond is dazzling, with every facet displaying the craftsman’s skill and care. When a diamond interacts with light, every angle and every facet affects the amount of light returned to the eye. This is what gives it its face-up appearance. The GIA cut-grading system gives you an easy-to-understand way of explaining why a diamond looks the way it does. It provides you with the vocabulary you need to clearly communicate a diamond’s cut quality to a customer. It lets you talk about the romance and beauty of a diamond while talking about the precision of its cut. This will help you sell more diamonds. The system applies to the most important commercial cut—the standard round brilliant—in all clarities across the D-to-Z color range. There are five cut grades: Excellent (Ex), Very Good (VG), Good (G), Fair (F), and Poor (P).

KEY CONCEPTS

GIA diamond cut grades apply to standard round brilliants in all clarities across the D-to-Z color range.

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Facet Arrangement of a Standard Round Brilliant Number of Facets table

Table

1

Bezel

8

Star

8

Upper Half

16

Pavilion Main

8

Lower Half

16

Culet

0 or 1

Total

57 or 58

bezel facet

star facet

upper half facet

crown girdle

pavilion culet lower half facet

pavilion main facet Peter Johnston/GIA

Crown—Top part of a faceted gem, above the girdle. Table facet—Facet at the top of the crown; usually the largest facet on the stone. Upper half facets—Facets that extend from the girdle edge toward the table. Bezel facets—Kite- or diamond-shaped facets between the table and the girdle. Star facets—Facets that extend from the table edge toward the girdle. Girdle—Narrow section that forms the boundary between a stone’s crown and pavilion. Lower half facets—Facets that extend from the girdle edge toward the culet. Pavilion—Lower part of a faceted gem, below the girdle. Pavilion main facets—Kite- or diamond-shaped facets between the girdle and the culet. Culet—Small facet at the bottom of the diamond, where the pavilion mains meet. Its purpose is to protect loose diamonds against abrasion and chipping.

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Proportions—The angles and relative measurements of a polished diamond and the relationships between them. Finish—The quality of the polish and the precision of the cut of a fashioned gemstone. Polish—The overall condition of a finished diamond’s facet surfaces. Symmetry—The precision of a finished diamond’s shape and the placement of its facets.

Robert Weldon/GIA

Every facet of a round brilliant diamond contributes to its interaction with light. It’s that interaction that gives a diamond its dazzling face-up appearance.

The Basics To diamond graders, the word “cut” means the proportions and finish of a polished diamond. Proportions are simply the angles and relative measurements of a polished gem’s facets and the relationships between them. Finish is the quality of the polish and the precision of the cut. Finish has two aspects: polish and symmetry. Polish is the overall condition of the diamond’s facet surfaces. Symmetry refers to the precision of the shape and placement of the facets.

KEY CONCEPTS

The combination of a diamond’s proportions is more important than any individual proportion value.

These factors, considered together, affect a diamond’s overall cut grade. After years of scientific research and real-life observation, GIA researchers found that while every facet matters, a diamond’s appearance arises from the combined contribution of all its proportions. Rather than considering individual proportions in isolation, the system considers how a diamond’s proportions relate to each other.

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For example, one proportion might be more extreme than the others. When that happens, an otherwise well-cut diamond might get a lower cut grade. As you’ll see, the negative effect can be significant. The system also recognizes another research finding—that no one set of angles or proportions is the only way to make a beautiful diamond. In fact, there are many possible combinations. Each cut grade allows for a variety of appearances, so two diamonds with the same grade won’t necessarily have the same appearance. The GIA cut-grading system considers both global and individual preferences. Some consumers prefer bright diamonds, while others prefer more fire. Some like to see particular symmetrical patterns in a diamond’s faceup appearance. The system also represents a consensus: Not many people like diamonds in the lower cut grades, while almost everyone likes diamonds in the two top grades.

A Diamond’s Proportions The GIA cut-grading system starts by determining a diamond’s proportions. Every GIA cut grade has limits for each proportion. The way an individual diamond’s proportions interact determines its face-up appearance and its final cut grade. Average girdle diameter—The result achieved by adding the smallest and largest girdle diameter measurements of a round brilliant and dividing by two.

Average girdle diameter is the result you get when you add the smallest and largest girdle diameter measurements of a round brilliant and divide by two. It’s the starting point for comparing a diamond’s proportions.

Proportions that Affect a Diamond’s Appearance girdle diameter table size

crown height

an gle

lower half facet

culet size Peter Johnston/GIA

A diamond’s proportions and the relationships between them give it its face-up appearance.

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total depth

pa vil io n

star facet

pavilion depth

girdle thickness

le ng na w cro

Cut Supplement

100% 57%

Peter Johnston/GIA

Girdle diameter is measured across the diamond in several places. The grader then determines average girdle diameter by adding the smallest and largest figures and dividing the result by two.

Peter Johnston/GIA

Crown angle is the angle between the bezel facets and the girdle plane.

Table size is stated as a percentage of average girdle diameter. Table percentage has a major influence on a diamond’s appearance.

Almost all of a diamond’s other proportions are expressed as percentages of its average girdle diameter. This gives you a way to compare diamonds of differing dimensions and proportions. The table is the largest facet on a polished diamond, so it greatly affects a diamond’s appearance. Its size is expressed as a percentage of average girdle diameter and listed as table percentage. Three of the most important proportions in a polished diamond are table percentage, crown angle, and pavilion angle. Crown angle is the angle formed by the bezel facets and the girdle plane, and pavilion angle is the angle formed by the pavilion mains and the girdle plane.

Table percentage—A round brilliant’s table size expressed as a percentage of its average girdle diameter. Crown angle—The angle formed by the bezel facets and the girdle plane. Pavilion angle—The angle formed by the pavilion mains and the girdle plane.

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girdle diameter 100%

pavilion depth 44%

total depth 59%

girdle diameter 100%

Peter Johnston/GIA

Peter Johnston/GIA

The total depth of a round brilliant is stated as a percentage of its average girdle diameter.

A diamond’s pavilion depth is listed as a percentage of its average girdle diameter.

Total depth percentage—Table-toculet depth expressed as a percentage of average girdle diameter.

Total depth percentage is another useful comparison. This is simply the diamond’s table-to-culet depth expressed as a percentage of average girdle diameter.

Crown height percentage—Crown height expressed as a percentage of average girdle diameter.

