THe JEWELRY MAKER SG

LIBRARY
PUBLIC
CALGARY

9486
12270
9065
3 IDE TO STYLES & TECHNIOUES

JUDITH
UMBACH
LIBRARY
 Digitized by the Internet Archive
in 2022 with funding from
Kahle/Austin Foundation

https://archive.org/details/gemstonesettingsOO00youn
“Chien
THE JEWELRY MAKER’S GUIDE TO STYLES & TECHNIQUES

ANASTASIA YOUNG

interweave.com
A QUARTO BOOK

> INTERWEAVE.
I

| interweavestore.com

Copyright © 2012 Quarto Inc.

Published in North America by

rare
Interweave Press LLC
201 East Fourth Street LU ORY Xo ola
Loveland, CO 80537-5655
www.interweave.com
All rights reserved.

Conceived, designed, and produced by

Quarto Publishing plc Foreword
The Old Brewery
6 Blundell Street About this Book
London N7 9BH

QUAR.SGS Chapter 1: Introduction to Design

History of Gem-set Jewelry
ISBN: 978-1-59668-636-6
Contemporary Gem-set Jewelry
Senior Editor: Ruth Patrick Gem Cutting
Art Editor: Jacqueline Palmer
Design Inspiration
Designer: Julie Francis
Art Director: Caroline Guest Starting with the Stone
Copy Editors: Lindsay Kaubi and Ruth Patrick Design Considerations
Proofreader: Liz Jones
Indexer: Helen Snaith Using Bought Settings
Photographer: Phil Wilkins Commissions
Illustrator: John Woodcock
Picture Researcher: Sarah Bell Outsourcing
Creative Director: Moira Clinch
Publisher: Paul Carslake
Chapter 2: Gemstone Directory 30
Color separation in Singapore by Pica Digital
Pte Ltd
Chapter 3: Techniques Directory 52
Printed in Singapore by Star Standard Industries
(PTE) Ltd Getting Started 54
Useful Tips and Troubleshooting 56
Library of Congress Cataloging-in-Publication Data
not available at time of printing. Hand Tools 58
Stone-setting Tools 64
10987654321
Tool Shapes 66
Basic Fabrication Techniques 68
Advanced Fabrication Techniques 74
Wax Carving and Casting 78
Computer-aided Design and Manufacture 80
Rub-over Settings 86
Basic Bezel Setting 88
Tube Setting 92 Upside-down Setting 156
Dome Setting 94 Capping 157
Tapered Bezel Setting 96 Precious Metal Clay 158
Bezels with Corners 100 Casting 160
Flush Setting 102 Soldering Stones into Place 162
Channel Setting 104 Setting Odd-shaped Stones 164
Prong Settings 106 Settings for Interchangeable Stones 166
Crown Setting 108 Spectacle Setting 168
Basket Setting tae Wrapping 170
Closed-back Prong Setting 114 Settings as Functional Devices 2
CAM Prong Setting 116 Mixed Materials and Other Metals 174
Applied Prong Setting 118 Pearls and Gem Beads 180
Grain Settings 120 Working with Pearls 182
Grain Setting ae Stringing Pearls and Gemstone Beads 184
Five-grain Setting 126 Wired Beads 188
Square-grain Setting 128
Pavé Setting 130 Chapter 4: Reference 190
Micro-pavé Setting 132 Conversions 192
Fancy Settings 134 Stone Shapes 194
Combination Setting 136 Templates for Settings 198
Multiple and Cluster Setting 138 Glossary 199
Tension Setting 142 Suppliers and Services 202
Caged Setting 144 Further Reading 204
Wobbly Stones 146 Galleries, Fairs, and Organizations 205
Swiveling Setting 148
Built-up Setting 150 Index 206
Protective Setting foZ Acknowledgments 208
Setting from Behind 154
It must be something of a cliché to start a book of this nature sensitivity to materials, attention to detail, and some kind
with “| have enjoyed making things since | was a child,” of technical ingenuity are what makes a piece of jewelry
however true—and it is. | ended up as a jeweler as the result of special. | hope that this book encourages you to try new
serendipity rather than any kind of planning, having abandoned approaches, to push your personal boundaries, and to embellish
studies in science before deciding to go to art college. It was a your jewelry with gemstones in a way that is both meaningful
fascination with the miniature and a desire to know how to and considered.
make things from scratch, particularly in metal, that made
jewelry rather than any other art form most appealing, as | have included techniques and methods which | think will be
well as being able to wear what | had made. most useful to students, aspiring early-career jewelers, and
practicing professionals, and hope that as well as providing
| am still fascinated by the processes involved in making jewelry, useful information on as many stone-setting techniques as
and always eager to learn more—either from the long history of | could think of, this book serves as an overview of current
metalwork or more recent technological developments, although contemporary practice, which is why the sections on computer-
| tend not to use the latter much in my own work. The challenge aided design and manufacture have been included. The
of designing a piece of jewelry and then figuring out how importance of technology in designing and manufacturing
to make it is like no other, and engages both analytical and jewelry cannot be ignored, and while many designer-makers
imaginative mental processes. | prefer to make by hand, and choose to stick to traditional bench skills, it should not
do my own stone setting and engraving because it gives me be denied that CAD/CAM has its place alongside them,
complete control over the outcome of a piece and the sequence allowing much time to be saved in the manner of any
of its construction. | started to include gemstones within my mechanized process, as well as offering design solutions
work as soon as | was able, and must admit a particular that would not otherwise be possible.
fondness for garnets.
For many, the future lies in CAD/CAM, and therefore design
So, | approach this book from the perspective of a contemporary innovations will become the currency. As technology improves,
artist-jeweler, rather than an apprentice-trained craftsperson can be provided at a lower cost, and is more accessible, the
who has specialized in a particular aspect of mounting or distinctions between pieces will be fought out through design
setting stones. This means that for some techniques that are more than quality of production. It is not that the physical piece
perhaps a bit more mired in “tradition,” | have applied a more and its quality becomes less important, but that the ways in
experimental approach. | strongly believe in a good craft skills- which it ts judged will change. There are some artist jewelers
base, even if this is eventually rejected. My appreciation of an who have already embraced the technology, and many who
object or piece of jewelry is weighed against not just how it never will, but thankfully this will only help to maintain the
looks or functions, but also how it was made—| believe that diversity of jewelry as an art form.

Anastasia YOUNG
CHAIN DENTATA
This handmade chain by Anastasia Young |s
set with rose-cut and cabochon garnets in
scalloped open-backed bezels, and porcelain
crowns, which are rub-over set on one side
and secured by a prong on the other.
About this Book
The book is organized into four chapters covering all you need to
know about gemstones and settings, introduced by a section on
the jewelry design process.

Chapter 1: introduction to Design (p

The first chapter explores the jewelry design process, beginning with a
section on historical and contemporary gem-set jewelry. It examines gem
cutting before discussing methods of getting inspiration for a piece and
working up a design through research, sketches, and prototypes. Some
pieces of jewelry are designed around a particular stone so this process
is detailed, before a section on commissioning—with an example of an
actual commission. There is also a look at outsourcing complicated or
specialist processes.

nn
Design Inspiration
-4
ae
Go R® 3
TS a bi =
orate

Commissions

Ww
“4

Chapter 2: Gemston

The Gemstone Directory is a comprehensive

listing of the most popular precious and oe
semiprecious gemstones, and organic and >. nr
man-made gems, ordered in terms of value with 1 we
the most expensive appearing first within each =
category. Information Is given on the properties,
availability, qualities, treatments, and care of
each, so you can make an informed decision
when selecting a stone for a piece.

Detailed descriptions — = RQUAMARINE

of each stone

Beautiful
photographs of
a wide selection
of examples of
each stone
 PRIETO LOL
Vee
i onl
Hand Tools Lf 4 é

Chapter 3 : Techniques Directory (pages 52-189)

This chapte r begins with a section on health and safety and a

comprehensive tools listing, before moving into the stone-setting
techniques. Traditional, contemporary, popular, and more unusual styles
are featured, organized in terms of difficulty, each with a description of
the setting accompanied by a clear step-by-step guide to the process,
photography, and diagrams.

Each grouping of techniques is introduced by a

gallery of finished examples, demonstrating the
variety of design that can be achieved within each
category of setting.

Clear descriptions
and pictures of
Rub-over Settings each tool

Each technique is accompanied

by one or two inspirational
finished pieces by jewelers from
around the world.

$2!) UCAWIOUES DIAKC ORY +Gua

Grain setting

SKILL LEVEL Basic

Each technique Is
accompanied by a skill Intermediate
level symbol indicating
the level of difficulty. Advanced

A list of tools Clear step-by-step Diagrams show

is featured for instructions explain different styles
each setting each setting process of setting

Chapter 4: /
This chapte r contains essential measurement conversions, stone hardnesses Templates for Comprehensive
and weight s, and ring size charts; stone cut and settings diagrams; and settings that can glossary defining
glossary, su ppliers, and gallery listings that you will refer to time and again. be adjusted to fit key terms used in
the gemstone the book

94> CeURINC 18985 yecconveaenct

Stone Shapes Templates for Settings | Glossary

val byes tate mec nasi
MAKING A

va
I} =
== = pees

Detailed diagrams of Universal formulas

the proportions and Diagrams of the for calculating
names of the parts of most popular measurements
a brilliant-cut stone gemstone cuts of a setting
 Whatever your approach to making jewelry,

some decisions about design will enter the

process—whether it’s deciding which materials

to use, refining the function of a stone setting,

or choosing which shape or color of gem will

work best in a piece. Learning how to interpret

information in a useful way is a very personal

process, but it does eventually provide a store

of visual and technical stimuli that can be drawn

on for a lifetime.

CHAPTER 1
12 INTRODUCTION TO DESIGN

History of Gem-set Jewelry

Gemstones have been used in jewelry for thousands ol
SAREE Ries hae Sk A ae a SESE | ely Payee : 2 ary ep +h
years and nave played a vital role not just 1M Ine
LIL

body adornment, but also trade, social status, and notions

of value. To this day, gemstones have a powertul allure that

by their beauty alone—there is a deep
resonating still

Gemstones are deeply woven into the fabric of popularity, with a sizable resource needed to spark ROMAN INTAGLIO
human culture, endowed with magical powers demand. Many mines historically renowned for A Roman intaglio in
because of their pure colors, internal light, particular stones are exhausted, but more recent Saltielal eer nwa
resilience, and scarcity. In practically every world developments in treatment technology allow the Stee eae
civilization, gemstones permeate myths and colors of less desirable stones to be altered to and engraving canbe
religions, specifically ideas of heaven and paradise. match the accepted ideal. Tastes for particular traced back to ancient
The otherworldliness of these mysterious objects shades of stones have changed over time—in the Greece; the scenes are
led to beliefs that they hold healing, protective, nineteenth and early twentieth centuries, sea- often figurative and have
and restorative properties. Historically, jewelry and | green aquamarine was the most popular, but narrative or symbolic
5 . . meaning with the
the gems set in it were also an important and now sky and dark blue are the most desirable. fntaglios oriencucediin
easily recognizable signifier of status within society. Although pearls have been used in jewelry and devotional objects. The
; | precious objects for many centuries, overfishing mount for this ring is
Geographical Factors eventually led to a decline in the sources of both nineteenth-century but
The history of gemstones used in jewelry is long salt and freshwater natural pearls, and it wasn’t sympathetic to the stone,
and fascinating and is influenced not only by until the early twentieth century that a reliable IR keeping with the
design and technology, but also by which stones method of creating cultured pearls was developed eater taleat
could be found in a particular location and by Japanese pearl jewelry house Mikimoto. style, aed it ae
when they became part of the global trade—and Cultured pearls have sustained the supply of pearls a Roman bezel setting
therefore, often fashionable. The abundance of for jewelry, while natural pearls are still rare and
particular stones has also had an effect on their therefore expensive. |

MEDIEVAL RING
An English medieval gold and sapphire ring, c. 1250-
1300. The small purple sapphires are tube set and the
large, irregular blue sapphire, although supported by a
short bezel, is held by four prongs. The prongs have
been elegantly shaped and partly extend around the
ring shank; the geometric arrangement is reminiscent
of architectural features of the time
REGARD RING (ny IRON WIRE NECKLACE
In sentimental jewelry, stones 4) The Art Nouveau and Arts and Crafts movements
are often chosen for their id at the turn of the nineteenth century saw a
symbolic meaning. This acrostic pee renewed enthusiasm for cabochon-cut stones; the
ring from c.1810 uses the first "@ exploration of materials characterized by jewelry
letter of each stone to spell of these styles included the use of semiprecious
out “regard” with the paste stones combined with horn, steel, and vitreous
equivalents of ruby, emerald, enamel. This iron wire necklace (c. 1890-1910)
garnet, and diamond. The use by Albert Gilbert, known more for his sculpture, is
of designs made from locks of experimental in its use of glass and ferrous metal,
hair held under bezel-set rock but is nonetheless typical of the fluid lines used in
crystal was also popular in Art Nouveau jewelry.
nineteenth-century sentimental
jewelry, often combined with
seed pearls and enamel.

Development of Stone Settings Technology and the i \

Styles of setting developed alongside the means Jewelry Industry 4 Nv
to cut and polish the stones in new and interesting
The effects that changes and
ways, as well as the use of synthetics—from
improvements in technology had on ‘
ancient Egyptian faience that imitated turquoise,
both cut stones and the ways in which they were
to eighteenth-century “paste,” or cut lead crystal,
incorporated into jewelry have had significant
which imitated faceted precious stones. These
impact on the industry—cutting wheels were
developments allowed stone-set jewelry to
not used until the late 1400s, allowing diamonds
become more available to those who were
to be cut with a rounded outline, and it wasn’t
not part of the nobility, religious establishment,
until the end of the seventeenth century that the
or royalty.
“old cut”—a forerunner to the modern brilliant
The rose cut started being widely used in
cut—was developed. ,
jewelry from around 1600—previously, most cuts
Industrialization had its effect on the
were beads, cabochons, and flat slabs that were
nineteenth-century jewelry industry, with
either used for inlay in metal recesses or carved
smaller jewelry workshops giving way to larger
as intaglio or cameo designs, and polished uncut
mechanized operations, as well as the gold
crystals such as diamonds. Rose cuts, slabs, and
rushes in America and Australia that led many
intaglios were most commonly held in bezels,
European goldsmiths to resettle.
but examples of prong- and grain-set stones
The means to work platinum was not
in historical jewelry can be found. One notable
effectively developed until the early twentieth
style of setting is the sixteenth-century quatrefoil
century—until then diamond-set yellow gold
bezel, having four sides that may extend up
jewelry was often fronted with silver to give the
to modified prongs, and is perfect for holding
stones a reflective white-metal ground. Diamond-
octahedral diamond crystals or table-cut stones.
set platinum or high-karat gold jewelry is now
The availability of paste stones in the
part of the standard vocabulary of commercial
eighteenth century gave rise to large, bold Rococo
jewelry, and often used in high-end designer
jewels such as bodice ornaments; the fashion
pieces, too. The twenty-first century has seen an
was for naturalism and many examples of jewel-
increase in the range of metals used for jewelry
encrusted floral bouquets exist. Prong setting
making, with palladium now having its own
was used for these pieces to set the brittle
assay mark.
imitation gems.
The significance of gemstones as indicators of
status and wealth has not diminished over time,
nor has the demand for valuable gem-set jewelry.
a INTRODUCTION TO DESIGN

Contemporary Gem-set Jewelry

It is difficult to offer one coherent picture of contemporary
stone-set jewelry because it is so varied. Traditions remain—the
diamond engagement ring is still a staple of the jewelry industry.
And yet there are vibrant art- and studio-jewelry contingencies
pushing farther forward from the studio jewelers of the late-
twentieth century, continuing to challenge notions of form,
function, and the ways in which materials can be used.

Designer-makers Unusual and nonprecious materials are often

The area in which a jeweler works has a major used, sometimes combined with precious metals
influence on the materials and processes that or stones in experimental ways. Each artist-jeweler
are used. Designer-makers, as the name suggests, lends a uniquely distinctive voice to their work.
take responsibility for the design and manufacture
of their jewelry, and many produce work that Luxury Brands
supplies galleries and craft or design fairs. Independent luxury brands range in size from
The work will range from the very accessible, independent “bespoke” jewelers who use
both in terms of price and wearability, to outworkers to manufacture their designs, to
expensive fine jewelry aimed at a much smaller companies that may have one or more retail
market. Many designer-makers will make several premises—design and production is often the
types of work, from one-offs and exhibition pieces result of a highly skilled in-house team, with some
to small batch production, as well as taking on skills outsourced when necessary. This jewelry
private commissions. is very often stone set, with a signature style
Designer-makers can also be described as reinforced by the use of particular types of stones.
studio jewelers, and although there is some
overlap into the area of art jewelry, artist jewelers
have a less commercially minded approach to their
work, which tends to be design or concept led.

GLUE RING
Philip Sajet cuts his own stones, which allows a
certain symbiosis between metal and stone in
his work because both elements are designed
and made with each other in mind. This ring
displays a classic role reversal with the shank
cut from rock crystal and the “stone” made in
gold; the two parts are joined with adhesive. ECLECTIC NECKLACE
Characteristic of Dauvit Alexander's work, this piece,
entitled “Are You Washed in the Blood?” contains many
types and cuts of stones in many styles of settings. The
piece was fabricated from constructed elements and
combined with found objects; garnets and blue topaz
are set upside down in a modified channel around the
crown, quartz brilliants punctuate the handmade chain,
and a ruby briolette dangles from the press-formed
steel heart.
 CONTEMPORARY GEM-SET JEWELRY 15

Fashion Jewelry Featured Contemporary Jewelry

The scope of fashion jewelry runs from very The images used throughout this book to illustrate
commercial mass-market pieces, through costume techniques and ideas reflect the diversity of
jewelry, to runway pieces. Inexpensive or synthetic creators across the professional field of designing
gems are most commonly used for this type and making jewelry. The range of influences is
of jewelry, in combination with plated metal as broad in jewelry as in any other art form, and
mounts and other materials such as leather, comes from culture, experiences, and aspirations.
plastics, or textiles. Some of the forms the jewelry in this book
Large-scale and flamboyant runway jewelry takes will be recognizable: for example, a large
needs to be reasonably lightweight and bold so stone surrounded by many smaller ones, or a
that It stands out from a distance. Fashion and single stone carefully displayed as the dominant
jewelry designers will collaborate closely when focus of the piece. There will also be many forms
designing pieces for a collection so that the that are not familiar, which do not reference
pieces complement each other; sometimes historical sources and instead create unexpected
the line between the clothes and the jewelry is juxtapositions of form, color, or theme through
indistinct, with the jewelry being an integral a range of skilled techniques.
part or extension of the clothes.
Commercial jewelry is often mass produced,
with economies of scale allowing for lower sale
prices. The design of these pieces closely follows
seasonal fashion trends, which will dictate not only
style and form, but also colors, textures, and how
the pieces may be worn.

DOUBLE SPHERE BAROQUE RING

This multifunctional piece by Elizaveta Gnatchenko is
formed of two spheres; the outer is attached to the inner
by means of screws that can be undone to release the
inner ring. The outer shell can be worn as a pendant, and
both pieces are richly studded with diamonds. The overall
impression of the piece is decorative, but it is a functional
ornamentalism—the structure of the pieces themselves
consist only of decorative elements, expertly executed in
rhodium and rose-gold-plated silver and platinum.
16 INTRODUCTION TO DESIGN

Gem Cutting
To bring a gemstone to its full potential, and to
maximize its color, shape, internal light, optical
effects, or patterns, it needs to be cut or carved. While
many stones are rightly left to the professionals, it is
not difficult to carve softer material successfully.

Cutting Softer Gems Carving Tips CARVED PENDANT

The surface of this
You can carve gemstones of 7 or 8 on Moh's scale When carving, it is important to keep the tools
sinuous pendant by
of hardness and below easily enough by hand, and the stone wet. This not only prevents the very Gwyneth Harris has
although a large amount of patience is required. fine dust from being released into the air, which been carved to evoke
The softer the stone, the more quickly you can is incredibly bad to breathe in, but also lubricates the texture of snakeskin.
carve it, but factors such as crystalline structure, the cutting tool and stops it from getting blunt as The red tourmaline form
porosity, and cleavage can affect the outcome. quickly. Lubricating the tool also prevents a build- is Suspended on a rose
gold chain.
Jade, agate, and chalcedony are ideal because up of heat that could cause sensitive stones or
they have a tightly knit granular structure. those with inclusions to crack.
Crystalline stones can be more problematic, so Carving a stone follows the same basic rules
choose a stone that is tough, free of internal as carving a form in wax (see page 78)—although
stresses, and easy to polish, such as heliodor obviously it is a much harder material, the steps
(beryl). When cutting or carving stones with for creating a form accurately and to a design are
inclusions, try to place them to the best advantage very similar. Mark out the outline of the desired
within the design of the stone; this may mean shape directly on the stone using pencil or
removing a greater amount of material, but will permanent marker pen, and carve the piece with
result In a more attractive outcome. a rough diamond grit pad until the edge matches
The main obstacle for those without the proper the line. Then mark the depth of the stone, and
equipment is cutting up rough material into carve to that—for a cabochon, the edges will be
manageable pieces. You can do this with diamond reduced so that the top forms a domed shape,
burrs if that is all that is available, but this will take whatever the profile of the shape. Mount small
some time. Commercially, diamond-edged rotary stones on a wooden stick with adhesive or wax
saws or lasers are used. that is heated to receive the stone; this makes

A Concave facets cover A Fancy-cut aquamarine A This deep reddish- AA very large table on A This cut of this A The flat back on
this emerald-cut “Swiss” of 3.25 ct. The greenish brown garnet has this triangular-shaped hexagonal amethyst this deep purplish
blue topaz, creating tint of this stone been cut into an white topaz shows off its creates interesting linear rose-cut garnet means
interesting reflections indicates it may unusual star shape. interesting inclusions. reflections in the stone. it can be set as if it were
through the stone. not have been a cabochon.
heat-treated.
 GEM CUTTING 17

handling and rotating the stone during the

carving process much easier.
Once the basic shape has been achieved,
move onto a finer Diagrit pad to refine the
surface of the stone. Simple shapes can be
cleaned up reasonably easily, but you must take
time to carefully remove scratches with each
successively fine grade of abrasive used. Do the
final stages with very fine wet-and-dry paper used
with water—work through grades 1200, 1500,
2000, and 2500. This will make polishing the
piece much quicker. Rub a felt or suede buffstick
with cerium oxide powder mixed with water over
the surface of the stone—this will soon cause a
shine to appear. You can polish the stone with a
soft bob (mop) in a flexshaft motor, but because
the polishing compound is in solution, this can be CARVING TOOLS
rather messy. Always take care when using water You can use diamond-
as a lubricant with electrical tools such as flexshaft coated burrs, drills, and
abrasive pads to carve
motors, for the obvious reasons—apply the water
semiprecious gemstones.
little and often, stopping to rinse away residues
and check on progress at regular intervals.

Making Faceted Cuts

Faceted cuts are most easily done on a lapidary
wheel. These flat wheels come in several grades
and have a reservoir of water set above the wheel
that lubricates it while it rotates. The stone is
applied with a firm, even pressure to create flat HAVING STONES CUT TO ORDER
areas. The size and proportion of the facets is
It is possible to have stones cut to order, and lapidaries will cut
important in commercial cutting, and for standard
stones to a particular design. Ask your local gem dealer if they
cuts the process can be controlled by a computer.
can recommend someone—many will employ a lapidary to recut
stones on site, or they will know one, and should you ever need a
chipped or scratched stone recut, this should be your first port of
call. It is usual to obtain a quote before agreeing to the work, but the
gem cutter will need to see the stone to ascertain how much cutting
needs to be done.

A /t is unusual to see A The checkerboard top A This hexagon-shaped A The unusual shape A An unusual, shard- A Care would be needed
faceted amber such of this smoky quartz adds smoky quartz has been of this Thai ruby shaped, medium-color when making a mount for
as this checkerboard- interesting reflections cut with so many facets would require a aquamarine that this 3.19-ct six-sided
top stone because it is across the stone. around the crown bespoke mount. would make a striking aquamarine, to
very soft. that the table facet is piece of jewelry. accommodate its angles
almost round
18 INTRODUCTION TO DESIGN

Design Inspiration
Inspiration 1s quite a personal process—from identifying
a theme or se eing an object to understanding which aspects
provide use ‘ul design infort mation. The ways in which a
designer inteo rets and adaptsthis information within the
designs should lead to the creation of unique jewelry that
fulfills ne unique vision.

The best sources of information are often those angles and understood as a three-dimensional
outside the field of jewelry—architecture, world object, helping you to understand how shapes
cultures, historical artifacts, natural forms, and lines intersect with one another and within
mechanisms, and other design disciplines such as space; photography is useful for quickly gathering
textiles, glass, and ceramics are all rich sources of information but is no substitute for studying an
visual information. Visiting museums, collections, object in real life. Abstract concepts, such as
galleries, shows, and fairs can also provide emotions, can be difficult to express on paper
a wealth of material, as can collecting unless appropriate visual metaphors can be found
interesting images. to evoke them, and drawing should still play an
Magazines and books, as well as the Internet, important role in the development of ideas.
DO YOUR RESEARCH are useful research tools, providing information Drawing allows you to build up a personal
Background research about current trends, how jewelry is represented visual language that will inform your design
may include looking at both on and off the body, as well as reviews of decisions and it will become second nature,
other jewelry as market
exhibitions and shows. allowing your work to evolve into a recognizable
research, providing
information on current style. This will be partly to do with the subject
trends in colors or Sketch Your Ideas matters that interest you, and partly to do with
what kinds of prices The translation of information is best achieved the range of skills you use in your work that
are charged. Any aspect through observational drawing, often in a determine what and how you make your designs.
of jewelry making, sketchbook. Drawing an object from life is the
marketing, or history
best way to gather and interpret information Analyze Your Research
can be researched easily
through the Internet. about it because it can be studied from many The visual material you create during research will

DESIGN DEVELOPMENT
The design for this ring was derived from the thoroughly think through a design on paper,
relationship between the two stones, which dictated refining areas of the piece so that they look right
the basic form of the ring, and the aesthetic taken and function correctly.
from uneven crystalline facets. It is easiest to

# yr
Pp duf™

Wi" Ay

eu
0

col balance

squae’
 EARTH TREASURES COLLECTION
The translation of information from inspirational physical form by a 3D wax printer, allowing the
objects onto paper is often the starting point of the models to be cast into gold. Variations of the piece
design process. These designs by Chris and Joy were made in different colours of gold, with the
Poupazis were developed using CAD by Gala edges “fishtail” set with diamonds and a peg setting
Creations to produce a realistic rendering of the for the pearl.
pieces (above). The information was translated into

require analysis to allow you to translate it into techniques, or the suitability of a particular
forms suitable for jewelry. Soend time drawing material. Sometimes it is necessary to make a
out forms and experimenting with the ways they model in order to draw a design from several
can be abstracted from the original source; take angles, before adapting it further. You may need
elements or small areas and exaggerate, stretch, to explore several models to resolve an idea, and
shrink, flip, add to them, or interchange parts. it is often useful to photograph these as a record
Work on large pages so you can clearly see and of the development of the piece.
develop the progression—one idea should lead to
another. The abstraction of forms can lead directly Make a Prototype
to the design of a piece of jewelry, and will be Once the design has been finalized, the next
informed by the decisions about what specific stage is to make up a prototype piece—mistakes
form the piece might take, how it might be made in precious metals can be expensive, so this
constructed, and which techniques will be used. process gives you the opportunity to work out any
More focused technical drawings are useful at remaining design flaws that were not previously
this stage, to refine the ideas and work out what apparent. Prototypes also give useful information
is plausible. about the fabrication of a piece—from the metal
You can gather further information about “cutting list” or the weight of a piece to the order
TECHNICAL JOURNAL
how a design works by making three-dimensional in which it is constructed. Before fabrication, map
models: to explore form, function, and weight; to pieces out in a technical
explore technical aspects such as mechanisms and journal to check details
moving parts; and to experiment with texture and proportions.

Vv When viewed from above,

the triangular-tension-set topaz is
visible threefold through the large
claw-set rutilated quartz.

A More detailed
drawings will helo
to define exactly
how a piece looks
and is constructed.
20 INTRODUCTION TO DESIGN

Starting with the Stone

When designing for stone-set jewelry, the nature of the piece,
as well as the style of setting are often determined by the stone
itself. The technical considerations, such as the properties of the
stone and its method of setting, must be carefully weighed against
aesthetic considerations to produce a successful piece.

Inspiration from the Stone in order to help justify decisions about colors, SUPERMAN RING
The stone itself is often the source of inspiration materials, form, function, surface finish, or The emerald crystals
for a piece and may suggest the type of piece or texture. In some ways, having a particular set into the top of this
18-kt gold ring with
form that might be best suited. There is a strong stone in mind for a piece can be a limiting factor,
granulation by Ming
tendency among jewelers to compulsively buy hindering the progression of the design as it make a humorous cultural
stones, so when designing a piece, the chances dominates proceedings; but the stone can also reference, and were
are that the stone is already waiting for attention evoke all sorts of responses, suggesting imagery obviously the catalyst
and you have already considered its properties and or cultural references with its color or shape. for the design.
method of setting to some degree. Approaching
the design of a piece with a particular style of Analyze the Work of Others
setting in mind before you have chosen a stone The jewelry that illustrates the pages of this
SIMIENS MOUNTAIN
may require less decision-making, although in book covers a wide range of genres and tastes,
EARRINGS
some senses it does limit the choice of stone. but each piece was designed with specific Ornella lannuzzi uses not just
Research in terms of which cuts suit which stones consideration to the message it gives, and how the stones for inspiration, but
and in what sizes they can be sourced is a good that message is communicated through the also their origin. This pair of
idea if you require a less common cut or stone. materials used. When looking at these images, earrings is set with two large
For example, if you are designing a piece that consider not just how the piece was made, but Wello opals from Ethiopia; the
will be pavé set in areas, it is reasonable to why it was made that way—how the colors work design, and those of the rest of
her collection directly reference
assume it will be possible to source suitable stones together, what metals are used; if it is an abstract
the landscape, architecture,
in most colors and price ranges because they are form, how do the parts of the piece relate to and wildlife of the area.
standard, round brilliant-cut; for large trillion-cut one another? What source material or inspiration
stones, on the other hand, there will be a lot less was the designer working from? It does help to
choice. When designing sets of jewelry, pairs of understand your own work if you can analyze that
earrings, or other pieces with multiple stones, of others.
it is often important to color-match the stones
because any slight difference in the shade will
become apparent when the stones are closely set.
Matching pairs or sets of stones are often more
highly priced for this reason.
As described on the previous two pages, it
is important to have visual input for a design
 STARTING WITH THE STONE 21

The Design Process combining the two elements. These solutions

The key to a well-designed piece of jewelry is are useful for adapting, building upon, or
also the key to making an aesthetically successful completely rejecting.
piece of jewelry—every part of it, from the form Design development of a stone-set piece of
and the surface texture to the way the stone is jewelry needs to incorporate both the decisions
set should look intentional, as if it were meant to about how the piece looks and functions,
be like that. Be informed and know what you are ogether with the very practical considerations of
doing, use materials with an understanding of incorporating a functional mount or area on the
their properties, play and experiment before you piece in which stones can be set. There is little
commit, and find out the limits of a technique point in designing something that would be
or metal by pushing it as far as it will go. Keep impossible to set, either because it is too
records of the things that didn’t work and analyze complicated or the settings are too close together
them so that you can make improvements. or obscured. A basic knowledge of fabrication and
Even the most simple mount on a ring shank setting techniques should provide a reasonable
has had design time spent on it. The shank may ideas of what is and isn't possible, and you may
be made from D-section wire so that the ring need to construct the piece in a particular
is comfortable; the way in which the shank sequence so that certain operations are possible—
intersects with the mount is also telling because designs may well need to be tailored after a trial
there are a number of traditional solutions, and run or prototype. This is not an easy process, but
they have evolved over generations as the most do try to remember to enjoy it as the end results
metal-efficient, elegant, or simple method of so often justify the struggle to get there.

