This can happen even today. Go to any commerically important diamond + colored stone mines in the world + diamond and colored stone trading centers, and guess what, you will always find someone with imitations waiting for you. I believe this trend will continue forever.
(via The Journal of Gemmology, Vol. 13, No.5, January 1973) Jack M Ogden writes:
The use of diamond in Roman times is well attested but was by no means common. It is thought to have been introduced from the East sometime about 4th century B.C, possibly as a result of Alexander the Great’s conquests in the East. It is found set in rings and other jewelry in the Late Roman Period and the writer knows of no instances of its use prior to the third Century A.D.
The Romans were unable to cut diamonds due to their great hardness and all attested Roman diamonds are mounted in the naturally occurring form—octahedral crystals. The impossibility of cutting, no doubt, encouraged the name ‘Adamas’ meaning ‘invincible’, the word from which our ‘diamond’ comes. It would seem, however, that although the Romans were unable to alter the shape of natural diamond they had no hesitation in copying the shape in other materials, a 2000-year old case of ‘if you can’t beat it, join it’.
A Roman ring found in Syria and now in the hands of the writer is set with a clear, colorless octahedral stone which, although whiter than the usual murky Roman stones, could, at first glance, be taken for a diamond. In fact the stone is quartz cut into an octahedral form. This ring is by no means unique and several other examples are known by the writer. The explanation must surely be that the Roman jewelers were consciously imitating diamonds.
Glass imitations of gemstones are common in classical times and, indeed, are known from the earliest periods in Egypt and Western Asia. Normally these imitations are purely color copies and were cut in the usual shapes of the period. The copying of a crystal shape, as with the octahedral quartz, is obviously due to the impossibility of cutting diamonds and, thus, the octahedral quartz copied the only known shape of diamond. Other copying of crystal forms is possibly to be found in Roman times, a bracelet, also in the hands of the writer, is composed of red glass beads of Romano-Egyptian origin of cornerless cube shape, a shape known from as early as 500 B.C (Glass beads from Crimea). It is tempting to equate these with small garnet crystals. A ring in the British Museum is set with a green chalcedony cut to form a hexagonal prism, surely an imitation of an emerald. This chalcedony, often called ‘plasma’ in books on Ancient Jewellery, has whitish blotches and gives a good imitation of poor quality emeralds.
Wednesday, July 04, 2007
Films As A Tool To Teach Management
I think the concept should be tested at gem amd jewelry institutes around the world. Movies are unique reflection of the characters + you are more likely to meet the same characters in real life in one form or other. The trick is being able to identify them + finding quick solutions, if it's a problem case.
(via Times News Network) Mansi Bhatt writes:
When he was a sophomore, Tejas Desai, then 19, began as a film projectionist in the US. Like scores of other students, Desai took up the job to support his undergraduation studies at the University of Tennessee at Chattanooga. The sophomore graduated and went on to do his PhD in bio-statistics from University of North Carolina at Chapel Hill.
Back home, Desai joined the Indian Institute of Management-Ahmedabad (IIM-A) as an assistant professor, yet the short stint as a film projectionist haunted him and it didn’t help that movies were becoming his favourite pastime. That is when Desai thought he would use films as a tool to teach young management students.
Once he had decided, the young assistant professor began by zeroing down which films to use as his subjects matter. The crop had to be recent to ensure student interest. And the two films which suited Desai’s bill were Mani Ratnam’s Guru and Madhur Bhandarkar’s Corporate, both successful at the box office as well. “The audio-visual medium is one of the most effective tools for teaching. And the subject matter of these movies will help students understand the corporate world and ethics in an interesting manner,” says Desai.
Movies as class matter is definitely a change for the students and as a case study, they will be made to see the film then discuss the same in their class with Desai. At present, the professor is busy shortlisting key scenes from the film that will help students understand the functioning of corporate world. “Bipasa Basu’s character in the film explains how some women tend to behave emotionally even while taking tough business decisions," says Desai, explaining a scene from Corporate.
In fact, IIM-A has invited Madhur Bhandarkar for a lecture at the institute.
Besides ethics, the case studies will also highlight gender issues in the corporate world, competition among companies, business politics, relationship between government and business houses and media, amongst others. “Both these movies portray the corporate world in a different light. In Guru the businessman is shown as a hero, while in Corporate the business barons are shown in a negative light,” says Desai.
