Never fear! Even if you live in a tiny home, or apartment with minimal space, you can have a functional lapidary workshop at your disposal whenever you need it.

I’ve developed what I call a Workshop-in-a-Box (WIAB) that is just 4 feet wide by 3.5 feet high by 2 feet deep. It holds a Diamond Pacific Genie grinding/polishing unit and a 6-inch trim saw plus shelving and pegboard space for all the tools and supplies needed to craft basic lapidary projects like cabochons. My WIAB fits conveniently in a basement nook, garage, home corner, or, climate permitting, against an outside wall with access to an electrical outlet.

Getting Started

I built my WIAB using 95 percent recycled materials and only needed to purchase miscellaneous small hardware (nails, screws, corner braces), pegboard and paint.

As noted, my box dimensions provide space to hold a Genie and trim saw. Since I built my WIAB, Diamond Pacific has developed a new, wider Genie. So you may want to go 4.5 feet wide if using that new model.

Use all the measurements in these directions as approximations. Build your WIAB to match the space needed to house your machinery and the materials and lumber you have at hand. For instance, not all 2×2 lumber is exactly 2×2. Often the pieces are smaller. Once you’ve constructed the basic shell for your box from plywood sheets, adjust the other measurements accordingly.

Project Measurements

For my WIAB, I started by cutting five pieces of 0.5-inch plywood to craft a basic box. The sides measure 22 inches wide by 40.75 inches high. The back is 48 inches wide by 40.75 inches high. Finally, the top and bottom measure 48 by 24 inches. I deliberately made the top and bottom pieces wider than the sides to allow room for a rim in the front for doors.

With this basic box glued and nailed together, I installed 12 pieces of 2×2 lumber around all the inside edges and up the middle of the back to provide extra support for the box and support for shelving. Along the front bottom, I used a 43.5-inch-long strip of 0.75 x 0.75-inch wood rather than a 2×2 to allow a bit of extra hand space for working with cabs on my Genie.

For shelving, I attached six metal 4-inch corner braces to the back 2×2 lumber to support two 5-inch wide shelves along the back of the box. Each shelf measures 46.5 inches long. Halfway up the left-hand side, I installed one shelf that was 22 inches long and 2.75 inches wide. One corner of the shelf rests on the back shelf and the other corner is attached to a 2×2 with a 1-inch corner brace. On the right side, I installed two similar shelves, each with one corner resting on the back shelves and one corner attached to the front 2×2 with a 1-inch corner brace. I notched all the shelves so they would fit snuggly around the 2×2 interior framework.

Organization & Doors

On the left side of my WIAB, I installed a pegboard measuring 14×19.25 inches. I screwed it in place with two 14-inch strips of wood measuring 0.75×0.75 inches, attached to the left inside panel.

With a pegboard on one side and shelving on three sides, my Workshop-in-a-Box accommodates my basic lapidary tools and supplies: safety glasses, dop pot, dop wax, cans holding dop sticks, cab templates, cans for Sharpies and aluminum scribes to mark slabs via templates, cab rest, Water Aid wetting agent, jars of polishing compound, polishing disc and pads, small cans of motor oil and WD-40, paper towels and rags, and my ever-present Buddha sculptures to provide the calm patience needed while crafting a rock. There’s also room to hold small trays for rough pre-forms. The interior space is small, but it holds a lot.

I constructed two doors of plywood sheets, measuring approximately 24×40 inches each, attached to the box with hinges. On the inside of the left-hand door, I installed a thin 1.25-inch wide strip to provide a seal to keep out critters. I also installed two barrel-sliding bolt latches to hold the doors shut, top and bottom. Other options could be magnetic cabinet latches or latches with locks. The door was finished off with two cabinet handles.

Finishing Up

At the lower back corner of the right panel, I cut a 1.5-inch diameter hole for my Genie and trim saw electrical cords. The hole is sealed with a rubber stopper when cords are not in use and pulled inside.