CHRYSOPRASE AND AMETHYSTS COLLECTION REVERSIBLE SPIRAL NECKLACE

Stones may be the inspiration behind a range of pieces. Natural diamonds and rubies will fluoresce under UV
This collection by Ben Day contrasts the opulent colors of light, as can be clearly seen in this necklace by Jayce
the chrysoprase, amethysts, and fire opals. Pear, oval, and Wong. The stones are pavé set in white gold around a
marquise cabochons are used as blocks of color, set in spiral form so that the light effects change as it moves
yellow and rose golds. when worn
22 INTRODUCTION TO DESIGN

Design Considerations
Designs that look fantastic on pa may not be successful jewelry
if you don't take practical considerations into account. The
i
i

ifort, finish, and durability need to be weighed up against

aints such as time, cost, and function.
) =)W pee a

The translation of a two-dimensional design into a The weight of a piece is also very important—if
three-dimensional one is a many-layered process. a piece is too light it may feel flimsy and if it is too
Throughout, you'll need to address many issues as heavy it will not be comfortable to wear; earrings
part of your design methodology. After a time, should be no heavier than % oz (7 Q).
the points described below will seem a natural Remember that gold and platinum are much
part of designing jewelry. denser than silver, and equivalent-sized pieces
of jewelry will weigh more, and cost much more.
Wearability Some stones are much denser than others and
How comfortable a piece of jewelry is to wear is while some stones may be suitable to use for a
often determined by what kind of piece it is, and piece, other similar sized stones of differing gem
how wearable it needs to be. Consider how often material may be too heavy.
it might be worn—if it is an everyday piece such
as an engagement ring, it needs to be practical, Finish
comfortable, and easy to wear. Pieces with The majority of commercial jewelry is polished,
protrusions that are liable to snag on clothes because this gives a reasonably durable finish and
or are sharp will be acceptable under certain complements faceted gemstones by helping to
circumstances. The larger and more rigid a piece reflect more light within them, intensifying their
is, the less comfortable it will be; articulated forms sparkle. Polished surfaces are also the most
will flow with the body. hygienic, so even on matte pieces it is common

ONYX DRUSY PENDANT

Drusy is a fragile crystalline
surface on a stone, which
must be set carefully.
The onyx has been cut
to allow minimal setting
to hold it in this pendant
by David Fowkes, using a
fine scalloped line of gold
to set the point of the
stone, and secured along
the rough top edge by
bezel-set diamonds and
pink tourmaline.
 DESIGN CONSIDERATIONS 23

GOLD AND BERYL RING

This 18-kt yellow-gold ring
by Roger Morris makes
a design feature of the
method of setting the
mirror-cut yellow beryl. The
front frame that holds the
stone has been riveted into
position using structures
that protrude from the ring
shank; the front section
places even pressure around
the edge of the stone,
so there is no risk of the
thinner edges or corners
fracturing during setting.

to find that earring wires or the insides of rings back to highlight raised areas—this would happen
are polished and therefore easy to clean, as the anyway. Some jewelers prefer to leave the patina
surface is not porous and dirt is not so easily over the whole surface, allowing wear of the
trapped. Scratches aren't as immediately obvious piece to affect the way it rubs away and changes.
as they might be on other finishes and the polish A more durable alternative to black oxidizing
can be easily restored with a cloth or mop to is to electroplate the piece with black rhodium
remove dirt and fine scratches. or ruthenium.
A greater range of finishes can be seen in
studio jewelry, from matte, satin, or frosted to Durability
heavily textured, enameled, or reticulated. Matte While it is arguable that handmade jewelry
surfaces have a tendency to shine up over time, should always have a degree of longevity, ensured
although they are easily restored and more durable by virtue of being well made, its lifespan does
on harder metals; textured surfaces can be quite depend on the materials and processes used in
resilient because they hide most marks. its manufacture, as well as how often it is worn.
Like any surface finish, electroplating will Certain types of settings will be more secure
eventually wear away. This can be best avoided than others, however well they are constructed;
through using hard, thick plate. White gold and the use of harder metals will improve the
platinum are often plated with white rhodium to durability of a piece, especially as harder stones
make them appear brighter—if the color of the are often used. If both materials are harder they
plate is close to the color of the underlying metal, will be much more resistant to scratches, and
the patches of wear will not be so obvious. Pieces are therefore more appropriate materials for
can be replated and polished. Plating takes on an engagement ring, which needs to last for
whatever finish the metal already has—matte, decades, than a softer metal such as silver which
polished, or frosted surfaces will remain so. will gradually wear away if worn continually
Silver is more easily patinated than other for years.
precious metals, although if they are silver plated, Pieces for occasional wear can be a bit less
similar effects can be achieved. Patinas are most durable in terms of materials, but it is a matter of
durable in recessed areas, which is why pieces personal taste as to whether a piece is perceived
blackened by oxidizing chemicals are often rubbed as “everyday” or not.
TANZANITE AND
DIAMOND PENDANT
The platinum wire mount
for this tanzanite pendant
by Cathy Stephens was
laser welded together
from 142 separate
components before
being soldered to
reinforce the joints.

Practicalities ;
Cost EIEN ales
The prong setting, which
The practicalities of a piece are most likely to be The type of jewelry has a fundamental impact on includes three groups of
determined by the design brief. An engagement | how and from what materials a piece is made, and | smaller prong settings for
ring will have quite a different brief to, for therefore how highly it is priced. Weigh up the | diamonds, mirrors the
example, a stone-set necklace featuring the use of | time it will take to make a piece against the | shape of the tanzanite,
mixed materials. When designing, it is important materials it will be made from. Designs that are gh Peace
to consider the practical aspects of how a piece complicated and will take many hours or days to ee ee nee
will behave when it is worn as well as the complete will not be perceived as so valuable if the front of the piece
aesthetic considerations. they are executed in silver, and it may not be
One of the most basic factors is using a stone possible to justify the high price. The material costs
with suitable properties for a particular project. of gold or platinum, however, are already high and
Softer stones are relatively unsuitable for rings the proportional cost of the labor in the sale price
and other pieces that will receive a lot of wear is therefore much lower. Expensive fine jewelry
or be subjected to much movement and possible | must be durable, so harder precious metals such as
knocks. There are other factors that may not arise | platinum and high-quality stones are used, and as
until the three-dimensional object is finished, they have a high intrinsic value they will help to
although with experience these can often be justify the cost of such a piece to a customer.
anticipated and resolved through design before While art pieces may also carry a high price, the |
the prototype stage. A ring that is weighted more emphasis may not be on durability and the pieces
on one side and always wants to swivel around on may not be designed to be worn very often. In
the finger can be annoying, or perhaps a ring is the commercial marketplace, it can be difficult to
more comfortable on the right hand rather than | justify a high price on a piece that is made from
the left because of its asymmetric form. base materials, or even from silver. The quality of
You must also consider the practicalities of the design also influences the perceived value of a
construction of a piece, because the particular piece, and a recognized brand can charge much
sequence of what goes where and when will more for a piece than an unknown one.
affect which elements need to be finished
first, and to what degree. Some areas may be
inaccessible once the piece is assembled, so
make sure to clean or polish these while it is still
possible. The position of a solder seam on one
part may affect how or where it is joined to
another. Use the process of making models or
prototypes to work through issues of this nature.
 Using Bought Settings
There are benefits and drawbacl <5 tO WSllie
manufactured mounts in handmade jewelry;lee

they can be a tempting and easy solution for

setting stones, but may look incongruous when
combined with fabricated elements.

Disadvantages of Bought Settings Advantages of Bought Settings PYRITE PENDANT

A simple frame for a
The main disadvantage of manufactured settings lf you can find a bought setting that is similar to hand-cut pyrite cabochon
is that they will almost always look like bought what the design dictates, you will make your life was constructed from
mounts, which not only reduces the value of the easy! When making a commission, bought stamped gallery strip to
design of a piece as a whole, but means it will settings are one way of bringing the costs down make this pendant by
Annie Cracknell. The
be very similar to thousands of other pieces of because they can save an immense amount of
structure of the bezel
jewelry. However, the mounts can be adapted time; you can adapt basic tapered bezels to creates an interesting
or significantly altered while still retaining their specific requirements, whether carved to make contrast to the random
primary function, which is to securely hold a a crown prong mount or embellished with other patterns within the stone,
stone. Whether a setting is bought or handmade, techniques, and because most of these mounts and because the silver
it should always relate to the piece it is part of, are cast, there is no risk of a solder seam opening is oxidized, the lighter
colors of the pyrite
and if possible should be designed to be integral up when they are joined to a ring shank.
are the focal point of
to a piece rather than looking “stuck on.” Manufactured mounts can also be a useful the piece.
Although you can source a good range of cast reference, whether how-to, or how-not-to in
and stamped mounts, from simple stamped bezel terms of design and aesthetics, but also for metal
cups to complex multiple-stone clusters and thickness or gauge an d proportions.
gallery strips, the use of a prefabricated setting When working in metals such as gold or
prescribes a limit on the stones that can be set platinum, bought mo unts will keep costs down
because the mounts are usually only available in because there will be no scrap or wastage from
standard sizes, so for unusual sizes or shapes of the fabrication proces s, So there is no extra outlay.
stones it may be easier to start from scratch. Try exploring contrasting colors of metal within
one piece—the use o a gold mount in a silver ring
provides an affordable way of using gold in a
piece, and will make a more secure setting for a
valuable stone.

4/2 RINGS
A prefabricated oval tapered bezel was used
to set the 0.5-ct ruby in one of this pair
of commissione d wedding rings by Anastasia
Young. For stan dard shapes and sizes of mount,
such as this one, the cost of making the setting
from sheet metal cannot be justified against the
cost of the cast tapered bezel, especially when
working to commission.
26 INTRODUCTION TO DESIGN

Commissions
Commissioned jewelry can be quite a different way of working
from producing your own designs. You'll still need to draw up a
design, but the parameters of the brief are usually defined by the
client in terms of the type of jewelry, materials, timescale, and cost.

The Nature of a Commission

Working to commission can be very rewarding
because although the brief may be clearly defined,
chances are that there will be aspects of the piece
that are not part of your usual repertoire as a
jeweler, such as the shape of the chosen stone
or its method of setting. Also, creating an object
that has previously only existed in someone else’s
imagination is a very special experience for them.
A client will want you to make a piece either
because they like your style and want something
similar but quite specific, or they may have their
own design in mind and wish it to be made
for them. The most common commissions are
wedding and engagement rings—a client may
wish to have a wedding ring made to complement
an existing engagement ring, or you may be lucky
enough to be asked to make a pair of wedding
bands and an engagement ring.
THE ORIGINAL RING
The Commissioning Process The client provided an
For stone-set jewelry, there are usually two forms Art Deco-style emerald
ring, from which the
a commission will take: Either the client already
0.75-ct emerald and two
has the stone they wish you to use because it is diamonds were to be
a family piece that they would like remodeled; or used in the commissioned
they have a good idea of what they would like— ring. The ring shank was
for example, an oval brilliant sapphire. If it is the 18-kt yellow gold, faced
latter, you need to negotiate the overall budget with white; the yellow
gold was reused and
for the commission to determine how much you
drawn down into wire
can allocate to buy the stone after metal costs, to make a prong for the
your time, and overheads (which includes emerald, and the mixed-
workshop rent), any outwork such as CAD/CAM, metal portions that could
not be used were recycled
DAMAGED EMERALD
setting, plating, or hallmarking.
as scrap. The emerald was badly chipped and scratched
If the client provides their own stone, it is a from being loose in its setting, and needed to be
good idea to have a gemologist look at it; many repolished professionally. This image was taken on a
stones look quite similar to the inexperienced USB microscope, allowing the damage to be seen at
eye and the “heirloom topaz” may turn out to be many times the actual size of the stone. The white gold
a much less valuable citrine. It is also important to prongs were carefully cut away on two sides with a
jeweler's saw to allow the stone to slip out before taking
know the properties of a particular stone because
it to the lapidary. In agreement with the client's wishes,
this may affect the way in which it is set. For the corners were cut to give a more traditional emerald
more information on gemstone properties, see cut, thus removing the minimum possible amount of
the Gemstone directory on pages 30-51. the stone.
 COMMISSIONS 27.

When you have worked out how much there their expectations, and that they understand
is left to spend on the stone, you will need to how the piece will look once made. In this
do some research. The client will have an idea of respect, CAD is very useful because it allows a
the size of stone they want, but this may well be high-quality image of a piece to be rendered that
above the budget! It may be possible to find a less can be shown to the client, and changes such as
expensive stone of the right size, but the quality the color of the metal or stone, or the surface
may not be top—either the color may be a little qualities can be altered quite easily before the
too pale or too dark, the stone may be slightly piece is made up in metal.
cloudy, or it may have small inclusions, none of Once the design has been decided on, draw
which is evident to the naked eye. Be honest with up a contract agreeing a timeframe for the project
your client—they may want to spend more on a and the cost, and ask for half of the fee upfront,
high-quality gem and increase the budget, or they which will allow you to pay for the materials. The
may be happy to compromise on size or quality. rest of the fee is payable on delivery.
You can arrange to borrow stones “on spec” for For this type of work, many jewelers will make
short periods of time from gem dealers in order to the piece and then hand it over to an experienced
allow your client to choose their preferred stone. professional setter to set the stone, because
Clients are usually well informed and will mistakes can be expensive. Stone-setting
probably have a good idea of the type of setting techniques such as pavé are almost always done
they would like, too. You will need to work closely by a professional.
with the client to make sure your design meets

THE NEW RING AND SETTING THE FINAL PIECE

Once the design was decided on, a silver model of the This cast gold ring was cleaned up, and yellow gold tube
ring was fabricated. The central mount for the emerald settings for the diamonds soldered into place, as well
was derived from a cast form and combined with sheet, as the upper prong on the left-hand side. The two
wire, and tube to make the ring and the combination diamonds were set first, followed by the emerald, which
setting for the emerald. A cold-cure mold was made of is held quite deeply within the mount to prevent it from
the ring—this minimized the shrinkage, meaning that the being chipped.
stone would still fit into its seat; a wax model was made
from the mold and this was cast into 18-kt white gold.
28 INTRODUCTION TO DESIGN

Outsourcing
Outsourcing is often the most time- and cost-effective way of achieving
certain aspects of jewelry manufacture, making use of service providers
who have both the equipment and the skills to perform specialist
techniques or processes.

Finding an Outworker CAD/CAM

The best recommendations are usually word of Services that offer to build a design for renderings
mouth, because they allow one to judge many and/or to produce wax models for casting can
aspects of a service and to weigh quality of work work from a sketch, which will end up more
against turnaround. You might be prepared to expensive, or from a detailed spec produced in
wait longer for a piece if you are sure a good job a program such as Adobe Illustrator. A detailed
will be done, or alternatively the job might need technical drawing from several angles is always
to be completed very quickly, so while quality is going to be easier to understand and less open
still important, it is not always the deciding factor. to interpretation than a rough sketch.
When approaching an outworker about a job, :
it is advisable to have a good idea of what you Casting
would like them to do; if you're not sure, do some Companies that provide a lost-wax casting service
research first to find out more about the processes usually cast in a range of precious metal alloys.
involved. There is no harm in calling in advance to Some casting companies have arrangements with
discuss the work, but quotes are rarely given CAD companies, which may be preferable because
unless the work has been seen. it means transport of the fragile waxes is taken

WAX CARVING
Jeweler's wax can be
carved by a computer-
driven milling machine
to a very fine degree of
detail, as shown above.
Complex pieces may be
carved in several sections
that can be soldered
together once cast
into metal. Waxes
can also be “built”
using a 3D printer that
deposits the wax in layers
to create the form.

WAX CARVING MACHINE

Milling machines such as the
one at right are used to cut
and carve waxes to a high
degree of accuracy. The
cutting tools are driven by
a computer that uses the
vector data created when
the virtual representation
of a piece is built.
 OUTSOURCING 29

care of. Mold-making to produce multiple pieces Laser Welding

is a Standard service, and some companies also Laser welding is a useful alternative method for
provide services as wide-ranging as hallmarking, joining metal to metal when soldering is not
finishing, and stone setting. possible, or impractical. This makes it ideal for
resizing rings and retipping prongs if they break
Electroforming off, without the need to remove the stone first,
Electroforming involves the deposition of metal as well as laser welding already-mounted stones
onto nonmetallic surfaces after an application of into frames or pieces. Some companies offer
conductive paint, and the process results in hollow while-you-wait or drop-in services for laser repairs.
metal forms. Stones and glass incorporated in a
wax model can easily be electroformed into a Plating and Polishing
piece, but natural materials require several coats of Silver, gold, rhodium, and ruthenium electroplating
varnish to protect them from the harsh chemicals services are widely available in a range of colors
involved. The resulting electroforms are one-off and types—hard plate is more durable than soft
and can be quite fragile. plate, and the thicker the plate, the longer it will
last. Flash plating is a quick deposition of about
Stone Setting Jum (micron; one-thousandth of a millimeter).
PROFESSIONAL SETTING
For valuable stones, for example in commissioned All the work must be complete on pieces prior Stereo microscopes, as
pieces, you might not want to risk damaging the to plating, including stone setting. However, shown below left, are used
mount or the stone if you don’t have much certain types of stones cannot be plated because by professional setters for
experience, so taking the piece to a professional to they are too sensitive for the solutions, or they are techniques such as micro-
set the stones is a good alternative. Also, a setter slightly conductive because of the metal content pave, but are also useful
for checking the progress
will be able to do the work much more quickly. of their mineral structure. Some stones may need
of other types of setting in
Setters usually charge per stone, but this may to be plated with the plating solution cold. Most minute detail.
depend on the type of setting. platers also offer a polishing service, so do say if
Pieces should be finished and polished and you don't want the piece polished, for example if
ready to set and you should provide the stones, you wish the surface to remain matte.
POLISHING IN ACTION
which should be calibrated for techniques such as A professional polisher
pavé, ensuring that all the stones are exactly the at work on a buffing
right size and so are more easily mounted. wheel (below).
> Pe
Choosing the right stone for a project can be

essential to its success. This section provides all the

technical information—including physical statistics

and qualities, and common treatments to improve

color or clarity—required to make informed

decisions about which stones are suitable for a

design before purchase, and what the potential

drawbacks may be. It is illustrated with images of

the gemstones in different cuts. Stones can easily

be selected by color and are arranged according

to their hardness, starting with diamonds.

32 GEMSTONE DIRECTORY

DIAMOND re very difficult to see a difference between grades

D to G. From the color | down to M, a body tint
To many, diamond is the ultimate gemstone. becomes increasingly obvious; the color grade M
4 The straight facets Produced around 93 miles (150 km) inside the shows a noticeable body color through the table.
of this 0.74-ct emerald
Earth, it is the hardest of all known natural As a diamond's body color becomes increasingly
cut emphasize the
transparency of this gemstones. Diamonds boast superb luster, saturated, it becomes a fancy color. The body color
E color VS1 clarity transparency, brilliance, fire, and scintillation. of a diamond will be more obvious from the back
diamond.
Diamonds also occur in a range of tints, than the front. This is the direction in which
usually brown and yellow, through fancy diamonds are graded.
colors. White (transparent) diamonds are Color grading factors for fancy colored diamonds
graded by the four Cs (see below) but fancy are different than for white. These include purity of
> Although a 1.07-ct colors have their own set of rules. color, strength of saturation, and evenness of color.
brilliant cut, the low
color and black marks
CLARITY The most desirable clarity for a diamond
mean this stone is of a CHEMICAL COMPOSITION Carbon is to be free from inclusions. This is described as
comparatively low value. COLORS White (transparent), yellow, brown, green, internally flawless and is very rare, especially in
gray, pink, blue, black, red, and purple. larger stones. Grades are judged under a 10x
VARIETIES Diamond is mined for industrial use as magnifying loupe. The GIA grading system continues
well as gem-quality material. to VVS (very very small inclusions), VS (very small
LOCALITIES INCLUDE India, Brazil, South Africa, inclusions), SI (small inclusions)—inclusions can be
DRC, Namibia, Tanzania, Angola, Sierra Leone, seen with a 10x loupe—and |, where inclusions are
Russia, Botswana, Australia, and Canada. isible unaided. S| material is known as “eye clean.”
<=

cut A well-cut stone can show off the beauty of

AVAILABILITY a diamond to better effect. Proportions, symmetry,
cuTA brilliant-cut diamond's proportions have and polish are considered during the grading
A / to J color brilliant-cut been designed to show a colorless diamond's process of a diamond.
diamond of 0.70 ct properties to maximum effect. It reflects all light CARAT WEIGHT A heavier stone is more valuable
with |1 clarity.
from the back facets back through the front of the than a lighter one. This is partly because of weight
stone and is the most common cut. Stones with increase, but prices per carat also increase as
> Possessing a D
color and VVS2 clarity, straight facets show the supreme transparency of a stone gets larger. This increase is particularly
combined with its diamond. Other cuts may appear to intensify the prominent at major increments. For example, a
0.70 ct size, means color. Stones are available from around 0.7 mm. stone of 1 ct weight is more desirable than that of
this diamond is an
expensive stone. cotors Naturally colored red and purple are 0.99 ct, therefore a 1 ct stone usually has a higher
he rarest, and pink and blue are also very rare. price per carat than the 0.99 ct, despite there only
> 0.70-ct princess-cut
The setting of a diamond can affect its perceived being a 0.01 ct difference in weight.
G color and VS1 clarity, color. This is why it is necessary to remove a stone When graded, diamonds in laboratories
this stone has a square rom its setting before grading in a laboratory. are judged under controlled conditions, with
outline but the facets
are modified from a Diamond has a high dispersion of light, responsible comparison master stones. Fluorescence may also
round brilliant cut or flashes of spectral colors. affect the price of a diamond by interfering with the
CLARITY Inclusion-free material is the most appearance of its body color.
desirable and is relatively rare. However diamond
is extensively mined, so S| material (see right) is HARDNESS 10
reasonably common. TOUGHNESS Good, but diamond contains four
directions of internal cleavage. Although breakage
QUALITIES along these planes is difficult, it is possible.
The Four Cs LUSTER Adamantine
The quality of a diamond is judged by four main RI 2.42
A Natural color brown
pear shape of 0.57 ct. factors. These are color, clarity, cut, and carat Diamond should never be placed on a refractometer
weight. Each of these factors affects the price per glass because it may scratch the surface.
carat of a stone. The grading system described here
is the GIA grading scale; however, other grading TREATMENTS
organizations such as CIBJO may use slightly COATING Carried out to improve the color.
different grading terms. You may also come across LASER DRILLING Drilling a tiny hole or producing
A 0,50-ct green diamond, this old grading descriptions no longer used. cracks to a dark inclusion. The inclusion is
color has been obtained by
irradiation treatment. COLOR If a diamond is white and transparent, the consequently bleached to white and improves the
most desirable stones are those that are nearest perceived clarity of a stone.
to colorless. Diamonds are color graded by the FRACTURE FILLING Fractures are filled to reduce
A This 42 in. (4mm)
Gemological Institute of America (GIA) through the the severity of their appearance. Laser-drilled
princess-cut diamond has alphabet from D to Z—D grade is the nearest to holes and bleached cavities may also be filled.
been treated to obtain the colorless. Between D and H the stone does not It is important that coating, laser treatment, and
vibrant yellow color.
have a tint when viewed through the table. It is fracture filling are disclosed upon sale.
 PRECIOUS GEMSTONES 33

IRRADIATION WITH HEAT TREATMENT This EMERALD

combination of processes can produce a variety of
bright colors such as greenish-yellow, teal blue, The most prominent and desirable property
magenta, light brown to cognac, blacks, and deep of emerald is its color. This can be an awe-
greens. These are usually noticeably different inspiring deep bluish or yellowish green
shades than naturally colored diamonds. and is spectacular in large, clean stones. > This 12.55-ct
Some brown diamonds can also be whitened Unfortunately emerald is much more prone cabochon emerald
contains inclusions
and colors changed in a high-pressure, high- to inclusions than many other gemstones. but it has a good,
temperature environment. strong green color.
GROUP Bery|
SYNTHETICS Diamonds can be produced CHEMICAL COMPOSITION Beryllium
synthetically. They appear exactly the same as aluminum silicate
natural diamonds and require laboratory equipment COLOR Green; varies with locality.
for identification. Synthetic diamonds can LOCALITIES INCLUDE Columbia, India, Brazil, 4 This 1.28-ct oval
be treated. Zimbabwe, Zambia, Siberia, and Pakistan. emerald appears
translucent from many
inclusions, but still
CARE Diamonds can burn because they are AVAILABILITY
shows a vibrant color.
carbon based. To avoid this, cover the diamond in cuT The emerald cut was created especially for this
flux when using a jeweler’s torch. This should stone; corners are removed to protect the brittle
protect the stone up to around 3272°F (1800°C). material from damage. Large stones with corners
Diamond is very hard and resists scratches but still on are difficult to obtain. Straight cuts show off
may be broken by a sharp knock in the wrong_ emerald’s spectacular color. Largé, round stones in
direction. Diamonds attract grease that reduces particular are unusual.
their brilliant appearance, so clean them with cotors A rich green is most highly recognized. > Cutting this beautiful
Columbian 1.64-ct
washing up liquid, warm water, and a soft Columbian material often has a bluish tint that emerald to an emerald cut
toothbrush. is popular, while African tends to look more reduces the risk of
grassy colored, chipping the corners of
the stone when setting.
STONES WITH A SIMILAR APPEARANCE CLARITY Emerald is naturally a very included
Cubic zirconia (CZ), sapphire, synthetic sapphire material compared to other members of the bery!
and spinel, white zircon, synthetic moissanite, YAG, group. High-clarity examples are rare and expensive,
glass, strontium titanate, and synthetic rutile. particularly in large stones.

QUALITIES 4A light color

The most desirable emeralds have a good saturated makes this oval-cut,
THE KIMBERLEY PROCESS 2.26-ct, good-clarity
color and are as free from inclusions as possible.
emerald more
Emerald usually contains a lot of inclusions and affordable.
Some diamond mines have been used to fund fissures, and it is difficult and expensive to find
conflicts in the countries in which they are examples with both good color and clarity.
based. The Kimberley Process came into effect HARDNESS 71/2
in 2003 to try to prevent this from occurring TOUGHNESS Poor
again. It is a certification system that is LUSTER Vitreous
used from the mine to the cutting center. RI 1.56 to 1.60 > 0.69-ct heart shape,
As the rough (uncut) diamond passes each BIREFRINGENCE ().003 to .010 showing a grassy green
border of a participating country it must have color typical of African
emeralds.
a Kimberley certificate certifying that suitable TREATMENTS Almost all emeralds are oiled.
requirements have been met and the Inclusions and fractures can also be filled with
diamonds can be sold as “conflict free.” resin to minimize their appearance. This should be
Participating countries can only trade with disclosed upon sale.
other participants.
Kimberley certificates are only required SYNTHETICS Synthetics can be created by the
> This 1.2-ct emerald
for rough shipments of diamonds, but flux and hydrothermal methods. These can contain is an elegant drop,
subsequent sellers should show a “system identifying inclusions; however, if they do not, the but care should be
of warranties” declaration on their invoice. material must be laboratory tested. taken with the apex
when setting.
This declares that the diamonds sold have
been through the certification scheme CARE Avoid knocks because this is naturally a
and are therefore conflict free. For more brittle material. Care must be taken in fashioning,
information see www.kimberleyprocess.com. setting, storage, and wear. Do not use in ultrasonic
cleaners, and do not soak in chemicals that may
remove oils or other fillings from fissures.
 GEMSTONE DIRECTORY

STONES WITH A SIMILAR APPEARANCE evidence of heat treatment can increase the value
Fluorite, glass, chrysoprase, dyed green agate, soudé of a material.
emeralds, green tourmaline, tsavorite, chrome The level of treatment carried out on a stone
diopside, aventurine quartz. affects its relative value.
HARDNESS 9
TOUGHNESS Very good if few inclusions.
LUSTER Bright vitreous
RUBY @ © 6 0 6
RI 1.7/6 to 1.78
Ruby is the red variety of corundum. BIREFRINGENCE 0.008 to 0.009
Traditionally a highly prized color is a pinkish-
red known as “pigeon blood.” Their stunning TREATMENTS It is very common to heat ruby to
A The triangular
facets of this 2.34-ct color, luster, and durability make rubies a improve the color.
radiant-cut ruby help beautiful and practical choice of gemstone. Other elements may be added to improve color
to hide any internal and/or clarity such as beryllium, glass, or resin.
inclusions.
GROUP Corundum Added elements should be disclosed upon sale.
CHEMICAL COMPOSITION Aluminum oxide These additions may be identified using standard
A The low clarity of this COLOR Red gemological equipment; however, a laboratory may
round ruby makes it more VARIETIES Star- usually 6-rayed need to be consulted.
affordable, while still
showing a deep color. LOCALITIES INCLUDE Afghanistan, Australia, India, Oil or wax can also be used to improve
Kenya, Madagascar, Myanmar (Burma), Pakistan, clarity. A combination of natural, treated, and
Russia, Tanzania, Thailand (Siam), Sri Lanka poor-quality corundum may be used to produce
It is common for cabochon
rubies like this 1.88-ct stone to (Ceylon), United States, and Vietnam. composite stones.
have a very deep base, which
you need to consider when AVAILABILITY SYNTHETICS Synthetic rubies created by the
making your setting.
cut When faceted, a good cut combined with few Verneuil technique are common. They are effective,
inclusions can produce beautiful, lively stones. Large giving the appearance of top-quality material for
round and pear shapes are rarer than oval and little money. Internal zoning and bubbles may give
cushion shapes. Square and emerald cuts command away their origin. Commercial material produced by
a premium over oval and round-cut stones because this method usually has a width of less than *% in
they need larger roughs to produce them. (20 mm).
Cabochons and beads are available—often cut Synthetics can also be grown by the
from lower-grade material. Star stones must be cut hydrothermal methods and flux that are much
AA marquise- as cabochon. harder to identify.
shaped 3.53-ct ruby. COLORS A good strong red color through the table Synthetic star stones are also fairly common.
This shape may also
be called a navette.
without a brown, purple, or orange tint is most Synthetic stones may be additionally heated to
desirable. “Pigeon blood” is a popular term to induce more realistic-appearing inclusions.
describe a strong red color with a pinkish tint.
> Bright, brilliant-cut Most stones on the market are heat treated to CARE If any internal fractures have been filled,
stones like this 1.75-ct
round ruby are often improve their color, unless otherwise specified. avoid heat and acids. If the material is heavily
set in prong settings to Unheated stones carry a huge premium. included, take particular care.
allow as much light as CLARITY Less included material commands a higher Ruby is thermally expansive so can be heated
possible into the stone
price, although parallel inclusions in star stones are safely, however, beware of inclusions, which may be
necessary to create the star effect. These inclusions damaged. If a treatment does not penetrate the
in patches can be a hindrance for clarity but may be whole stone, the effects may disappear if the stone
dissolved by heat treatment. is repolished.
> The lively appearance Translucent natural star material containing a
of this 7.3 mm x 6.6 mm strong color and a sharp star is rare. STONES WITH A SIMILAR APPEARANCE
ruby pear shape is very
pretty but the stone Inclusions are helpful features for discerning a Glass, red beryl, tourmaline, garnet, composites,
would not fit in a stone's origin. and spinel.
standard setting. Rubies are comparatively more included than
sapphires for a similar price per carat.
SAPPHIRE
QUALITIES
This 2.88-ct oval Color and clarity are the main factors when Sapphire encompasses all other colors of
Burmese ruby shows a
very desirable strong valuing a stone. Apart from at the highest prices, at corundum. If the term “sapphire” is used
red color with a slight least one of these factors will be compromised. alone, it is assumed the material is blue;
pinkish tint. Quality of cut is important to ensure a stone otherwise the color is used as a prefix.
appears bright. When large stones are certified, an Their color range, luster, and durability make
opinion of origin and level of heat treatment is also sapphires an excellent gemstone choice.
given. Certain localities (e.g. Myanmar) and lack of
 PRECIOUS GEMSTONES 35