A GIA cut grade also takes into account the height of a diamond’s crown, the depth of its pavilion, and the thickness of its girdle. These parameters— also expressed as percentages of average girdle diameter—are listed as crown height percentage, pavilion depth percentage, and girdle thickness percentage on the grading report.

Pavilion depth percentage—Pavilion depth expressed as a percentage of average girdle diameter. Girdle thickness percentage—Girdle thickness expressed as a percentage of average girdle diameter. Brightness—The effect of all the diamond’s internal and external reflections of white light. Fire—The flashes of color you see in a polished diamond. Scintillation—The flashes of light and the contrasting dark areas you see when the diamond, the light, or the observer moves.

KEY CONCEPTS

Table percentage, crown angle, and pavilion angle play the biggest role in determining a diamond’s brightness.

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These are the basic proportions that contribute to a diamond’s appearance and thus to its cut grade. There are some other factors that might affect the cut grade, and you’ll read about them later in this supplement.

A Diamond’s Optical Attributes A beautiful diamond looks the way it does because of three optical effects: white light reflections called brightness, flashes of color called fire, and areas of light and dark called scintillation. Together, these factors give the diamond life and determine its visual appeal. Brightness—often called brilliance in the trade—is the effect of all the diamond’s internal and external reflections of white light. Well-cut diamonds are brighter than poorly fashioned ones, even if they’re of equivalent size, color, and clarity. In general, the brighter a diamond, the higher its grade. The proportion factors that play the biggest role in determining a diamond’s brightness are table percentage, crown angle, and pavilion angle. These factors, in a variety of combinations, can produce high levels of brightness in a round brilliant diamond. Fire results when white light traveling through the diamond is dispersed into its rainbow of spectral colors. It can be the most difficult of diamond’s optical qualities to evaluate. It’s especially challenging to assess fire in diamonds under 0.50 ct.

Cut Supplement

Lighting Environment

KEY CONCEPTS

Variations in lighting and surroundings can affect a diamond’s appearance. Fluorescent lighting helps you evaluate a diamond’s brightness while spotlighting helps you evaluate its fire.

Eric Welch/GIA

The GIA DiamondDock™ provides consistent viewing conditions for diamond grading. The operator can switch from a diffused fluorescent light source to one that simulates spotlighting.

Diamonds interact with light so completely that the same diamond can look quite different when it’s viewed under different types of lighting in different positions. Diamonds also reflect everything around them, even nearby furniture and the grader’s head and clothing. That’s why a standardized viewing environment and neutral background are essential for making consistent comparisons between diamonds.

Eric Welch/GIA

Fluorescent lighting from an overhead or desk lamp can help you evaluate a diamond’s brightness, but the same light suppresses its fire. Spotlighting (also known as “point source” lighting) emphasizes a diamond’s fire, but if it’s too strong, it can overwhelm everything else and make the gem appear dark. The GIA DiamondDock™ is designed to provide consistent and repeatable viewing conditions for every diamond a grader assesses. It features daylight-equivalent fluorescent light for judging brightness and face-up pattern, and an array of light emitting diodes (LEDs) for judging fire.

Eric Welch/GIA

The same diamond looks quite different under fluorescent lighting (top) and spotlighting (bottom).

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The crown facets play an important role in producing a diamond’s fire. In general, the larger the area of crown facets compared with the table, the more fire the stone produces. Pattern—The relative size, arrangement, and contrast of bright and dark areas that result from a diamond’s internal and external reflections.

Scintillation is a combination of sparkle and pattern. Sparkle consists of flashing spots of light. In an attractive diamond, the reflections should appear even and balanced in size. Pattern is the relative size, arrangement, and contrast of bright and dark areas that result from a diamond’s internal and external reflections. There must be enough contrast between the bright and dark areas to give the pattern a crisp, sharp look.

Excellent

Good

Poor

As a general rule, the higher the cut grade, the brighter the diamond. Under fluorescent lighting, these diamonds (left to right) display high, moderate, and low brightness.

Very Good Eric Welch/GIA

Fair Eric Welch/GIA

Poor Eric Welch/GIA

Spotlighting promotes a diamond’s fire. The GIA diamond cut-grading system rates fire in a range from Excellent to Poor.

Excellent Al Gilbertson & Barak Green/GIA

Good Al Gilbertson & Barak Green/GIA

Fair Al Gilbertson & Barak Green/GIA

Fluorescent lighting helps you see diamond patterns. They consist of bright and dark areas that result from internal and external reflections.

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Diamond Patterns The bright areas in a diamond’s pattern result from surface and internal reflections. The dark areas might represent a loss of light through the diamond or reflections from the diamond—both of which direct light away from the viewer’s eye—or they might be reflections of dark furniture, clothing, or other objects near the diamond. They might also be a combination of these factors.

KEY CONCEPTS

The best diamonds display patterns with even bright and dark areas and good contrast.

A diamond’s face-up pattern reveals almost every choice the cutter made to fashion the gem, and it’s an important indicator of a diamond’s proportions and symmetry. A steep crown or deep pavilion, for example, probably makes a diamond darker than it would be if it had a crown or pavilion of more standard dimensions. An off-center culet—a symmetry consideration—causes a diamond’s pattern to be off-center. The best diamonds have even patterns of bright and dark across their crowns without any areas of concentrated darkness under the table, around the table edge, or around the girdle edge. There’s good contrast between bright and dark areas and the diamond appears lively from almost all viewing angles. Not all diamonds with high brightness and fire have attractive patterns. A diamond that’s bright and fiery might display a distracting pattern. If it’s too distracting, it can lower the diamond’s potential cut grade.

Poor Al Gilbertson & Barak Green/GIA

Diamonds in the two lower grades (Fair and Poor) tend to have obvious or prominent dark areas that detract from their face-up appearance. They might also have combinations of patterns that make them look overly dark or gray. Very dark patterns probably mean the cutter tried to retain more weight from the rough. This often diminishes the diamond’s optical performance.

Fisheye

These are some patterns displayed by diamonds: • Fisheye—Pale gray reflection of the girdle just inside the diamond’s table facet. It results from interaction between the gem’s table percentage, pavilion angle, and girdle thickness. Diamonds with prominent fisheyes fall into the Fair and Poor GIA cut grades.