Guru is about a man who strives to reach and then remain on top, while Corporate is about the established Cola giants who face issues in business. In Guru, the businessman faces issues created by the rich and powerful in the industry. And Corporate depicts the deceit behind power and money.
The film bug seems to have struck all of our B schools as Desai is not the only one turning to the reel world for some tips on management. At the Indian Institute of Management- Indore, Prashant Salwan has picked up Rakesh Roshan’s Krrish for a case study. The professor thought of studying the film after he got calls from international professors who said that an Indian movie there has done better then Superman. Salwan then decided to study the film and approached the filmmakers.
In fact, he has held meetings at regular intervals with filmmaker Rakesh Roshan and his key team to understand the marketing and production details of Krrish. “We see Krrish as a product made in India and launched successfully in global markets.
The movie has several unique features in strategies for packaging and distribution. Also the makers shot 60% of the film in Singapore which apart from giving advantages of picturesque locale also helped the company save costs,” said Salwan. Due to a limited budget, Rakesh Roshan could release only 800 prints so he was unable to tap the 2,500 cinemas say in the US. “So they shortlisted cinemas in definite centres based on demographics profile and preferences,” says Salwan, explaining the Roshans marketing strategy.
For Krrish, the filmmakers spent 8 to 10 times the usual cost in getting the best international fightmasters and technicians for special effects but they balanced this budget out by saving on production and sets cost, adds Salwan.
More info @ http://economictimes.indiatimes.com/Films_as_a_tool_to_teach_management/articleshow/2162747.cms
(via Times News Network) Mansi Bhatt writes:
When he was a sophomore, Tejas Desai, then 19, began as a film projectionist in the US. Like scores of other students, Desai took up the job to support his undergraduation studies at the University of Tennessee at Chattanooga. The sophomore graduated and went on to do his PhD in bio-statistics from University of North Carolina at Chapel Hill.
Back home, Desai joined the Indian Institute of Management-Ahmedabad (IIM-A) as an assistant professor, yet the short stint as a film projectionist haunted him and it didn’t help that movies were becoming his favourite pastime. That is when Desai thought he would use films as a tool to teach young management students.
Once he had decided, the young assistant professor began by zeroing down which films to use as his subjects matter. The crop had to be recent to ensure student interest. And the two films which suited Desai’s bill were Mani Ratnam’s Guru and Madhur Bhandarkar’s Corporate, both successful at the box office as well. “The audio-visual medium is one of the most effective tools for teaching. And the subject matter of these movies will help students understand the corporate world and ethics in an interesting manner,” says Desai.
Movies as class matter is definitely a change for the students and as a case study, they will be made to see the film then discuss the same in their class with Desai. At present, the professor is busy shortlisting key scenes from the film that will help students understand the functioning of corporate world. “Bipasa Basu’s character in the film explains how some women tend to behave emotionally even while taking tough business decisions," says Desai, explaining a scene from Corporate.
In fact, IIM-A has invited Madhur Bhandarkar for a lecture at the institute.
Besides ethics, the case studies will also highlight gender issues in the corporate world, competition among companies, business politics, relationship between government and business houses and media, amongst others. “Both these movies portray the corporate world in a different light. In Guru the businessman is shown as a hero, while in Corporate the business barons are shown in a negative light,” says Desai.
Guru is about a man who strives to reach and then remain on top, while Corporate is about the established Cola giants who face issues in business. In Guru, the businessman faces issues created by the rich and powerful in the industry. And Corporate depicts the deceit behind power and money.
The film bug seems to have struck all of our B schools as Desai is not the only one turning to the reel world for some tips on management. At the Indian Institute of Management- Indore, Prashant Salwan has picked up Rakesh Roshan’s Krrish for a case study. The professor thought of studying the film after he got calls from international professors who said that an Indian movie there has done better then Superman. Salwan then decided to study the film and approached the filmmakers.
In fact, he has held meetings at regular intervals with filmmaker Rakesh Roshan and his key team to understand the marketing and production details of Krrish. “We see Krrish as a product made in India and launched successfully in global markets.
The movie has several unique features in strategies for packaging and distribution. Also the makers shot 60% of the film in Singapore which apart from giving advantages of picturesque locale also helped the company save costs,” said Salwan. Due to a limited budget, Rakesh Roshan could release only 800 prints so he was unable to tap the 2,500 cinemas say in the US. “So they shortlisted cinemas in definite centres based on demographics profile and preferences,” says Salwan, explaining the Roshans marketing strategy.