GROUP Corundum TREATMENTS lt is very common to heat sapphire SAPPHIRE

CHEMICAL COMPOSITION Aluminum oxide to improve or alter its color.
COLORS Blue, pink, yellow, green, purple, and black. Other elements may be added to improve the
VARIETIES Padparadscha—a pinkish orange color color, clarity, or quality of a star. These can be < Color zoning
across this oval
LOCALITIES INCLUDE Africa (Nigeria, Kenya, beryllium, titanium, glass, or resin. Added elements
5.64-ct sapphire is
Mozambique, Madagascar, South Africa, Tanzania) should be disclosed upon sale. These additions visible. but should
Australia, Myanmar (Burma), Kashmir (India), may 3 be identified using gemological equipment; be less apparent
once set.
Sri Lanka (Ceylon), Thailand (Siam), and United however, a laboratory may need to be consulted.
States (Montana). Oil or wax can also be used to improve
clarity. Sapphire can be irradiated to alter its
AVAILABILITY color. A combination of natural, treated, and
cuT When faceted, a good cut combined with poor-quality corundum may be used to produce > This lively pear-shaped
few inclusions can produce beautiful, lively stones. composite stones. 3.35-ct sapphire would
benefit from an open
Large rounds and pear shapes are rarer than oval setting to allow maximum
or cushion. Square and emerald cuts command a SYNTHETICS Synthetic sapphires created by the light into the stone.
premium because they need proportionally larger Verneuil technique are common. They are effective,
roughs to produce them. showing the appearance of top-quality material for
Cabochons and beads are available—these tend little money. Internal zoning and bubbles may give <4 Cabochon cut and
to be cut from lower-grade material. away their origin. Blue is the most common color a deep blue color, this
3.77-ct sapphire would
Star stones must be cut as cabochon. Natural but other colors are available. look very pretty in a
star stones often are left with a deep, uncut base. Synthetics can also be grown by the bezel setting.
coLors A good strong blue color is most desired, hydrothermal methods and flux that are much
without grayish or greenish tints. The popular harder to identify. Synthetic star stones are also
term “cornflower” blue describes blue material fairly common. Synthetic stones may be additionally
with a hint of violet, particularly from Sri Lanka. heated to induce more realistic-appearing features. > This round Sri Lankan
3.34-ct sapphire has an
Cornflower blue sapphires may be dark or light intense blue body color
material. A padparadscha’s color is very desirable CARE If any internal fractures have been filled, with a hint of violet.
and very rare. It is common for blue sapphires to avoid heat and acids, and take care if the material
contain straight internal color zoning. The position is heavily included.
and noticeability of this affects the value. Sapphire is thermally expansive so can be
Most stones on the market are heat treated to heated safely, but beware of inclusions, which may
improve their color unless otherwise specified. be damaged.
<4 This 7.62-ct cushion-
Unheated stones carry a huge premium. If a treatment does not penetrate the whole shaped sapphire
CLARITY Less included material commands a higher stone, the effects may disappear if the stone has a slightly cloudy
appearance and an
price, though parallel inclusions in star stones is repolished.
inclusion in front of
are necessary. These inclusions in patches can be the table
a hindrance for clarity but may be dissolved by STONES WITH A SIMILAR APPEARANCE
heat treatment. Glass, jolite, tourmaline, tanzanite, spinel, synthetic
Translucent natural star material containing a spinel, composite stones, and kyanite. SPINEL
mid- to dark color and with a sharp star is rare.
Inclusions are helpful features for discerning a
stone's origin. SPINEL

QUALITIES Spinel is a much underrated gemstone, often

Color and clarity are the main factors when historically confused with ruby. The “Black
valuing a stone. Below the highest prices, at Prince's Ruby” set into the front of Britain's
least one factor will be compromised. Quality Imperial State crown is actually a spinel. AA lively, 1.89-ct pretty A A similar color to the
of cut is important to ensure a stone appears Spinels can be lively, durable and beautiful. pink spinel with a hint of cushion shape below, this
lilac in an oval shape. 2.85-ct spinel contains
bright. When large stones are certified, an opinion more brilliance.
of origin and level of heat treatment is also given. CHEMICAL COMPOSITION Magnesium
Certain localities (e.g. Kashmir) and lack of aluminum oxide V The soft red color of
evidence of heat treatment can increase the value. COLORS Pinks to orange to red, blues to purplish, this 1.11-ct pear shape is a
greenish, and black. common shade for spinel.
The level of treatment carried out on a stone
affects its relative value. LOCALITIES INCLUDE Afghanistan, Brazil, Myanmar
HARDNESS 9 (Burma), Nigeria, Sri Lanka, and United States.
TOUGHNESS Very good if not too included
LUSTER Bright vitreous AVAILABILITY
RI 1.76 to 1.78 CuT Spinel is mainly faceted. Large stones are rare.
A Cushion-shape, deep
BIREFRINGENCE 0.008 to 0.009 coLors Bright, pleasing colors are the most valuable, blue, natural color spinel
particularly red; soft red is the most common. of 4.11 ct
36 GEMSTONE DIRECTORY

Spinel can look very similar to ruby and pink AVAILABILITY

sapphire but at a lower price per carat for a CuT Available in large sizes, apart from red
comparable color. Black spinel is a harder beryl. Flawed material is mainly used for beads
> 6.29-ct emerald-
cut goshenite, alternative to onyx or jet. and cabochons.
the white variety CLARITY Inclusions are common but not as cotors Red beryl is very rare.
of aquamarine. abundant as inside a ruby. Aquamarines are mainly pale to mid-colors.
The more intense the color of beryl, the
QUALITIES more expensive the stone. Heated material
Color and clarity of the stone are important has a more intense blue color without
factors as well as a good cut to give a bright, greenish tones.
4A 2.25-ct cushion lively appearance. CLARITY Large, fairly clean material is available
of pink beryl, which
is also Known as HARDNESS 8 50 it is assumed that high-quality aquamarine
morganite. TOUGHNESS Good has few internal flaws.
LUSTER Bright vitreous
RI 1.72 to 1.73 (natural) QUALITIES
The strongest and purest color is most desirable.
TREATMENTS To date, spinel is a relatively HARDNESS 71/2
untreated stone. TOUGHNESS Good
> An intense, LUSTER Vitreous
pleasing blue color SYNTHETICS Synthetic spinels are predominantly RI 1.56 to 1.60
combined with a
created by the Verneuil process and can be BIREFRINGENCE 0.003 to 0.010
good cut makes
this 5.52-ct cushion identified using basic gemological equipment.
cut an expensive A synthetic created by the flux method is possible TREATMENTS Aquamarine is very commonly
aquamarine.
and more difficult to identify but is currently much heated to remove any yellow tint, so the greenish
less common. aquamarines are generally unheated. Some
Synthetic spinel often imitates other materials aquamarine can be irradiated but the results may
rather than natural spinel. not be stable.

CARE Be cautious of inclusions when using acid or CARE Avoid excess heat; take care if the stone has
under a steam cleaner. many inclusions,

<4 Elongated pear- STONES WITH A SIMILAR APPEARANCE STONES WITH A SIMILAR APPEARANCE
shaped aquamarine
of 12.73 ct Ruby, sapphire, tourmaline, amethyst, iolite, glass, Glass, blue topaz, blue synthetic spinel, zircon,
tanzanite, and garnet. sapphire, and tourmaline.

AQUAMARINE TOPAZ

Aquamarines occur in a beautiful range of Topaz is a popular material, particularly in

pale to mid-blues and it is possible to obtain blue. It is available both in bright, treated
> This heart-shaped
aquamarine has a fairly large pieces. They are members of the material and stunning natural colors that
pleasing deep color beryl group that also contains pink, green, are often overlooked.
despite its low Clarity.
yellow, white, and very rarely red stones.
CHEMICAL COMPOSITION Fluorosilicate of
GROUP Bery| aluminum with hydroxyl
Deep yellow, pear- CHEMICAL COMPOSITION Beryllium COLORS Blues (mostly treated), yellow to sherry
shaped aquamarine Aluminum Silicate colors, brown, white, pink, orange, and green.
known as heliodor.
COLORS Blue to greenish blue LOCALITIES INCLUDE Australia, Brazil, Myanmar
VARIETIES Other varieties of beryl are: (Burma), Nigeria, Pakistan, Russia, Sri Lanka, and
GGREEN BERYL Pale green or pale yellowish green United States.
nite Peachy pink to rose pink
SHENITE White AVAILABILITY
or Pale yellow to rich gold cut Faceted and cabochon cuts are readily
> Pale green oval
aquamarine. This green RED BEF i (Bixbite) available. Step cuts particularly suit stronger shades
is very different to the LOCALITIES INCLUDE Brazil, Kenya, Madagascar, of color.
intense color of emerald, Myanmar (Burma), Namibia, Nigeria
which is also a member of
Topaz is a relatively heavy stone so prices will be
the beryl family. Russia, Sri Lanka, United States, Zambia, high in large material.
and Zimbabwe. cotors The blue irradiated material is commercially
sold under the names “Sky” (light), “Swiss” (bright
and electric), and “London” (deeper and smoky).
 SEMIPRECIOUS GEMSTONES 37

atural imperial “sherry"-colored material, along known as cymophane. Cat's eye alexandrite
with pink, is the most expensive color. Treated blue (shows both a color change and streak of light
and natural white topaz are fairly common and effect). Transparent material (yellowish to
easonably priced. greenish to brownish).
CLARITY Large inclusion-free material is available LOCALITIES INCLUDE Brazil, Russia, Sri Lanka,
in blue and colorless topaz. Madagascar, and Zimbabwe.

QUALITIES AVAILABILITY
Large, clean material is pricey to obtain in the CuT Cat's eyes must be cut as cabochons to reveal
natural pink, yellow, and imperial colors. The smoky their streak of light and oriented properly so the A Pear-shape light A The emerald- A A pear-shape
London blue is more expensive than Swiss, and “Sky” blue topaz. cut shape draws “Swiss” blue topaz;
light is central to the stone.
This shade of blue attention to the the color of this
Swiss is more expensive than Sky. COLORS Fine-quality alexandrite which shows a topaz has a very deep, smoky color material is almost
HARDNESS 8 good color change from red to green is very, very similar appearance of this “London” an electric blue.
to aquamarine. blue topaz.
TOUGHNESS Medium—it contains a direction of rare and even rarer with a cat's eye. It is therefore
easy Cleavage very expensive.
LUSTER Vitreous Most commercial material shows a patchy color > The briolette shape of this
RI 1.61 to 1.64 change from green to purple, with the body color “London” blue topaz can be
BIREFRINGENCE 0.008 to 0.010 often containing a grayish tint. Despite being simply and effectively mounted
into a piece of jewelry.
poorer quality, these still sell for high prices.
TREATMENTS Blue colors are created from CLARITY Less included material is more desirable,
white material using irradiation combined with heat apart from the many parallel inclusions inside cat's
treatment. An unstable brown/yellow material can eye stones.
be produced by irradiation. Pinker tones may be
induced from yellows/browns after heating. QUALITIES
It is common for white topaz to be coated to A more intense, pleasing color corresponds to a
many colors and iridescent effects such as “mystic higher value. The quality of the streak of light over
topaz" and a fuchsia-pink hue. a cat's eye stone affects its value. A This delicate pink oval
HARDNESS 81/2 topaz’s color is of natural
origin as opposed to some
SYNTHETICS “Synthetic topaz” is often actually TOUGHNESS Excellent to good
very bright, coated
synthetic spinel. LUSTER Bright vitreous material on the market. A 4.53-ct oval-cut yellow
RI 1.74 to 1.76 topaz, the color of this
stone is of natural origin.
CARE Fairly durable, but care should be taken to BIREFRINGENCE 0.008 to 0.010
avoid the easy direction of cleavage when setting
and to avoid knocks during wear. Overheating and SYNTHETICS Synthetic alexandrite exists and <A simple emerald-cut
shape showcases the
acids should be avoided. requires laboratory equipment for identification. deep sherry color of this
Synthetic color-change corundum is often used 4.79-ct imperial topaz.
STONES WITH A SIMILAR APPEARANCE as an imitation that changes color from grayish
Quartz, tourmaline, aquamarine, apatite, kunzite, green to grayish purple. Synthetic color-change
synthetic spinel, zircon, synthetic sapphire, and CZ. spinel may also imitate alexandrite and shows > “Mystic” topaz; a very
thin coating over the
Smoky quartz is frequently mistakenly called smoky a color change of bluish green to purplish red. surface of this once-white
topaz. Citrine is also mistaken for yellow topaz. topaz creates an unusual
CARE Usually very durable. Alexandrite is more iridescent effect.
sensitive to heat and pressure.
CHRYSOBERYL ee
STONES WITH A SIMILAR APPEARANCE CHRYSOBERYL
The yellowish green and cat's eye varieties Sapphire, synthetic sapphire, synthetic spinel, color-
have historically been very popular but change garnet, tiger's eye, fiber-optic glass, topaz, V This 3.34-ct olive-toned
are less utilized in the current market. beryl, peridot, tourmaline, and CZ. chrysoberyl is a durable, good-
Alexandrites, named after the Tsar of quality stone.
Russia in 1831, can be extremely spectacular
though are difficult to obtain in a fine A Under a single
quality. Chrysoberyl is a good choice when light source this oval
considering durability. chrysoberyl cat's eye shows
a bright streak of light
across Its surface
CHEMICAL COMPOSITION Beryllium aluminum oxide
cotors Red, yellow, green, and brown.
VARIETIES Alexandrite (shows a color change from
> This 1.49-ct alexandrite
green in daylight to red-brown in artificial light). appears a deep green
Cat's eye (shows a streak of light across its surface, color under daylight and
similar body colors to the transparent variety), also reddish-purple under
artificial light conditions
38 GEMSTONE DIRECTORY

ZIRCON ZIRCON VARIETIES Other varieties of tourmaline are:

WATERMELON Shows color zoning across a rounded
Natural zircon is a wonderfully brilliant and triangle-shape cross-section, ideally with a pink
fiery stone with a sub-adamantine luster, center and green rim.
om ad suitable for jewelry as long as it sustains a BICOLOR Color zoning along the length of crystals.
minimal amount of impact. PARAIBA Electric blue color
A Colorless zircons like
CHROME TOURMALINE Colored by chromium to
this oval show a lot
of fire. Diamonds also CHEMICAL COMPOSITION Zirconium silicate give a vivid green.
A Natural-color yellowish show this and the two cotors Red, brown, green, blue, white, and yellow. RUBELLITE Red to bright pink color
brown zircon. It is best to can look similar.
protect zircon from wear LOCALITIES INCLUDE Australia, Nigeria, Sri Lanka, INDICOLITE Dark blue
so this stone would suit a Thailand, and Vietnam. SCHORL Black
bezel setting, especially if
DRAVITE Brown
it is used in a ring.
AVAILABILITY Cat's eye tourmaline is possible.
> This'/ in (10mm) round | cuT Zircon is usually faceted to show off brightness LOCALITIES INCLUDE Africa (Madagascar,
brilliant-cut zircon has high
brilliance and fire with a and internal fire. Mozambique, Namibia, Tanzania), Brazil, Pakistan,
lovely blue color. cotors Vivid blue, yellow, and white are the most Russia, and United States.
popular. The stones at left have been heat treated.
Blue and yellow are the most expensive colors. AVAILABILITY
CLARITY Usually fairly free from inclusions, zircon CuT It is common to see long emerald cuts because
TOURMALINE may show strong doubling of back facets when a tourmaline crystal is naturally long and thin. Large
viewed through a 10x loupe, depending upon rounds are rare because of the preferred shape of
<q When this 10.40-ct its type. the rough material.
cushion-shape tourmaline If material contains various colors, the stone is
is viewed from different
directions its body color
QUALITIES often cut to show more than one of these colors
may appear slightly Color and cut are very important when judging off at a time, e.g. watermelon tourmalines are
different the quality of zircons. Clarity and size are usually cut as slices, and bicolor as baguette or
also factors. emerald cut.
HARDNESS 6/2 to 7'/2. Some types of zircon are COLORS Out of the many colors of tourmaline,
softer than others. pink, green, and blue are most commercially
TOUGHNESS Poor to medium. Despite being a hard available. These can range from pastel to intense
> This light green trillion- stone, it is brittle. colors. Red, neon blue, and bright green (rubellite,
shape tourmaline shows a LUSTER Sub-adamantine Paraiba, and chrome material) are the most
darker green color when
viewed through the side RI 1.78 to 1.99 popular colors.
BIREFRINGENCE None to 0.059 If a contrast of colors across a stone is clear
and attractive, the value of the material increases.
TREATMENTS Blue, bright yellow, and white Bicolored materials usually show two or three
stones have been heat treated. colors and could be any combination of many.
4 An oval-cut
8.03-ct tourmaline Tourmaline can show different colors when viewed
in a beautiful soft CARE Zircons should not be stored together = different directions. The most desirable color
pink color.
because they can easily damage each other. Avoid direction will be cut so it is seen through the table,
knocks, heat, and ultrasonic and steam cleaners. but the effect can be so strong that the two colors
UV light may affect the color of some stones. It may be visible at the same time.
> Carved flower watermelon is common for zircon to chip, particularly on facet CLARITY It is common for tourmaline to contain
tourmaline; the petal tips are edges if worn in jewelry that sustains wear. wavy inclusions in a vaguely parallel configuration.
yellowish green while the
centers are pink
STONES WITH A SIMILAR APPEARANCE QUALITIES
Diamond, chrysoberyl, glass, synthetic moissanite, An attractive color is important—strong colors tend
4 The straight facets sapphire, and CZ. to command a higher price especially if combined
of this emerald-cut
tourmaline draw attention with relatively inclusion-free material. Brightly
to its intense greenish colored material is available at medium prices but
blue color. TOURMALINE the clarity is usually sacrificed for the color.
Paraiba, rubellite, and chrome varieties are the
Tourmaline occurs in a large range of colors most expensive; a Paraiba tourmaline’s price can
> Emerald-cut tourmalines like and is always popular. reach thousands of dollars per carat.
this bicolored green and pink stone
are prone to wavy fractures HARDNESS 7 to 7/2
widthwise which may be CHEMICAL COMPOSITION A complex borosilicate of TOUGHNESS Good
hazardous when setting, aluminum, magnesium, and iron. LUSTER Vitreous
cotors A wide range of colors through to black. RI 1.62 to 1.65
The color can change dependent on the viewing BIREFRINGENCE 0.014 to 0.021
angle and across the material.
 SEMIPRECIOUS GEMSTONES 39

TREATMENTS Some stones may be heated to CHEMICAL COMPOSITION Magnesium, iron, or PERIDOT
lighten, darken or intensify color. Irradiation may manganese aluminum silicate or calcium chromium,
have produced some red colors. aluminum or iron silicate. > This high-quality
cushion-cut 7.91-ct peridot
COLORS Brownish red, purplish red, orange, green, contains few inclusions,
CARE Be careful using heat, and ultrasonic and and black. meaning it is expensive.
steam cleaner, and guard against knocks if the VARIETIES Other varieties of garnet are:
stone contains wavy fractures. Tourmaline attracts PYR
: Reddish to brownish
dust if rubbed or heated. we Reddish purple to black <The mixed cut of this
oval 5.25-ct peridot
Orange to red reflects a lot of light
STONES WITH A SIMILAR APPEARANCE = Orange back through the front
Quartz, topaz, spodumene, andalusite, beryl, glass, Brownish orange of the stone.
synthetic quartz, synthetic spinel, chrysoberyl, topaz, Green
> Noticeable inclusions
and CZ. H LAR Opaque yellowish green to
and a dark color meant
pinkish, white, and brown this peridot material was
DEMANTOID Bright green cut as a cabochon.
PERIDOT Garnets showing a star effect as well as color
change are possible but rare. > Dark inclusions are
Peridot has an extremely distinctive and LOCALITIES INCLUDE Brazil, Kenya, Madagascar, visible in this 9.10-ct
eye-catching yellow-green color. It is hard to Namibia, Pakistan, Russia, Sri Lanka, South Africa, baguette-cut peridot,
but a clean stone of this
obtain in large sizes but it is worthwhile when and Tanzania. size would be
this is possible. Pyrope and almandine occur worldwide. very expensive.

GROUP Peridot is a gem-quality variety of the AVAILABILITY

mineral olivine. cuT Most garnets are transparent so the majority
CHEMICAL COMPOSITION Magnesium iron silicate are faceted. Deep-color almandine garnets were
COLORS Green to yellowish or brownish. historically cut as carbuncles, with a hollow back
LOCALITIES INCLUDE China, Myanmar (Burma), to lighten the color. Currently the more included GARNET
Pakistan, United States, and St. John’s Island in the almandine material is cut as shallow cabochons
Red Sea. with flat backs.
> This long, thin,
A large stone in clean material is fairly difficult marquise-shape garnet
AVAILABILITY to obtain. Green garnets are available in smaller will require care when
cuT Large sizes are difficult to find and expensive. It sizes than the red. Garnets are heavy so the carat setting as the corners
are very fine
is hard to find rough that is large and gem quality, weight may seem high for the size of the stone.
as well as without inclusions. More included COLORS Shades closest to red colors, green, and
material is often cut as cabochons. Orange can be expensive in large sizes. Demantoid
cotors A stone with a good, pleasing, saturated garnet is the most expensive variety and can display <A light reddish-purple
5.42-ct oval rhodolite
apple-green color and a lively cut will command the fiery spectral colors over its body color. Rhodolite garnet containing
most expensive price, especially if large and clean. is a commercial name for stones in the color range few inclusions.
CLARITY A large stone, free from inclusions, will be of pyrope and almandine that are light purple.
expensive. Inclusions called “lily pads” are common. Pyrope and almandine are the cheapest varieties
Be careful when setting very close to these if they of garnet, especially those containing inclusions
are close to the surface. and approaching a black color.
CLARITY Pyrope tends to contain fewer inclusions
QUALITIES than almandine. Other types of garnet tend to
Color is the most important factor, followed closely show some inclusions, and material with few or no
by clarity. inclusions is most desirable. A A prong on each
HARDNESS 61/2 Hessonite’s inclusions sometimes give a hazy corner of this emerald-cut
TOUGHNESS Medium appearance and will usually be numerous. “Mali” garnet would
highlight its shape while
LUSTER Dull vitreous/greasy holding it secure.
RI 1.65 to 1.69 QUALITIES
BIREFRINGENCE 0.036 Color and clarity are the most important factors
when judging garnet.
A This pale green
HARDNESS 61/2 to 7/2 pear-shape tsavorite
GARNET TOUGHNESS Good, except demantoid. garnet Is a lively stone
with a minty hue
LUSTER Bright vitreous
Garnets occur in a range of colors. They are RI 1./0 to 1.89
A The bright green color
bright stones and encompass a range of of this oval tsavorite is a
values and rarity. The cheapest garnet is a TREATMENTS To date, garnet is not desirable and beautiful
cloudy purplish-red almandine ranging up to usually treated. alternative to emerald
the rare green and fiery demantoid.
40 GEMSTONE DIRECTORY

MOONSTONE, LABRADORITE, CARE Demantoid is the softest of all garnets with expensive than the ordinary variety of sunstone.
SUNSTONE, AMAZONITE a hardness of 6.5. CLARITY Moonstone may contain many inclusions,
Avoid heat and sharp changes in temperature cracks, and fissures.
but generally the durability of garnets is good. Labradorite may also contain inclusions and
<A flash of blue is fractures. Sunstone’s inclusions are part of its
seen across the front
of this round, faceted STONES WITH A SIMILAR APPEARANCE optical effect and can range In size.
moonstone. Ruby, red spinel, glass, tourmaline, composites, fire
opal, citrine, emerald, peridot, chrome tourmaline, QUALITIES
chrome diopside, and zircon. The strongest or most transparent body color
with the best optical effect and least undesirable
inclusions gain the highest price. These will be the
> A round cabochon
moonstone. MOONSTONE, LABRADORITE, most attractive stones.
SUNSTONE, AMAZONITE Large, transparent moonstone with a good flash
V The high, straight sides of color and free from inclusions is rare, extremely
mean the setting edges for
this cabochon moonstone
The reflection effects of these feldspars are expensive, and difficult to obtain.
would have to be quite tall. wide-ranging and impressive. HARDNESS 6
TOUGHNESS Fairly poor
Y Inclusions inside this
Group feldspar LUSTER ee
white oval moonstone
make it appear milky. CHEMICAL COMPOSITION Potassium, sodium, or Rigeoncom|eoy
aluminum silicate. BIREFRINGENCE 0.004 to 0.009
COLORS White, peach, gray, yellow, blue, brown,
and green. TREATMENTS Some varieties can be oiled or
VARIETIES waxed to improve the clarity and appearance.
MOONSTONE Usually white and yellowish to
V This moonstone is mene with a blue flash just under the surface. CARE Avoid wear against other items, as well as
a pretty shade of
peach and will show It can also be peach, pink, green, gray, or white heat, ultrasonics, and chemicals. Most feldspars
a silvery effect with a silvery effect. contain two directions of cleavage, so be careful
“Rainbow moonstone” is used to describe when setting and cutting, and avoid impacts.
feldspar material that shows an iridescent color Poorer-quality moonstone and labradorite is
Ler over panes and white to colorless material. particularly risky.
LA BRE ive Commonly gray with iridescent
affects across the surface. This can also be STONES WITH A SIMILAR APPEARANCE
called spectrolite. Synthetic spinel, composites, glass, goldstone,
A A subtle sheen AM re Blue-green and opaque material with chalcedony, jade, and turquoise.
is seen across this
iiteatla) distribution of white areas.
gray cabochon-cut
moonstone we Usually a pale body color with platy
orangey inclusions creating a shimmery effect. | OPAL
4 This oval labradorite These stones have slightly varying chemical
shows predominantly
blue iridescent colors
compositions so their properties and appearance Opal shows a magical iridescent play of color
across its surface all differ. across its surface due to microscopic spheres
LOCALITIES INCLUDE Australia, Brazil, India, within its structure. The effect can almost
Canada, Madagascar, Mexico, Myanmar look holographic.
(Burma), Norway, Russia, Sri Lanka, Tanzania,
> White veins and United States. CHEMICAL COMPOSITION Silica with water
create interesting
patterns over this COLORS Body colors can be white, black, orange,
vibrant green AVAILABILITY and yellowish; with and without play of color.
amazonite cuT Mainly cut as cabochons to show off optical Also brown, blue, pink, and green without play
effects, which should be oriented correctly, of color.
Moonstone can be cut to show cat's eyes or VARIETIES
star effects. »RECIOUS OPAL Containing color patches of
Y This lower quality peach Poorer-quality moonstone, labradorite, and iridescence, this can be on a pale to dark body
moonstone contains larger
inclusions and a pinker hue
amazonite are available in large sizes. color varying from transparent (water opal)
than the stone at left. COLORS Blue moonstone with a strong, even color to opaque.
flash is very desirable. COMMON OPAL Material without a play of color
Dark-material labradorite with strong iridescence including pink and blue Peruvian opal.
A The oriented is popular. FIRE OPAL Yellow to orange, with or without
inclusions jn this oval
cabochon sunstone
Higher quality amazonite has a pretty bluish- play of color.
catch the light, giving green color with as few white streaks as possible. BOULDER OPAL Flat area of opal on top of the
a shimmering effect. “Oregon” sunstone has tiny copper inclusions, host rock in which the opal has been deposited.
giving evenly distributed color, and is more MATRIX OPAL Host rock fissures filled with opal.
 SEMIPRECIOUS GEMSTONES 41

DENDRITIC OPAL Common opal containing CHALCEDONY OPAL

dendritic inclusions.
Opal may rarely occur as a cat's eye. Chalcedony is a fine-grained multi-crystalline
LOCALITIES INCLUDE Australia, Czech Republic, variety of quartz that occurs in a range
Brazil, Ethiopia, Honduras, Indonesia, Mexico, Peru, of colors. The crystals are so tiny that they are
and United States. A Large, intense color
barely discernible.
patches are desirable
in opals such as this
AVAILABILITY GROUP Quartz 4.88-ct stone.
cut Cabochons and carvings are most common. CHEMICAL COMPOSITION Silicon dioxide A Fire opal can be tricky to
Freeform cabochon shapes are cut to make best use COLORS Commercially chalcedony’s color is pale set so be careful around
of the rough material. Most transparent fire opals bluish-gray. However the material chalcedony is the corners of this intense
orange-faceted trillion.
are faceted. available in many colors.
COLORS Fine black opals are the most expensive VARIETIES INCLUDE
with a good play of color, followed by fire opals, CORNELIAN Reddish orange A Best use has been made of
then white. Common opals are the cheapest. SARD Brown the uncut rough material to
cut this 2.45-ct freeform
The most expensive material with a play of color PRASE Dark green white precious opal.
has large patches of strong colors all over the stone CHRYSOPRASE Bright green
and contains all colors in the spectrum from red to AGATE See page 43
violet. Violet is the commonest shade within the Onyx Black A Orange cabochon oval fire
iridescent colors, and red is the rarest. Material BLOODSTONE Green with red patches Opal, a less intense color
than the above trillion and
containing a cat's eye is scarce. LOCALITIES Worldwide
therefore less expensive.
CLARITY Interfering inclusions are undesirable.
AVAILABILITY A This transparent
opal shows flashes
QUALITIES cuT Used as cabochons, slices, signet stones, beads, of orange through
A stone's quality is judged on body color, iridescent and carvings. See agate section for sardonyx the stone
color, size, and transparency. Good-quality material information (see page 43).
is expensive. COLORS Colors with a good saturation and even
HARDNESS 6 distribution are desirable. Banding, specks, or
TOUGHNESS Medium to low patches may add beauty. A The dark body color of
LUSTER Below vitreous Bloodstone is most desirable with a reasonable this precious black opal
contrasts wonderfully
RI 1.40 to 1.46 but the RI liquid may stain. amount of red specks. Chrysoprase often varies in with the bright flashes of AA freeform opal triplet;
color depending on its chemical content and may blues and greens across if viewed from the side,
TREATMENTS Porous white opal may be stained be pale green, emerald green, or even dark green. its surface. the top of this stone
to look black or gray. CLARITY Blue chalcedony that is pale with a slightly would appear colorless.
Resins or oils can be used to fill cracked stones. lilac tint is most desirable, containing an even color
Thin slices may be used as part of a composite, and no clouds. It is one of the more expensive
either on top of an opaque stone as a doublet, varieties of the chalcedony family along with
or between an opaque material and under a chrysoprase. The best chrysoprase should have
transparent material such as rock crystal to form an intense apple-green color and be translucent
a triplet. with no clouds. Inclusions in the form of black or
brown speckled deposits can occur and give a A The front of this stone
shows the precious A Opal-filled fissures can
SYNTHETICS Imitation opals are created using a jadelike appearance. iridescent black opal layer. i: seen in this host
be clearly
similar process to nature and are fairly common. To rock that has been cut to
date these can usually be detected with a 10x lens. QUALITIES a cabochon.
Evenness and depth of color are important CHALCEDONY
CARE Avoid chemicals including perfumes. Clean factors. Some banding and inclusions can increase
using a damp cloth only. Opals are best used in desirability and value but patchy areas can lower > Evenly colored
lilac-blue pale
jewelry that will not sustain too much wear and in the value of the material. chalcedony cut as
a protective setting. HARDNESS 6 to / an oval cabochon.
Care should be taken in storage—avoid heat TOUGHNESS Very good
and dry environments—some material may craze LUSTER Vitreous
> A bright green cabochon-
internally over time. RI 1.53 to 1.55 cut chrysoprase, a naturally
colored green chalcedony.
STONES WITH A SIMILAR APPEARANCE TREATMENTS Often stained, either to convincing
Plastic and glass containing foil or showing a colors such as black onyx or orange cornelian, or
sheen, ammonite, cornelian, spessartine garnet, and to bright colors such as bright pink, bright blue,
synthetic opal. and bright green. There is a risk that the dye may
fF <The deep green body color
not have completely penetrated the stone. Most
of bloodstone accentuates
chalcedony on the current market is now dyed. the vivid red areas scattered
Cornelian may have been heated to a reddish color. across this signet stone
42 GEMSTONE DIRECTORY

JADE ee and jadeite material may also be heated to give the

impression of age.
> Mottled grayish- There are two types of jade: jadeite jade
green opaque jadeite
Jade cabochon. and nephrite jade. Both occur in a range CARE Avoid heat and chemicals. A good choice
of colors and are very tough materials; for delicate carvings. Treatment can lower the
however, jadeite’s top prices far stone's durability.
4 Finer quality, translucent outreach nephrite’s.
jadeite jade cabochon with STONES WITH A SIMILAR APPEARANCE
intense green patches.
CHEMICAL COMPOSITION Jadeite: Sodium Lower-quality emerald, chrysoprase, aventurine
aluminum silicate quartz, bowenite, hydrogrossular garnet, glass,
Nephrite: Calcium magnesium silicate and plastic.
COLORS Jadeite: green, purple, white, red,
> Stained jadeite jade
orangeish, yellow, and brown.
round cabochon, 2
budget option when Nephrite: darker green, brown, orange, bluish, LAPIS LAZULI
purchasing jadeite. black, and white.
VARIETIES Jadeite and nephrite Lapis has a beautiful ultramarine color and was
LOCALITIES INCLUDE Jadeite: Myanmar (Burma), historically a source of ultramarine paint. It is
Guatemala, Japan, and United States. an opaque rock and may contain white calcite
Nephrite: Canada, China, New Zealand, Taiwan, crystals and golden-colored pyrite inclusions.
and United States.
CHEMICAL COMPOSITION A rock of blue minera wn

A An intense, natural-color AVAILABILITY calcite, and pyrite.