Good Al Gilbertson & Barak Green/GIA

Dark upper halves

• Dark upper halves—The upper half facets, or portions of them, appear dark or black. When extensive, this pattern makes the stone look like its girdle is chipped. Slightly dark upper half facets tend to result in cut grades of Good or lower. If the pattern is extensive, it’s probably accompanied by dark areas under the table, and the diamond is likely to fall into the Fair or even Poor cut grade. • Dark ring—This appears just inside the table facet, and typically results from an interaction between the stone’s table percentage, crown angle, pavilion angle, and girdle thickness. If it’s slight and not too distracting, the stone might get a cut grade of Very Good or Good.

Very Good Al Gilbertson & Barak Green/GIA

Dark ring

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• Dark center—A dark area in the center of the table, sometimes called a “nailhead.” Nailheads typically result from extremely steep pavilion angles. Stones with dark centers typically grade Poor.

Poor

• Culet-in-bezel—Reflections of the culet in the bezel facets that produce a “busy” or confusing pattern. This is caused by the combination of a steep crown angle, a small table, and a high total depth percentage. This pattern might be accompanied by other negative features like a dark ring around the table or dark upper half facets.

Al Gilbertson & Barak Green/GIA

Dark center

Fair Al Gilbertson & Barak Green/GIA

Culet-in-bezel

Very Good

• Dark radiating mains—A dark spoke-like pattern of radiating pavilion mains might be caused by a shallow pavilion angle in combination with otherwise typical proportions. Somewhat dark radiating mains can occur in any cut grade. The darker and more extensive they are, the lower the grade. Some patterns detract from a diamond’s appearance more than others. Fisheyes and dark centers are very detrimental to a diamond’s appearance. Others, like dark radiating mains and dark upper half facets, aren’t too distracting when slight. The symmetry of the dark radiating mains pattern isn’t critical—it’s the extent of the dark area that has the most impact on appearance. This pattern has a negative effect on a diamond’s appearance when the dark mains extend beyond the table facet, cause the center of the gem around the culet to appear dark from the face-up view, or both. Some proprietary cuts feature highly symmetrical radiating mains under the table facet. In these stones, the pattern is acceptable until facet reflections increase, the spokes darken, and the dark area becomes heavy enough to dominate the diamond’s appearance. This makes a diamond look slightly darker than other diamonds with similar patterns.

Al Gilbertson & Barak Green/GIA

Dark radiating Mains

Excellent Al Gilbertson & Barak Green/GIA

Very Good Al Gilbertson & Barak Green/GIA

Good Al Gilbertson & Barak Green/GIA

These three diamonds all have dark radiating mains, but each one received a different cut grade. It’s the extent of the dark area that makes a difference between cut grades of Excellent (left), Very Good (center), and Good (right).

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Cut Supplement

Design and Craftsmanship GIA also includes a diamond’s design and craftsmanship in its cut grade. Design is determined during the fashioning stage. It’s a diamond’s physical shape, including its proportions and durability. Craftsmanship is the care that goes into the diamond’s finishing details.

Design—A diamond’s physical shape, including its proportions and durability, determined by decisions made during the fashioning process.

Including these factors gives a well-crafted diamond the recognition it deserves and properly identifies the factors that make it more beautiful than other diamonds.

Craftsmanship—The care that goes into the fashioning of a polished diamond, as confirmed by its finish.

Design factors include the diamond’s weight and durability. The GIA cutgrading system downgrades diamonds that carry excess weight in extremely thick girdles, steep crowns, or deep pavilions. Diamonds with features that make them vulnerable to damage—like extremely thin “knife-edge” girdles—also tend to receive lower GIA cut grades. The craftsmanship judgment reflects the care taken later in the finishing process. Ratings for polish and symmetry are included in this category.

A Diamond’s Weight and Proportions Analysis of a diamond’s weight in relation to its girdle diameter results in what’s called its weight ratio. A diamond should not weigh more than its face-up size would indicate. Some cutters fashion diamonds with “hidden weight” in extra thick girdles, steep crowns, or deep pavilions. Diamonds with these features are heavier than their millimeter diameters suggest. They represent poor value because a customer might be paying for extra weight that doesn’t show in the diamond’s face-up appearance. The standard diameter for a 1.00-ct. round brilliant is about 6.5 mm. If a diamond with a 6.5-mm diameter weighs 1.20 cts., it’s concealing significant extra weight and should receive a lower cut grade. An excellent way to determine why a diamond is overweight is to examine its proportions, especially total depth percentage. If a diamond’s total depth percentage is more than 65 percent, it’s an indication that its crown, pavilion, or girdle—or all three—are too thick.

KEY CONCEPTS

Diamonds with thick girdles, steep crowns, or deep pavilions represent poor value because they appear smaller face-up than their weights suggest. Al Gilbertson & Barak Green/GIA

Al Gilbertson & Barak Green/GIA

These diamonds have the same girdle diameters, and they probably appear to be the same size face-up, but their profiles show very different girdle thicknesses. A thicker girdle (right) is often used to add weight to a fashioned diamond.

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GIA Diamond Grading Reports™

The full GIA diamond report includes a plot of the diamond.

The GIA Laboratory has designed its diamond reports to make them easy to understand at a glance. All the diamond’s major grading information is located in a panel on the left of the report. Both the full report and the Diamond Dossier®—a shorter report for diamonds of 1.99 cts. or less—have similar formats. On both reports, the grading information is arranged into three sections.

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The Diamond Dossier is an abbreviated report designed for diamonds of 1.99 cts. or less.

The top section includes the diamond’s report number, shape, and basic measurements—the minimum and maximum diameters and depth in millimeters. The center section presents grading results based on the 4Cs: carat weight, color, clarity, and cut. In a panel on the right, graphics illustrate the GIA color, clarity, and cut scales. Directly beneath the 4Cs there’s additional information, including finish—polish and symmetry—fluorescence, and comments. In the center of the full report, a plot documents the location and extent of important clarity features. Each report type includes a scaled profile that displays all of the diamond’s essential proportions. The profile acts as a “blueprint” for the individual diamond.

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Total Depth Percentage Ranges

57.5%

56.0% 53.0% 51.0%

63.0% 64.5% 66.5% 70.9%

70.9%

< = less than, > = greater than Peter Johnston/GIA

Each cut grade has a specific range for each of a diamond’s important proportions. This diagram shows the ranges for total depth percentage. Once a diamond falls outside a grade’s range, that grade is eliminated as a possible cut grade for that diamond.