Finally, I painted the interior of my WIAB with glossy enamel paint. This makes for easy clean-up from splashes off the Genie and the trim saw. I used flat paint for the exterior matched to the exterior of my home.

Given that my WIAB is outdoors, I added aluminum drip-edge flashing around the top edges along with shingles. I also took the added step of installing an overhead lamp, which I later found to be unnecessary given the lamp attached to my Genie unit provides plenty of light.

I mounted my WIAB on a wooden typing desk that I got at a garage sale. The desk is 31.5 inches tall and I’ve installed a shelf beneath it for extra storage space. The height is just right for my 24-inch tall stool. The height is also just right for standing at the slab saw.

With these basic instructions, you too can construct a Workshop-in-a- Box. Go for it and enjoy your home lapidary workshop space.

This story about how to make a lapidary workbench previously appeared in Rock & Gem magazine. Click here to subscribe. Story and photos by Jim Brace-Thompson.

The post How to Make a DIY Lapidary Workbench first appeared on Rock & Gem Magazine.

Over the years I have heard many people in the rock community say they will never cut certain stones because of all the inherent dangers that are contained within the material. The reality is the dangers are not in handling the materials themselves but in the processing. The dangers can easily be handled with proper education, gaining knowledge of what is in each stone before cutting, and how to properly stay out of harm’s way with the correct protective gear.

Dangerous Materials

Many stones used in lapidary work may contain radioactive minerals, asbestos, beryllium, sulfur, cinnabar (mercury), and various other harmful elements that can cause health problems if not handled properly. Everything can have risks, even some common items around the house have potential risks — smoke detectors contain radioactive elements, ceramics like tiles and pottery may contain uranium in the glazes, and for years, dishware had radioactive minerals used in the bright coloring. People are familiar with these materials and are comfortable having them around because they know the proper precautions are taken so they can be used as everyday items. The same can be said with many common lapidary materials.

Stones like pietersite, tiger’s eye, marra mamba, and serpentine contain asbestos. Society has been trying to remove old asbestos-containing products such as insulation in homes and buildings for years. This is because asbestos is a fine fiber mineral that when turned into dust and goes airborne, has been linked to lung cancer, mesothelioma, and asbestosis. Stones like Clear Creek plasma agate contain various minerals, one of them being an attractive bright red cinnabar which is a mercury sulfide and can be dangerous if you breathe in the dust. It is most dangerous though when breathing in the fumes when the stone is heated to over 400°F. Mercury was utilized by gold miners in the extraction process of gold from the quartz host stone. Members of the quartz mineral group, one of the most common materials and contained in the majority of lapidary materials, is known to cause silicosis. Silicosis is a lung disease caused by inhaling large amounts of crystalline silica dust. It is not curable but is very preventable.

Lapidary Precautions

When cutting cabochons, it’s important to know which materials are unsafe to handle, but for the most part, the majority can be cut with the right precautions. First, setting up your workspace with proper ventilation is key. Everything you do should protect your breathing.

Next, wearing rubber latex gloves or nitrile gloves to protect from skin irritations is not a bad practice. It might not always be effective for those who like to hold the stones by hand as they cab because the gloves tend to rip easily when close to the wheels. If you cab using dop sticks, these gloves can help keep your skin from being overly exposed.

Eye gear is ALWAYS warranted, not just for avoiding the collection of dust particles in your eyes, but to also protect from small chips and shards flying off the grinding wheels that can cause a great deal of eye damage.

The number one article of gear that should ALWAYS be worn is a respiratory mask. The N95 might be adequate for most things. (The 95 number stands for 95 percent of all dust particles.) However, I would suggest using the P100 mask with replaceable filters. These masks will block out 100 percent of all particles in the air and protect you from harmful dust.

A waterproof apron will keep you dry and keep lapidary materials off your clothing. Ear guards not only protect your hearing by blocking machine noise, but they also keep your ears clean and free from compiling dust or particles.