Jadeite jade cabochon with a CuT Often cut as cabochons to show their color. COLORS Blue with areas of white and flecks of gold.
slightly mottled appearance
Good for carving as the material is very tough and LOCALITIES INCLUDE Afghanistan, Chile, and Russia.
can be found in large boulders.
A Dark green nephrite cut into COLORS Green is classic and the most desirable AVAILABILITY
an oval cabochon shape. jadeite color. Paler greens to white are becoming cuT Good for cabochons, beads, inlay, and carvings.
more popular, and lilac colors are also expensive. May be faceted for interest.
4 Jadeite jade cabochon
Nephrite greens tend to be more muted than the COLORS Intense ultramarine blue is the
that has been stained
to produce a deep brighter jadeites. most desirable.
lavender color. The most expensive jadeite, “Imperial Jade,” is a Whether material contains or does not contain
very vivid green. pyrite inclusions is down to personal preference.
> Oval jadeite jade in an CLARITY Imperial Jade has a very even color and CLARITY If the material is to be engraved, it is
evenly distributed, pale, almost indiscernible individual crystals, so the preferable that pyrite and calcite inclusions are
natural lavender color.
material appears almost transparent. not present for a smooth engraving surface.

QUALITIES QUALITIES
Texture and evenness of color is very important, Color should be even and vivid. If pyrite inclusions
V This good-quality ¥ Lapis lazuli’s blue color Is particularly when judging jadeite material. The are present, these should be lightly scattered.
lapis lazuli has a interspersed with white calcite
purity of the color is also a factor. HARDNESS 5/2
concentrated, even and pyrite in this freeform stone
ultramarine-blue color. Lack of treatment is desirable and rare in good- TOUGHNESS Good
quality jadeite material. LUSTER Low vitreous
= ARDNESS Jadeite: 7 RI 1.50
ephrite: 6%
TOUGHNESS Jadeite: Second-toughest gem material TREATMENTS The material may be ground down
ephrite: Toughest gem material and reconstructed with resin-producing
LUSTER Greasy vitreous reconstituted lapis. White and gold inclusions may
RI Jadeite: 1.64 to 1.68 be added.
Nephrite: 1.62 Lapis may also be dyed to improve color
and waxed or filled with resin to improve its
TREATMENTS Jadeite jade is commonly bleached physical appearance.
to remove discolored areas in fractures and
between crystals. This would be followed by filling CARE The white calcite inclusions will react
A This lapis lazuli looks like the with resin to stabilize and improve clarity and vigorously with acids and chemicals, resulting in the
crown of a faceted stone, The appearance. The filling material can be colored or surface of the stone being damaged, sometimes
flat back allows for a cabochon-
style setting.
the material dyed without bleaching and filling. irretrievably. Avoid heat, ultrasonics, and
Wax may hide surface cracks. steam cleaners.
Untreated jadeite jade is known as “A jade.”
4 Intricately patterned lapis lazuli
that has been carved by machines Bleached and impregnated material is “B jade."
in the Far East Dyed material is known as “C jade.” Both nephrite
 SEMIPRECIOUS GEMSTONES 43

STONES WITH A SIMILAR APPEARANCE STONES WITH A SIMILAR APPEARANCE TURQUOISE

Dyed howlite, dyed jasper, sodalite, and dyed Glass, dyed howlite, dyed chalcedony, and
» Freeform turquoise
magnesite, fluorite, emerald, onyx marble, and jade. dyed magnesite. that contains veins of the
original host rock, adding
CARE Avoid acids and bright sunlight if dyed, and character to the stone.
also avoid sudden heat changes. AGATE
4 This stabilized round
turquoise cabochon
Agates are a group of wonderful, decorative has a strong, even
TURQUOISE stones. They are tough, extremely popular, and turquoise color.
often dyed to very bright colors.
Turquoise can be a very stunning blue color
and has been used in jewelry since ancient GROUP Quartz, a type of chalcedony
times. A large proportion of material on the CHEMICAL COMPOSITION Silicon dioxide, a fine-
market is now stabilized. grained multi-crystalline material with curved bands
> The matrix
of different transparencies and colors. veins in this oval
CHEMICAL COMPOSITION Copper coLors Often dyed blue, green, pink, purple, gray, turquoise have
been added rather
aluminum phosphate brown, and black.
than originating A An oval turquoise
COLORS Blue to green and light to dark. VARIETIES Lace agate, banded agate, moss agate, from nature. cabochon that has been
LOCALITIES INCLUDE Egypt, Iran, and United States. dendritic agate, and fire agate (which contains an reconstructed from
ridescent effect). ground material.
AVAILABILITY LOCALITIES INCLUDE Worldwide 4 This Persian
cuT Usually beads, cabochons, and carvings. It is a turquoise shows a
comparatively light material that is suitable for AVAILABILITY pretty green color.

large carvings. cuT Used as cabochons, slices, signet stones,

cotors A strong turquoise blue color is the most cameos, beads, and carvings.
popular, but colors can vary down to pale and Some banded material is oriented so one evenly > Turquoise can easily
greenish. Most turquoise turns greener over time. sized color band is cut upon another. When the be carved into attractive
CLARITY Veins in turquoise can look attractive and material is carved or engraved, the different color shapes such as this flower.

individual; however, clean material is more expensive. beneath is revealed, for example, black and white
or black and red sardonyx. This precision orientation AGATE
QUALITIES means it is an expensive cut.
atural untreated turquoise with a strong color and cotors Many colors are possible, particularly if the V This white agate with
dendritic inclusions is
no veining is most expensive. This is followed by material is dyed.
unusual because it has
resin-filled material, material with a veining matrix CLARITY Inclusions, some color banding, and been faceted.
often filled too), and finally reconstructed. patches may be highly regarded features in agate.
HARDNESS 5/2 to 6 The beauty of these features affects the value. Mt
Moss agate can contain highly decorative examples A Delicate patterns are oe,
TOUGHNESS Good
seen in this freeform
LUSTER Dull vitreous of inclusions. These make it one of the more dendritic agate cabochon.
RI 1.62 but the RI liquid may damage the surface. expensive varieties of agate.

TREATMENTS It is common for turquoise to be QUALITIES

treated with resin or wax to improve stability if Even, well-saturated coloration is most important.
it is slightly powdery. Color can be improved if the Pretty banding patterns, patches, and color
filling material is additionally combined with a combinations may increase their value. contains interesting
treelike inclusions.
coloring agent. HARDNESS 6 to /
Extremely small or poor-quality turquoise may be TOUGHNESS Very good
> Dyed red-and-white
ground to a powder and reconstructed with resin. LUSTER Vitreous striped agate cabochon
It is possible for this material to contain black or RI 1.53 to 1.56 Stained agates like these
are usually cheap.
brown veins.
Turquoise can be dyed without resin filling. TREATMENTS Frequently dyed (see chalcedony
section, page 41).
Y This fire agate appears to
CARE Avoid heat, chemicals, and ultrasonic
have iridescent bubbles just
cleaners. Turquoise can be attacked by acids easily CARE Avoid acids and bright sunlight if dyed. below the surface
and abraded. Avoid sudden heat changes.
Some material may have only been dyed to
A Agate’s tough nature
reach just below the surface, which should be STONES WITH A SIMILAR APPEARANCE
means it Is a good stone for
considered if cutting the material. Fluorite, emerald, and onyx marble. practicing setting. This black-
Turquoise is porous. It is common for various oils and-white striped agate
cabochon would look
and chemicals to be absorbed over time that will
striking in a simple mount
discolor the material.
44 GEMSTONE DIRECTORY

HEMATITE HEMATITE CLARITY Inclusions can be red. If these

are numerous, the material may be called
A dark gray gemstone with a metallic luster, bloodshot iolite.
4 These faceted hematite actually appears red when in powder More transparent material is preferable but
hematite beads will form or very thin slices and is used as a type inclusions are common.
feel very heavy
of jeweler’s polishing compound.
compared to other
materials of the same QUALITIES
size and cut. CHEMICAL COMPOSITION |ron oxide Color is most important when judging quality,
cotors Dark gray closely followed by clarity.
_

LOCALITIES Brazil, UK, and United States. HARDNESS / to ///2

TOUGHNESS Medium to poor
AVAILABILITY LUSTER Vitreous
cuT Usually cabochon, signet stones, or intaglios, RI 1.54 to 1.56
but may be faceted. Large beads will feel noticeably BIREFRINGENCE 0.008 to 0.012
heavier than other beads of the same size.
CARE lolite does have one direction of cleavage
A The metallic luster of
hematite can be seen on
QUALITIES 50 take care with storage and avoid knocks during
this oval cabochon stone An inexpensive material. Higher-quality material will wear. Avoid heat.
take a higher polish.
4A racehorse has been HARDNESS 5'/2 to 6 STONES WITH A SIMILAR APPEARANCE
carved on the front of this
TOUGHNESS Fail Sapphire, tanzanite, and spinel.
flat hematite intaglio
LUSTER Metallic
IOLITE RI 2.94 to 3.22
KUNZITE
TREATMENTS A lot of material on the market is
< Marquise-cut
now reconstituted hematite that can be press Kunzite is a violet-pink-colored variety of the
faceted iolite
molded rather than carved. spodumene family. Its color makes it a popular
4 This princess-cut choice. However, customers should be warned
jolite has been cut so the CARE Hematite is soft, so is good for carving but that kunzite is best suited for occasional wear
strongest blue color can
be seen through the can be a difficult material to work because it is because of its brittle nature and instability
front of the stone prone to chipping. It is also soft, so avoid abrasion under UV rays, even in sunlight.
if possible. Hematite can be damaged by acids.
GROUP Spodumene
STONES WITH A SIMILAR APPEARANCE CHEMICAL COMPOSITION Lithium aluminum silicate
Glass, plastic, and steel. COLORS Various shades of pink.
VARIETIES Other colors of spodumene can be: green,
yellow, white, and violet.
> If you were to view
this round iolite from
IOLITE LOCALITIES INCLUDE Afghanistan, Madagascar,
the side it would Myanmar (Burma), Pakistan, and United States.
appear almost colorless Sometimes sold as water sapphire, iolite’s
most striking feature is visible when the stone AVAILABILITY
KUNZITE is viewed in different directions. It can show a CUT Stones are cut so the most desirable color is
deep blue color in one direction, but pale visible through the table. Emerald cuts are popular
4 Kunzite has two directions of yellow in another. because this material can be prone to breakage.
cleavage; by fashioning it as an COLORS Strong pink with a purplish tint is rarest
emerald cut, the danger of
GROUP Cordierite and most expensive. Colors range down to very
breaking a stone's corner when
setting Is lessened. CHEMICAL COMPOSITION Magnesium pale pink.
aluminum silicate CLARITY Cleaner material is most desirable.
COLOR Blue to colorless. From one direction the
body color is blue, from another it is pale yellow QUALITIES

> Kunzite can range from a to colorless. Color and clarity are the main valuation factors.
strong pink to the pale peach LOCALITIES India, Madagascar, Myanmar (Burma), HARDNESS /
color of this oval stone. and Sri Lanka. TOUGHNESS Fair
LUSTER Vitreous
AVAILABILITY RI 1.66 to 1.68
cuT If possible, iolite is cut so the strongest blue is BIREFRINGENCE 0.015 to 0.016
visible through the table, not the pale yellow.
<4 This cushion-cut kunzite is Low-grade material is cut as cabochons. TREATMENTS Brownish material may be heated
a desirable color of pink with coLors A saturated blue color is most desirable to improve color. Some unstable colors can be
a hint of violet.
when viewed through the table or top of the stone. produced using irradiation.
 SEMIPRECIOUS GEMSTONES 45

CARE Avoid knocks—kunzite contains two quartz is cheap and can range from very light QUARTZ
j
x
directions of cleavage. UV light (even in sunlight) to dark.
can fade the material. CLARITY Rose quartz is usually quite cloudy and
very rarely can contain enough fine inclusions to
STONES WITH A SIMILAR APPEARANCE produce a star effect.
Topaz, spinel, sapphire, morganite, tourmaline, rose Cat's-eye quartz contains enough paralle! A Smooth rock crystal
quartz, and synthetic sapphire. inclusions to produce a streak of light across cut as a briolette
the surface. drop shape.

Most single-crystal material is fairly clean but

QUARTZ some inclusions are inevitable in large natural
A Amethyst ranges from very
pieces. Overall, a clearer material is desirable but pale through to deep colors, like
Quartz is one of the world’s most abundant there are many beautiful inclusions possible that this large 36-ct oval stone.
gemstone materials. Some quartz material is may add interest to the material and be marketed
found as transparent single crystals, and others under specialist titles.
are made up of many tiny crystals. These are
semitransparent to opaque. The quartz family QUALITIES A This slender oval citrine has
an interesting “checkerboard”
is popular; gemstones are often fairly cheap Saturated colors are most desirable unless top with a flat back.
and can be available in large sizes. inclusions are of sufficient interest to increase
the value of the stone.
CHEMICAL COMPOSITION Silicon dioxide HARDNESS 6 to / A An elongated pear-shaped
faceted pale-green quartz.
COLORS Purple, green, yellow, brown, pink, orange, TOUGHNESS Good to very good
reddish, and colorless. STABILITY Good
VARIETIES LUSTER Vitreous A Rose quartz
oa often has a misty
RI 1.53 to 1.56 appearance because of
Amethyst: Purple BIREFRINGENCE ().009 many very fine inclusions.
Citrine: Yellow to gold to goldish-brown
Prasiolite or green quartz: Green (sometimes TREATMENTS Most treatment of quartz V Many beautiful
A This nebula jasper
misleadingly called green amethyst). is carried out with the aim of producing has the appearance of pictures can be seen in
Rose quartz: Pink different colors. paint being splashed landscape Jasper, as seen
across It. in this oval cabochon
Rock crystal: Colorless Multi-crystalline quartz is commonly dyed to
Rutilated quartz: Colorless with golden needles many colors (see also chalcedony and agate
Smoky quartz: Brown sections). Fractured material from a single crystal
Tourmilated quartz: Colorless with black needles may also be dyed.
Cat's eye: Usually muted greens, grays, yellows, Irradiation can change rock crystal to smoky
and browns quartz and citrine to amethyst. Heating can lighten
smoky quartz and turn some amethyst to green A Very fine green
Jasper: There are many sub-varieties of jasper. quartz but most to citrine. Tiger's eye can be inclusions seem to float
inside the transparent
Aventurine: Green flecks in a whitish body color. heated to red. body of this pear-shape
Tiger's eye: Yellow to brown silky-looking stone “phantom” quartz.
(can show a cat's eye); blue material is called SYNTHETICS Synthetics are available.
“hawk's eye.”
Chalcedony: (see Chalcedony, page 41). CARE Avoid sudden changes in heat that can
Agate: (see Agate, page 43). dramatically fracture the material. A Tiger's eye has
Silicified wood: Quartz-replaced wood. Avoid leaving dyed materials, amethyst, and a silky appearance and
LOCALITIES INCLUDE Africa, Australia, Brazil, India, rose quartz in strong sunlight. often shows wavy
patterns, as in this
Japan, Myanmar (Burma), Russia, and Sri Lanka. Be careful of ultrasonics and strong acids.
round cabochon
A Rutile needles criss-
AVAILABILITY STONES WITH A SIMILAR APPEARANCE cross over each other
CUT Quartz can be faceted, carved, or cut as a Glass, topaz, tourmaline, chrysoberyl, sapphire, inside this oval-shaped
rutilated quartz.
cabochon depending on the quality of the material. synthetic sapphire, synthetic spinel, and CZ.
It can be available in large stones with many or V A white matrix is pierced
few inclusions. by long, thin tourmaline
Tiger's eye is usually domed to reveal lines of crystals in this striking
cabochon trillion stone.
light across a silky, sometimes wavy texture.
COLORS Amethyst and citrine of a deep, vibrant
color command the highest value. However, both
= \
materials can occur from very light to dark. A Mica flakes are speckled tg a.
Ametrine is a material that contains both the violet over this rectangular rock- ay On
crystal piece, showing the - >
of amethyst and the yellow of citrine. Rose and vast array of inclusions Lge
green quartz are mid- to pale colored. Smoky possible ‘inside quartz o a $f,
46 GEMSTONE DIRECTORY

TANZANITE TANZANITE ny DIOPSIDE ee

< Oval 3.11-ct pale A beautifully colored stone that is only mined Chrome diopside has a strong, attractive color
purplish tanzanite. in the Merelani area of Tanzania. Most are and can be mistaken for chrome tourmaline.
heat treated to a blue color that can range It is best used for areas that do not sustain
from quite violet to a much purer blue. abrasion because the material is very soft. Star
The material is quite brittle but this is diopside is very striking and is sometimes used
compensated for by its stunning color. as a simulant of black star sapphire.

GROUP Tanzanite is a blue gem-quality variety CHEMICAL COMPOSITION Calcium

of zoisite. magnesium silicate
CHEMICAL COMPOSITION Calcium aluminum COLORS Green to brown, white, and black.
silicate with hydroxyl VARIETIES
COLOR Purplish blue STAR DIOP BOs rayed asymmetric star effect.
VARIETIES Green gem-quality Zoisite is possible. E Colored by chromium and a
LOCALITY Tanzania om rat a green.
A High-quality bluish pear- {OLANE Opaque purple to violet—blue.
shape tanzanite; the apex
should be treated with AVAILABILITY LOCALITIES INCLUDE Brazil, |taly, Myanmar (Burma),
care when setting because cuT Gem-quality tanzanite is usually faceted, often Pakistan, Russia, and Sri Lanka.
tanzanite is a brittle material
step cut to show off its color.
Emerald cuts are an advantage because AVAILABILITY
4 The greenish hue of this tanzanite is quite a brittle stone. cuT Chrome diopside is often faceted. Large
oval tanzanite lowers the coLors A strong blue color with a violet tint is chrome diopside can be expensive, but smaller
value of a high-clarity, deep-
colored stone
usually most expensive. Less expensi ve are stones material is of a medium price. Chrome diopside
with grayish tones. beads are available but can be costly.
DIOPSIDE Colors can be very strong down to pale lilac, and Star material is cut as cabochons to reveal the
differ with directions between bluish and purplish. optical effect. The material is relatively inexpensive.
The material is mostly oriented to allow the most COLORS Chrome is the more expensive variety.
attractive color to be seen through the table. A bright green color is desirable without being
CLARITY Included material is increasingly being too dark.
cut as cabochons. Unincluded material is the CLARITY A large, clean stone can be hard to find in
most expensive. chrome diopside, so may be expensive.

QUALITIES QUALITIES
A vivid blue color is most desirable, particularly in Transparent chrome diopside is judged for its color
A Bright green
emerald-cut chrome
clean, large materials that are cut well. and freedom from inclusions.
diopside, a soft HARDNESS 6/2 Star stones should be dark with a sharp star,
material best suited TOUGHNESS Medium to poor; quite brittle. cut to lie in the middle of the stone with as few
to earrings, brooches,
and pendants. LUSTER Vitreous additional inclusions as possible, other than those
A Oval-faceted RI 1.69 to 1.70 creating the star.
chrome diopside with BIREFRINGENCE 0.006 to 0.013 HARDNESS 51/2
a hint of yellow in its
TOUGHNESS Fail
body color.
TREATMENTS Many tanzanites are heated, LUSTER Vitreous
RI 1,67 to 1.70
CARE Avoid wearing when knocks or rough BIREFRINGENCE 0.024 to 0.030
handling may occur. Also avoid rapid changes
of temperature and ultrasonic or steam cleaners. CARE Diopside is soft so it is best suited to jewelry
The material is soft, so it is not advisable for that sustains a low amount of wear.
A Round cabochon
everyday wear, particularly without a protective- It has two directions of internal cleavage, so
black-star diopside
that will show an style setting. beware of breakage.
asymmetric four-rayed Avoid using heat near the stone, acids, steam
star under a single
light source.
STONES WITH A SIMILAR APPEARANCE cleaners, and ultrasonics.
CZ, sapphire, spinel, iolite, glass, YAG, synthetic
forstorite amethyst, iolite, and synthetic sapphire. STONES WITH A SIMILAR APPEARANCE
Tourmaline, peridot, green garnet, sapphire, and
black star sapphire,
 SEMIPRECIOUS GEMSTONES 47

CAT'S EYES MALACHITE FLUORITE

See Aquamarine (page 36), Chrysoberyl (page An opaque, banded green gemstone.
37), Tourmaline (page 38), Opal (page 40), and
Quartz (page 45). AA low-quality example
CHEMICAL COMPOSITION Hydrated
of blue john; the variety
copper carbonate of fluorite from the
COLOR Green, including shades of green in bands Derbyshire mine.
FLUORITE that can grow concentrically with radiating fibers
A This cabochon shows
intersecting the bands. characteristic colors and
Fluorite is transparent, occurring in soft colors, VARIETIES If malachite is intergrown with azurite, zoning of blue john.
often with beautiful internal banding. Take this is known as “azurmalachite.”
Bees
great care with this material; it is soft and LOCALITIES INCLUDE Australia, Russia, United
extremely prone to breakage. States, and Zambia. we,
4
:
Th ue
oie
CHEMICAL COMPOSITION Calcium fluorine AVAILABILITY
COLORS Almost any except red or black. cuT Malachite is a soft material so it is common
VARIETIES Blue john from Castleton in Derbyshire, A Fluorite should be treated
to see cabochons, beads, carvings, and inlays.
with care; this unusual
UK. This is translucent and banded purple, white, COLOR The quality and shades of color varies. AA green
faceted stone will be fragile
fluorite
and pale yellow. CLARITY Banding is often desirable and patterns cabochon that
as well as possessing a
LOCALITIES INCLUDE Argentina, Austria, France, can be very attractive. delicate appearance.
is very prone
Germany, Myanmar (Burma), Namibia, UK, and to breakage. ;
4 This pear-shape
United States. QUALITIES cabochon shows
Concentric banding in a pleasing arrangement dramatic color
AVAILABILITY zoning that is
is most expensive.
typical of fluorite.
cut Mostly cabochons due to the material being HARDNESS 4
soft and delicate; however, beads, carvings, and TOUGHNESS Fair
crystals are also available. Fluorite is very soft and LUSTER Silky or low vitreous
challenging to cut. RI 1.85
COLORS White, purple, green, and yellow are MALACHITE
common colors. Attractive banding combinations TREATMENTS Malachite may be reconstituted
and good depths of color command a higher value. from powder with resin, enhanced with oil or
CLARITY Good clarity is desirable because there wax, or larger pieces may be held together with
is less chance of breakage. Cleaner material is resin or plastic.
comparatively more expensive.
CARE Malachite is very susceptible to damage by
QUALITIES acids and can be damaged by heat. Do not use A Concentric bands of
Poor-color, very included material is cheaper. in steam cleaners or ultrasonics and avoid use in green have been cut to
A Malachite cabochon emphasize their dramatic
Blue john is often more expensive due to its jewelry that will be heavily abraded. containing varying banded appearance in this
specific mining location and ever-decreasing output. Ensure any work on the stone is undertaken shades of green oval malachite.
Other material is abundant and fairly inexpensive. while wet to avoid breathing in its dust.
HARDNESS 4 OBSIDIAN
TOUGHNESS Poor STONES WITH A SIMILAR APPEARANCE
LUSTER Dull vitreous Green agate and aventurine quartz.
RI 1.43 to 1.44

TREATMENTS Stones may be irradiated, heated, OBSIDIAN

and filled to improve resilience. A Subtle colors are seen
Some types of fluorite may be made into a Obsidian is a type of natural glass and across the surface of this
pear-shape rainbow
doublet or a triplet to improve the stone's durability. typically contains inclusions that are either A Inclusions have the
obsidian
decorative or create iridescent effects. appearance of little snowflakes
CARE Fluorite is extremely easy to break because Remember that this material is glass and is across this appropriately named
“snowtlake” obsidian
it has four directions of easy cleavage. Take care to therefore quite fragile.
avoid knocks; even heat may cause the material to
¥ Emerald-cut
break. Some may fade in the sun. GROUP Natural glass natural glass known
CHEMICAL COMPOSITION Silica as moldavite
STONES WITH A SIMILAR APPEARANCE COLORS Generally muted colors: black, brown, gray,
Tourmaline, glass, synthetic spinel, and blue, green, and red.
A Many inclusions can
quartz varieties. VARIETIES be seen inside this dark
<eé Black material with white inclusions green moldavite oval
resembling snowflakes.
48 GEMSTONE DIRECTORY

CORAL v Material which shows iridescent colors. AVAILABILITY

Material containing color banding. CUT Coral is often cut as cabochons, drops,
> The porous nature of
A dark body color with a golden effect. Or Carvings.
sponge coral is clearly it ire A green and transparent type of Large cut pieces of coral are rare and costly.
visible in this cabochon. natural glass. Coral is soft, easily carved, and easily polished.
LOCALITIES INCLUDE Mexico, Russia, and COLORS Red is the most expensive and sought-
United States. after. Darker red (called moro) is rarest and
commands the highest price.
AVAILABILITY Red coral can contain white color patches that
cuT Usually cabochons and carvings if not reduce its value.
transparent. Moldavite is often faceted. Other colors of precious coral range from mid-
COLORS Colors may be uniform or banded. red to pale pink.
A White color patches
in a red coral bead
Moldavite’s green color is muted and so is often CLARITY Better quality material contains no
reduce the beads value more valued by collectors than jewelers. fissures or cavities; however, sponge coral is porous
but add interest. CLARITY Moldavite often has a sleepy appearance by nature.
because of the presence of many bubbles and swirl
effects. It is comparatively more expensive than QUALITIES
other varieties of natural glass. Coral is judged by color, surface smoothness,
Obsidian may contain many tiny inclusions, and size.
A Evenly colored pale necessary to produce optical effects and patterns. Sponge coral is cheap.
pink coral cabochon. HARDNESS 2'/2 to 31/2
QUALITIES TOUGHNESS Poor
A Red pear-shape Good-quality material requires an even color and LUSTER Below vitreous
cabochon coral,
this deep red color few other inclusions except those necessary for
in a large stone patterns or interesting effects. TREATMENTS Coral can be ground up and
would be HARDNESS 5 to 5! “reconstituted” into blocks. The color of this is
expensive.
TOUGHNESS Medium quite bright and uniform.
LUSTER Vitreous Sponge coral is often filled with resin to improve
RI 1.50 color and stability,
Paler coral may be dyed to achieve dark
<4 Carved coral
like this pink SYNTHETICS For man-made glass see the Man- red color.
drop shape Is made section on page 51.
often very
CARE Coral is easily attacked by even mild acids;
pretty. A Smooth pink coral
briolette with a slightly
CARE Avoid knocks, heat, and sudden changes in avoid heat and avoid abrasion as the material
mottled color. temperature. Glass is fairly soft and particularly is soft.
vulnerable to damage if the material is very Clean with water and a soft cloth.
included for wear and for cutting. If cutting coral, it is important to do this under
SHELL water to avoid breathing in the dust, which can be
STONES WITH A SIMILAR APPEARANCE harmful if inhaled.
> Large round piece Man-made glass, plastic, onyx, dyed chalcedony,
of mother-of-pearl agate, and CZ. STONES WITH A SIMILAR APPEARANCE
shell; mother of pear!
is often used for
Ceramic, stained bone, glass, plastic, and red jasper.
inlay work
CORAL
SHELL
Coral originates from an organic polyp
that grows in the sea. It occurs in beautiful Shells can contain iridescent linings that
colors such as red, orange, black, and gold. may be used for jewelry, inlay, and beads.

CHEMICAL COMPOSITION Precious coral is mainly CHEMICAL COMPOSITION Calcium carbonate

calcium carbonate. cotors Black, white, multicolored, pink, and brown.
COLoRS Red, pink, orange, white, blue, black, and VARIETIES
gold. Currently trade is restricted to protect the MOTHER-O F-PEARL Pale or grayish material, often
A Mother-of-pear! species of black and gold coral. showing iridescence.
shell that has VARIETIES Red, pink, orange, white, black, and ABALONE Dark material with blue-green
been dyed to a bright gold. Sponge coral has the appearance of a sponge iridescent colors.
pink color.
and is red to orange with brown to yellow veins. CONCH SHELLS Contain pink, white, and brown
> Oval abalone shell
Blue coral also has a porous appearance. layers; often ideal for carving,
showing bright LOCALITIES INCLUDE Japan, Hawaii, West Indies, LOCALITIES INCLUDE Australia, Indo-Pacific, New
iridescent colors. Australia, and southern waters toward Antarctica. Zealand, and United States.
 ORGANIC GEMS 49

AVAILABILITY TAHITIAN Large dark pearls cultured in larger shells.