KEY CONCEPTS

A diamond’s total depth percentage tells you if it’s too deep or too shallow. Together, table percentage, crown angle, and pavilion angle define a diamond’s basic geometry and potential beauty.

On the other hand, if a diamond’s total depth percentage is less than 56 percent, it probably means that some part of the diamond is too shallow. Total depth percentage can also be broken down into crown height percentage, pavilion depth percentage, and girdle thickness percentage. Individually, they might be within the tolerances for the Excellent cut grade. But when they’re all added together, the result might exceed the permitted total depth percentage for that grade.

Interaction of Table Percentage, Crown Angle, and Pavilion Angle The size of the table has considerable impact on the way a diamond interacts with light. Diamonds in the top two GIA cut grades have a wide variation in table percentages, from about half of average girdle diameter (50 percent) to about two-thirds (66 percent). Diamonds with table percentages above or below these limits don’t belong in either of the two top grades. But a diamond really is the sum of its parts, so even a table percentage within these limits doesn’t guarantee a high cut grade. A diamond can have a 55 percent table and still grade Poor. The grader must consider all of its proportions together. The relationship between table percentage, crown angle, and pavilion angle defines a finished diamond’s basic geometry and its potential beauty. Within limits, certain crown and pavilion angle combinations might compensate for tables that are larger or smaller than you’d expect. For example, with complementary crown and pavilion angles, a diamond with a table as small as 52 percent or as large as 62 percent can achieve an Excellent cut grade, if all other factors are within that range.

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Cut Supplement

Table Percentage Ranges

52.0% 50.0% 47.0% 44.0% 72.0%

< = less than, > = greater than Peter Johnston/GIA

Each grade has its own range of possible table percentages. If a diamond’s table percentage falls outside the range for a particular grade, it eliminates that cut grade as a possibility for the diamond.

The upper and lower limits are especially important for these three parameters. For example, the range of crown angles for Excellent is 31.5 degrees to 36.5 degrees. The corresponding figures for pavilion angle are 40.6 degrees and 41.8 degrees. For the most part, these particular table percentage, crown angle, and pavilion angle parameters define the basic proportion ranges of diamonds with Excellent cut grades. However, in many cases, the interaction of these three parameters can reduce a diamond’s cut grade below what you’d expect if you considered them individually. If some of a diamond’s measurements are close to the extremes of the ranges—for example, a table percentage of 62 percent, crown angle of 36.0 degrees, and pavilion angle of 41.0 degrees—it might grade Very Good rather than Excellent. But the same combination of crown and pavilion angles and a smaller table—in the 54 to 59 percent range—can produce a better-looking diamond. This principle applies to the other cut grades, too. It underscores the fact that a diamond’s proportions actually work together to produce the diamond’s unique face-up appearance.

hill valley

Peter Johnston/GIA

A normal girdle has evenly sized and spaced “hills” and “valleys” (top). Close-up, you can see even scalloping all around the diamond (bottom).

Other Limiting Factors In addition to the proportions listed so far, some other factors can limit a diamond’s cut grade. The first is girdle thickness. As stated earlier, when it’s stated as a percentage of average girdle diameter, it’s called girdle thickness percentage. The girdle might be bruted, polished, or faceted. On a standard round brilliant, it consists of 16 narrow “valley” and 16 broader “hill” positions. Graders assess girdle thickness at the valley sections, where the upper and lower half facets are closest to each other. Girdle thickness percentage, on the other hand, is assessed at the eight hill positions where the bezel facets meet the pavilion main facets.

Girdle thickness—The width of a fashioned gem’s girdle.

KEY CONCEPTS

Graders assess girdle thickness at the narrow “valley” positions and girdle thickness percentage at the broad “hill” positions.

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Gary Roskin

Gary Roskin

Girdle thickness can range from extremely thin to extremely thick. Profile views show an extremely thin to thin girdle (left) and a very thick girdle (right).

0

KEY CONCEPTS

Star length percentage and lower half length percentage are both judged in the face-up view, perpendicular to the table.

100%

100%

0

Peter Johnston/GIA

Peter Johnston/GIA

Star length is stated as a percentage of the total distance between girdle edge and table edge.

Lower half length is stated as a percentage of the total distance between the girdle and the culet.

A diamond’s girdle provides an edge for setting the stone into jewelry. It should be thick enough to prevent chipping. If it’s too thin, it creates durability risks. On the other hand, a thick, unpolished girdle can detract from the diamond’s appearance by causing a gray reflection in the stone. Either one can cause setting problems. Graders report thickness in a thin-to-thick range—for example, very thin (VTN) to medium (MED). Diamonds with extremely thin (ETN) or extremely thick (ETK) girdles usually get lower GIA cut grades. Those with a wide range of girdle thickness variations—for example very thin to extremely thick—also tend to grade poorly.

Star length percentage—The length of the star facets expressed as a percentage of the total distance between the girdle and the edge of the table facet.

A round brilliant’s star facets start at the table edge and extend toward the girdle. They can affect both brightness and fire, but they affect a diamond’s cut grade only when they’re very long or very short. Star length percentage is the length of the star facets expressed as a percentage of the total distance—when viewed perpendicular to the table—between the girdle and the edge of the table facet.

Lower half length percentage—The length of the lower half facets expressed as a percentage of the total distance between the girdle and the culet.

Lower half facets start at the girdle and extend toward the culet, and occupy a large portion of a round brilliant diamond’s pavilion. Lower half length percentage is the length of the lower half facets expressed as a percentage of the total distance—when viewed perpendicular to the table—between the girdle and the culet.

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Al Gilbertson & Barak Green/GIA

Gary Roskin

John Koivula/GIA

Very long lower half facets can create a splintery pattern in a diamond’s face-up view.

The culet is located where the pavilion mains meet. This diamond has a medium culet.

The polish lines in this diamond would be considered as part of its finish grade.

