Left: Alan demonstrating stone setting in 1979, as Michael Endlich takes notes. Michael recently celebrated 25 years in his store, Pave Fine Jewelry of Berkeley and Oakland, California.
Right: Alan demonstrating soldering last month to Alana Bookhout from Providence Village, Texas (winner of Revere's 2009 New Student Contest).


THIRTY YEARS IS OVER TEN THOUSAND DAYS - a very long time to be doing anything. As I watch the big "Three - Oh" fly by on the counter, it seems appropriate to take a moment and reflect on how we got here.

When I moved my studio to the ninth floor of the Phelan Building, on April 1, 1979, I initially named the business the Revere Academy of Goldsmithing. I used the tag line, "RAGs to riches." The idea was right, but it took a little while for the name to evolve into Revere Academy of Jewelry Arts.

Just like the name, at first I did not know where my little school was headed. I wondered if the small group of private students I had attracted to my Oakland Hills studio would follow me across the bay to San Francisco. I was drawn to the architectural style of the Phelan Building, the center of San Francisco's jewelry community since the Great Earthquake. But I was not sure about the move, and whether it was the right thing to do.

My fears disappeared on the day I moved in. As soon as I saw the telephone with the number I was inheriting, I knew that I was in the right place at the right time. The phone number matched the date on the calendar, 4179! Now I am not superstitious, but it was hard to ignore the unexpected welcome to my new home in San Francisco. However, if someone had told me at the time, that I would be answering to that number for the next 30 years (and counting), I would have laughed in his (or her) face. And in some ways, I am laughing. It has been a wonderful ride. Teaching what one truly loves is a priceless gift and it has made me very happy.

Now 10,000 days and 10,000 students later, I am still happy to be here. My idea of teaching traditional European jewelry skills found an eager audience, one that has grown and continues. My emphasis on basic skills, precision, creativity and my own passion, fueled fires in many others. Today, Revere students work in all 50 states and in over 30 countries around the world.

Teaching people how to use their hands and make jewelry is an uncommon profession. What we do is out of sync with the rest of the world in some ways. In an age where nearly everything is made by machine, we teach people to work with their hands. In an age where products are made to fail, we make things that will last several lifetimes. In an age where everything changes constantly, the Revere Academy of Jewelry Arts remains the same. We are grounded in history and we see our mission as passing on the skills and passion of past jewelry makers to the next generation. We teach people to make jewelry the old fashioned way, by hand.

Over the next few months, I will continue to reflect on my view from the ninth floor of the Phelan Building. So watch this space for some glimpses down memory lane.

As we commence our fourth decade today, I want to thank you for your patronage and support, for your friendship and for your instruction, and for allowing me, and the Revere staff, to share our passion with you for all these years.

With deepest appreciation,

Alan Revere  
San Francisco
April 1, 2009

Introducing an exceptional line of quality pliers for the discriminating professional inspired and designed by Alan Revere, a master goldsmith and founder and director of the Revere Academy of Jewelry Arts. Alan's passion for unquestionable quality and the highest standards of workmanship result in a superior line of German-crafted tools made to meet his specifications. Available in chain nose, flat, round, and half-round/flat.

Why Revere Pliers are Superior

·Handcrafted by expert craftsmen in Germany.
·Made of highest quality carbon tool steel available.
·Hand finished to meet exacting quality standards.
·Extra care and quality control in all phases of production.
·Jaws are hand-finished with beveled corners.
·No plastic handles or springs for precise control and surface contact.
·Special tooling is used to create the unique Revere grip. 

The jaws have been finished with #240 abrasive paper so that they will not mar your work if used properly. Prior to first use, and periodically after, sand the working surfaces back to a satin finish with #240 paper. With a flat sanding stick, sand the faces, leaving visible diagonal strokes. Round the corners slightly.

More information about the history of Revere pliers, and instructions on how to hold Revere pliers can be found on the Revere web site.

Order Now!

We still have a few spaces left in several symposium classes. Register here or call 415-391-4179 to register for one of these information packed classes.