SOO CREO OOBHEBES
CUT Cameos are commonly cut from banded Abalone shells rarely produce pearls, but blister
material. As the material is cut away, a new color is pearls are possible. > A complete
visible underneath. The size of the finished product LOCALITIES INCLUDE Persian Gulf, Red Sea, China, uncut mother
is dependent on the size and depth of the original Japan, Polynesia, and the Cook Islands. of-pear! shell.
shell, but this material is soft and easily carved to
many shapes. AVAILABILITY
coLors Most shells are fairly cheap whatever cuT Shapes available are:
their color. cyst Fully round.
INCLUSION-FREE MATERIAL A smooth surface, with BOUTON Squashed round.
good iridescence or strong differentiation between BLISTER Grown attached to the inside of the shell.
banding, is most desirable. BAROQUE, BIWA, KESH! Misshapes.
MABE A composite.
QUALITIES prop Elongated fully round. Small pearls are
Color, surface smoothness, and quality of bands or available cut in half. Pearls may be sold on strings
iridescence are quality factors. or half drilled.
HARDNESS 2.5 cotors A combination of body color, additional
TOUGHNESS Fair tint, and iridescence creates a pearl’s overall color.
LUSTER Often pearly Coloring should be even.
RI 1.53 to 1.69 Freshwater pearls are naturally a peachy pink
color, and other varieties depend on the host's shell
TREATMENTS Shell can be coated, and mother- or may be treated to a different color. AP Blister
pearls that have
of-pearl in particular is commonly dyed. Size Currently, Akoya pearls are available up
remained on the
to about “ie in (9 mm), freshwater up to about inside of their
CARE Extremely sensitive to acids and heat. %e in (12 mm), Southsea/Tahitian approximately host's shell (front
and back view).
When working with marine materials, make sure S16 in (8 mm) to % in (14 mm), Mabe from
they are immersed in water or that the dust about '/ to % in (10 to 17 mm). These sizes are
produced is washed away—it can be harmful ruled by the size of the shell or the bead nucleus. Lustrous, smooth,
white southsea pearl;
if inhaled. it is common to buy
The surface
fe
may be damaged by acids, chemicals QUALITIES these undrilled.
from the skin, or detergents. A combination of color, luster, shape, surface
Shell is easy to file, polish, and drill. However, evenness, size, and origin dictates the price and
beware if the material is dyed—the dye may only quality of a pearl. ¥ Natural-color freshwater
be surface deep. Natural pearls are by far the most expensive, pearls. White and black
then Southsea and Tahitian, followed by akoya, and freshwater pearls are
artificially colored.
STONES WITH A SIMILAR APPEARANCE finally freshwater.
Ceramic, glass, and plastic. Pearls produced by the conch shell are rare and
very desirable.
V White, freshwater
HARDNESS 3/2 to 4 cultured pearl; available
PEARL TOUGHNESS Surprisingly good considering their in strings and half drilled.
lack of hardness.
Pearl is an organic gem material and has a LUSTER Uniquely iridescent and pearly.
very subtle, luminescent beauty. A pearl does
not need to be cut and its luster is unique. TREATMENTS
Natural pearls are extremely rare, so cultured BLEACHING Lightens a pearl’s color.
pearls are usually sold. These may be either DYEING Changes a pearl's color.
freshwater or seawater in origin. POLISHING This is a specialist procedure aimed at
improving the luster.
GRouP Organic mollusk origin IRRADIATION Used to turn a pearl gray or black. A Peacock-black
CHEMICAL COMPOSITION Calcium carbonate, COATING Carried out to improve the surface freshwater pearl. These
conchiolin, and water. appearance. are often greenish to
purplish in color.
cotors White, gold, gray, brown, black, pink, It is common for white pearls to have been
and peach. bleached, colored pearls to have been dyed, and
VARIETIES some gray and black pearls to have been irradiated.
NATURAL Extremely rare and expensive. Mabe pearls are composites. Blister pearls are > Strings of irregularly
CULTURED FRESHWATER Grown by man in mussels grown on the inside of a shell, sawn off, attached shaped freshwater
pearls of natural color.
without a bead core. to a piece of mother of pearl, and then filled
CULTURED SEAWATER (AKOYA) Grown by man with resin between the pieces. This process enables
in oysters and contain a bead center. pearls to look very large if the join is not visible
SOUTHSEA Large pale pearls cultured in larger shells. when set in jewelry.
50 GEMSTONE DIRECTORY

CARE Pearls are very sensitive to acids and Large, natural material can be fairly expensive.
chemicals, even hairspray and perfume. Contact Amber can be polished using jeweler’s Tripoli and
> Oval cabochon amber with these is best avoided. It is common for pearls rouge compounds.
containing sun spangles to turn yellowish over time due to absorption of COLORS Yellows to oranges tend to be the
produced by heating the
chemicals during wear, which can even be from more popular colors.
amber in oil.
the skin. CLARITY Insects and other organic matter are
Clean with water and a soft cloth but be desirable according to personal preference; both
aware of the possibility of damaging the thread transparent and sun-spangled materials are popular.
if it is strung. If you are drilling a pearl, make Opaque material is less valuable than transparent.
4 Freeform amber sure you do it while the pearl is immersed in water
specimen containing QUALITIES
to avoid inhaling dust.
minute insects that are
millions of years old. Transparency, color, and inclusions all affect the
STONES WITH A SIMILAR APPEARANCE price of amber.
Coated glass beads, “shell pearls” (shell that has HARDNESS 2.5
been ground up and reconstituted), coated TOUGHNESS Fairly brittle
plastic beads. LUSTER Resinous
RI 1.54
AMBER
eoceereeer
ere ee eee ee eee ee ew oo
TREATMENTS
Amber is a fossilized plant resin from over Amber is frequently treated to enhance clarity. “Sun
15 million years ago. It can contain organic spangles” can be in duced during this process and
inclusions such as plant matter or insects are now viewed as desirable features.
> Freeform pear- that were trapped while the material was still Surface color can be darkened by heat. Color can
shape amber sticky. It is very light and can be imitated by be changed by coating and dyeing.
containing insects
and plant debris
modern plastics and resins. Ambroid is a composite amber that is created by
from millions of heating small pieces of real amber at a high
years ago. COMPOSITION Fossilized plant resin temperature and compressing them together. It is
FORM Amorphous often dyed and is much stronger than natural
COLORS White, yellow, brown, and reddish brown, amber. Ambroid usually has a misty look and will
> “Green” amber oval; rarely with a green or blue tint. frequently contain trapped elongated air bubbles
take care not to scratch
the coating off the back
VARIETIES that can be seen through a loupe.
or you will lose the green COGNAC Cognac amber can cover a range Copal resin is often sold as amber (for amber
color of the stone. of shades from mid-golden brown to deep prices). It is actually a resin produced by a type of
brandy colors. tropical tree.
YELLOW Bright, transparent yellow is considered Use a hot needle held on an unobtrusive place
the most desirable and expensive color of amber. on the stone with tweezers to distinguish amber
However, many jewelry buyers prefer the spangled from synthetics. Real amber will produce smoke
effect caused by inclusions. that smells a bit like incense, while plastic will melt
GREEN Green amber is always popular, but it is not and show a black mark.
easy to source.
jive Only 10 percent of Baltic amber production CARE Avoid heat, strong light in shop windows,
is white. It is sometimes called bone amber and is chemicals, acids, and cleaning products.
full of small bubbles. It ranges =in color from pure Color treatments may only be surface deep,
opaque white to pale cloudy cream. It often occurs recutting and even heavy polishing may remove
alongside yellow amber material, feb) and fabulous this. Amber is easily carved and drilled but this
swirling patterns can result where the two material burns readily if it becomes too hot. The
colors meet. whole stone can crack if an inclusion is penetrated
RED Red amber occurs naturally but is quite rare. (einuring drilling.
A This dark amber
cabochon has Most red amber in jewelry is imitation, often
probably been treated cognac amber backed with red foil. STONES WITH A SIMILAR APPEARANCE
to obtain its dark color
violet Violet amber is extremely rare and not Plastic, copal resin (very similar to amber but simply
and it will only be
surface deep, commercially available. tree resin), and glass.
LOCALITIES INCLUDE The Baltic, Dominican
Republic, and Mexico.
A Amber drop MAN-MADE STONES
clearly showing a AVAILABILITY
drill hole used to
attach the material
cut Amber is a soft material, so is commonly Synthetic stones such as sapphire, ruby,
to jewelry. fashioned as cabochons, beads, and carvings. If a and emerald all have the same chemical
stone contains desirable internal features, it may composition as their natural counterparts but
be cut to show these to best effect. have been created artificially. Synthetic stones
 ORGANIC GEMS ¢ MAN-MADE GEMS 51

MAN-MADE
may be challenging to identify using only SYNTHETIC SPINEL
handheld gemological equipment and may The most common method of synthetic spinel
need to be sent to a laboratory for further production is the Verneuil process, as mentioned
testing. Popular man-made materials include: above. These may also show the curved zoning and
bubbles; because of a slightly differing proportion
MATERIALS of chemical elements from a natural stone, stones
CUBIC ZIRCONIA (CZ) can usually easily be proved to be synthetics
This occurs in a vast range of colors. It is a very using standard gemological equipment. Synthetic
good diamond imitation with a hardness of 8.5. spinels have a slightly higher RI of 1.727 rather A Lavender pear-shape
A The facets on this
emerald-cut pink cubic
Nearly all material is clean; the main quality factor than the 1.717 of natural stones and also show cubic zirconia.
zirconia are triangular,
is its cut. recognizable effects under a gemologist's which is known
YAG, GGG polariscope. Other methods of production are as a radiant cut.
These are historical diamond simulants that are more difficult to identify, but are currently less
now rare since the invention of the CZ. common on the gemstone market.
SYNTHETIC MOISSANITE T SYNTHETIC EMERALD
This is a good diamond simulant, however it often Synthetic emerald may be created by the flux melt
shows a tint of color. It shows doubling of the and hydrothermal methods. Each of these methods
stone's back facets, which is a valuable indication may leave identifying features within the gemstone
that this material is not diamond. It currently has 0 indicate man-made origin. These may include
limited production and is much more expensive platinum inclusions, characteristic partially healed
than CZ. ractures, hazy zoning, and sometimes low RI and A Oval, white cubic
A The chemicals used to
PLASTIC birefringence values. If a clear combination of zirconia; currently a very
color the deep blue of this
A very cheap material that is usually betrayed by its actors cannot be seen, the stone may have to be popular choice as a cheap
tanzanite-colored cubic
diamond simulant.
extremely light weight. ested in a laboratory. Emeralds’naturally contain zirconia make it slightly
more expensive than
GLASS many inclusions; if a stone appears very clean, other hues
This has been a popular gemstone simulant for arge, and cheap, it is wise to be suspicious of its
thousands of years. It is commonly molded into original source. <4 Orange synthetic
shape and stones often betray their origin by sapphire in a radiant
emerald-cut shape
showing mold marks, internal swirls, and bubbles. A
high-quality glass may have been recut to hide
mold marks but the internal features may remain.
There are many different chemical variations
possible for man-made glass that will affect their
properties. It has a much larger RI range compared
to natural glass; from 1.50 to 1.70. Man-made
glass can be a component of composite stones.
Hard-mass, paste, and alpinite are commercial A Marquise-cut
yellow cubic
names for types of man-made glass. e Store separately to avoid gemstones zirconia
damaging each other.
STONES ¢ Wash in mild, soapy water.
SYNTHETIC RUBY AND SAPPHIRE e Avoid chemicals, heat, knocks, and abrasion
Synthetic corundum (which includes both ruby and wherever possible.
sapphire) can currently be created using a few e If cutting or drilling gemstones, make sure A Synthetic ruby contains
methods. The Verneuil method of production is the dust created is constantly washed away by the same chemical
the easiest to identify. Internally, color zones in a water flow or by immersion in water. composition as a natural
stone but has been created
synthetics produced by this method are curved as artificially.
opposed to the straight zones of natural stones or
other types of synthetic material. This curvature is FURTHER NOTES
due to molten corundum dropping onto a rotating Material availability and relative prices are A Bright blue synthetic
spinel; this particular
“boule.” Bubbles may also be present individually subject to change from time of publication shade of blue is
or in clouds, which does not occur in natural stones. and based upon the author's experiences different from natural
Stones produced by other processes such as flux and research, blue spinels
melt and hydrothermal methods of production are
more difficult to identify. Features such as platinum
inclusions, characteristic feathers, and hazy zoning
may indicate man-made production. The various A Radiant emerald-cut
colors of sapphires and ruby are created by hard mass green glass,
which can be used as a
additions of chemical coloring elements to pure cheap, man-made
A Elongated radiant-cut
corundum, which is naturally colorless. For example, alternative to emerald
white cubic zirconia
chromium would be added to create synthetic ruby.
 Metalworking skills allow you to use a vast range

of methods for setting stones. For many of the

techniques described in this section, metal is

compressed over or around a stone to hold It

securely in position, but the methods by which this

is done vary greatly. Diagrams are used to explain

each style of mount and suggest possible variations.

Stone setting is not easy, but with practice and

perseverance, your success rate will improve, and

it will be a very rewarding experience.

CHAPTER 3
54 TECHNIQUES DIRECTORY

Getting Started
From making sure the correct tools are readily 4

available to wearing safety goggles, you should

incorporate safe and sensible working practices
{4
into your everyday routine of working in a studio \ A Safety glasses

—this includes how the studio itself is set up.

Vv cup mask A Sate Workspace using chemicals to limit the risks involved; many
Most health and safety is common sense, whether safer alternatives to chemicals commonly used in
you have a workshop or studio space in your jewelry making are now readily available, with citric
home or not. It is sensible to arrange the acid solution preferable to traditional pickle, for
workspace in a practical way, having enough example. Spent pickle must be disposed of
storage and space for tools to lie on surfaces while responsibly—allow the liquid to evaporate so that
you work, and isolated areas for heating metal, just crystals remain, thus reducing the volume of
pickling, and other chemical processes. Work the waste. It is not safe to dispose of the resulting
surfaces need to be securely fixed to a wall, or sediment in household waste because it contains
screwed to the floor to prevent them from moving heavy metals—you will need to find out where to
when force is applied. This is essential for accurate dispose of chemical waste locally.
working, as is good lighting, especially for stone The area of the studio in which you use
setting; a daylight bulb in an adjustable lamp that heated pickle should be well ventilated, either
is fixed to the bench is a worthwhile investment. by extraction or an open window, since it is
It is important to have clear floor space around dangerous to breathe in the fumes. Soldering also
working areas, and heavy equipment such as vises creates fumes, and ventilation is equally important
and rolling mills bolted down to a sturdy surface but don’t let drafts interfere with the flame or
at the correct working height. Flexshaft motors its effectiveness will be reduced.
can be fixed with either a stand screwed onto the Turn off bottled propane gas at the bottle after
bench, or suspended from a bracket attached to use, and check the gas pipe on a regular basis. The
the wall at the correct height. Rotary machines area of the studio you use to heat metal should
such as drills and polishing motors can be be lined with house bricks and covered with a
dangerous if not used correctly—always wear heatproof mat to prevent damage to the
safety glasses and tie hair and loose clothing back. underlying surface.
Polish chains in a barrel polisher and never on a
polishing motor. Health and Safety Equipment
A Protective finger tape Take general precautions to reduce the noise It is vital to take adequate preventative measures
created by certain tasks as good working practice. when using chemicals, machinery, or processes that
Place a sandbag under tools such as dapping could damage your health.
blocks when hammering punches, so that some of Wear eye protection whenever you use
the noise will be absorbed, and use a mallet rather rotary machinery such as drills, flexshaft motors,
than a hammer wherever possible, since the tone or polishing motors. Safety glasses are used to
is much less sharp. protect. the eyes, and should even be worn over
glasses. They are made from a shatterproof plastic

A Leather finger
Storing, Using, and Disposing that will withstand impacts from flying debris or
pieces of work, and also provide a barrier to
protectors of Chemicals chemical splashes.
Store chemicals in a labeled, lockable metal Cup masks are a barrier prevention against
cupboard, and always wear gloves, goggles, and a dust, and you should wear one whenever you
mask when handling toxic, corrosive, or harmful carry out work that produces dust, including using
chemicals. Choose the safest possible option when abrasives with a flexshaft motor and filing soft
 GETTING STARTED 55

IDEAL STUDIO SETUP

The studio shown below
is well organized, the
tools are arranged and
stored in a safe and
practical way, and there
is enough space in which
to work.

Racks and containers for

frequently used items.
A Eyewash solution A Rubber gloves
Heat-resistant soldering
mats or blocks to avoid
burning the bench.
“Skin” to collect dust
and scraps of precious
metals for recycling.
Gooseneck lamp with a
materials such as wood or plastics. The mask polishing wheel does catch on the leather bright daylight bulb.
Bench peg: The jeweler’s
should fit closely over your nose and chin and you protector, it will si mply slip off. These are also primary support tool for
can push the metal strip around your nose to stop useful for holding small, awkward-shaped pieces holding metal steady
dust from being drawn in at the sides of the mask. while fling. during many making
processes.
NEVER wear gloves when operating rotary Oth er essentia items for any workshop are Storage containers with
machinery such as drills and polishing motors—if a first-aid kit for minor cuts and burns, which multiple drawers.
your fingers need to be protected from abrasive are an occupation al hazard, and a small fire Files and different
grades of emery paper.
mediums, or the work quickly gets hot when extinguisher, just n case.
Pliers stowed point-end
polishing, wear leather finger protectors. If the upward on a rack.
56 TECHNIQUES DIRECTORY

Useful Tips and Troubleshooting

As with each particular branch of jewelry making, block to even out its overall shape and warm it
a specific set of tools is required for stone setting. again to soften the surface so that you can set |
As your skill level increases, so will your number of the piece into it with tweezers; take care not to
tools. A few basics such as a pusher, triblet, and touch the wax while it is hot—it can be cooled
a couple of gravers will be enough when you start quickly in cold water.
out with basic stone-setting techniques, and these Jett Sett can be used in a similar way but Is
can be sourced relatively inexpensively. Keep tools a bit less versatile. It is, however, much cleaner to
organized and protected and in a good state of use as it only requires hot water to soften it—but
repair so that they are always ready to use when being less sticky, it does not grip work as well.
required. Magnetic organizers and sectioned This means it is only really good for holding larger
drawers or stands made from blocks of wood pieces that can be covered by the plastic while still
|
ORGANIZE
with drilled holes are all good solutions. allowing enough access to set the stone.
YOUR TOOLS
A few other sundry items are also invaluable Keeping your tools
and these include protective finger tape, also and workbench
called “alligator” tape, which can be wound organized will help you
around fingertips to protect them from abrasion to approach your work
when cleaning up pieces, and as a preventative in a methodical manner.
measure against cuts and blisters. The tape Is
loosely woven with a texture, making it easier to
grip small pieces of work while working on them.
Hold pieces in clamps or with a support
wherever possible; this can spare your fingers
from hours of holding parts that are too small
to comfortably hold. Insert wooden doweling
into bezels and tapered bezels to prevent them
from becoming misshapen during the cleaning
up process.
Chamois leather covers for the bench pin
will prevent finished or polished work from
becoming scratched or bruised while you are
setting stones.

Making Best Use of Holding Media

Supporting the work so that you can use adequate
force makes all the difference when setting stones.
Setters’ wax has the optimum consistency for
holding pieces of work during stone setting, being
very firm but slightly flexible and tacky; warm the
wax with a soft yellow flame, such as that of a
spirit lamp, so that it does not char. The shape of
the wax on the end of the stick will depend on
the type of setting and the shape of the form
being held. Roll the warmed wax on a flat steel
 USEFUL TIPS AND TROUBLESHOOTING 57

PREVENTING AND RECTIFYING MISTAKES

¢ When cleaning up a fine silver or gold bezel, it may e If a stone does not sit straight in a mount, try to work out why.
accidentally get squashed, compressed, or deformed if you ls a part of the seat preventing it from sitting level? Hold it up
put too much pressure on the wall, so that the stone will not to the light to see where the stone is actually touching—that is
fit in. Open up the bezel carefully with a burnisher or a steel where you should remove the metal. Do not attempt to set the
rod of a similar diameter to the stone. stone until you have resolved the problem.

¢ Always make sure solder seams are a strong join—the forces If, once you have started setting, the stone moves and is no
used in stone setting mean that any weak points can be longer level, it may be possible to tap it down on the higher
stressed to the point of breaking. Even a small nick in the side using a piece of hardwood, or if in a bezel, by setting the
solder seam that joins a bezel to itself or to a base can higher side more than the lower side.
open up during setting, so file it out if possible.
If prongs break, get them laser-welded back on, or have new
e lf the stone is wrongly set, you need to make a decision as to tip applied—this is inexpensive considering it might otherwise
whether the stone or the bezel is more important. If the mean you have to make the mount again—and laser welding
stone is, the bezel can be cut and torn to release the stone, can be done with the stone in situ.
before being remade. If the stone is cheaply and easily
replaced but the bezel will take too long to reconstruct, heat e Silver, yellow, and white gold all move differently and their
and quench the stone several times to encourage the stone malleability will affect how easily a stone can be set.
to crack—it can then be prized out and the bezel carefully
opened up to put a new stone in. ¢ There are ways to disguise mistakes—such as further engraving
to cover slips and little tricks to fool the eye; but there are also
¢ When burring a seat for the stone, if the mid-point of the plenty of scenarios that mean starting again—removing a
burr passes the level of the top of the tapered bezel or bezel tapered bezel from a shank by reheating the solder, or using
and the stone still doesn’t fit in—stop. This usually means the a jewelry saw to cut it out. In these cases, it’s best to take a
stone is fractionally bigger than the burr; if the burr is used break or do something else for a while—everyone has bad
at an angle, it will widen the seat more than if used straight days. It is important to learn from mistakes because if you can
on as ball burrs are not perfectly round. Work with the burr understand why something didn't work—if it was a fault in
angled at north, south, east, and west before trying the stone making or a design flaw—you will deepen your knowledge in a
again. Increase the angle and repeat the process until the way that informs a very individual way of working.
stone is seated.
lf that still doesn’t work and the next size of burr is far too
large, use a spitstick to engrave metal away from around the
seat—this is the method of cutting seats for oval stones.

SETTING ERRORS
Sometimes the only
way to fit a stone
into a mount is to engrave
metal out from the inner
edge of the seat with
a spitstick.
58 TECHNIQUES DIRECTORY
» Saw blades (1)

Hand Tools (44

<4 Jewelry saw (1)

A few basic metalworking tools will be sufficient when

you start out in jewelry making, and you can expand
the range as your skill level increases.

Tools that are used to shape, join, and JEWELRY SAW AND SAW BLADES (1)
refine the surface of metal are vital Jewelry saws are sprung steel frames set
for accurately constructing mounts into a wooden or plastic handle. The frame is
slightly flexible and holds a saw blade under
for stones. The range of tools required tension, secured by two nuts. Fixed and Needlefiles made from a harder alloy are
will depend on the techniques that you adjustable saw frames are available. The frame available for platinum and stainless steel.
use. A small range will suffice for general is lightweight and can be used to cut very Wax, or rasping, files have widely spaced
working, but you are likely to acquire a accurate detail in a range of materials with the rough teeth that allow wax to be removed
small number of more specialist tools aid of a suitable saw blade—size 2/0 is good without clogging the file, and are available
as you need them for specific tasks, for general-purpose uses, and 4/0 or 5/0 as both hand and needlefiles, with a range
should be used for fine detail; the grade of profiles.
particularly burrs—to begin with only
determines both the thickness of the blade
certain sizes will be required, but and the size of the teeth that run down one
as you set more stones of differing side. Specially hardened saw blades are CHENIER VISE AND CUTTERS (3)
sizes, more burrs will be required of available for platinum; these can also be used Chenier vises are useful for holding tube
incrementally closer sizes. It is also for piercing stainless steel. while a length is cut with a jewelry saw, and
can also be used to file the cut end of the
a good idea to have a range of Spira! saw blades should be used for cutting
tube, or rod, absolutely true at 90-degree or
“consumables” such as solder, saw soft materials, such as wax, acrylic, and wood,
45-degree angles. A chenier vise is something
blades, and abrasive media in the because the spiral arrangement of the teeth
of an investment, but invaluable for accuracy.
prevents the blade from becoming stuck.
workshop so that it is not necessary to Chenier cutters can be used to cut identical
stop work because something is missing, lengths of tube, using the adjustable stop to
FILES (2)
or to have to use a less appropriate item set the length. The tube is placed in the base
Hand files are used to remove metal and
as a compromise, which only usually has refine surfaces in preparation for other
of the “V," and the lever secures the tube
the effect of making the whole process with pressure from the left thumb. A jewelry
techniques. Files are usually supplied without
saw is then used to cut the tube, using the
take much longer. handles—these are sold separately and need
gap in the cutter as a guide.
The range of tools may also depend to be fitted before use. Files cut as they are
on the metals you are working with— pushed forward across a surface, but do not
cut on the return stroke.
harder metals such as platinum and
palladium require special saw blades, files A wide range of cuts, sizes, and profiles of
hand files are available. It is useful to have
and polish, and an oxyacetylene torch
one half-round cut 0 file for quickly removing
rather than a propane gas torch in order material, and a small range of cut 2 hand files.
Vv Chenier
to reach the temperatures required for See page 67 for file shapes. cutter (3)
soldering and annealing these metals. Needlefiles are used for more intricate work
than hand files because they are smaller and
available in a greater range of profiles.
Vv Needlefiles (2)

Vv Hand files (2)

Vv chenier
vise (3)
 oh)

V Jobbing
hammer (5)

A Stee/ A Scribe (4) A Center

ruler (4) punch (4) Vv Riveting
hammer (5)

A Dividers (4)

A Caliper
gauge (4)

HAMMERS AND MALLETS (5)

A Engineer's Jobbing, or ball peen, hammers have one Vv Rawhide
square (4)
flat face and one domed face, and is used for mallet (5)
a variety of tasks such as hitting other tools—
center punches and setting tools—or for
making textures on metal.
MEASURING AND MARKING TOOLS (4) Riveting hammers have one flat circular
Steel rulers are often used in conjunction face and a narrow rectangular flat face. The
with a scribe or dividers that mark the metal lightweight head can be used for many small
once the correct measurement has been tasks in jewelry, including hardening and
decided. Rulers usually have both metric and straightening wire, as well as for making flat-
imperial scales, and are either 6 in (15 cm) or headed rivets and tapping pins into hinges. Vv Nylon
12 in (30 cm) in length. Mallets will form metal without marking the mallet (5)
Engineer’s squares can be used to mark surface, but can also be used for hitting other
perpendicular lines on metal with the use of tools, such as dapping punches, with less
a scribe, and is also useful for checking the force and noise than a hammer. Both rawhide
accuracy of right-angles. and nylon mallets are suitable for use in
jewelry making.
Scribes are used in combination with a steel
ruler or an engineer's square for very precise
marking of measurements—the fine point MANDRELS AND TRIBLETS (6)
means that it is accurate. Designs can also Mandrels are most often used for forming a
be drawn freehand. ring with a mallet, truing the form once it has
been soldered, and forcing the piece up the
Center punches are used to create a Vv Ring
mandrel to enlarge it. The ring mandrel is
registration mark in sheet metal before mandrels (6)
usually held horizontally in a vise, but can be
drilling so that the drill bit has a reference
supported in the “V" of a bench pin while
point. The punch is tapped with a general-
sizing or truing a ring. The most common
purpose hammer.
profile (cross-section) is round, but oval and
Dividers are useful for marking circles on square mandrels are also useful. Other styles
metal, and to make parallel marks by using available include pear-shaped, mandrels with
the side of a metal sheet as a reference. a groove (for sizing or truing stone-set rings),
Gauges are used for measuring the thickness and mandrels marked with ring sizes.
of metal sheet and the diameter of rod Bangle mandrels are either round or oval,
or gemstones, and a variety of gauges is and are of a suitable size for forming and
available—sliding gauge, digital display, truing bangles and cuffs.
and dial.
Triblets are basically small ring mandrels, for
forming and truing bezels.
The shape of triblet used will depend on the
shape of the stone that is being set—round,
oval, square, cushion, or pear-shaped. Larger
bezels may be formed on the tip of a ring
mandrel if it is of a suitable diameter.

> Bangle
mandrel (6)
 DAPPING BLOCK AND PUNCHES (7) PLIERS (9)
Dapping blocks are used in conjunction with Pliers generally open with a scissor action and
dapping punches to curve sheet-metal forms. are used for a variety of techniques in jewelry
The block should be placed on a sandbag—a making. Many styles of pliers are available
leather cushion filled with sand—to reduce the plain, or sprung, meaning that they will
noise produced when the dapping punch Is automatically reopen after being closed.
struck. Dapping blocks and cubes are made Round-nose pliers are good for making
of either steel or brass, and have a graduating small loops, but can mark wire badly if it is
range of depressions. The most common range gripped tightly.
is Ye—-1'4 in (2-30 mm) diameter. Outsized
Half-round pliers will not mark wire, but
blocks have single or double depressions and
cannot make such small loops.
are often sold with the corresponding punch.
Chain-nose pliers have tapered tips and so
Dapping punches have a polished ball on
can get into smaller spaces than other, wider
one end, and are designed to be hit with
pliers, and are particularly useful for tightening
a mallet or jobbing hammer on the other.
wire that has been wrapped around itself.
When used with a dapping block in the
corresponding depression, they will force metal Flat-nose pliers with two flat-faced jaws are
to form a hemisphere; they can also be used used to bend and fold sheet and wire, and
as punches for spreading rivet heads. Dapping are also useful for pulling rivets or pins
punches are made from either steel or through a hole.
boxwood, and are sold individually or in sets. Parallel pliers open with a parallel action,
unlike other pliers, and can therefore be used
BENCH VISE (8) to hold work without damaging it. This makes
A Stee! dapping
punches (7) Every workshop needs a vise, predominantly them useful for bending right angles and
to hold tools while working, such as mandrels, straightening kinks without marking the metal.
ring clamps, or pieces of jewelry secured in Wires can also be hardened through twisting
setter's wax on a piece of wood; they can also with these pliers.
be used to make press forms. Protective pads
are often used to protect work from the rough CUTTERS (10)
surface of the jaws, and can be made from Top (also called end or flush) cutters can
leather. Vises must be fixed to a sturdy bench be used to cut wire of less than 17 gauge
with bolts. (1.3 mm) if it is soft, and up to 24 gauge
Small vises that are fixed to the bench top (0.5 mm) hard wire. For larger-diameter wires,
> Boxwood use heavy-duty cutters or a jewelry saw. These
dapping with a C-clamp are suitable for small-scale
punches (7) work such as riveting. You can find reasonable- cutters allow wires to be accurately cut flush
quality second-hand vises cheaply. or close to another surface, but do leave a
pointed end on the wire and should not be
used to cut steel wire because it will damage
the cutters.
Memory wire cutters are suitable for cutting
steel and other hard metals, leaving a
reasonably flat end.
Tin snips or shears are most often used for
cutting solder pallions, but also for cutting thin
<4 Bench vise (8)
sheet metal and binding wire; they cut with a
A Flat-nose pliers (9) scissor action.
Heavy-duty scissors can also be used for
cutting soft, thin sheet metal such as fine silver
bezel strip.

A Round-nose pliers (9)

4 Parallel! <4 Memory wire | Tin <4 Chain-nose

pliers (9) cutters (10) snips (10) pliers (9)

A Half-round pliers (9)

 HAND TOOLS 61
> Double-ended
pin vise (11)

AY Burrs (13)
PIN VISES (11)
Pin vises are very useful for holding small
tools such as drills and burrs when drilling by
hand, or when making fine adjustments to
stone settings so that the stone fits perfectly AY Flexshaft
into the setting. motors (12)

A drill bit held in a pin vise can also be

used for making reference marks and lining
up holes in different layers of materials in
preparation for riveting.
A number of different designs are available:
singie-ended, double-ended, swivel top, or
with a wooden handle.
Vv Diamond
FLEXSHAFT MOTOR (12) burrs (13)
This is a motor that has a long, flexible shaft
with a hand-piece at the end, allowing a range
of attachments to be used. Variable speeds
are controlled with a foot pedal; the motor can
be suspended from a wall-mounted bracket
or a stand can be attached to the bench. BURRS (13)
The power of the motor is an important Burrs are most easily used in a flexshaft motor
consideration, as is the type of hand-piece— for the fast removal of small areas of metal or
some are operated with a chuck key, some other materials, but can be used in a pin vise
work with tapered bezels, and others are to tidy drilled holes or for adjustments to stone
quick-release at the flick of a lever. It is a settings. For burring out seats for stones, the
worthwhile investment because it is such a burr should be the same diameter as the stone.
DRILL BITS (14)
versatile piece of machinery and is invaluable See page 67 for the different shapes of burr.
Drill bits are used to make holes, which may
for cleaning up, carving, polishing, applying Burrs should be stored upright in a block be decorative or act as a starting point for
surface textures, drilling, and stone setting. or rack with individual holes to prevent the other techniques such as piercing or riveting.
Many types of attachments and tools can be burrs from touching, and should always be They are often made from high-speed steel,
used in a flexshaft motor, from abrasive media used with a lubricant to help keep them but may be tungsten carbide, which will not
to shaped felt polishing bobs. sharper for longer. blunt as quickly; lubricants can be used to
Many different makes of motor, and several A diamond burr has a coating of industrial- prolong the life of drill bits. More expensive
styles of hand-piece, are available, so stick to grade diamond powder. For grinding or drills have a thicker shank, which reduces
one brand to ensure compatibility. Small, carving hard materials such as stones, they vibration when drilling. Drill bits are available
hand-held motors are a more affordable are used with water as a lubricant, which also in a range of very small increments from
alternative, but they will not withstand keeps the dust in solution; the burr is dipped 30 gauge (0.2 mm) to 1 in (25 mm).
heavy use. into a small pot of water at regular intervals to Diamond drill bits are coated with diamond
keep the surface of the material wet. Special grit, and are used to drill very hard materials
care must be taken when using water with such as semiprecious stones, and they should
electrical tools. be lubricated with water while cutting.
A range of diameters between 20 gauge
(0.8 mm) and 12 gauge (2.0 mm) is available.
Pearl drills are specially desianed to prevent
chipping of the nacre when drilling pearls, and
Vv Twist drill bits (14) can be used to enlarge predrilled holes as well
as half- or full-drill pearls. A limited range of
sizes Is available.
& Shank
drills (14)

<4 Pear! drill (14)

 > Gas torch (17) |
<4 Abrasive papers (15)

POLISHING (16)
Polishing wheels are screwed onto the
spindle of a polishing motor, and rotate
at high speed, enabling the fast polishing
v Emery sticks (15) of surfaces, particularly metal. Polishing
compound must be applied to the mop while
the motor is running, and mops should only
be used with one type of polish, to avoid
cross-contamination and achieve optimum
results. Polishing wheels are available in a
number of different materials, from hard
to felt, through muslin, cotton, wool, and
swansdown, which is very soft.
Polishing compounds come in a wide range;
many are particular to the material being
polished. The most commonly used is Tripoli as
an initial polish, followed by rouge to impart
Vv Wire wool (15) a high shine. Vonax is used for plastics, and
Hyfin for steel.
Polishing compounds can also be applied to
polishing threads and felt or suede buffing » Hand torch (17)

sticks, which are used for hand polishing.