For Krrish, the filmmakers spent 8 to 10 times the usual cost in getting the best international fightmasters and technicians for special effects but they balanced this budget out by saving on production and sets cost, adds Salwan.
More info @ http://economictimes.indiatimes.com/Films_as_a_tool_to_teach_management/articleshow/2162747.cms
The Law, Ethics And The “S”-Word
Chaim Even-Zohar writes about the creative marketing pitch by synthetic diamond producers + FTC guides + disclosure of the 'S' word (synthetics) + value vs. non value issues + the consumer confusion + other viewpoints @ http://www.idexonline.com/portal_FullEditorial.asp?TextSearch=&KeyMatch=0&id=26347
Aventurescent Gemstones
The phenomenon, aventurescence, is seen as a strong spangled reflection of light from plates or flakes of another mineral included in the stone. This effect is seen most often in aventurine quartz, sunstone (feldspar) and the man-made aventurine goldstone.
Aventurine quartz, which gives the name to this effect, is actually not a true mineral, but a rock known as quartzite. It is composed of a granular interlocking mass of quartz crystals. When quartzite contains small mica plates that reflect light, it is then termed aventurine. Usually the included mica is a green, chrome-rich type called fuchsite. It is these mica plates which produce the spangling reflection and give the green color to the stone. The mica may also be of other types, in which case the stone would be other than green. Reddish brown, gray, creamy white, and bluish white are some of the colors it has been found in, but the majority of the aventurine seen in jewelry is of a green color.
Sunstone is the name applied to the varieties of feldspar which show the phenomenon of aventurescence. It may be either oligoclase or labradorite in composition and owes is sparkling sheen to included plates of hematite or goethite. The plates of a red, orange or green color are arranged in parallel rows and they give their otherwise colorless host a rich orangy red color and sparkle.
The best example of aventurescence is seen in the man-made aventurine glass, goldstone. It is a soda-lime glass colored reddish brown by cuprous oxide. With subsequent treatment, the cuprous oxide crystallizes out as thousands of flat hexagonal or triangular plates of crystallized copper. Goldstone is now manufactured in other colors as well.
Cloudy pieces of amber are often heated in rape seed oil to remove the cloudiness. The oil, which penetrates the stone and fills the air spaces causing the cloudiness, also causes stress fractures, which are termed ‘sun spangles’. These may sometimes be present in sufficient numbers to give an aventurescence to the stone.
With the possible exception of sunstone, which is occasionally faceted, most aventurescent gems are cut as cabochon. The plate-like inclusions which give rise to this effect are generally oriented parallel to a certain plane. To obtain the best effect, the base of the cabochon should be parallel to this plane. Maximum sparkle is obtained by cutting the crown with a very low dome.
Aventurine quartz, which gives the name to this effect, is actually not a true mineral, but a rock known as quartzite. It is composed of a granular interlocking mass of quartz crystals. When quartzite contains small mica plates that reflect light, it is then termed aventurine. Usually the included mica is a green, chrome-rich type called fuchsite. It is these mica plates which produce the spangling reflection and give the green color to the stone. The mica may also be of other types, in which case the stone would be other than green. Reddish brown, gray, creamy white, and bluish white are some of the colors it has been found in, but the majority of the aventurine seen in jewelry is of a green color.
Sunstone is the name applied to the varieties of feldspar which show the phenomenon of aventurescence. It may be either oligoclase or labradorite in composition and owes is sparkling sheen to included plates of hematite or goethite. The plates of a red, orange or green color are arranged in parallel rows and they give their otherwise colorless host a rich orangy red color and sparkle.
The best example of aventurescence is seen in the man-made aventurine glass, goldstone. It is a soda-lime glass colored reddish brown by cuprous oxide. With subsequent treatment, the cuprous oxide crystallizes out as thousands of flat hexagonal or triangular plates of crystallized copper. Goldstone is now manufactured in other colors as well.
Cloudy pieces of amber are often heated in rape seed oil to remove the cloudiness. The oil, which penetrates the stone and fills the air spaces causing the cloudiness, also causes stress fractures, which are termed ‘sun spangles’. These may sometimes be present in sufficient numbers to give an aventurescence to the stone.