Above: Pave Set Ring by Christo Kiffer, 2009 Symposium Masters

Advanced Pavé with Christo Kiffer, April 3-5, 2009 · $499 + $75 kit
Here is an opportunity for experienced diamond setters to learn innovative new ways to set small diamonds. Developed by the instructor, these unusual techniques include advanced methods of layout, pre-cutting and bright-cutting for diamonds as small as third pointers (0.003ct). The techniques can be applied to any surface or shape, such as curves and negative areas. Instruction covers the alteration, preparation and use of special gravers, burs, and beading tools. Projects include single and multiple rows with diagonal and split beads, hexagon and square cluster layouts.
Prerequisite: Setting 3 plus experience, or extensive experience in pavé. 

Special Techniques in Chasing & Repoussé w/Fabrizio Acquafresca
Building on the basic skills of Chasing and Repoussé, students will develop advanced skills by making a 3-D vessel. Step-by-step instruction will start with repoussé and chasing on two flat sheets. Next the two parts are formed and soldered together, followed by further hammering and finishing. Prerequisite: Chasing & Repoussé or experience.


Above: Enamelled teapot & vessel by Harlan Butt, 2009 Symposium Master

Mandala Patterns in Cloisonné with Harlan Butt
April 6-10 · $899 + $150 kit
There is nothing like the depth of color and dramatic brilliance possible in cloisonné enameling. This workshop offers the perfect introduction to classical cloisonné; in which vitreous enamels fill individual cells bordered by thin ribbons of wire. Instruction covers wet packing, shading, stoning, finishing, setting and much more. Learn to create a series of templates for a special jig to bend cloisonné wire into repeated shapes. Then use these wire sections to form an elegant mandala-inspired pendant. Students learn to apply both transparent and opaque enamels on fine silver as well as silver and gold foil over copper. Open to all levels.

Basse Taille, Stencil & Sgraffitto with Harlan Butt
April 11-12·$349+$110 kit
Enamelists enjoy a wide range of techniques including basse taille (low relief), stencil (drawing) and sgraffito (scratching). Learn these three traditional enamel techniques, which open an endless array of patterns, designs and effects for enamel work. Using both transparent and opaque colors, students create a series of jewelry-scale objects while exploring basse taille, stencil and sgraffito. Whether used alone, in conjunction with each other or in combination with the cloisonné technique taught in the earlier session, these techniques are both fun to explore and also add to your repertoire in enamel and metal. Open to all levels.

*Note: Students enrolled in both of Harlan Butt's enameling classes may purchase a combined kit for $170.
Don't miss the opportunity to take one of these information-packed classes taught by world-class instructors. Register here or call 415-391-4179 to register.

While soldering is essential to jewelry work, it can also be one of the most challenging operations at the jeweler's bench. Controlling the torch requires understanding and experience. The following are a few basic tips to make soldering easier.

Note: This information applies to silver and gold, but not to platinum, which behaves differently during soldering.

 ·Before soldering, it is important to make sure the surface is clean and fluxed. Dirt, polishing compound, and fingerprints can impede the flow of solder. Clean all surfaces well with sandpaper, a scraper, or a plastic abrasive pad prior to soldering, and the apply flux. When heated, flux becomes a "river of glass," sealing the surface from contaminants as the solder flows below it and joins the parts.

·Solder flows toward heat. Whenever possible, put your solder on the far side of a seam and heat the near side. When the solder flows, the heat pulls it through the seam.

·When soldering two items together, it is important to heat them so they reach the flow point of the solder at the same time. Otherwise, the solder will flow onto the piece that reaches that temperature first. When soldering items similar in size, keep the flame moving gently and heat the parts equally.
On the other hand, when soldering items dissimilar in size, apply the heat unevenly; soaking the larger item while avoiding the smaller item. When the larger item reaches soldering temperature, minimal heating of the smaller item is needed. (Again, both items should reach the flow point of the solder at the same time.)

·Try using a pair of tweezers to hold the smaller item in place; the tweezers serve as a "heat sink," drawing some of the heat away so the smaller item will not heat up as quickly as the larger item. You can also block the flame from hitting the smaller piece by placing tweezers or a solder pick in the way.

This tip is from 101 Bench Tips by Alan Revere, published by MJSA. Illustration is by Sean Kane. Order now!

The Revere Academy is a professional jewelry school where master craftsmen pass on their skills and knowledge to students at all levels. Beginners and hobbyists as well as experienced working bench jewelers come for dozens of short, intensive classes (just 3-days!) and diploma programs lasting 2-4 months. I hope you will be able to join us for a class soon!

 

Sincerely,