Clean Work Surfaces

In addition to wearing protective gear, keeping a clean shop is just as important. If you are cutting up materials that contain carcinogens such as Tiffany stone which contains beryllium, always clean all the surfaces in your workspace where dust has collected. This way, there won’t be a transfer of dust to your hands, and will avoid accidental ingestion later.

A complete set of protective gear includes a P100 respirator, eye protection, ear protection, a waterproof apron, and gloves. All these items can easily be found at your local stores, such as Home Depot, Lowes or Ace Hardware, and online on Amazon and eBay. Wearing all the correct protective gear and keeping a clean work area should help ensure a safe, healthy hobby.

This story about lapidary safety tips previously appeared in Rock & Gem magazine. Click here to subscribe. Story by Russ Kaniuth.

The post Lapidary Safety Tips first appeared on Rock & Gem Magazine.

How to Store a Rock Collection for Documentation

Know what you’ve got and document it! If self-collected, record the locality and date of collection. If purchased, record when, where, from whom, and the price paid. If trading with a fellow collector, record the transaction. “Provenance” is important in the collecting world and adds value. Keep a ledger and include a catalog number on each specimen. On a personal note, as a member of a gem club, I receive collections for our club museum and it is a rare joy when donations come with numbered specimens and a catalog. You can build a catalog with a handwritten ledger or, better, with database software. Whatever route you choose, don’t just keep loose cards with specimens. I knew a lady who lived in a rambling Victorian house and kept a Victorian-style collection—a bit of everything haphazardly placed in an eclectically cluttered funhouse. Regrettably, she stored all info on loose cards and in her head. Over the years, maids vacuumed up the cards while her memory of the specimens disappeared. This left her heirs with a superb collection much diminished in value. If you have specimens you purchased, keep the cards that came with them but also maintain an updated catalog.

Assessing Your Collection

After documenting your collection, consider having it appraised. Most collections are “specimen collections” of primarily common pieces. While a fossil may be near and dear, if it’s not truly world-class, it’s not worth your time to appraise. Pare down and focus on stuff that is truly rare, unusual, or would be in demand in a market environment. Per the late-great comedian George Carlin, junk is stuff we toss, but stuff is junk we keep. Assess good stuff, not junk!

Where to Get an Appraisal

Where to get an appraisal? Many gem clubs get requests but are not qualified and as nonprofits are not allowed to provide legal appraisals. Fancy auction houses like Sotheby’s mean paying fancy fees. A good place to start is a local jewelry store with staff who are GIA (Gemological Institute of America) certified. While it’s easy to find someone to appraise jewelry or cut gemstones, it’s more difficult with specimen minerals or fossils. Gem show dealers might appraise what you’ve self-collected or purchased.

However, some warn against going to dealers because they may have an interest in purchasing your collection and provide a low-ball assessment then pressure you to sell to them. It’s best to go to a neutral third party. If turning to an outside entity, seek agencies with qualifications and those versed in the category best matching your collection. Such companies sometimes advertise in hobby magazines or on websites.

Although some auction houses sponsor “appraisal days” with free verbal assessments, most appraisals come with fees based on the assessed value. Appraisers may charge a “per-piece” fee, an hourly fee, or another rate for services. If turning to an appraiser with an especially large collection, negotiate regarding fees and what sort of documentation will be produced.

Appraisal Alternative

Alternatively, do a self-assessment. If a specimen was purchased, what did you pay for it? Keep in mind: what you paid doesn’t necessarily reflect worth. One person paid $9,000 for a sapphire only to discover it was worth $30 after a professional appraisal. That said, compare specimens in your collection against going rates via online shops like Amazon, eBay, and Etsy. Search the internet and gem show aisles to see retail for “like” items.