SOLDERING TOOLS—TORCHES (17)

Hand torches are most suitable for soldering
chain and other fine work. Filled with PICKLE (18)
lighter gas (butane), the small flame means Pickle solution removes oxides and flux
that the hand torch is only suitable for residues from precious metals. Pickle powder
ABRASIVES (15) small-scale soldering and annealing jobs,
Abrasive papers are used to remove file needs to mixed with warm water in the
because larger pieces of metal would take correct proportions. Because the solution
marks, scratches, and firestain from metal and
too long to reach temperature. is heated it will give off fumes, so use it in
other materials. A rough grade of paper is
used initially, before finer grades are used to Gas torches are an essential tool for soldering a well-ventilated area and wear gloves and
refine the surface, often in preparation for and heating. If these two processes are going goggles when mixing
polishing. A number of different types of to be frequently used in jewelry making, a Safety pickle powder contains sulfuric
paper are available. The most commonly used good quality gas torch is a necessity. The acid, so some jewelers prefer to use less toxic
are emery paper, which must be used dry, and gas torch needs to be connected to bottled solutions such as alum or citric acid. Spent
waterproof silicon carbide paper, otherwise propane with a reinforced rubber hose and a pickle should be allowed to evaporate before
known as wet-and-dry paper, which is gas pressure regulator. A range of different- it can be properly disposed of, because it
available in grades from 180 to 2500; the sized heads that can be interchanged on contains heavy metal residues
most commonly used grades are 600 to 1200. the hand-piece is available, and these allow
different sizes of flame to be used, as Pickle tanks are used to hold the pickle
Abrasive papers can be stuck onto wooden solution, usually with the facility to heat it.
appropriate for the work being done
sticks to aid the cleaning up process. It ls a good idea to have a timer switch on the
Ask your supplier for advice on setting up
Other abrasives such as steel wool, pumice the torch to the gas supply, and follow the socket as an extra safety device
powder, and Scotchbrite are often used to manufacturer's guidelines. Heated pickle will work much faster than cold,
degrease and prepare metal surfaces for but an electric unit may be a luxury for a small
processes such as patination, or may be used workshop where a bain-marie will suffice
as a final finish on a metal surface. Steel wool
is also useful for refining the surface of carved
wax models.

<4 Pickle powder (18)

Y Polishing
ne wheels (16)
<4. Polishing
Se ae 9 compounds (16)
“a iy
Merman i
pynohoneteeay
§Sioehycathbe

» Pickle tank (18)

> Polishing
thread (16)
 » Reverse- HAND TOOLS 63
action V Stainless stee/
tweezers (79) tweezers (19)

> Brass
tweezers (19)

> Titanium
probe (19)

A Heatproof
mats (19)

SOLDERING TOOLS—HEATPROOF MATS,

TWEEZERS, PROBE (19)
Heatproof blocks and mats are used to
protect surfaces from heat and also to reflect
;, CLEANS
heat onto the piece being heated. They are AP Lubricants (21)
P Plastic tweezers (19) r ‘ixCAYO WA Pr j
either a solid, fibrous material or a ceramic
honeycomb. The mats will not prevent
prolonged heating from damaging the surface
underneath, so build a platform from house
bricks to go underneath. LUBRICANTS (21) ADHESIVES (22)
Steel reverse-action tweezers can be used Machine oil is used to lubricate machinery or The choice of adhesive will depend on
to hold elements of a piece in position while tools when in use; drill bits and burrs will work the flexibility and porosity of the materials
soldering and also to absorb heat out of more efficiently with less resistance, friction, being joined, and the degree of permanence
thinner parts. Tungsten-tip tweezers should be and heat and will therefore stay sharp for required. Epoxy resin is suitable for many jobs
used when soldering platinum. Plastic tweezers longer if a lubricant is applied. Use generous and provides a strong and durable bond; some
are ideal for working with acids and other amounts of oil when sharpening tools on types cure faster or more clearly than others.
chemicals because they will not scratch an oilstone to aid the process. Cyanoacrylate (crazy glue) is powerful but
metal, but cannot be used for hot work. Brass Beeswax can be rubbed onto saw blades so rather brittle for jewelry applications; however,
tweezers should be used for placing work into that they cut more smoothly. it is useful for tacking elements together
pickling solution. temporarily. Adhesives are available that
Other lubricants are available as creams, will dry completely clear and are cured by
Titanium probes are used to position or liquids, and in solid form for specific purposes,
the action of UV light.
apply solder to a piece while it is being heated, such as prolonging the life of burrs.
and can also be used to spread molten solder Work in a well-ventilated area when using
A regular application of oil to tools helps
across a surface. adhesives, and follow the manufacturer's
prevent rust, by forming a physical barrier
instructions for use.
against moisture, and keeps them im good
FLUXES (20) working order.
Fluxes are used to prevent oxides from
forming on metal when it is heated, and will
therefore help metal or solder flow better
when they are molten. All fluxes have specific
working temperatures—Easyflo works best
with low-temperature solders such as easy
and extra-easy, while the high temperatures
» Flux (20)
required for soldering gold mean that the most
suitable flux is Auroflux. This will not degrade
before the solder melts. V Borax and dish (20) ig, "NUROFLUX™
“ong tux for Gold and
oy

Borax is suitable for most soldering jobs—

most commonly for silver. It has a good
working range and is easily prepared by
4 Adhesives (22)
adding water to the dish and grinding the
cone to make a thin paste which is applied
with a fine paint brush.
When using flux, work in a well-
ventilated area.
Eaiptbis
64 TECHNIQUES DIRECTORY

Stone-setting Tools
A Flat pusher (1)

A Flush setting tool (1) <4 Prong pusher (7)

{ etting fall ir iLO threCe paasic types: those for forming the metal
1

eee onestones, devices for holding and CUS the settings while the
stones are being set, and tools 1for refining the setting <and manipulating the
: 1 i
a
round the stone. Tools and Tennis a stringing ye ads are also
described in this sec ‘tion, and range from silks to needles and knotting tools.

The specialist tools for setting stones PUSHERS (1) BEZEL SETTING PUNCHES (3)
have perhaps the greatest range because Bezel pushers are used for rub-over settings Bezel setting punches, or stakes, are steel tools
on cabochon stones to apply pressure to the with a concave recess in one end that is placed
each one needs to be appropriate for the
bezel surrounding the stone. A slightly matte over the stone once it is in its mount. The tool
job in hand. It is often necessary to make surface on the end of the pusher will help to is rotated firmly around the bezel to force it
a tool, or adapt an existing one in order prevent it from slipping. Bezel pushers usually around the stone. These setting tools are sold
to successfully set a stone. Shaped steel have square or rectangular faces with slightly in sets with an interchangeable handle; they
rods can be fitted into short wooden rounded edges, or are curved in one plane so can be used for rub-over setting around stones
handles; basic toolmaking skills are very that they can rock backward and forward to that have diameters of between % and % in
useful—although “tool” steel is a hard move the metal. (3 and 9 mm).

metal, it can be cut, filed, cleaned up, Prong pushers are similar to bezel pushers,
but with a groove in the flat face of the tool BEZEL BLOCKS AND PUNCHES (4)
and polished much in much the same Bezels are metal frames that hold stones, and
so that it will push the prongs of a prong
manner as nonferrous metals. Certain may be formed from tubing, or a soldered strip
setting down without slipping. These tools
tools may need to be tempered, a can be easily made by filing a groove in the of metal. A bezel block is used to true the
process that makes the steel harder or end of a steel rod and mounting it in a angles of the tapered bezel, and will also
softer depending on the function of wooden handle. shrink or stretch the setting if required. It is
used in much the same way as a dapping
the tool. Flush setting tools have an angled end and
block, the punch being struck with a hammer
Engraving tools, or gravers, are also a curved face, allowing the tool to be used at
or mallet to force the setting into shape.
commonly used in stone setting, and a more acute angle than other pushers. It is
also useful where there is restricted access Bezel blocks have angles of either 17 or
must be kept sharp and clean, as must 28 degrees; after round, the most common
to a bezel because the tip is narrower than
grain tools to ensure accurate working shapes are square, emerald-cut, oval, and
a flat-ended pusher.
and less room for error. pear-shaped. Punches are sold with the blocks
The storage of so many small too a) and have a corresponding angle and profile
BURNISHERS (2)
can be problematic—drilled wooden to their block.
Polished steel burnishers are versatile tools,
blocks or magnetic stands can provide used for a number of different techniques.
a solution, but shallow drawers with Because steel is harder than precious metals,
plastic dividing trays are invaluable. | S the burnisher imparts a shine to areas it is
important that the tools do not knock rubbed across—this technique is often used
against each other and are kept dry to for the final rubbing of the metal around a
ensure their proper working condition. stone and will also work-harden the metal.
Burnishers must be kept highly polished so
that the surface does not scratch the metal.
Polished steel burnishers are either curved
or straight and come in a range of lengths
and widths.
<4 Straight burnisher (2)
Hematite burnishers have rounded ends,
which makes them more suitable when stone- A Bezel setting
punches (3)
setting. Other nonmetallic burnishers are made
from agate or bone. Plastic burnishers can be
made for setting very soft materials such as
shell or amber with fine silver bezels.

> Bezel block

and punch (4)
A Agate
burnisher (2)
GRAVERS (5) MAGNIFIERS (7)
Gravers are used to engrave designs, Eyeglasses and loupes are used to view P» Gravers (5)
textures, and lettering on metal, as well as for small work magnified. This becomes a
accurately carving seats for stones within a necessity as one’s eyes age, and is important
mount. They are sold without handles, and in techniques such as stone setting where
need to be correctly mounted at the right accuracy is paramount. Eyeglasses fit neatly
length for an individual's hand. around the eye and can be used hands-free
Specific gravers are suitable for specific tasks: while fine work is being carried out. The
Square gravers are used for cutting lines and degree of magnification of eyeglasses is
A Oilstone (5)
some lettering, spitsticks are used raise grains, measured by their focal length, with a short
and flat scorpers to carve out stone seats. See focal length giving a higher magnification.
page 67 for different graver profiles. Focal lengths range from 2 to 4 in (5 to VP Grain
10 cm). Loupes are hand-held, and are used tools (6)
Oilstones are used with machine oil to grind to inspect progress at a higher magnification,
down steel tools such as gravers and give x10 or x20.
them a sharp cutting edge. An Arkansas stone
is then used to refine the faces of the tool so Binocular head-pieces or attachments that
that It cuts more brightly and cleanly. can clip onto glasses are also available, as are
freestanding magnifying lamps.

GRAIN TOOLS (6) A Grain tool

When a spur is raised with a graver, the HOLDING MEDIA (8) sharpener (6)
ilgrai
Vv Milgrain
Setter’s wax is melted onto the top of thick =, wheel (6)
grain tool with a round depression in the end
is used to push and roll the spur down into a wooden doweling or a flat block of wood so
neat ball, or grain. These grains are used to that the piece can be easily held at the bench
> Binocular
hold stones in position, or for purely decorative or fixed in a vise, and is used for holding small headset (7)
effect. Graduated sizes of grain tool are items of work when performing techniques
available, in sets or individually. Grain tools are such as stone setting or engraving. The wax
interchangeable in a wooden handle that is is warmed with a soft flame until it is pliable
usually supplied as a part of the set. enough to sink the piece into’the surface and
secure it. The piece can be carefully chipped
Grain tools quickly wear down, or the out afterward, or the wax very gently warmed,
edges become deformed through use, and depending on the item. Wax residue can be <4 Loupe (7)
they will need reshaping and sharpening removed by soaking the piece in acetone.
periodically with a fion.
Jett Sett (Polymorph) is a thermoplastic that
Milgrain wheels are rotating wheels set can be softened in boiling water and sets hard <4 Eyeglasses (7)
in a handle that is run along a metal edge at room temperature—it can be used in a
to produce the effect of many grains. It is similar way to setter’s wax.
traditionally used along the borders of pavé
pieces to mimic the visual effect of the grains STRINGING TOOLS (10)
that hold the stones. Milgrain wheels are CLAMPS (9) Silks and threads are used for stringing
available in sizes of 1 (smallest) to 15, which is Ring clamps are used to secure rings while semiprecious beads and pearls, and are usually
the largest and makes grains of '42 in (1 mm). stones are being set. They are best suited to knotted between beads or pearls to stop them
rings with narrow or parallel shanks or for from knocking against each other and getting
holding other pieces of small work. Clamps are damaged. The thread is used doubled up, and
made from either plastic or wood and are fed through the beads with a wire needle.
closed with a screw or wedge mechanism, and French wire (gimp) is fine, coiled wire that is
the jaws are often lined with leather to protect used at the ends of strings of beads and pearls
the ring. It is possible to make custom clamps to protect the thread from rubbing thin on the
for unusual-shaped pieces of work. catch fittings.
Vv Custom clamp (9)
Clamps can be secured in a vise for Wire needles are used to easily insert thread
added stability. through the holes in beads or pearls. They are
thin and flexible, with eyes that will flatten and
fit through very small holes in beads. Some
V Silk and thread (10) |W Diamond reamer (10) silks are supplied with needles attached.
A Setter’s Chinese clippers are used to cut silk or thread
wax stick (8) ends close to the knot, giving a neat finish
with no trace of stray threads.
Diamond reamers are tapered, diamond-
coated steel points that will enlarge drilled
Y Ring clamps (9) holes, especially in glass or semiprecious
stones.
YV Knotting
Yv French wire Knotting tools allow knots to be pulled tool (10)
(gimp) (10) ‘ tightly against the previous bead or pearl on a
string and will help form neat, uniform knots,
making a tidy string of beads.

> Chinese
needles (10) clippers (10)
 66 TECHNIQUES DIRECTORY

Setting tools

Tool Shapes G
Selecting the correct tool
for a particular technique
i:
is essential for good
results. The shape of a
tool directly influences
the effect it will have
Flat pusher Curved pusher Flush setting tool Prong pusher
when used.
Pliers
Most setting tools are made of steel
stock, and are shaped according to
function. Flat and curved pushers are
used for setting bezels and tapered
bezels, flush setting tools have an
angled face so that the tip can push
metal closer around a stone, and prong
pushers have a gap for wire prongs so
that the tool does not slip.
Pliers are used for bending and
shaping metal, and the profile of the
jaws influences their effect. Round-nose Flat-nose
A jobbing hammer and a mallet will
be sufficient for many processes, but
other shaped hammers are required for
riveting, forging, or chasing. The shape
of the hammer head directly affects
the way it moves the metal.
Files come in many shapes, and the
profile of the file determines the
groove It cuts—always try to match
the shape of the file to the shape of
the area being filed, especially when
cleaning up intricately pierced fretwork Chain-nose Parallel Crimping
with needlefiles.
The shape of a graver determines
Hammer heads
the mark it will make when it cuts;
oval or onglette gravers are used in
stone setting to carve a seat for the
stone and square gravers are used for
engraved line work.
Seating, ball, and hart burrs are all
used predominantly in stone setting,
and should be the same diameter as
the stone. Other shaped burrs are
generally used for carving or making
surface textures, and all burrs come in
a wide range of sizes.

Repoussé Riveting Planishing

 TOOL SHAPES

File shapes

ceeeeeeee

Half-round Square Safety back (barrette)

Crossing Three-square Knife-edge Jointing

Note: The black dots indicate the abrasive edges of each file.

Graver shapes

©ee
=| «<_e/ Sa =
Square Flat scorper Square scorper Onglette (spitstick) Round scorper (dotter)

@
Yael Mees
Stitch Round Knife Lozenge

Burr shapes

Seating Inverted

.
Cylinder Cup Hart (fraise) Bud
68 TECHNIQUES DIRECTORY

Basic Fabrication Techniques

Jewelry making techniques such as cutting, filing,
soldering, and polishing metal are essential for
constructing jewelry pieces, as well as for creating
the mounts for gemstones.
skill level

Cutting and Piercing

Many different tools can be used to cut metal, and while snips, bench shears, and end
cutters all offer soeed and convenience, their shearing action tends to distort the metal
when cutting. Piercing with a jeweler’s saw is more time consuming, but it offers a
much greater degree of accuracy and versatility of movement. A jeweler’s saw can hold
incredibly fine blades (size 2/0 is suitable for general-purpose cutting), which must be
held in the saw frame under tension. The saw can be used to cut outlines by working
to a template, or if the saw blade is inserted through a drilled hole, it can be used to
cut intricate fretwork. Designs can be marked out directly on metal using a scribe or
dividers, or a design drawn on paper may be stuck down onto the metal.
When piercing flat metal sheet, the saw is used with the blade perfectly vertical and
is moved lightly up and down to cut; the teeth on the saw blade should point down so
that the blade cuts on the downstroke. The saw blade can be lubricated with beeswax
or machine oil to aid smooth cutting.

BASIC FABRICATION TECHNIQUES

Piercing, filing, cleaning up, and polishing
are all vital jewelry-making skills. It
will take many hours of practice to
achieve proficiency.

TOOLKIT
= Jeweler’s saw and blades
a Hand and needlefiles PIERCING FILING
a Abrasive papers The most accurate method for cutting metal is Hand files are used to remove metal or excess
« Polishing compounds with a jeweler’s saw because it does not distort solder from a surface, shaping and refining
Be oe the edge of the metal. For piercing through the form. Files cut on the forward stroke;
I rings to size them, intricate fretwork, and for flat files should be used for flat and convex
the general shaping of metal, this tyoe of saw surfaces, and round or half-round files for
is invaluable. concave curves. Needlefiles are used for more
intricate filing.
 BASIC FABRICATION TECHNIQUES 69

Filing
Filing is used to remove marks caused by cutting techniques, such as piercing, as
well as for truing forms. For removing large areas of metal from a piece, it is faster to
use a rough file, such as cut 0; for most other jobs cut 2 files, which are finer, should
be sufficient. Hand files should be used for larger areas, and needlefiles for more
intricate work.
Files only cut with the forward motion and pulling the file backward against the
metal will eventually blunt it. The profile of the file should match the job in hand—flat
files for flat surfaces and convex curves, and the most similar curved profile for concave
curves. The half-round file is one of the most useful profiles, because it can be used for
flat and curved surfaces.
Specific files are available for platinum, which are tougher than other files, and will
not become blunt from use with harder metals.

Annealing
Annealing is a process used to soften metal once it has been work-hardened. By
heating the metal to a specific temperature, which is gauged by its color changes,
SINGLE SPHERE
stresses within the metal are relaxed and it becomes much more malleable. Each metal
BAROQUE RING
Even complex pieces start with alloy has its own optimum temperature for annealing and for quenching (the process
basic techniques. The layers of the of cooling the piece rapidly in water). After annealing, the metal will usually have a thin
metal in this ring, made by Elizaveta layer of oxides on the surface, making it appear dirty—the oxides can be removed in a
Gnatchenko, were made using weak acid solution called pickle. If a piece a of metal is being heavily manipulated—for
techniques such as piercing, casting, example, in forging or in a rolling mill—it is common for it to require annealing several
and soldering. Tube-set champagne
times during fabrication, because working with hardened metal can cause cracking or
diamonds stud the outer surface
and a large garnet is held on a stem
the tendency to use excessive force. However, in some circumstances, it is preferable to
between pavé-set white-gold rings. leave metal work-hardened so that it does not bend out of shape, for example with
earring hooks.

CLEANING UP POLISHING FLEXSHAFT MOTORS

Emery, or wet-and-dry, paper is used to remove Polishing motors are used to apply a bright, Flexshaft motors are used to increase the speed
the marks left by filing and can be used loose shiny finish to metal pieces. Apply polishing of cleaning up. A large number of attachments
or adhered to wooden sticks. Rough grades compound to the wheel while it is running— can be used, from a split pin, in which
of paper are used to start, followed by Tripoli is used for initial polishing, and rouge emery paper is used, to polishing bobs, which
successively finer grades of paper to refine for the final finish. Wash the piece thoroughly are ideal for putting the final finish on the
the surface. Working across the grain of between the two steps, and afterward to insides of rings. Hold the piece steady, and
the direction of the last paper used helps remove any traces of polishing compound. keep the tool moving constantly with firm,
scratches to be seen more easily, and even pressure.
subsequently removed.
70 TECHNIQUES DIRECTORY

Annealing temperatures for different metals

Metal Annealing temperature Annealing color Method of cooling

Sterling silver 1200°F 650°C Dull red Quench in cold water when metal has
cooled to black heat

Yellow gold 1200-1300°F 650-700°C Dull red Quench in cold water when metal has
cooled to black heat

White gold 1400°F 750°C Dull red Quench in cold water when metal has
cooled to black heat

Red gold 1200°F 650°C Dull red Quench above 930°F/500°C

Platinum 1850°F 1000°C Orange-yellow Allow to air cool

Palladium 1500—1650°F 800-900°C Yellow—orange; hold Quench in cold water when metal has
for 30-60 seconds cooled to black heat

BASIC FABRICATION TECHNIQUES

Annealing, drilling, and basic dimensional
shaping of metal are processes necessary
for creating jewelry designs. Not every
process will be used in every piece, but
these basic techniques form part of a
useful metalworking repertoire.

TOOLKIT
= Sheet metal and wire for forming
= Heat brick
~ Gas torch ANNEALING BENDING METAL WITH A MALLET
aetas Prop sheet metal up against a heat brick Annealed metal sheet or wire can be formed
a during annealing. Bring the piece up to using tools such as a mandrel or other steel
s Mallet temperature as quickly and evenly as possible former. When the metal is hit with a mallet, it
erate with the gas torch until it begins to glow a dull is forced over the mandrel into a curve; start
red. Check the table above for the treatment at one end and gradually move the metal strip
» Dapping block and punch of specific alloys. forward as it is hit.
s Pillar drill and drill bits
 BASIC FABRICATION TECHNIQUES 71

Pickling
Pickle is a solution used to dissolve both oxides and fluxes,
which adhere to the surface of metal after annealing and
soldering. The solution is usually heated to make the chemical
reaction work more quickly. Many jewelers use safety pickle,
or dilute sulfuric acid, but less toxic solutions can be equally
effective—citric acid solution is one alternative; see page 62.
Metal should be placed into the pickle using brass, stainless
steel, or plastic tweezers, and should take around five minutes
to be cleaned, depending on the strength and temperature of
the pickle solution. Once removed, wash the piece well with
clean water and detergent to remove any traces of pickle.

Bending Metal
It is often necessary to bend metal within the fabrication
process, whether you are forming ring shanks, making earring
hooks, or creating chain links. There are innumerable methods
for bending metal, but you can achieve the best results using
annealed metal. Wire and sheet metal can be shaped around a
former and hammered into the desired form using a mallet— WINGED DIAMOND BRIOLETTE STUDS
mallets will not mark the metal. Forming tools such as triblets, The diamond briollettes in this delicate pair of
mandrels, dapping and swaging blocks, bearers, and jigs are all ear studs by Zoe Marie are held by thin wires
to the carefully formed structures of the
useful for this purpose.
white-gold frames.
Pliers can also be used to shape metal, but take care not to
mark the metal. Ring or half-round pliers do not mark metal if
they are used carefully, and parallel pliers are also very useful.

BENDING METAL WITH PLIERS DAPPING DRILLING

Pliers are very useful for forming or adjusting Metal disks are the most common forms A motorized drill is the quickest way to drill
the shape of a piece of metal. The profile used when dapping, but other shapes can holes in metal, whether a flexshaft motor
of the jaws of the pliers determines how the be dapped to give them three-dimensionality. or a pillar drill, which makes perfectly vertical
metal will bend; half-round pliers form a curve, Start in a much larger hole than necessary, holes for better accuracy. Always center punch
with the curved side of the jaws being on the hammering the correct size of punch into the metal before drilling, and use lubricant to
inside of the curve. hole; work down through the sizes until you reduce friction.
have achieved the desired curve.
72 TECHNIQUES DIRECTORY

Soldering
TYPES OF SOLDER JOINT Solder is an alloy that has a melting point lower than the metal
it is joining; it is used to form strong, permanent bonds. Solder
TENSION
¢ The tension of the form itself
alloys are specific to their parent metals, having a corresponding
holds the join in position. range of melting points, so 18-karat yellow gold requires
¢ Soldered with pallions. 18-karat yellow gold solder. Solders for each metal come in
hard, medium, and easy, with hard solder having the highest
BUTTED melting point. This range allows subsequent solder joins within
e Pieces need to be one piece without the risk of melting previous joins.
el | supported, usually with
solder fiat tweezers or binding wire. There are several methods for soldering and the one you
BA ¢ Can be used to solder choose will depend on the type of join. The most common
sheet or wire. method is to flux the join and apply “pallions,” or chips, of
solder, then heat the piece until the solder melts along or
around the join, before pickling to remove oxide and flux.

WIRE INTO SHEET Cleaning Up

¢ The join will be much Cleaning up is the process of removing excess solder, scratches,
stronger if the wire is inserted
into a part-drilled hole. and file marks, and the preparation of work for polishing. First,
¢ Bevel the top edge of the remove all unwanted marks with a rough grade of abrasive
drilled hole to reduce solder paper—600 or 800—before methodically working up through
meniscus around the wire.
the grades to 1200 or 1500. The cross-grain method gives the
best results, revealing scratches so that they can be efficiently
removed. The first grade of paper is used in one direction only
SWEAT SOLDERING
© Melt excess solder onto rim of dome. and the next grade is used across the grain made by the first,
¢ Flux base sheet and reheat until solder melts. and so on. Emery sticks or a split pin used in a flexshaft motor
¢ Drill hole in hollow form if heating again, to can greatly reduce cleaning-up times. Once you have worked
allow expanding air to escape.
cross-section through all the grades of abrasive paper, there should be a fine
through dome
> a
fixed base satin finish on the surface of the metal. At this stage it is ready
excess yy. to be polished, unless satin is the desired finish.
solder \
solder
melted
onto rim Polishing
____
Polishing involves using finely abrasive compounds applied to
fabric polishing wheels, or mops, and the use of a polishing

PALLION SOLDERING A BAND RING

Soldering is a key process for jewelers,
allowing metal to be joined to metal. A
good solder seam, once cleaned up, should
be virtually indistinguishable from the
surrounding metal.

TOOLKIT
# Ring shank
» Solder
a Tin snips
= Flux (borax) #, The join that Is to be soldered must be ® Apply flux around the join to prevent it
s Heatproof mat and heat brick © close fitting and clean. Cut the solder . from oxidizing when heated, and put the
into “pallions” (chips); use tin snips to cut a solder pallions into position while the flux is still
= Gas torch
fringe on one end of a piece of silver solder damp. Position the piece on a heatproof mat
« Cold water for quenching and then cut across the fringe. Cutting a range with an upright heat brick behind to reflect
a Pickle of sizes of pallion is useful if you are doing a heat back onto the piece.
lot of soldering.
» Soft brush and detergent
 DRILLED RINGS
BASIC FABRICATION TECHNIQUES 73
This set of rings by
Liz Hancock consists
of perforated silver
bands decorated with
18-kt gold dots and
bezel-set cabochon
stones. Holes were
drilled in the silver
before it was formed,
giving the wide bands
a visual lightness.

motor. The high-speed rotation of the mop buffs the metal to a high shine. The
compounds used are a matter of personal taste but often, a compound called Tripoli is
used first because it is abrasive and will remove fine scratches from the surface of the
metal. The piece should then be washed to remove any traces of Tripoli polish, and a
separate mop used with rouge, a fine iron compound, which imparts a high shine to
the metal. Special polishing compounds are available to give optimum results when
polishing platinum, steel, plastics, or certain alloys of gold.
Hand polishing with felt or suede-covered sticks is an alternative to using a motor,
and the same polishing compounds can be used. Another alternative is a motorized
barrel polisher, which rotates a container of steel shot and barrel soap with the work
inside. The steel shot burnishes, polishes, and work-hardens the softer metals jewelry
is made from, but this process is not suitable for fragile pieces and stones softer than
7 Mohs.

Drilling
Drilled holes have many uses within jewelry making, from allowing wires to be inserted
SOLDERED RING
for riveting to creating circular recesses in which stones can be set. Metal must be Multiple solder joins are necessary to join
center-punched before it is drilled to make a registration mark. Whether using a bench elements of different-colored metals together.
drill, flexshaft motor, or hand drill, the metal must be held securely, either by hand or The small tube settings have been soldered
clamped, and steady, even pressure should be applied until the desired depth of hole onto the larger yellow-gold bezels for the opal
is drilled. Safety glasses should be worn when drilling. Drill bits can be lubricated with and peridot, which were soldered to the white-
machine or cutting oil to aid drilling and keep them sharp. gold shank in this ring by Guntis Lauders.

=% Warm around the piece to dry out the flux hi Once the piece reaches the correct = Clean the piece up in a heated pickle
be,
“ temperature, the solder will. melt and
«é before heating it directly. It is important wa solution to remove oxides and flux. Ensure
that all parts of the piece are heated evenly; run along the join. As soon as this happens, that all traces of flux are completely gone
thicker parts will require more heating than remove the flame from the piece and allow it before washing the piece thoroughly with a
thin ones, and both sides of the join need to to cool for a few seconds before quenching it soft brush and detergent to remove any residue
be heated. it is the heat from the metal, rather in cold water. Remove any binding wire. of pickle. Dry the piece.
than the flame, that should melt the solder.
74 TECHNIQUES DIRECTORY

Advanced Fabrication Techniques

Incorporating different construction techniques into a FORGED RING
This ring, by Kara Daniel, has been
piece allows for a greater range of designs. The techniques formed from a length of stainless
steel rod that was forged to taper it.
here are used in conjunction with basic skills to create The prong setting for the princess-cut

more complex forms and surtfaces. topaz was made by cutting the top of
the rod into four sections and opening
skill level out the ends.

Press Forming
Three-dimensional forms can be created from sheet metal with the use of an acrylic die,
rubber sheet, and a hydraulic press or vise. Thick acrylic sheet has a shaped hole cut in
it to form the die, and a sheet of metal is placed centrally over the hole and secured in
position with tape. A layer of rubber is then placed over the metal and the whole
sandwich is placed either in a hydraulic press or a vise. When the pressure is increased,
the rubber compresses and forces the metal into the recess in the die, forming a
cushion shape whose profile is dictated by the parameters of the hole. Curved forms
tend to work best, because angular profiles can cause the metal to split. This technique
can also be used to form metal over solid objects.

Forging
The technique of shaping metal with steel hammers working over a steel stake is
usually referred to as forging. The metal is shaped between the two steel surfaces each
time the hammer strikes. Forging can be used to rapidly change the dimensions of a

ADVANCED FABRICATION
TECHNIQUES
Techniques such as press forming, forging,
and granulation are useful for forming
and embellishing metal forms. The use
of several techniques within one piece
of jewelry allows designs to be explored
more creatively.

TOOLKIT
« Metal for forming
= Pierced acrylic die, rubber sheet

es PRESS FORMING FORGING

sone Sheet metal can be forced into a cushion- Metal hammers can be used to plastically
« Gas torch shaped three-dimensional form with the aid distort metal. The shape of the hammer
= Iweezers of a pierced acrylic die and rubber sheet. A affects the way in which the metal will move.
hydraulic press or vise is used to compress the Forging is used to taper, spread, or distort
a Liver of sulfur
rubber, which forces the sheet metal down metal in a variety of ways. See page 66 for
» Goggles and gloves through the hole in the die. Regular annealing hammer shapes.
is necessary to achieve deep press forms.
piece of metal, whether rod or sheet. The shape of the face of the RETICULATED
hammer affects the way in which the metal will move, as will the PENDANT
Shape of the stake that is being worked on—domed surfaces cause Reticulated silver forms
metal to move radially, while hammers with cylindrical heads will a textured background
for this pendant by Irena
make the metal stretch in one plane only.
Maria Varey. The silver has
Processes such as tapering, thinning, and upsetting can be been cut after reticulation,
used to alter the section and form of a piece of metal. Hammers and and the gold decoration
Stakes are also used in combination for more specialist silversmithing and bezels soldered into
techniques, such as raising, anticlastic raising, and sinking and raising. place. The large stone is
a boulder opal, and is set
Riveting from behind.