Very long lower half facets might create a splintery pattern in a diamond when it’s viewed face up. This pattern detracts from the appearance of an otherwise attractive gem and reduces its cut grade. The culet is a facet that’s located where the pavilion mains meet. Its purpose is to prevent chipping and abrasion on loose diamonds. Not all diamonds have culets. Diamonds with undamaged and unabraded points rather than culets are sometimes described as “pointed.” A diamond’s culet size limits its possible cut grade. Typically, the larger a diamond’s culet, the lower its cut grade will be. Because very large or extremely large culets are very distracting, stones with this feature tend to grade in the lower two cut grades. Graders also have to rate a diamond’s finish, which includes its polish and symmetry. To evaluate polish, graders look for defects on the diamond’s surface under 10X magnification. To evaluate symmetry, they consider the evenness of a diamond’s outline and the size, shape, and placement of its facets. Graders rate polish and symmetry as Excellent, Very Good, Good, Fair, or Poor. Because slight defects in polish and symmetry don’t harm an attractive diamond’s overall appearance very much, polish or symmetry can rate one category lower than the gem’s final cut grade. For example, a stone can receive Very Good ratings for polish and symmetry and still get an Excellent cut grade. However, a Poor rating for either polish or symmetry automatically reduces a diamond’s cut grade to Poor.

Girdle Thickness Variations In a diamond with a normal girdle, the hill positions are all pretty much the same thickness, resulting in fairly even scalloping all around the diamond. A cutter can retain weight in a round brilliant by increasing girdle thickness all the way around the diamond or only in selected locations. During fashioning, the polisher sometimes uses weight-saving techniques called painting and digging out to change the angles of the upper and lower girdle facets in relation to the horizontal plane. Painting and digging out often result in significant thickness differences between adjacent hill positions and cause uneven scalloping around the diamond’s girdle. Painting is a process of very light polishing that allows the cutter to gently polish away less thickness at selected locations around the girdle.

John Koivula/GIA

This off-center culet is a variation in the diamond’s symmetry.

Culet size—The size of the facet at the bottom of the diamond where the pavilion mains meet. Painting—A weight-retention method that adjusts the angles of some facets to allow portions of a diamond’s girdle to be thicker. Digging out—A weight-retention method where the cutter leaves more girdle thickness to allow for later removal of clarity characteristics around the girdle.

KEY CONCEPTS

Significant painting and digging out result in hill positions of differing thicknesses, causing uneven scalloping around the diamond’s girdle.

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Peter Johnston/GIA

Eric Welch/GIA

With a painted girdle (top), the thickness where the upper half facet junctions meet the lower half facet junctions is greater than the thickness where the bezel facets meet the pavilion main facets. This results in uneven scalloping (bottom).

This diamond has significant painting on both its crown and pavilion. The effect is apparent in both the profile (left) and face-up (right) views.

Eric Welch/GIA

Cutters often use digging out to remove naturals or blemishes at the girdle. Early in the cutting process, the cutter leaves a thicker girdle around the entire diamond. The clarity characteristics are then removed—or “dug out”—later in the finishing process, leaving some of the additional girdle thickness in the other locations. Digging out might be done at just one place on the girdle or symmetrically at a number of places. When painting, the cutter tilts the upper or lower half facets toward the bezel facets or pavilion mains. In a painted diamond, the hill positions where the upper half facet junctions meet the lower half facet junctions are thicker than those where the bezel facets meet the pavilion main facets.

Peter Johnston/GIA

Significant painting causes a diamond’s facet junctions to be less obvious.

With digging out, the opposite is true. The cutter tilts the upper or lower half facets, or both, away from the bezel or pavilion facets and toward each other. The hill positions where the bezel facets meet the pavilion main facets are thicker than those where the upper and lower half facets meet. Strong painting or digging out can change the face-up appearance of a diamond, even if its other proportions are symmetrical. Significant painting might cause large areas of the diamond to flash all at once, changing the balance of the diamond’s face-up pattern. Digging out might produce dark upper half facets and make the stone look dark face-up. It also makes the gem look smaller because the diamond’s brightness doesn’t extend to the girdle edge.

Peter Johnston/GIA

With dug-out facets (top), the girdle thickness where the upper half facet junctions meet the lower half facet junctions is less than the girdle thickness where the bezel facets meet the pavilion main facets. This creates uneven scalloping (bottom) that’s the reverse of the scalloping in a painted girdle.

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Severe digging out might make some crown facet junctions appear less sharp, to the point where adjacent upper half facets look like a single large facet. This significantly alters the diamond’s pattern by causing larger areas of the diamond to flash at the same time. Cutters use both techniques to maximize weight yield, especially if a small difference can lift a diamond beyond an important weight such as the half-carat, one-carat, or two-carat levels. The cutter might use painting or digging out on just the crown, just the pavilion, or on both.

Cut Supplement

Peter Johnston/GIA

Eric Welch/GIA

Fairly severe digging out causes a diamond’s facet junctions to appear less sharp, making adjacent upper half facets look like a single large facet.

Eric Welch/GIA

This diamond has significant digging out on both its crown and pavilion. The effect is apparent in both the profile (left) and face-up (right) views.

Painting

Al Gilbertson & Barak Green/GIA

Al Gilbertson & Barak Green/GIA

Al Gilbertson & Barak Green/GIA

Diamonds with significant painting only on the crown are generally not as bright as non-painted diamonds. You might also see a pattern of dark radiating mains.

Painting only on the pavilion saves more weight than painting only on the crown. It creates a strong visual impact with broad, radiating bright and dark areas.

Diamonds with painting on both crown and pavilion display more extreme effects, with broad bright and dark areas that radiate out from their centers.

Al Gilbertson & Barak Green/GIA

Al Gilbertson & Barak Green/GIA

Al Gilbertson & Barak Green/GIA

Extreme digging out on the crown tends to darken upper half facets and make them appear to “blend” together. It also alters the diamond’s scintillation pattern.

Digging out only on the pavilion saves more weight than digging out on the crown. It might produce an interrupted pattern and an overall gray appearance.

Digging out on both crown and pavilion produces more extreme effects. The stone’s center often appears dark, with a bright band blending into a dark band at the table edge.

Digging Out

Peter Johnston/GIA

A cutter can use digging out to accommodate a clarity characteristic at the girdle (top). Without digging out, the cutter would have to remove the characteristic by creating a thinner girdle all the way around (center). With digging out, the cutter cuts a thicker girdle, then removes the characteristic later. This creates a thinner area only where the clarity characteristic was located (bottom) and helps the cutter save weight.

KEY CONCEPTS

Significant painting or digging out can give a diamond an unattractive scintillation pattern or make it appear darker.