The main thing to seek? A fair-market value you can document. Don’t go to a “We Buy Gold!” shop offering a commodity price for your carefully crafted collection of gold nuggets. What is the price fellow collectors might pay? Whatever route you choose, have a rationale behind assigned values. Use hard market data either deduced by yourself or obtained from an impartial third party, not based on sentimental value. Also, some insurance companies don’t accept self-assessments and insist on independent evaluations. This could cost you big bucks, so focus on unique pieces within your collection. Search the web for appraisers within your region.

Where to Get Insurance

After appraising a collection, most turn to their regular homeowner’s insurance. This can be the most inexpensive option, but while many companies are versed in insuring jewelry, not all have expertise regarding specimen minerals and fossils. And while homeowner’s insurance may provide coverage in a “personal articles floater,” such a floater may be exorbitantly expensive and most fail to offer full replacement cost. Seek better deals with specialized insurers offering “collectibles insurance.” As an example, one collector spends $120/year with a specialized insurer for a 200-piece collection worth $17,000 when her regular homeowner’s policy turned her down.

What Insurance to Get for Your Collection

You can get a rider on your homeowner’s insurance policy, but they say not to bother for individual pieces or entire collections that aren’t worth at least a minimum amount. Most policies exclude or severely limit the value of coverage for collectibles, but if you have a small collection of ordinary specimens, this may be your best bet.

Alternatively, some companies focus specifically on gems and collectibles both for appraisal services and insurance for especially high-value collections. When seeking insurers—as in seeking appraisers— check advertisements within hobby magazines and/or do an internet search.

Whatever route, seek a policy insuring against theft, accidental breakage, fire/ water damage, and natural disasters. If you attend gem shows as an exhibitor, consider coverage for travel and show attendance. Finally, seek insurers versed in the unique properties involved in one-of-a-kind collectibles, including such concepts as “replacement value” versus “fair market value” or “agreed-value coverage” versus “actual or standard cash value.”

Protecting Your Collection

If you wish to insure a collection, you’ll need to provide evidence that you’re protecting that collection. Store specimens in cabinets or flats. High-value items should be locked in a safe. Place small items with outsized values in a safety deposit box. Alternatively, adopt a high-strung Doberman Pinscher! As some members of my Ventura Gem & Mineral Society learned during the devastating 2017 Thomas Fire in California, even rocks burn. Have smoke detectors in every room of your home and keep them charged with fresh batteries to protect both your rocks and yourself.

Those with more means might install a sprinkler system. This is a step above, but it’s worth it when you consider what happened to the national museum in Brazil, which lacked smoke detectors and sprinkler systems and suffered a total loss of national treasure. Some choose to keep a secure location within their homes for especially valuable pieces, which can go as far as a “safe room” with a locked door and inside closets and vaults. Do your best to protect the best of what you’ve got!

Transitioning Your Collection

If you’ve devoted time to documenting, appraising, and insuring your collection, you certainly want to consider what happens after you‘ve departed the scene. Do you care if your collection is broken up, or do you hope it might be kept whole? The latter is problematic unless you have an heir who shares your passion or unless you provide an endowment to a museum to pay for storage, display, and upkeep. First, consider immediate heirs. Desires should be spelled out in a will or, better, a trust. But if heirs have no interest, consider liquidating the collection in your lifespan.

If you do wish to keep it intact, build contacts with a local museum and make your wishes known. Museums want collections with clear provenance and no issues (e.g., no specimens collected from national parks or countries with human rights abuses in gemstone districts). Most cannot guarantee specimens will be put on display and can’t guarantee they won’t be decommissioned and disposed of. If you truly want your collection to have a permanent place in a museum, you may need to accompany it with a healthy cash endowment.

Continuing the Conversation…

This topic is not typically discussed within gem societies but, in my humble opinion, it should be discussed. Our collections are a reflection of ourselves. How might we best preserve the best of ourselves for future generations?

This story about how to store a rock collection properly previously appeared in Rock & Gem magazine. Click here to subscribe. Story and photos by Jim Brace-Thompson.

The post How to Store a Rock Collection Properly first appeared on Rock & Gem Magazine.