Riveting Involves pinning two sections of a piece together using

wires or tubing inserted through drilled holes. It is very useful for

Cross-section diagrams of some commonly used forms of rivet (see page 76)
Countersunk
drill hole
Riveted wire

Wire rivet in countersunk hole, filed flush Flat-headed wire rivet

Tube spacer ~~» L Meralcheee

Domed wire rivet Tube rivet in countersunk hole Wire rivet joining two metal sheets, with a tube spacer

RETICULATION GRANULATION PATINATION

A rippled surface can be created on silver (or Tiny balls of metal are applied to a form to A warm solution of liver of sulfur can be used
gold) by heating the piece until the surface create a granulated surface. The balls may to oxidize silver, copper, or brass. The process
turns liquid. For the best results, the silver be soldered into position or, if all elements must be carried out in a well-ventilated area
should be annealed several times to bring the are copper-plated, the pieces can be fused and goggles and gloves should be worn. Rinse
fine silver to the surface, but the addition of together without the use of solder. Granules sit the work thoroughly to remove all traces of
fine silver scraps will accentuate the effect of best between wires or in depressions in sheet the chemicals.
the technique. metal so that they do not roll away.
76 TECHNIQUES DIRECTORY

combining elements which would otherwise be damaged by the heat of soldering, such
as plastics, stones, and natural materials, as well as metals with heat-sensitive finishes,
such as gold leaf, anodization, or patination.
The ends of wires or tubes are hammered to spread them, increasing their diameter
so that they will not slip through the drilled hole. If a burr has been used to countersink
both sides of the rivet hole, and the piece is made from the same metal as the rivet,
then it is possible to file the rivet head flush with the surface of the piece, making it
almost invisible, or a perfect circle if used on a contrasting material. Multiple rivets
through more than one layer require careful planning so that all the drilled holes line
up perfectly—the holes on the front or top surface should all be drilled first.

Texturing
There are many different ways of applying textures to metal, whether graphic,
experimental, or traditional. Several texturing techniques involve compressing the metal
to create an uneven surface—this can be done with hammers, punches, and stamps,
with the shape of the tool head determining the corresponding impression in the
metal. This method can be used to create a field of texture, or more specific patterns.
A rolling mill can also be used to create impression textures, by layering materials, such
as dried leaves or paper templates between metal sheets and rolling them through the
mill. Texturing processes often distort the metal, so it is advisable to cut and shape the
metal after it has been textured, taking care not to damage the surface. There are,
ENGRAVED RING
Advanced techniques such as engraving and
however, some types of textures that can be applied once a piece has been fabricated,
enameling can be used to enrich the surface such as those made with engraving tools and burrs. Engraving can also be used to
of a piece, allowing greater freedom of design create images or inscriptions, and is also very useful for carving out seats for stones.
and the incorporation of complementary or Etching removes metal from the surface of a piece by dissolving it in acid. Areas
contrasting colors. This design is by Henn of of the metal are masked off, leaving the exposed areas to be etched. Very precise
“SHON Eos drawings, text, or graphic images can be applied using this method.

USING WIRE RIVETS TO COLD-JOIN

SHEET METAL
When metal parts cannot be soldered
because surface effects would be damaged
or difficult to clean up, riveting is often
a good solution. It can also be used as a
pivot point, creating moveable parts.

TOOLKIT
= Sheet metal
a Center punch
a Drill
» Ball burr
eres ae | Mark, center punch, and drill holes the “@ Use a small ball burr to bevel the edges of
. es or rive same diameter as the wire that will be used s= the drilled holes. This removes any sharp
a ViSe for the rivet. Always mark the position of the burrs from the metal and is important if the
SNioedietile hole on the uppermost surface first, because rivet head will be filed flush once hammered,
this will dictate the position of the rivet. because the portion of the rivet head filling the
» Ball peen hammer bevel holds the rivet in place.
a lop cutters
a Masking tape
Reticulation
This a process that uses heat to distort the surface of silver or gold sheet, by exploiting
the differences in melting points within an alloy. If a piece of sterling silver is repeatedly
annealed and pickled, a thin layer of fine silver is brought to the surface, which has a
higher melting point than the rest of the sheet. When the surface is heated to melting
point, the tension caused by the different temperatures within the piece and their
differing rates of contraction upon cooling causes an attractive rippling effect. Adding
scraps of fine silver can help to intensify the dramatic effects, because they will disrupt
the tension of the molten surface.

Granulation
Tiny balls, or granules, of silver or gold can be applied to a surface, either individually,
in groups, or as a field of texture. The granules can be held in position for soldering
between two wires, in depressions in sheet metal, or with organic gum, which burns
away when heated. The solder may be applied as paste, ground up with a file and
mixed with flux, or as pallions. It is also possible to fuse the granules to the base piece.
Fusing works better if the piece is copper-plated first, causing a eutectic reaction when
the metal is heated, which effectively lowers the melting point of the surfaces involved,
so that they fuse more quickly.

Patination
Patination is the process of coloring metal with chemicals, which artificially accelerate
OXIDIZED EARRINGS
the natural process of tarnishing. This can be carried out on metals such as silver, Oxidization has been applied to the silver
copper, and brass. Very few patinas will work on less reactive metals unless they surfaces of this pair of earrings by Daphne
are copper- or silver-plated first. Krinos, echoing the color and internal forms
Patination is very useful for adding contrast to textured surfaces, but it is of the tourmilated quartz cabochons on an
just a surface finish and will eventually wear away with use, so is better applied in exaggerated scale.
protected recesses.

*% Secure the wire for the rivet in protective nsert the rivet through the drilled holes in # Working on a steel block, hammer the flat
ws in a vise, with a small amount the sheets—you can achieve neater results end of the rivet until it forms a neat head
protruding. File the top of the wire flat with a if the pre-formed rivet head is placed on the and makes good contact with the sheet. Tap
needlefile, and then hammer the end of the front side of the piece. Cut the wire with top down any sharp edges of the rivet head. Check
wire to make it spread outward. Start in the cutters, leaving a small amount protruding, and the piece from the front—this rivet head will
center of the end and hammer out in a spiral file the end flat, protecting the metal with be flattened a bit, but may not need to be
to create a domed nail head. masking tape if necessary. hammered further.
78 TECHNIQUES DIRECTORY

Wax Carving and Casting

The lost wax casting process involves carving a form in jewelers’ wax,
which is then cast into an exact metal replica. Carving wax is muck
than working in metal, and the same high degree ot detail is possi

skill level

Lost Wax Casting

When compared to sand, clay, or cuttlefish casting, lost wax casting produces the most
accurate replicas of a wax form. A sprue (wax rod) is attached to the finished wax
model, and this, along with other waxes, is connected to a thicker wax rod—this forms
a “tree.” The tree is placed in a flask and a special type of plaster called “investment”
is poured into the flask. Once the investment has set, the flask is placed upside-down
in a kiln and the wax is melted out. With the flask still hot, molten metal is poured in,
often with the aid of a vacuum, and it fills up the void left by the wax, thereby creating
an exact metal replica of the wax form.
The main benefit of casting is that it allows forms—which would otherwise be very
time consuming to make—to be quickly realized. Complex forms and incised details
can be executed in wax far more easily than in metal, and when working with very
SCULPTURAL OPAL RING hard metals such as platinum, white gold, and palladium it is often preferable to have
Wax carving can be used to create large an item cast in one piece, rather than several elements soldered together. Another
sculptural forms in metal, which would advantage is the smaller amount of scrap metal produced in comparison to fabrication
otherwise be difficult to fabricate. Ornella
which, for expensive metals like higher-karat golds and platinum, can make a great deal
lanuzzi made this ring specifically for this
particular stone, displaying two polished of difference.
sides of the opal to their best advantage.

CARVING A RING FROM WAX

Jewelers’ wax has been formulated to
give the best results for both carving
and burn-out during lost-wax casting.
Incredibly intricate forms can be created
using this technique.

TOOLKIT
= Jewelers’ wax ring tube
a Wax ring stick
= Permanent marker pen
a Wax files
s Ball burr It is a good idea to have a design ready Mark the design around the outer
before starting to carve. You can make the circumference of the ring and carve to the
= Wax needlefiles
design from modeling clay for reference. Start line. Very thin areas will be weak, so leave
a Wax carving tools with a slice from a wax ring tube of a suitable them slightly thicker than required to prevent
= Steel wool thickness for the design. Use a wax ring stick breakage. Use a ball burr to create a seat for a
to open up the hole in the ring tube to the stone, carving to the depth of the widest part
= Flexshaft motor
correct ring size before marking the outline of the burr.
of the design on the wax with a permanent
marker pen. Carve down to this line with a
Wax file.
 WAX CARVING AND CASTING 79

GOLD STATEMENT RING

Paul W. Leathers carved the form for
the shank of this statement ring in
wax before casting it into 18-kt
yellow gold. He then soldered the
mount for the stone into place.

Carving Wax
SPECIFIC GRAVITY VALUES OF
A three-dimensional model of the design to be carved can be made from modeling
METAL ALLOYS USED IN CASTING
clay for reference. Wax is commonly carved using the subtractive method: wax files
and carving tools are used to remove areas of wax until the desired form is achieved. Metal Specific
Pieces of wax can be fused together using a heated blade or heat-pen—both surfaces gravity*
must be made to melt otherwise the join will be weak. This technique can also be used Bronze 8.8
to sculpt the wax, or to add small areas to increase the volume of the form, as well as
Sterling silver 10.4
to repair breaks. Once the basic form has been produced, wire wool can be used to
Palladium ili]
refine the surface and remove scratches. Fine tools can then be used to add detail.
It is always a good idea to check the weight of the wax before having it cast—you 18-k yellow gold (5.5
do not want the piece to be too heavy—or too expensive! Try to reduce the weight 18-k white gold 16.2
by thinning or hollowing out the piece wherever possible. You can check the thickness Platinum 20.6
of the wax by holding it in front of a light source; if the wax appears white and * Figures may vary depending on the
translucent it is probably thin enough. Wax has a specific gravity which is close to 1; exact composition of the alloy.
multiplying the weight of the wax by the specific gravity of the metal in which it will
be cast gives a reasonable estimate of the weight of the final metal article. Once the
Wax weight x specific gravity of metal
form has been cleaned up and the weight checked, it can be taken to a professional = weight of final object
caster (see page 28).
For example:
The casting will be returned to you with a remnant of the sprue still attached, and
0.45 g (wax) x 15.5 (18-kt yellow
you will need to file this away, taking care to retain the original form. You can then
gold) = 7g
clean the piece up with further filing if needed, then use emery or wet-and-dry paper
to refine the surfaces, before polishing (see page 72).

“ Carve the final shape of the ring using wax #; Clean up the form with steel wool—use a =f possible, to reduce its weight, hollow
va) needlefiles and carving tools. Round off “rough grade to remove file marks quickly, 7 out the ring using a small ball burr in a
the form, and carve the details—incised followed by a finer grade to polish the surfaces tlexshaft motor. Regularly check the thickness
patterns, drilled holes, or recesses. and refine the details of the design. of the wax by holding it up to a light; areas
that appear pale are thinner. Check the weight
and hollow out further if necessary, before
having the ring cast.
80 TECHNIQUES DIRECTORY

Computer-aided Design and Manutacture

CAD/CAM is used to construct virtual two- or three-dimensional designs
that can be rendered as photo-quality images, or exported for use in a
number of processes, including rapid prototyping and laser cutting.
Jack Meyer explains how.

What is CAD/CAM?
CAD/CAM stands for computer-aided design and computer-assisted manufacturing.
CAD itself is a catch-all term used to refer to any software that allows you to visualize
two- or three-dimensional design using a computer, while the term CAM refers to any
machine that can create a physical object from a CAD design.

Different Types of CAD

CAD itself is a very broad subject. Dozens of software packages are available, each
designed for a particular task or for use in a specific area of product design. While there
may be some generic CAD design tools, each specialty of product design has specific
tools that help their designers work more productively (see list at right).
All CAD software tools are based on a real-world analog. There are two-dimensional
design tools that can emulate a painter's brush, two-dimensional vector drawing tools
that work like a technical draftsperson’s drawing table, three-dimensional design
tools that can build objects with architectural precision, and there are other three-
dimensional design tools that enable users to sculpt surfaces as if they were clay.

Designing Jewelry Using CAD

The design process for CAD is similar to wax carving. As with wax carving, you will
start with a drawing done by hand; however, instead of tracing it or pasting a copy
onto the surface of a wax block, you scan the image and import it into your chosen
CAD software application. From there, you build up the shape of your piece based
on the chosen measurements.
While there are many similarities between the working process of building
objects in CAD and building the object with hand tools, there are some important
differences—in CAD, measurements and tolerances are more important. Since a
computer will give you exactly what you ask for, you must be more specific than
you would be when working by hand. In addition, knowing how big the intended
dimensions of an object will be in the real world will help you keep your sense of
proportion and scale when working with a CAD model.
Unlike carving by hand, anything you make on a computer screen can be remade or
changed relatively quickly. Since the object hasn't yet been physically made, the only
thing lost if you make a mistake is time.

DIGITAL REALISM
With the help of rendering software like
\V-Ray we can take CAD models and make
them look like real objects.
RAPID PROTOTYPING
Rapid prototyping (RP) is a form of CAM that produces parts that closely
match the models you see on the CAD program. Examples of RP include
the Solidscape T-66 3D printer (above) and the REVO CNC mill (above right).

CAD SOFTWARE PACKAGES

As of this printing, there are several Three-dimensional precision

CAD design software packages being design tools:
used for computer-based jewelry design. 3Design
Many other programs can be used DelCAM PowerShape
for product design, but the following are Gemvision Matrix
the ones most likely to be seen in jewelry Firestorm CAD
manufacturing. Screenshots from a variety JewelCAD
of software programs are also shown. Monarch CAD
Rhino (with either the RhinoGold or
Two-dimensional design tools (based RhinoJewel plug-ins)
on pixel graphics):
Adobe Photoshop
Corel Paint
Gemvision Design Studio

Two-dimensional vector drawing tools

(based on vector graphics):
Adobe Illustrator
Corel Draw
Inkscape
TypeEdit A Gemvision Matrix A Rhino (with RhinoJewel and RhinoArt) %

Three-dimensional sculptural
design tools:
ArtCAM Jewelsmith
Claytools
Mudbox
Zbrush 4 Claytools (using a
Haptic Pen)
(3Design and Matrix also have
built-in tools for handling some
aspects of sculpture)

4 Zbrush
:¥) PEGhNiOUES DIRECTORY

MAKING A RING USING DIFFERENT TYPES OF CAD

skill level
. fe
©

METHOD 1: USING THREE-DIMENSIONAL SURFACE-

MODELING CAD SOFTWARE
5 ee
e
“2
atone erspective
The following is an example of one way to build a basic ring
design using three-dimensional surface-modeling CAD software,
such as Rhino, Matrix, or JewelCAD.

Start with a ring circle, measured in terms

of inner diameter. This will be made in
the front viewport. Some software will have a
tool to automatically generate this. This circle
will be referred to as the “ring rail” for the
rest of this exercise.

Lay out a profile curve to build Front i

the stone shape. “Revolve”
the profile curve along an axis
parallel to the profile curve itself
to create a basic round stone. eae

(Given its central placement,

ohanea
Mew
this axis will likely be the Z-axis.)

Note Some software will have a

tool to automatically generate
stones. The stone will be placed
at the top of the ring, above the
finger hole. The stone should be
at least Yea in (0.5 mm) above the
finger hole to allow for clean-up garxenas
when the ring is made. Top ie > Perspective BE
 aaox HOnM+ SSS SSB
SS ae
=2? 6VOO0CS@ 1HR0
au i Perspective

YOU will build this ring style using a basic form of

exw’ the “Sweep” command. This will require cross-
sections that will define the shape, and a “rail” along
which the cross-sections will pass, generating the
shape as it morphs between each cross-section.
Place the first cross-section along the ring rail,
sitting at the bottom of the rail, and sitting
perpendicular to the rail itself. This cross-section will
be built up as a series of simple curves and joined
together into a closed shape when finished.
Once the shape is made, adjust its size with a
“Scale” command, and adjust its position with a
“Rotate” command used in the same viewport as
the ring rail.

#= Once the cross-sections are

Place additional cross-sections along the ring in place, “Sweep” the ring.
rail, and “Scale” and “Rotate” each one into Use the ring rail as your rail, and
place. The goal is to have one cross-section at about select the cross-sections in order,
6 o'clock along the ring rail, and the other two cross- working around the ring. This will
sections just in line with the outer edge of the girdle be made as an open sweep to
of the gemstone at the top of the ring. allow for the stone.

y the rub-over setting, use

£ another “Revolve” command,
Depending on the software, but this time, make a curved profile
nce the shape has been shape for the setting itself. Once it
swept, make sure the ends are has been made, revolve it around
closed. To close the ends, use the the same axis as you used for the
“Cap” command (or similar). stone. Note that some software
will have a tool for automatically
generating one of these based on
your specifications.

Continued over
 84 TECHNIQUES DIRECTORY

IOXOO-a rv PS peshe =9 690008 185,08 Seve 4 9? AVOOOSG IEW

Perspective :

Now that the setting (or bezel) and the ring (or 2 Once the ring has been cut to accommodate the
shank) have been made, you must make a cut ¥ setting, you can now cut the bottom of the bezel
into the shank to accommodate the bezel. This can to better fit the finger hole. Do this by “Extruding”
be done with a “Boolean Difference” command. Use the finger hole into a straight cylinder, and using
“Boolean Difference” to subtract the bezel from the “Boolean Difference” to subtract this cylinder from

shank. (Using a semitransparent “Ghosted View” the bezel.

mode on the viewport can help you see what
you're doing.)
Your ring design is now ready to show
the client, render into a photorealistic
image, or export to a rapid prototyping
machine for production.

USING PARAMETRIC SOLID CAD SOFTWARE

Parametric solid CAD modeling works in much

the same way as surface modeling, with a
few small differences. The tools produce solid
shapes that are then refined and reshaped
to fit the finished design. Also, rather than
building up an object in a three-dimensional
grid space, you're building one object based
on another.

MAKING CHANGES
With parametric solid CAD,
every shape you make can be
changed later, just as the center
stone is being changed in the
images at right.
 COMPUTER-AIDED DESIGN AND MANUFACTURE 85

skill level

METHOD 2: USING SCULPTURAL Start with a basic shape.

This can either be a shape
MESH CAD SOFTWARE
imported from another CAD
program, or a primitive shape
such as a sphere or cube. With
The following is an example of one way
this type of design software, the
to build a basic ring design using three-
mesh quality (or resolution) of the
dimensional surface modeling CAD
surface makes a big difference
software (such as Claytools, ArtCAM
to your ability to make a clean
Jewelsmith, Mudbox, or Zbrush).
shape. Start off at a rougher
resolution and work your way
up as you add more details.

Point Clay

As reference to work from, “} Using the various carving As you work, switch over to © Work your way down to
you can do one of two things and pulling tools, manipulate a blending tool (see above) to smaller and smaller tools
Either you can “Import” a jpeg the surface in sections. Start by soften the edges every so often to refine the piece.
image of the item you wish using larger tools to roughly to give you a smoother shape
to model into the program, shape the surface.
sizing it as closely to its real-life
proportions as you can. Or
alternatively, you can work directly
from an image or drawing in
front of you.

Use a texturing tool, such as “Emboss,” to apply Once you've reached a sufficient quality of detail, THE FINISHED MODEL
textures and patterns to the surface, adjusting export the piece back to a product-design CAD A render of the finished model (design
the angle and size as needed to make the texture program to verify dimensions and tolerances. courtesy Roux Fine Jewellery Ltd).
“Tile” properly.
86 TECHNIQUES DIRECTORY

Rub-over Settings
Metal is “rubbed over” or around the edge of a stone in this style of
setting. Although this technique is commonly used to secure cabochon
stones, it can be just as suitable for faceted or other cuts of stone.
aie (alle biretake: ecw) soe: si ele @ 6.6516 1.6)'e.8. 6 bs 6) Lb eee) 6. 67.0) 6 8) 6 0S 8) SOG) C6 6 Oe Oe. 6.8) 6 8G Ore B81 Owe. oe 8.6 Bnee 8

There are many variations on the basic requirements for a rub-over setting, from closed-
back bezels made from constructed walls that enable a great variation of designs to be
made, to tube settings that are simple and quick. Flush setting utilizes drilled holes in a
form to hold the stones and provides a sleeker, cleaner solution for setting small faceted
stones than other methods. Bezels with corners and channel settings are more technically
challenging but offer many more design options for including stones within a piece.

BASIC BEZEL SETTING TUBE SETTING

(see page 83) skill level (see page 92) skill level O

This 14-kt reticulated gold ring by Irena Maria Varey The focal point of “Kissing Stones Pendant” by Alex
features a large bezel-set tourmaline cabochon, and Clamp is the two brilliant-cut stones set culet to culet
a small tube-set diamond. The polished inside of the centrally within the piece. The rub-over settings that
closed-back bezel creates subtle internal reflections hold these stones are in turn held in position by three
within the tourmaline. Variations on the basic bezel cup double-ended tube settings containing smaller stones
include piercing out the back to leave a ledge for the of contrasting colors. Tube settings are incredibly
stone to rest on, making an internal ledge so that the useful for adding stones to structural elements of a
stone sits higher, and creating a decorative or scalloped piece, forming visual punctuation.
edge around the top of the bezel.
 ae

y/o
(CCT Ms

auch

DOME SETTING BEZELS WITH CORNERS

(see page 94) skill level (see page 100) skill level

Dome setting involves a different This aquamarine pendant by David

approach to the fabrication of the Fowkes uses a bezel setting to
bezel, because it is often formed fit the contours of the stone—the
from a single piece of metal that irregular angles of the stone have
is Shaped into a dome and does been matched perfectly. The
not have a solder seam. The dome mount is constructed from 18-kt
setting on this silver ring set with yellow gold, which is quite a hard
an onyx bullet-shaped cabochon, metal, so the bezel was made thin
by Sian Hughes, is made from a enough for the stone to be set
cast form. The metal is compressed without damaging it. The bezel is
around the stone in the same way open-backed to allow light to pass
as in a bezel setting. through the stone.

FLUSH SETTING
(see page 102) skill level

The central band of this silver ring

by Jeanette Buer is flush set with
cubic zirconia, and flanked on
each side by a row of grain-set
brilliants. Flush setting is ideal for
rings because the result is very
CHANNEL SETTING
comfortable to wear, with no
(see page 104) skill level raised areas to catch on clothing.
Vintage emeralds have been channel
set in this stainless steel ring by
Kara Daniel. Recycled gold has been
applied to the steel and set over the
edges of the emeralds. Channel-set
stones are often used to form a
continuous line or area of square or
baguette-cut stones. The stones sit
girdle to girdle in the channel and
no metal is visible between them.
88 TECHNIQUES DIRECTORY #* RUB-OVER SETTINGS

Basic Bezel Setting

Rub-over settings provide a simple solution for securing gemstones with a
band of compressed metal. While a basic procedure must be followed for
each type of rub-over setting, the scope for variation is immense, making
this a very versatile technique.

skill level

Choosing Stones
This method is traditionally used for setting cabochon stones, utilizing the curve
of the stone itself to make the setting work. Cheap cabochon stones are readily
available—lower-grade gem material is often used for cabochons, so stones like
rubies and sapphires may seem relatively inexpensive. It is also possible to source
higher-quality stones.

Metals
Softer metals are often used to make setting the stone easier. Fine silver and gold
can be burnished around a stone far more easily than their alloys, with little reduction
in the strength of the finished setting. Using less force or pressure to set a stone
significantly reduces the risk of damaging softer stones, such as turquoise or amber.
SATELLITE RING
22-kt gold bezels have been used to set the Construction Details
Andean and fire opals in this ring by Tanja The first step is to work out how long the strip of metal for the bezel needs to be.
Ufer. The bezels have been soldered to the
For a round stone, add the metal thickness to the diameter of the stone and multiply
sides of a thick sterling silver ring shank which
has been covered on one side with fused fine by 3.14 (m)—this will give the length of the strip required for that particular stone.
gold foil.

MAKING A BEZEL FOR A CABOCHON

Bezels for cabochons need to be made
exactly the right size for the stone to be
placed in from above.

TOOLKIT
« Strip of fine silver for bezel
= Jeweler’s saw
a Files # Having calculated the length of the strip of ™— Prepare the piece for soldering—flux the
= Soldering equipment © fine silver required for the bezel, mark the @= join and place a pallion of hard solder on
measurement on the metal and pierce to the top, so that it touches both sides of the join.
a Pickle
right of the mark to remove the excess metal. Heat the bezel until the solder melts and runs
= Oval triblet File both ends of the strip flat before bending along the seam, then pickle and dry the piece.
« Mallet the ends to meet. Pierce through the join so
that the ends match up perfectly.
= Abrasives
 BASIC BEZEL SETTING 89

QUARTZ RING
This sterling silver ring by
Catherine Thomas holds a
bezel-set quartz cabochon
with inclusions. The stone
Cut and file the ends of the strip of metal which, if fine silver, is transparent enough to
should be between 20- and 26-gauge (0.4 and 0.8 mm thick), show a fused gold textured
depending on the size of the stone. The height of the strip surface protected beneath
will depend on the degree of curvature of the cabochon; some the stone.
stones are very shallow and curve away from the base acutely,
while others are taller and do not curve as quickly, see diagram
CROSS-SECTION
on page 91. Ultimately, the height depends on the curvature of
the cabochon stone; if the wall is too high then it will cover too
much of the stone once set and if it is too low then it is likely
the stone will eventually become ioose. A millimeter or two
above the start of the curve of the stone is sufficient to be able Cabochon in Walls are pushed Walls after
bezel cup flush with stone burnishing
to secure it.
Bend the metal strip so that the ends meet neatly, with no
light visible through the join, and solder closed with hard silver
solder. Once pickled, the piece can be trued on a triblet, taking FROM ABOVE
=
care not to hit too hard with the mallet because this can stretch
it. Test the size of the bezel by dropping the stone in from
above—it should be a snug fit, but not too tight or too loose.
Bezels that are too tight can be stretched on the triblet until
they are the right size, but oversized bezels will need to
be cut shorter and re-soldered. When the bezel size is correct,
test the stone from both sides just to make sure it fits, then rub 4
one side of the bezel flat with emery paper and solder it onto a
2
base sheet. Do not be tempted to try to put the stone in at this
Bezel pushed in Then at northwest, Any remaining
stage because it may be very difficult to get out again! at north, south, southwest, gaps closed
east, west northeast,
southeast

oe rue the bezel on an oval triblet, making Use a sheet of emery paper on a flat Once pickled and dried, pierce the excess
ed Sure the solder join is on a long side. The surface to true the top and bottom edges ‘base sheet away from the bezel. Use a file
stone should slip snugly into the bezel from of the bezel until they are perfectly flat; work to remove the ledge of remaining metal—the
above, and from both sides. If the bezel is too in a figure-eight motion. Solder the bezel to a bezel and base should look as if they are one
tight it can be stretched gradually on the base sheet with medium solder placed around piece of metal. Clean up the mount with
triplet, but if it is too big then it must be cut the outside. emery sticks before soldering it to a bail or
and re-soldered. other fitting.

Continued over
90 TECHNIQUES DIRECTORY #* RUB-OVER SETTINGS

The excess sheet from around the bezel can be pierced off, filed true, and
rubbed with emery paper before the mount is combined with a ring shank
or fittings to make it into a piece of jewelry. The base of the mount can be
pierced out, leaving a ledge if it suits the design and the back of the cabochon
is polished—which is not always the case. At this stage, check the height of
the bezel by holding the stone up to it, and filing it down if it is too high—
take care to keep the top edge parallel with the base. Before setting the
stone, all soldering needs to be completed and the piece polished, including
the inside of the setting if the stone is not fully opaque.
Secure the piece in setter’s wax, a ring clamp, or against piece of wood—
choose the method most appropriate for the type of piece being made.
Position the stone in place using a wax-stick, which will help to keep it level
as it goes in and ensure that it is sitting on the base of the mount. Using a
flat-ended pusher side-on to the bezel wall, push in at “north,” “south,”
“east,” and “west.” Use a firm forward thrust, a gentle rocking action may
DIAMOND RING
The lost wax casting process was used to create this be applied, but do not rub the bezel with the pusher. The bezel will flatten
22-kt gold ring by Leo Pieroni, which holds an uncut 7-ct against the stone where it has been pushed. Continue working at opposite
diamond crystal. The soft gold is easily rubbed over the points—this is so that the metal compresses evenly around the stone—pushing
mou
stone to secure it. in at “northeast,” “southwest,” “northwest,” and “southeast.” Then use the
pusher to close any remaining gaps. Repeat the process, but this time with
a the pusher at a higher angle, so that the bezel begins to follow the curve of
CALCULATING THE LENGTH OF A BEZEL the stone. Continue until the top edge of the bezel is fully flush around the
diminished circumference of stone.
To find the bezel length for a round stone: Use a burnisher to further compress the edge of the bezel around the
diameter of stone+ metal thickness x 3.14 stone—the piece may need to be removed from the clamp or wax to make
To find the bezel length for an oval stone: this possible. The inside edge of the bezel can be burnished, just where it
(stone length + width) + metal thickness x 3.14 meets the stone but take care not to slip. Any irregularities in the bezel surface
2 caused during setting can be carefully removed with a fine emery stick, before
For example: the piece is given a final polish with rouge, taking care not to touch the stone,
(16.2 mm + 12.2 mm) + 0.7 mm x 3.14 = 46.8 mm or cause the piece to become too hot through prolonged polishing.
2

SETTING AN OVAL
CABOCHON PENDANT
Methodically compressing the fine
silver bezel is key to a secure and even
setting, ensuring that the metal is evenly
compressed around the stone and then
burnished level.

TOOLKIT
2 soe for setting ™ Check the height of the bezel against the 7° the inside of the setting before
« Flat file curve of the stone—if the bezel is too tall £ inserting the stone. Secure the piece in
» Emery paper and scraper it will cover too much of the stone once itIS setter’s wax or use a Custom-made jig to
SAAR Ape EE rubbed over. Remove any excess height with support the piece during setting. Use a flat-
2 g a flat file, taking care to keep the top edge ended pusher at a low angle to firmly push
a Flat-ended pusher parallel to the base. Use emery paper to the bezel against the stone at “north,”
» Emery stick and leather smooth
a the edge, and remove
; any burrs from “south,” “east,” and “west.”
the inside of the bezel with a scraper.
» Burnisher
 BASIC-BEZEL SETININGs 98

STYLES OF SETTING

Height of stone Open-back bezel Filed edges

increased by step setting scalloped
inside bezel cup

BEZEL HEIGHT IN RELATION TO STONE SHAPE/CURVATURE

Bezel is too short Bezel is too tall Correct bezel

and will not and will cover too height
hold stone much of stone

SKETCH OF THE DESERT Tips

Two large agate cabochons have
been used as the main feature of Transparent stones
this pendant by Aleksandra Vali, in closed settings will
chosen for their evocative patterns show water-staining
and set in silver bezels. from everyday wear.
The insides of settings can
be oxidized to alter the
appearance of a stone.

€ Continue setting the stone, working across The tip of the burnisher can be run
@#opposite sides until all gaps are closed. m= pusher using an emery stick. Place a piece around the inside edge of the bezel
Then repeat the process with the pusher at of leather over the bench pin to prevent to highlight it, but do take care not to scratch
a higher angle so that the top of the bezel is scuffing and use a burnisher to rub over the the stone. You can now give the piece its
compressed around the stone. Check carefully very the top edge of the bezel so that it feels final polish, but do not allow it to get hot,
that there are no gaps between the edge of smooth against the stone. particularly in the case of sensitive stones.
the bezel and the stone.
92 TECHNIQUES DIRECTORY ¢ RUB-OVER SETTINGS

Tube Setting
ovide the quickest method tor
el settings. For round stones this
to constructing
HONGO SEU lana a beze
bezel kbecause
cause CREATION® FENDANT.
yl de sean A Canadian diamond is tube-set in silver and set into a
ert a carved sphere of lava in this pendant by Ko Park

skill level
STYLES OF TUBE SETTING

Double-ended
Choosing Stones
If faceted, round gemstones are the most suitable for this technique. Cabochons can be
round or oval if the tube will be used in place of a simple constructed bezel. Due to the
choice of metals, this method of setting is not suitable for very soft stones.

Metals
Store-bought tube is usually only available in the most commonly used metal alloys—
Smaller tube sterling silver and the standard karats of gold. Some sizes of tube are available with
ae thicker walls than standard tube. The advantage of using prefabricated tube is that it
does not have a solder seam, which eliminates the potential for harder or weaker areas
if there was too much or too little solder on the join. Although prefabricated tube has a
higher fashion charge (price per gram) than sheet metal, the time saved in making the
setting often justifies the extra cost.