With the possible exception of sunstone, which is occasionally faceted, most aventurescent gems are cut as cabochon. The plate-like inclusions which give rise to this effect are generally oriented parallel to a certain plane. To obtain the best effect, the base of the cabochon should be parallel to this plane. Maximum sparkle is obtained by cutting the crown with a very low dome.
Promoting And Merchandising Colored Stones
(via Journal of Gemmology, Vol.XVII, No.3, July 1980) Jacques Sabbagh writes:
The point of sale merchandising
It is all very good to possess an inventory that rapidly scores genuine increases in prices, that gains in value in absolute terms. However, this asset would turn into a liability if such an inventory consists of hard to sell items—of articles that go up in replacement price without the need for replacement—of commodities that confine themselves to registering profits on paper. The life blood of any business is turnover.
An effective catalyst for turnover is point of sale merchandising, which actually boils down to proper display techniques, capable of triggering public interest in colored gemstones with resulting sales. Effective display of the goods is cardinally important for the jewelry shop and the jewelry department in a department store, as well as in the layout at jewelry exhibitions. Space rental costs being what they are in the large city centers of the world, it is vital that every square or cubic foot should be adroitly and efficiently used in order to generate sales and profits that should stretch well beyond the breakeven point.
Lighting
The first point in this context I am going to consider with you is the overriding question of lighting. Diamonds, as you know, are shown to their best when bathed in fluorescent or mercury vapor light containing a bluish hue, which would offset any off-coloration present in them. Their cold eternal fire reacts better to a moonlight type of illumination. Conversely, colored gemstones are displayed to good advantage under ordinary tungsten spotlights which possess a subtle yellowish hue. Similar to oil paintings, their colors are shown to full glory and striking vividness under a warm solar type lighting. In an art gallery you will never find the strip lamps fitted above the paintings fluorescent, they are invariably ordinary tungsten lights.
In recent years the research work undertaken by optics physicist, Prof O Erametsa of Helsinki, Finland has resulted in the remarkable invention of the Neochrome electric bulb. The principle of this bulb is that its glass consists of an association of synthetic crystal and of rare mineral salts. This gives it the property of substantially filtering out the yellow component of the spectrum, thus imparting sharper definition to the exposed items and accentuating color hues and tonality, without denaturing them.
Needles to add that the intensity of the lighting should be adequate. This is especially important in case of street windows facing the sun during part of the day, in order to offset the mirror effect of your window glass whenever the sun is shining their way.
Mixing of colors
The second point in the proper display techniques is to keep from displaying your jewelry in trays of the same sets of rings, as usually done with diamond—e.g a tray containing emerald rings, a tray with aquamarine rings, another of ruby rings, and so on. You have an important asset: color! Mix them up, try to find the best combination, the optimum arrangement. Endeavor to compose a chromatic ballad, to produce a symphony of colors. A good practical tip that may help to achieve splendid results is to place complementary color adjoining each other. Examples of complementary color pairs are:
Red and greenish blue—orange and cyan blue
Yellow and indigo blue—violet and greenish yellow
Purple and green
Complementary colors possess what the psychologists call the property of simultaneous contrast, the reciprocally increase their vividness; they enhance each other. Incidentally, this phenomenon is taken advantage of in the street traffic lights.
Not only those already mentioned, but every color and shade of color has its complimentary, which lies diametrically opposite it on the color wheel. At any rate, in your efforts to find the best color layout, take as often as possible the advice of the ladies in your sales force. I find, as a rule, that members of the gentle sex are blessed with a higher color sensitivity than myself.
The hidden message of mineral display
The next recommendation I would like to make in merchandising your colored gemstones is the wide use of rough crystals as a background for both your windows and in-store displays. Mineral crystals are very decorative; they are an integral part of the display theme; frequently, they can serve as props or in the place of pads for the exhibited jewels; they offer a subject of conversation; furthermore, they are marketable items.
Another suggestion I would like to offer is to spread in the midst of your rings and brooches and necklaces, some loose gems in a way that is in keeping with the general color harmony. The importance for your image of the presence of both rough crystals and loose stones in your display is not to be slighted. It carries two implied messages: the rough stones hint to a direct link between your concern and the source—the mines, and the loose gems suggest that you are a wholesale gem importer, with contacts with gem cutting centers, who is in a position to offer the best values. In this way two new dimensions are added to the image of your establishment.