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Cut Terms The basic choices a cutter makes when fashioning a diamond include the size of the table, the crown and pavilion angles, and girdle thickness. Other factors indicate the care taken during the finishing stage. These include the symmetry of the facets and their relationship to one another as well as the fineness of the polish. These elements all contribute to a diamond’s overall appearance. These are some cut terms you’ll encounter when you read a report or talk about cut with your customers or clients: Average girdle diameter—The result achieved by adding the smallest and largest girdle diameter measurements of a round brilliant and dividing by two. Brightness—The effect of all the diamond’s internal and external reflections of white light. Craftsmanship—The care that goes into the fashioning of a polished diamond, as confirmed by its finish. Crown angle—The angle formed by the bezel facets and the girdle plane. Crown height percentage—Crown height expressed as a percentage of average girdle diameter. Culet size—The size of the facet at the bottom of the diamond where the pavilion mains meet. Design—A diamond’s physical shape, including its proportions and durability, determined by decisions made during the fashioning process. Digging out—A weight-retention method where the cutter leaves more girdle thickness to allow for later removal of clarity characteristics around the girdle. Finish—The quality of the polish and the precision of the cut of a fashioned gemstone. Fire—The flashes of color you see in a polished diamond.

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Girdle thickness—The width of a fashioned gem’s girdle. Girdle thickness percentage—Girdle thickness expressed as a percentage of average girdle diameter. Lower half length percentage—The length of the lower half facets expressed as a percentage of the total distance between the girdle and the culet. Painting—A weight-retention method that adjusts the angles of some facets to allow portions of a diamond’s girdle to be thicker. Pattern—The relative size, arrangement, and contrast of bright and dark areas that result from a diamond’s internal and external reflections. Pavilion angle—The angle formed by the pavilion mains and the girdle plane. Pavilion depth percentage—Pavilion depth expressed as a percentage of average girdle diameter. Polish—The overall condition of a finished diamond’s facet surfaces. Proportions—The angles and relative measurements of a polished diamond and the relationships between them. Scintillation—The flashes of light and the contrasting dark areas you see when the diamond, the light, or the observer moves. Star length percentage—The length of the star facets expressed as a percentage of the total distance between the girdle and the edge of the table facet. Symmetry—The precision of a finished diamond’s shape and the placement of its facets. Table percentage—A round brilliant’s table size expressed as a percentage of its average girdle diameter. Total depth percentage—Table-to-culet depth expressed as a percentage of average girdle diameter.

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Cut Grade Reference Chart Excellent

Very Good

Brightness

High (stone appears very bright)

High to moderate (stone appears bright)

Fire

High

High to moderate

Pattern

Only minute pattern defects; even pattern of bright and dark areas with strong contrast; symmetrical pattern of dark radiating mains permitted within the table facet if the area around the culet remains bright

Minor pattern defects; slight darkening of pavilion mains and along upper half facets

Total depth %

57.5% to 63.0%

56.0% to 64.5%

Table %

52% to 62%

50% to 66%

Crown angle

31.5° to 36.5°

26.5° to 38.5°

Pavilion angle

40.6° to 41.8°

39.8° to 42.4°

Crown height %

12.5% to 17.0%

10.5% to 18.0%

Star length %

45% to 65%

40% to 70%

Lower half length %

70% to 85%

65% to 90%

Girdle thickness

Thin to Slightly Thick

Extremely Thin to Thick

Culet size

None to small

None to medium

Polish

Excellent to Very Good

Excellent to Good

Symmetry

Excellent to Very Good

Excellent to Good

Note: Some table percentages, crown angles, and pavilion angles within the ranges for Excellent might combine to negatively affect the grade and reduce it to Very Good or lower.

Note: Some table percentages, crown angles, and pavilion angles within the ranges for Very Good might combine to negatively affect the grade and reduce it to Good or lower.

This chart gives the proportion ranges for each GIA cut grade. Remember that the cut grader considers a diamond’s proportions together as well as individually. That’s because even though a gem’s parameters might all be within limits for the Excellent cut grade, it might actually grade lower because they interact in a negative way. Table percentage, crown angle, and pavilion angle are especially critical. If two or more of these parameters are close to their respective limits, they’ll probably reduce the stone’s cut grade. Finish—polish and symmetry—also affects the gem’s cut grade, but a diamond’s polish and symmetry can be one grade lower than its cut grade.

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Cut Supplement

Good

Fair

Poor

Moderate (stone appears quite bright, with some dark areas)

Moderate to low (stone appears Low (stone appears very dark with generally dark, with some bright areas) few bright areas)

Moderate

Moderate to low

Low; very little visible fire

Noticeable pattern defects; dark pavilion mains extend under the crown facets and distract from appearance; slight dark rings within table facets; somewhat dark upper half facets

Obvious pattern defects; fisheyes give general “grayed-out” appearance; lack of contrast between light and dark areas; very dark upper half areas; general darkness under table; very dark radiating mains

Prominent pattern defects; very dark areas under the table (nailheads); very dark upper half facets; extremely dark pavilion mains; patterns lack contrast and might appear very “blocky”

53.0% to 66.5%

51.0% to 70.9%

70.9%

47% to 69%

44% to 72%

72%

22.0° to 40.0°

20.0° to 41.5°

41.5°

38.8° to 43.0°

37.4° to 44.0°

44.0°

9.0% to 19.5%

7.0% to 21.0%

21.0%

Any value

Any value

Any value

Any value

Any value

Any value

Extremely Thin to Very Thick

Extremely Thin to Extremely Thick

Extremely Thin to Extremely Thick

None to large

None to very large

None to extremely large

Excellent to Fair

Excellent to Fair

Excellent to Poor

Excellent to Fair

Excellent to Fair

Excellent to Poor

Note: Some table percentages, crown angles, and pavilion angles within the ranges for Good might combine to negatively affect the grade and reduce it to Fair or Poor.

Note: Some table percentages, crown angles, and pavilion angles within the ranges for Fair might combine to negatively affect the grade and reduce it to Poor.

Note: The presence of any one extreme proportion element, girdle thickness, or Poor finish rating establishes cut grade as Poor.

Check the profile for hidden weight.

Check profile for extra hidden weight or “knife-edge” girdle.

Check profile for extra hidden weight or thin crown with “knife-edge” girdle.

Symbols: When followed by a quantity or percentage, > means “greater than” < means “less than” The descriptions of brightness and fire for the Good and Fair grades represent general impressions because a wide variety of appearances are possible. Some stones with excellent brightness might grade Good or Fair because they lack fire or display unattractive patterns. Similarly, some stones that show high levels of fire but low levels of brightness might grade Good or Fair.

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Diamond Essentials

KEY CONCEPTS GIA diamond cut grades apply to standard round brilliants in all clarities across the D-to-Z color range.

A diamond’s total depth percentage tells you if it’s too deep or too shallow.

The combination of a diamond’s proportions is more important than any individual proportion value.

Together, table percentage, crown angle, and pavilion angle define a diamond’s basic geometry and potential beauty.

Table percentage, crown angle, and pavilion angle play the biggest role in determining a diamond’s brightness.

Graders assess girdle thickness at the narrow “valley” positions and girdle thickness percentage at the broad “hill” positions.

Variations in lighting and surroundings can affect a diamond’s appearance. Fluorescent lighting helps you evaluate a diamond’s brightness while spotlighting helps you evaluate its fire. The best diamonds display patterns with even bright and dark areas and good contrast. Diamonds with thick girdles, steep crowns, or deep pavilions represent poor value because they appear smaller face-up than their weights suggest.

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Star length percentage and lower half length percentage are both judged in the face-up view, perpendicular to the table. Significant painting and digging out result in hill positions of differing thicknesses, causing uneven scalloping around the diamond’s girdle. Significant painting or digging out can give a diamond an unattractive scintillation pattern or make it appear darker.

Cut Supplement

Questions for Review n

How does the GIA cut-grading system help you sell more diamonds?

n

How do a diamond’s proportions contribute to its appearance?

n

Why are a diamond’s design and craftsmanship so important?

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Diamond Essentials

Photo Courtesies The Gemological Institute of America gratefully acknowledges the following people and organizations for their assistance in gathering or producing some of the images used in this assignment book: AFP

Jewelers Mutual Insurance Company

Ambar Diamonds

Joseph Schubach Jeweler

Ashton Mining Limited

K.R. Gems & Diamonds International

Barker & Co.

Kwiat

BHP Billiton Diamonds Inc.

Barker & Co.

Cathy Jonathan

Kevin Tauchuk

Collection of Donald K. Goodman, Frank Goodman and Sons, Los Angeles, CA

Philippe Diamond Corp.

Diamond Information Center

Platinum Guild International

Diamond Trading Company

Stuller

Etienne Perret

Telecheck

Field's Jewelers

The Metropolitan Museum of Art

Gemworld International, Inc.

Thomas Hunn Co.

Harry Winston, Inc.

Traditional Jewelers

J. Grahl Design

Underwood & Underwood

Janet Alix Designs

William Goldberg Diamonds

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For Further Reading

For Further Reading Gems & Gemology (G&G), GIA’s professional journal, and GIA’s website (www.gia.edu) provide in-depth feature articles on the latest gemological research, from gem treatments, lab-grown gems, and the evaluation of gem quality to developments in gem production, market sources, and more. To give you the opportunity to learn more about the subjects you are studying and enrich your gemological knowledge, a list of articles relevant to each Diamond Essentials assignment is provided below. It is important to note that this reading is optional. You will not be tested on the content of these articles. All G&G articles are available for download free of charge at www.gia.edu. Copies of these articles are also available at your GIA campus location. Check with your instructor for access to them.

Scan the QR code above or go to https://www.gia.edu/library to access articles for further reading.

Assignment 1: Diamonds and Diamond Value Gilbertson A. (2016) Diamond Quality: A Short History of the 4Cs. GIA Research & News https://www.gia.edu/gia-news-research/diamond-quality-short-history-4Cs GIA (2016) Large, Rare Diamonds Reveal the Inner Workings of Earth’s Mantle https://www.gia.edu/diamonds-reveal-inner-workings-of-earths-mantle Shigley J.E. (2016) Identifying Lab-Grown Diamonds. Research News https://www.gia.edu/identifying-lab-grown-diamonds Shigley J.E. et al. (2015) Mining Diamonds in the Canadian Arctic: The Diavik Mine. Gems & Gemology, Vol. 52, No. 2 https://www.gia.edu/gems-gemology/summer-2016-diamonds-canadian-arctic-diavik-mine Shor R. et al. (2015) Letˇseng’s Unique Diamond Proposition. Gems & Gemology, Vol. 51, No. 3 https://www.gia.edu/gems-gemology/fall-2015-letseng-unique-diamond-proposition Shor R. (2015) Bright Light at Midnight: Canada’s Far North Land of Diamonds. GIA Research & News https://www.gia.edu/gia-news-research/bright-light-midnight-canadas-far-north-land-diamonds Shor R. (2014) After a Century, Riches Still Flow from Cullinan Mine. Industry Analysis https://www.gia.edu/research-news-industry-analysis-cullinan-mine Weldon R., Shor R. (2014) Botswana’s Scintillating Moment. Gems & Gemology, Vol. 50, No. 2 https://www.gia.edu/gems-gemology/summer-2014-weldon-botswana-scintillating-moment Overton T.W., Shigley J.E. (2008) A History of Diamond Treatments. Gems & Gemology, Vol. 44, No. 1 https://www.gia.edu/gems-gemology/spring-2008-history-of-diamond-treatments-overton

Assignment 2: Clarity and Value Renfro N.D. et al. (2018) Chart: Inclusions in Natural, Synthetic, and Treated Diamond. Gems & Gemology, Vol. 54, No. 4 https://www.gia.edu/gems-gemology/winter-2018-inclusions-natural-synthetic-treated-diamond

Assignment 3: Color and Value Breeding C.M. et al. (2018) Natural-Color Green Diamonds: A Beautiful Conundrum. Gems & Gemology, Vol. 54, No. 1 https://www.gia.edu/gems-gemology/spring-2018-natural-color-green-diamonds-beautiful-conundrum