Skilful price tagging
It is sometimes customary for jewelers to place price tags on certain items on display. There is no harm in this, provided you apply the art of the inviting price tag technique. Every one of you knows perfectly well his best selling price bracket. Put price tags on some of the pieces that fall within this bracket and, if you wish, on some of the items that are below it; but never on any article that lies in a price category above it. This may drive away the shy potential buyer, and you need the traffic. If you are going to price tag some of the loose gems on display, when the stone happens to be a fraction of a carat—say a ¾ carat diamond or a 60 point emerald—it is advisable to mark the tag with the total price of it, which will evidently be inferior to its price per carat. If, on the other hand, the gem is larger than a carat, it is preferable to put down its price per carat, which will obviously be less than the total price for the stone.
Contagious use of jewels
Another helpful procedure in merchandising colored stones is what I am very fond of calling the animated display. Wear colored gems yourself; have your wife wear them. Make the members of your sales force wear them. Using colored jewels impart to them added life, increased brilliance, intensified fire, because with every movement of the body, they catch the light rays at a different angle, and an alternative corner, another facet springs out from the dark and shines forth in full glory. Confer on them the prestige of being used and of being useful and the compliment will be twice returned—firstly in the form of the privilege of wearing them, and secondly through a vague, inarticulate, yet strongly motivating impression at the border plane between the subconscious and the conscious mind of the potential customer. Translated into the parlance of awareness, this insidious motivation would be the equivalent to an argument along these lines: ‘If you the professional find them worthy of being used by you, they deserve to be worn by myself.’
Promoting And Merchandising Colored Stones (continued)
The point of sale merchandising
It is all very good to possess an inventory that rapidly scores genuine increases in prices, that gains in value in absolute terms. However, this asset would turn into a liability if such an inventory consists of hard to sell items—of articles that go up in replacement price without the need for replacement—of commodities that confine themselves to registering profits on paper. The life blood of any business is turnover.
An effective catalyst for turnover is point of sale merchandising, which actually boils down to proper display techniques, capable of triggering public interest in colored gemstones with resulting sales. Effective display of the goods is cardinally important for the jewelry shop and the jewelry department in a department store, as well as in the layout at jewelry exhibitions. Space rental costs being what they are in the large city centers of the world, it is vital that every square or cubic foot should be adroitly and efficiently used in order to generate sales and profits that should stretch well beyond the breakeven point.
Lighting
The first point in this context I am going to consider with you is the overriding question of lighting. Diamonds, as you know, are shown to their best when bathed in fluorescent or mercury vapor light containing a bluish hue, which would offset any off-coloration present in them. Their cold eternal fire reacts better to a moonlight type of illumination. Conversely, colored gemstones are displayed to good advantage under ordinary tungsten spotlights which possess a subtle yellowish hue. Similar to oil paintings, their colors are shown to full glory and striking vividness under a warm solar type lighting. In an art gallery you will never find the strip lamps fitted above the paintings fluorescent, they are invariably ordinary tungsten lights.
In recent years the research work undertaken by optics physicist, Prof O Erametsa of Helsinki, Finland has resulted in the remarkable invention of the Neochrome electric bulb. The principle of this bulb is that its glass consists of an association of synthetic crystal and of rare mineral salts. This gives it the property of substantially filtering out the yellow component of the spectrum, thus imparting sharper definition to the exposed items and accentuating color hues and tonality, without denaturing them.
Needles to add that the intensity of the lighting should be adequate. This is especially important in case of street windows facing the sun during part of the day, in order to offset the mirror effect of your window glass whenever the sun is shining their way.
Mixing of colors
The second point in the proper display techniques is to keep from displaying your jewelry in trays of the same sets of rings, as usually done with diamond—e.g a tray containing emerald rings, a tray with aquamarine rings, another of ruby rings, and so on. You have an important asset: color! Mix them up, try to find the best combination, the optimum arrangement. Endeavor to compose a chromatic ballad, to produce a symphony of colors. A good practical tip that may help to achieve splendid results is to place complementary color adjoining each other. Examples of complementary color pairs are:
Red and greenish blue—orange and cyan blue
Yellow and indigo blue—violet and greenish yellow
Purple and green
Complementary colors possess what the psychologists call the property of simultaneous contrast, the reciprocally increase their vividness; they enhance each other. Incidentally, this phenomenon is taken advantage of in the street traffic lights.