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Eaton-Magaña S. et al. (2018) Natural-Color Pink, Purple, Red, and Brown Diamonds: Band of Many Colors. Gems & Gemology, Vol. 54, No. 4 https://www.gia.edu/gems-gemology/winter-2018-natural-color-pink-purple-red-brown-diamonds Eaton-Magaña S. et al. (2018) Natural-Color Blue, Gray, and Violet Diamonds: Allure of the Deep. Gems & Gemology, Vol. 54, No. 2 https://www.gia.edu/gems-gemology/summer-2018-natural-color-blue-gray-violet-diamonds-allure-of-the-deep GIA (2015) Famous Diamonds Examined by GIA. GIA Research & News https://www.gia.edu/famous-diamonds GIA. The Magic of Colored Diamonds. GIA Research & News https://www.gia.edu/gia-news-research-worlds-fascination-fancy-colored-diamonds King J. et al. (2014) Exceptional Pink to Red Diamonds: A Celebration of the 30th Argyle Diamond Tender. Gems & Gemology, Vol. 50, No. 4 https://www.gia.edu/gems-gemology/winter-2014-pink-to-red-diamonds-30th-argyle-diamond-tender King J.M. et al. (2008) Color Grading “D-to-Z” Diamonds at the GIA Laboratory. Gems & Gemology, Vol. 44, No. 4 https://www.gia.edu/gems-gemology/winter-2008-color-grading-d-to-z-diamonds-king King J.M. et al. (2005) Characterization and Grading of Natural-Color Yellow Diamonds. Gems & Gemology, Vol. 41, No. 2 https://www.gia.edu/gems-gemology/summer-2005-grading-natural-yellow-diamonds-king King J.M. et al. (1998) Characterizing Natural-Color Type IIB Blue Diamonds. Gems & Gemology, Vol. 34, No. 4 https://www.gia.edu/gems-gemology/winter-1998-blue-diamonds-king King J.M. et al. (1994) Color Grading of Colored Diamonds in the GIA Gem Trade Laboratory. Gems & Gemology, Vol. 30, No. 4 https://www.gia.edu/gems-gemology/winter-1994-grading-colored-diamonds-king Kane R.E. et al. (1990) The Legendary Dresden Green Diamond. Gems & Gemology, Vol. 26, No. 4 https://www.gia.edu/gems-gemology/winter-1990-dresden-diamond-kane Crowningshield R. (1989) Grading the Hope Diamond. Gems & Gemology, Vol. 25, No. 2 https://www.gia.edu/gems-gemology/summer-1989-hope-diamond-crowningshield

Assignment 4: Cut and Value GIA (2016) Diamond Cut: Anatomy of a Round Brilliant. Research & News https://www.gia.edu/diamond-cut/diamond-cut-anatomy-round-brilliant GIA (2016) Cut: The 4th C. GIA Research & News https://www.gia.edu/diamond-cut/cut-grade-research-background Luke A. (2016) Diamond Cut: The Wow Factor. GIA Research & News https://www.gia.edu/diamond-cut/diamond-cut-basic-overview Hsu T., Lucas A. (2014) Visit to Chow Tai Fook Diamond Cutting Factory in Foshan, China. GIA Research & News https://www.gia.edu/gia-news-research-chowtai-fook-hsu Caspi A. (1997) Modern Diamond Cutting and Polishing. Gems & Gemology, Vol. 33, No. 2 https://www.gia.edu/gems-gemology/summer-1997-diamond-cutting-polishing-caspi

Assignment 5: Carat Weight and Value GIA 4Cs Carat Weight. GIA Research & News https://www.gia.edu/gia-about/4cs-carat

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For Further Reading

Shor R. (2016) Is Another 1,000 (or 3,000) Carat Diamond Around the Corner? GIA Research & News https://www.gia.edu/gia-news-research/is-another-1000-carat-diamond-around-corner Shor R. (2016) Spring 2016 Auction Update: Big Checks – Mega Diamonds. GIA Research & News https://www.gia.edu/gia-news-research/spring-2016-auction-update-big-checks-mega-diamonds Shor R. (2013) A 118.28 ct Diamond Achieves Record Price. GIA Research & News https://www.gia.edu/gia-news-research-sothebys-diamond-auction-2013-shor

Assignment 6: The Daily Retail Business GIA (2015) Diamond Buying Tips. GIA Research & News https://www.gia.edu/gia-news-research-diamond-buying-tips GIA (2015) Diamond Fun Facts. GIA Research & News https://www.gia.edu/gia-news-research-diamond-fun-facts GIA (2015) Secrets to Keeping your Diamond Sparkling. GIA Research & News https://www.gia.edu/gia-news-research-secrets-keep-diamond-sparkling GIA (2015) Tips on Caring for Jewelry. GIA Research & News https://www.gia.edu/gia-news-research-tips-caring-jewelry GIA (2015) 10 Tips For Buying a Diamond Online. GIA Research & News https://www.gia.edu/research-news-tips-buying-diamonds-online Gilbertson A. (2015) How to Protect Your Diamond From Chipping. GIA Research & News https://www.gia.edu/gia-news-research/how-protect-diamond-chipping Taylor R. (2006) Gem News International: Update on Diamond Trading in Sierra Leone. Gems & Gemology, Vol. 42, No. 4 https://www.gia.edu/gems-gemology/winter-2006-gem-news-international

Assignment 7: Presenting Diamond Jewelry GIA (2015) How to Purchase a Diamond Engagement Ring. GIA Research & News https://www.gia.edu/gia-news-research-purchase-diamond-engagement-ring Krashes L.S. (1983) Harry Winston: A Story Told in Diamonds. Gems & Gemology, Vol. 19, No. 1 https://www.gia.edu/gems-gemology/spring-1983-diamonds-krashes

Diamond Essentials Cut Supplement GIA (2015) Diamond Polish and Symmetry: Guide to GIA Terminology and Abbreviations. GIA Research & News https://www.gia.edu/diamond-polish-symmetry-guide-terminology-abbreviation Moses T.M. et al. (2004) A Foundation for Grading the Overall Cut Quality of Round Brilliant Cut Diamonds. Gems & Gemology, Vol. 40, No. 3 https://www.gia.edu/gems-gemology/fall-2004-grading-cut-quality-brilliant-diamond-moses Reinitz I.M. et al. (2001) Modeling the Appearance of the Round Brilliant Cut Diamond: An Analysis of Fire, and More about Brilliance. Gems & Gemology, Vol. 37, No. 3 https://www.gia.edu/gems-gemology/fall-2001-modeling-appearance-round-brilliant-cut-diamond-reinitz Hemphill T.S. et al. (1998) Modeling the Appearance of the Round Brilliant Cut Diamond: An Analysis of Brilliance. Gems & Gemology, Vol. 34, No. 3 https://www.gia.edu/gems-gemology/fall-1998-an-analysis-of-brilliance-hemphill

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