Not only those already mentioned, but every color and shade of color has its complimentary, which lies diametrically opposite it on the color wheel. At any rate, in your efforts to find the best color layout, take as often as possible the advice of the ladies in your sales force. I find, as a rule, that members of the gentle sex are blessed with a higher color sensitivity than myself.
The hidden message of mineral display
The next recommendation I would like to make in merchandising your colored gemstones is the wide use of rough crystals as a background for both your windows and in-store displays. Mineral crystals are very decorative; they are an integral part of the display theme; frequently, they can serve as props or in the place of pads for the exhibited jewels; they offer a subject of conversation; furthermore, they are marketable items.
Another suggestion I would like to offer is to spread in the midst of your rings and brooches and necklaces, some loose gems in a way that is in keeping with the general color harmony. The importance for your image of the presence of both rough crystals and loose stones in your display is not to be slighted. It carries two implied messages: the rough stones hint to a direct link between your concern and the source—the mines, and the loose gems suggest that you are a wholesale gem importer, with contacts with gem cutting centers, who is in a position to offer the best values. In this way two new dimensions are added to the image of your establishment.
Skilful price tagging
It is sometimes customary for jewelers to place price tags on certain items on display. There is no harm in this, provided you apply the art of the inviting price tag technique. Every one of you knows perfectly well his best selling price bracket. Put price tags on some of the pieces that fall within this bracket and, if you wish, on some of the items that are below it; but never on any article that lies in a price category above it. This may drive away the shy potential buyer, and you need the traffic. If you are going to price tag some of the loose gems on display, when the stone happens to be a fraction of a carat—say a ¾ carat diamond or a 60 point emerald—it is advisable to mark the tag with the total price of it, which will evidently be inferior to its price per carat. If, on the other hand, the gem is larger than a carat, it is preferable to put down its price per carat, which will obviously be less than the total price for the stone.
Contagious use of jewels
Another helpful procedure in merchandising colored stones is what I am very fond of calling the animated display. Wear colored gems yourself; have your wife wear them. Make the members of your sales force wear them. Using colored jewels impart to them added life, increased brilliance, intensified fire, because with every movement of the body, they catch the light rays at a different angle, and an alternative corner, another facet springs out from the dark and shines forth in full glory. Confer on them the prestige of being used and of being useful and the compliment will be twice returned—firstly in the form of the privilege of wearing them, and secondly through a vague, inarticulate, yet strongly motivating impression at the border plane between the subconscious and the conscious mind of the potential customer. Translated into the parlance of awareness, this insidious motivation would be the equivalent to an argument along these lines: ‘If you the professional find them worthy of being used by you, they deserve to be worn by myself.’
Promoting And Merchandising Colored Stones (continued)
Tuesday, July 03, 2007
Patton
Memorable quote (s) from the movie:
Patton (George C Scott): For over a thousand years, Roman conquerors returning from the wars enjoyed the honor of a triumph - a tumultuous parade. In the procession came trumpeters and musicians and strange animals from the conquered territories, together with carts laden with treasure and captured armaments. The conqueror rode in a triumphal chariot, the dazed prisoners walking in chains before him. Sometimes his children, robed in white, stood with him in the chariot, or rode the trace horses. A slave stood behind the conqueror, holding a golden crown, and whispering in his ear a warning: that all glory is fleeting.
Patton (George C Scott): For over a thousand years, Roman conquerors returning from the wars enjoyed the honor of a triumph - a tumultuous parade. In the procession came trumpeters and musicians and strange animals from the conquered territories, together with carts laden with treasure and captured armaments. The conqueror rode in a triumphal chariot, the dazed prisoners walking in chains before him. Sometimes his children, robed in white, stood with him in the chariot, or rode the trace horses. A slave stood behind the conqueror, holding a golden crown, and whispering in his ear a warning: that all glory is fleeting.
Clicks And Mortar
Malcolm Gladwell writes about the internet hype and the real off-line E-commerce revolution @ http://www.gladwell.com/1999/1999_12_06_a_clicks.htm
Palladium Brochure
This brochure is an excellent introduction to the metal. Free copies of the Palladium Information brochure are available by calling Guertin Brothers at 800-225-3141 or emailing sales@guertinbrothers.com
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