A
ET =
ioside tube to
support cabochon
Construction Details
Te ’ ;
ubing used to make bezels for cabochons needs to be of a large enough diameter
for the stone to fit inside the tube. If the tube is too small, sections of cut tube can be

MOUNTING FACETED STONES IN

TUBE SETTINGS
Tube settings are reasonably simple, but
the ball burr used to make the seat for the
stone must be the correct size, as must the
tube itself, otherwise the wall will end up
too thin, or too thick to easily rub over.

TOOLKIT
a Tubing
= Chenier vise
a» Ring shank
7 poecing equipment First, cut sections of tubing to make the Secure the ring in a ring clamp, and use a
» Ring clamp settings from. The inside diameter of the » ball burr the same diameter as the stone
«= Ball burr and flexshaft motor tube needs to be slightly smaller than that of to burr down to the mid-point of the burr. A
Bein foreetnd the
| stone, and the height
g of the tube must flexshaf
exshaft motor can be used to speed up the
. allow for the stone's culet once the stone has burring, but once the mid-point of the burr is
a Wax stick been seated. Use a chenier vise to file the ends reached further burring should be done with
= Flat-ended pusher and burnisher of the tubes perfectly flat. Solder the tubes into the burr in a pin vise to avoid going too deep.
eee ; osition on the ring.
a» Polishing materials g
SPINNING BANGLE
This satin-finish silver bangle by Lilian Ginebra
has free moving double-ended tube settings,
which swivel when worn. The tubes are set
with faceted synthetic ruby, yellow topaz,
aquamarine and natural peridot.

annealed and stretched on a round or oval triblet, or a ball burr can be used to increase
CROSS-SECTION the internal diameter. The outside edge of the top of the bezel may need thinning with
a file to make setting easier. Small sections of tube can be cut using a chenier vise or
tubing block. The chenier vise allows the ends of the tube to be filed absolutely true.
Stone is same For faceted stones, choosing the correct size of tube for a particular stone requires
ee some planning. The inside and outside diameter of the tube in relation to the diameter
mid- n Fi
NS of the stone needs to be known. Ideally, after seating the stone, a 26-gauge (0.4 mm
thick) wall should remain; otherwise the setting will be weak. If the inside diameter of
the tube is too large and only a small amount of metal is burred out during seating
then there is the potential for the stone to slip down out of position during setting.
Stone's girdle The tube needs to be tall enough to allow the culet not to poke out underneath the
ree tube—burring out the seat will cause the stone to sit deeper in the setting than is
immediately obvious.
The seat for the stone can be burred out before or after the mount is soldered
onto a piece. If before, in theory, a small lathe can be used to aid perfectly central
burring, but often the burring will be done afterwards, because it can be more easily
IO held. A ball burr is used to remove enough metal for the stone's girdle to sit below the
Woli top edge of the tube, and if the stone sits level then it can be set with a flat-ended
y Stone is set ‘
pusher and burnisher.

“% Apply the stone to the seat with a wax fi Set the stones with a flat-ended pusher.
stick—once in position, the stone’s girdle #Secure the ring clamp in a vise so that both
should sit just below the top of the tube. If hands are free—use a small hammer to tap the
the stone sits too deeply, file away the top pusher, “chasing” the metal over the stone. i Burnish around the outside and inside
of the tube to the correct level. If the stone Work “north,” “south,” “east,” and “west” as ww edges of the tube settings before giving the
sits too high, continue burring until the previously described, until the stones are set. piece a final polish.
position is satisfactory.
94 TECHNIQUES DIRECTORY # RUB-OVER SETTINGS

Dome Setting
A dome setting is a closed type of setting with a pillow-
cr

shaped base, deep enough to enclose the lower part ol

a faceted or cabochon stone. The closed design of the
mount intensifies the color of pale stones.
skill level

Choosing Stones
This type of setting can be used for both cabochons and faceted stones. Because the
setting covers the girdle of the stone it is suitable for brittle or softer stones. The color
of pale stones can be intensified with a highly polished or foiled mount interior.

Metals
Fine metals and standard alloys can be used. If the rub-over portion of the setting is
integral rather than applied, fine metal can be used because it is softer. The curved
nature of the form means that it will be more robust than if it were flat sheet, so it is
suitable for use with softer or thinner metals with no loss of structural strength. For
harder stones, use harder metal alloys. DOME-SET CABOCHON EARRINGS
On these earrings by Sian Hughes, cast silver
Construction Details caps hold bullet-shaped garnet cabochons.
Oxidized silver and gold components contrast
True domed settings are restricted to round or oval stones. A perfect brilliant-cut stone
well with the color of the stones, and the
should fit into a perfect hemisphere with no problems, but not all stones will be of earrings are articulated to give the pieces
perfect proportions, so you may need to make adjustments to the height of the dome. movement when worn.

DOME SETTING
Before beginning the doming process,
anneal the metal to make it more
malleable. This prevents the metal splitting
or breaking when it is being worked.

TOOLKIT
= Sheet metal
= Jeweler’s saw
= Dapping block and punches
=» 8mm cabochon
a» Soldering equipment
a Jump ring
s Ring shank
% Using the formula on page 198, calculate
# Ring clamp # the size of disk needed for the diameter of clear ledge around it—this is the portion of
a Flat-ended pusher the stone being used. A slightly smaller disk the dome that will be rubbed over. If the stone
can be used if a shallower dome is required. sits too high, make the dome one size bigger
« Burnisher
Pierce out the disk and anneal it before in the dapping block; if the stone sits too low
dapping in a dapping block. then continue dapping it smaller until it is the
correct size,
 DOME SETTING
A blue lace agate cabochon was set
into a fine silver dome to make this
ring, which was given a matte finish.

The depth of the dome must be enough to accommodate

the pavilion of the stone, and account for the burring in as
well—the stone will drop a little lower in the setting once it has
been seated. There also needs to be enough metal above the
girdle to rub over. Because the seat for the stone is being burred
out, slightly thicker gauge sheet should be used—at least
20-gauge (0.8 mm) for gold, and 19-gauge (0.9 mm) for silver. —
Calculate the size of disk needed for the stone, and pierce
STYLES OF SETTING
it out from sheet metal. Dome the disk in a dapping block,
starting in a large size and gradually working down to smaller
sizes, until the diameter of the inner edge of the dome is the Bezel wall soldered on Drilled hole in base to
same diameter as the stone—it should not quite fit inside. The Hirnvot ore accommodate cult
top edge of the dome can be opened up with a larger dapping
punch if necessary. Emery the edges of the dome so that there
is a perfectly flat surface and, as for tapered bezel setting (see
page 96), the girdle should sit midway across the edge. Solder
the mount to the rest of the piece. Secure the piece and use a
ball burr of the same diameter as the stone to make the seat—
: ae : Seated stone—culet
the girdle should sit just below the edge of the dome with must not touch inside
enough metal left above to set it. Bose Ot ie
Variations
For cabochons and faceted shapes other than round, where
burring a seat would be problematic, you can solder an inner
metal rim in place to keep the stone level.
You can increase the height of the dome by soldering a bezel
onto it; this could be of a different color metal, or slightly bigger Bea len catia Mice
than the rim of the dome, which would leave a seat for the around dome inside dome
stone to rest on (see diagram at right).

Solder a flattened jump ring inside the Support the piece in a ring clamp and set # Use a burnisher to rub the edge of the
dome to support the stone—the jump ring the stone, working “north,” “south,” 2 bezel flush against the stone; this will also
should allow the stone to sit at the correct “east,” and “west” first, with the flat-ended polish the rim of the dome.
depth and prevent it from moving when being pusher perpendicular to the ring shank.
set. Solder the dome onto a ring shank and Continue setting until the bezel is neatly
clean up the piece. pushed around the stone.
 TECHNIQUES DIRECTORY # RUB-OVER SETTINGS

Tapered Bezel Setting

A popular choice for contemporary settings, tapered bezels provide very
secure and protective mounts, with a conical shape that echoes the protile
of the stone.

skill level

Choosing Stones
Because it protects the girdle of the stone, this type of setting is suitable for brittle
stones that may be prone to chipping. However, very soft stones are less suitable
because fine metals should not be used to make this type of mount.
Faceted round and oval stones are the most simple to make tapered bezels for.
Other shapes of stone can be used, but the construction of the bezel is more difficult.

Metals
Due to the degree of Bg construction required, standard alloys of silver, gold, platinum,
and palladium are the most suitable for this setting. The sheet metal used to make the
bezel needs to be at least 20-gauge (0.8 mm) to allow for burring.
Cast precious metal tapered bezels can be bought in standard shapes and sizes.
These are a good alternative to handmade ones because they will save time and reduce
the amount of metal wasted as scrap. This is particularly important when working with
SWEETIE RINGS
Tapered bezels have been used to hold stones
gold and platinum, because they are so expensive.
of contrasting colors in this set of stacking
rings by Francis Levis. The satin finish on the Construction Details
silver contrasts with the sparkle of the citrine, It is important to start with an accurate template when fabricating a tapered bezel,
peridot, and iolite faceted brilliants. otherwise it will not have the correct proportions for the stone being used. Formulas for

FORMING A TAPERED BEZEL FOR A

FACETED STONE
Calculating the correct size of a tapered
bezel for a stone is not easy; mark out the
template accurately and do a test run in
base metal first so that if the bezel is too
tall or short, the template can be adjusted
before starting on the final piece.

TOOLKIT
a Tracing paper and pencil
« Double-sided tape or glue
a 22-gauge (0.6 mm) silver sheet “, Measure the stone and calculate the Use double-sided tape or glue to stick the
a Jeweler’s saw ~ template for the tapered bezel using the emplate to a piece of 22-gauge (0.6-mm)
formula described on page 198. Carefully copy silver sheet, and pierce around the outline with
a File
the outline created with tracing paper. Keep a a jeweler’s saw. File the flat ends true.
s Round or half-round pliers copy of the template in case adjustments need
= Soldering equipment and pickle to be made to the size.
= Bezel block and punch, mallet
 TAPERED BEZEL SETTING 97

CROSS-SECTION

GOLD GARNET RING

A checkerboard-cut oval Stone is same
garnet has been set in a diameter as
mid-point of
handmade tapered bezel
tapered
in this ring by Marianne bezel wall
Anderson. The detailed
surface texture of the gold
shank contrasts with the
geometric cut of the stone.

Ball burr cuts the seat

calculating the dimensions of tapered bezels can be found on page 198. Pierce out
the template from sheet metal, file the flat ends, and use a pair of half-round pliers to
curve the sheet—the shorter curve should be topmost in the pliers, to follow the taper
of the jaws—and make the ends meet. Cut through the seam with a jeweler’s saw,
close with the pliers again, and hard solder the seam. File and emery the bezel both
inside and out.
Stone's girdle sits
Tapered bezels made from tube have the advantage of no solder seam. Choose a just below top of
diameter of tube a little smaller than the diameter of the stone; the annealed tube will tapered bezel

shrink at its base and stretch at its top edge when hammered with a mallet into the
bezel block. If the tube protrudes above the surface of the bezel block, it can be
compressed into the block by tightening in a vise.
Bezel blocks are used for truing tapered bezels and they determine the angle of the
walls of the bezel. They are available with 28 or 17 degrees angles—17 degrees will
produce a narrower profile than 28. Place the bezel into the smallest hole in the block
Set stone
that it will fit into completely, and use a mallet to tap the punch inside.
Rub the top end of the bezel with emery paper until it is level, and check its size
against the stone. The outer edge of the girdle should sit halfway across the width of
the bezel wall—if the stone sits inside the bezel, further sanding down is needed. At
this stage the bottom of the bezel can be leveled as well. Remember that the stone

i )Anneal the silver and bend it into a cone Pickle the bezel, and remove any excess File the top and bottom of the bezel so that
wx Shape with round or half-round pliers—the “solder on the outside of the bezel with wt’ they are in alignment with the walls of the
narrow end of the cone should be at the top of a file. True the bezel by placing it in a bezel cone. If the stone sits very deeply inside the
the pliers. Make the flat ends meet, ensuring block and tapping the bezel punch with a bezel then enough metal needs to be removed
there is a good join before using hard solder to mallet. This corrects the angle of the walls of so that the stone sits on the top edge of the
solder the join. the cone, but may distort the top and bottom bezel. If the bezel is too small, stretch it with
out of alignment. the bezel punch.

Continued over
98 TECHNIQUES DIRECTORY * RUB-OVER SETTINGS

will sit a little lower in the bezel once it has been seated, so do not
remove so much metal that the culet will protrude from the bottom.
Lightly clean up the outer surface of the bezel with emery sticks
before soldering it into position on the piece of jewelry.
Use a ball burr of exactly the same diameter as the stone to carve
out the seat. Enough metal needs to be removed so that the girdle
of the stone sits just below the ton of the bezel and is level—any
slight angle of the stone will cause problems when setting. Check
this using a loupe under a bright light. If the stone will not seat,
don't be tempted to continue burring past the mid-point of the
ball burr; it will not cut any wider than its maximum diameter.
If the stone and the burr measure exactly the same size to within
0.1 millimeter, then only a very small amount of metal is preventing
the stone from being seated. Angle the burr 45 degrees from the
vertical, at “north,” “south,” “east,” and “west” while turning—the
burr is not perfectly round and this will remove a little more metal. If
this does not open the mount enough, then you will need a slightly
larger burr. The risk of doing this is that distortion occurring around
the bezel as it is set over the stone allows the stone to drop down
much further than intended, and probably at an angle. If the stone RIBBON RING
sits at an angle, metal can be removed from the higher side of the This organic ring by Joanne Gowan is made
seat with a spitstick, taking care not to damage the rim of the bezel. from 18-kt yellow gold and platinum. The
Don't forget to polish the inside of the bezel before setting the diamond is-set inta' tapered! Dezel winicn’ ids
; had portions filed away, exposing a greater
stone. Set the stone using a flat-ended pusher, working at the points Aros ai neon.
of the compass as previously described, and burnish it before giving
the piece a final polish.

SETTING A FACETED STONE IN A

TAPERED BEZEL
Ensure that the bezel is at exactly the right
height before starting to seat the stone;
the stone should sit on the top edge
exactly halfway across the rim.

TOOLKIT
= Bezel (see page 96) and ring shank
a Binding wire
; ; Fit the bezel to a ring shank by filing it. ®Clean up the piece and remove any file
= Soldering equipment “Good contact ensures a strong solder join, £ marks with ee finer fei of
= Pickle but check from every angle that the bezel is emery paper, and polish the inside of the bezel.
= Emery paper and polishing materials Straight in relation to the shank once the two Check that the top of the bezel is the correct
ene parts are held together with binding wire. size for the stone, which should sit halfway
: Once soldered, remove the binding wire, and across the top edge. Use a ball burr the same
= File and emery stick pickle and dry the ring. diameter as the stone to create a seat for
= Flat-ended pusher the stone.
 TAPERED BEZEL SETTING 99

TAPERED BEZEL DESIGNS

DANTE’S HELL RING

White and yellow gold have been used to
create this ring by Elizaveta Gnatchenko.
Moonstone and ruby cabochons have been
set back to back in double sided bezels to
form spheres.

Culet must not

protrude through
base of tapered bezel

Tapered bezel on Tapered bezel in

ring shank ring shank

ANGLES OF TAPERED BEZELS

17% « 28%

»Continue burring until the mid-point of the Thin the outer edge of the bezel wall with a | Set the stone using a flat-ended pusher,
all burr has just passed the top level of the ile. The reduced thickness will make it working at opposite points until the
bezel. The stone should sit in the bezel enough easier to push the metal around the stone. metal is evenly compressed around the stone.
that there is a thin line of silver visible above Clean away the file marks with an emery stick. Carefully remove any marks on the bezel with
the girdle. As a general rule, the table will be a fine emery stick before giving the piece a
level with the top edge, but this can vary with final polish.
stone proportions.
 TECHNIQUES DIRECTORY * RUB-OVER SETTINGS

Bezels with Corners

Making mounts for gemstones with shapes other than round or oval can be
a challenge. Some simple methods for creating square, rectangular, trillion
(triangular), and freeform bezel mounts are explored here.

skill level

Choosing Stones
The methods described in this section are best applied to bezel settings for flat-backed
stones, such as cabochons, but the basic principles can also be used for faceted stones.
The choice of cut of a particular stone may depend on its intrinsic properties, such as
crystal structure, but it is possible to source a very wide range of shapes, cuts, and
colors of flat-backed gems.

Metals
Although fine metals are easier to set, and are especially appropriate if softer stones
are being used, this must be balanced against the ease of construction with such
malleable metal. If used, fine silver or gold sheet should be of a slightly thicker gauge
than harder alloys or metals.
RUBELITE RING Construction Details
A banded palladium shank is adorned with a
striking red rubelite fancy cut in this ring by The shape or dimensions of square or rectangular bezels cannot be easily changed
Nicholas Yiannarakis. The bezel was carefully once they have been soldered closed, so it is best to make them from two L-shaped
constructed from 18-kt yellow gold to match pieces of sheet metal. The corner of the L must be filed with a groove before it is
the angles of the stone. folded so that the corner stays sharp. Once folded, it is important to ensure that the

CONSTRUCTING A SQUARE BEZEL

FOR A SQUARE CABOCHON
Accurate measuring and soldering the
bezel components in exactly the right
position is absolutely crucial to the success
of square bezels.

TOOLKIT
a Fine silver bezel strip
a File
s Parallel pliers
= Square cabochon stone
a Binding wire 4, Determine the lengths of bezel strip “s Bend the strips with parallel pliers and
a Soldering materials “ required to make the mount. The bezel is = check that they are at right angles. Check
= Ring shank made from two L-shaped strips and one side that the bezel fits the stone, and file it to size if
of each strip should be the same length as the necessary. Use binding wire to secure the parts
a Ring clamp side of the stone; the other side needs a little together—the two longer sides sit over the two
a Flat-ended pusher excess. File a groove in each strip so that it can shorter sides, creating a box with the correct
be bent at a right angle. dimensions. Bind the pieces with thin binding
« Burnisher
wire to hold them during soldering.
 BEZELS WITH CORNERS 101

COMMON SHAPES OF BEZELS WITH CORNERS

corners are exactly 90 degrees using an engineer's Top view
square, otherwise the setting will not be perfectly
aligned. One side of each L should be a bit too
long, so that the shorter side of the other L can
butt up against it and be easily adjusted to the
correct size.
Triangular settings can be made in a similar
way to squares, with one folded piece soldered
onto a flat strip of the same width—although
the groove filed for the bend should have a more
acute angle, made with a three-square needlefile. oy
Navette settings should be made from two curved RR Uh Sah CLAS ZL GES
Strips, and soldered closed with one end of each
point against the inside of the opposite strip; the
BEZEL CONSTRUCTION
excess can be removed afterward.
This method allows for the most accurate Square or rectangular —_—‘Triangular Pear Navette
internal angles on the bezel, ensuring that the Cut off
stone will fit snugly inside the mount, with no excess
after
obvious gaps once it has been set. Before setting
soldering
the stone, file
| away the upper corners of the
bezel. The degree to which you do this will
depend on the exact profile of the stone,

SO
€
as well as being a matter of personal taste, but
lowering any corners on a bezel is necessary to
avoid flaps of metal being left after setting. The
corners will not compress as much as necessary,
so filing away the corners reduces the tendency
for flaps of metal to be left. Use a flat-ended Bent at 90°
pusher to set the bezel over the stone, paying
particular attention to the corners.
BEZELS WITH CORNERS
A square amethyst cabochon was used for this ring—
note the lower level of the metal at the corners.

“” Solder the bezel, then cut off the excess ‘Pay particular attention to setting the
ew! and file the corners true. Solder a base ‘corners of the bezel, as they require much
onto the bezel with medium solder, pierce off marks visible on the stone and bezel indicate more compressing than the straight sides in
the excess metal edge, and clean up. You can the best fitting sides; neither the stone nor the order to sit against the stone. Ensure there are
then solder the bezel onto a ring shank. The bezel are perfectly square. Use a flat-ended no gaps around the stone before burnishing
corners of the bezel need to be filed down to pusher to rub over the bezel. and giving the piece its final finish.
match the curvature of the stone, and cleaned
up before the stone is inserted.
102 TECHNIQUES DIRECTORY * RUB-OVER SETTINGS

Flush Setting
In a flush setting the stone is set level with the metal, just punctuating
the surface of a piece. Flush settings are a comfortable and modern style
of setting suitable for everyday wear.
skill level

Choosing Stones
Small, round faceted stones are generally used for this type of setting, with the actual
size of the stone determined by the gauge of metal used and the design of the piece.

Metals
Standard alloys of any precious metal are suitable for flush settings, but fine silver or
gold will be too soft. The surface being set into sheet needs to be at least 18 gauge
(1 mm thick) to hold the stone, but may need to be thicker.

Construction Details
Although flush setting is most easily done on curved or domed metal surfaces, it is
suitable for flat metal, too. This type of setting is often used with cast forms, but
fabricated pieces are also suitable—the only requirement is that the metal is thick
enough to hold the stone. Shallow curves will give better results than deep curves,
OPEN SQUARE RING which can cause the finished setting to distort and not be perfectly round. The culet
Diamonds have been flush set around this of the stone must not protrude from the metal unless it sits in a recess, because it will
simple eternity band by Lilly Hastedt. The either be uncomfortable to wear or be at risk of being chipped.
white-gold ring slots into the gap in the
Stones can be evenly spaced around a polished band ring with the use of a circle
double band which is bezel-set with a princess
cut diamond. divider, see page 193. Use a center punch to mark where the center of the stone will

FLUSH SETTING FACETED STONES

ON A DOMED SURFACE
Pale sapphires of Yo in (3 mm) in diameter
are used in this project, flush set into a
domed pendant that has been decorated
with hand-engraved lines.

# Center punch and drill holes where the = Use a ball burr larger than the drill hole
TOOLKIT
4 stones will be positioned. The size of drill = to tidy the underside of the hole, but
= Metal with a domed surface bit used should be about two thirds of the do not burr too far. The purpose of this is to
a Center punch, drill diameter of the stone. When drilling on remove any sharp edges before the stones
a curve, keep the angle of the drill bit are In position.
= Ball burr
perpendicular to the plane of the curve,
= Stones for setting otherwise the hole will be slightly oval.
» Burnisher, polishing materials
 FLUSH SETTING 103

A STAR IS BORN CROSS-SECTION

A combination of flush and grain setting
was used to set the tiny diamonds on the
surface of this white-gold pendant by Paul eg Drilled hole
‘NS with underside
Battes. The tip of each point of the star is \. burred
set with a Tahitian pearl. | is ‘
{7 AN

Vi 44

—“_, Se Ball burr used

“to make seat
for stone

Girdle sits just

below metal
GE surface
be, and start the drill holes off with a drill bit in a pin vise, before drilling right through
the metal with a motorized drill. Use a burr smaller than the diameter of the stone to
tidy up the back of the hole.
To seat the stone, use a ball burr exactly the same diameter as the stone and burr
Metal burnished
into the drilled hole. The first part can be done with a flexshaft motor for speed, but over girdle with
when the mid-point of the ball of the burr gets near the top of the hole, switch to flush-setting tool

using a pin vise. If the seat is burred down too far, the stone will sit too low in the
setting and be obscured. With the stone in place, the girdle must sit just below the top
edge of the hole and be absolutely level—check from all angles. Push the stone down
firmly into the setting with a wooden object—the underneath of a bench pin is perfect Side Underside
wou
for this. Use a flush setting tool to push the metal down at “north,” “south,” “east,”
and “west” before closing any gaps and ensuring the edge of the metal is in contact
with the stone and the girdle is fully covered. Run a burnisher around the inside of the
setting to tidy it up.

iy
Handle
FLUSH SETTING TOOL

Open up the seat for the stone using a % With the stone in position, use a burnisher Burnish out the marks made on the surface
sé? ball burr exactly the same size, or 0.1 mm o rub the edge of the metal down over «of the metal by the burnisher. Run the tip
larger than the diameter of the stone. When the girdle of the stone. Set small areas at of the burnisher around the inside edge of the
seated, the table of the stone should be flush north, south, east, and west to begin with flush setting to neaten and highlight it. Give
with the surface of the silver. Carefully check before rubbing down the remainder of the the piece a final polish.
the height of the stone at regular intervals edge evenly.
when burring.
104 TECHNIQUES DIRECTORY ¢ RUB-OVER SETTINGS

Channel Setting
daa
Channel
ee haere
setting
11h, EL taken
allow SSLOMES
es tA iS tryees
lOROE ine
lined upra along
Cabllvann
a WO
a

channel, with no metal separating them, to create the

ee Cay ean OIGEATIATeCO Dana la ; Cm) Cc
appearance Ot an uninterrupted Dahda ol gems.

skill level

Choosing Stones
Faceted stones are most often channel set: square, baguette, or brilliant cut. Calibrated
stones are essential for an even and level line of stones, although this will be less
apparent with round stones set on a curve, as opposed to baguettes set on the flat.
PAGODA RING
Metals ; vhs Channel-set square black diamonds form a
Harder precious metals are more difficult to set in a uniform manner, but are far more pleasing border around the ruby. A natural,
durable and are therefore suitable for harder, valuable stones such as diamonds, rubies, untreated ruby is set with split prongs in this
and sapphires. 18-kt gold ring by Ming

Construction Details
Commercially, it is common to cast the mounts for channel setting with the stones
already in position in the wax. Special tools for cutting the groove in the wax to hold
the stones in the wall of the piece are available, and CAD is used to aid the creation
of accurate mounts.
True channel setting is a rub-over technique, with a seat cut for each stone, and the
walls folded over once all the stones are seated. The seating can be problematic if using
square or rectangular stones, because all of the stones need to be seated at precisely

CHANNEL SETTING IN AN
ANTICLASTIC RING
This project looks deceptively simple, but
forming the ring to exactly the right size
for the stones is something of a technical
challenge. Square-cut brilliants are most
easily set using this technique, but you
could use other shapes.

TOOLKIT
a 24-gauge (0.5-mm thick) silver sheet
s Dapping punch, mallet, steel rod Form an anticlastic ring from a band of Force the channel to a perfectly even width
» Mandrel 24-gauge (0.5-mm thick) silver sheet. The by opening it up along a steel rod of the
« Stones for setting height of the strip should be roughly twice the same width as the stones. Place the ring on a
width of the stone. Open up both sides of the mandrel, and tap the rod into the groove. If
» Flat steel block band using a dapping punch to force the top the channel becomes too wide, mallet it
= Soldering materials edge out. Anneal the ring, and use a mallet to narrower on a flat steel block.
knock down the edges so that they form a flat-
a Silver rod (optional) sided channel
= Polishing materials, burnisher
 CHANNEL SETTING 105

UNDER THE SEA

This pendant by Ko CROSS-SECTION
Park was CAD designed
and rapid prototyped
before being cast in silver.
The channel setting holds ~ Saw cut
a single 80-ct London-
blue topaz.
Square rod

Filed groove

Beveled corners

the same level or the piece will not look right. However, the term “channel setting” can
be interpreted as any type of setting in which the stones are secured in a channel; if a
groove is made along the inside edges of opposite walls, it is possible to slot the stones =
| iG,

into position. The ends of the channel need to be secured somehow; whether plates Ie ws
are riveted or screwed into position to prevent the stones from moving, or grains are ~ Square brilliants
raised at the ends of the grooves, you can find plenty of ingenious solutions.
Another variation on channel setting is to have a wall on two sides, with the stones Soldered-on walls
seated in the channel in between. The walls can then be rubbed over the ends of the
stones to secure them. The wall should be a little thicker than is needed, so that it can
be cleaned up to an even level after setting—though this will make rubbing over the
walls harder work. For less malleable metals, keep the extra thickness to a minimum.
You'll likely need to perform the setting with the use of a hammer-action burnisher in
a flexshaft motor, because this provides more force than setting by hand or chasing the ~ Walls rubbed over
walls over.

If stones are not being channel set all the #é Polish the inside of the channel. Position © Continue burnishing until the edge of the
way around the ring, solder a piece of ¥% in “=the first stone under the ledge in the end of we Channel makes continuous contact with
(3 mm) rod into the channel. Cut a groove in the rod, and continue placing the stones in a the stones and appears even and smooth. If
each end of the rod for the girdle of the stone row along the channel. The shape of the necessary, clean up the ring with fine emery
to sit in—the rod must be exactly the correct stones means they will support each other in paper and polish it.
length to allow no gaps between the stones. the confined space. Use a burnisher to begin
rubbing the edges of the channel over the
stones’ girdles.
106 TECHNIQUES DIRECTORY

Prong Settings
Wires or sections of sheet are usually used to create prong settings,
which often hold a faceted stone above the body of a piece and allow
more of the stone to be visible.
esses
ees Oe ee eve e eo 8

There are many methods for constructing prongs with which to set stones, from
carving a metal mount to make a crown setting, to lost-wax casting from a jeweler’s
wax model, or fabricating wire “baskets” to support the stone. Computer-aided
design can be applied to this technique because it allows the creation of forms that
would otherwise be very complex to construct. Prong settings may be complex, or
relatively simple—wires soldered around the seat for a stone can be used to hold it.

CROWN SETTING
(see page 108) skill level

A fabricated tapered bezel was carved with a file

to divide the bezel up into prongs, forming a crown
setting in this silver and smoky quartz ring. Although
a very traditional style of setting, handmade crown
mounts can be adapted proportionally, and by the
ways in which they are divided and carved made into
uniquely crafted pieces.

BASKET SETTING
(see page 112) skill level

“Basket setting” usually refers to a style of prong setting

constructed from wires to form an open structure. This
ring by Philip Sajet featuring a large, faceted smoky
quartz has been set between prongs in a white gold
“scaffold.” The hardness of the metal makes it strong
enough to support such a large stone, which is held in
place by grooves in the prongs as well as the internal
tension of the structure.
CLOSED-BACK PRONG SETTING
(see page 114) skill level ©?

This ring by Regine Schwaizer is made from silver,

with 22-kt gold prongs holding the faceted rubelite
and rough quartz stones. Although the high-karat |, CAM PRONG SETTING
gold is relatively soft, the prongs are quite thick and (see page 116) skill level
will hold the stones securely. Closed-back settings
are useful for intensifying the colors of pale stones, “Euclidean Pendant,” by Lauren Elizabeth Tidd, was
or for allowing foil to be used underneath the stone designed with the aid of Rhino and Matrix. The 18-kt
to enhance or alter its color. white-gold overlapping linear forms are held together
with bezel-set diamonds, which extend to form modified
prongs for the 19.9-ct faceted rutilated quartz. CAM
allows complex designs to be created for specific stones,
ensuring that the resulting cast piece will be exactly the
correct dimensions.

APPLIED PRONG SETTING

(see page 118) skill level ©

This 22-kt gold ring by Leo Pieroni was fabricated

with prominent prongs, to hold a 3.1-ct natural uncut
diamond. The rich color of the metal and Its texture
complement the character of the stone, and give the
piece an archaic feel. Prongs that are applied to a form
rather than being an integral part of it can allow a
greater freedom of choice over the shape of stone
being set.
108 TECHNIQUES DIRECTORY © PRONG SETTINGS

Crown Setting
Fabricated tapered bezels, made either from a template or from tubing,
can be adapted to create individual prong settings, which will display
larger faceted stones in style.

skill level

Choosing Stones
Hard stones, such as diamonds, rubies, sapphires, and spinels are most suitable for
prong settings because they are resilient enough to cope with being under pressure,
and the edges of the stones are resistant to knocks and bumps, which might chip
softer or more brittle stones.

Metals
The design must account for the strength of the metal and its resistance to bending if
caught, so prongs should be made in a hard metal such as white gold, palladium, or
platinum, especially if they are holding a valuable gemstone. Silver can be used to make
prong settings, but the gauge of the sheet used will need to be much thicker than that
of harder metals.
KIMONO RING
The striking double spiral of the shank of this
rose-gold ring by Ming opens up to form the
Construction Details
prongs that hold a large cushion-cut pink This type of setting is often used to raise stones up so that the maximum amount of
tourmaline. The spirals are accentuated with light can enter the stone and increase the internal reflections; as a result, this setting
a fine band of black enamel.

MAKING A CROWN SETTING FROM

A FABRICATED TAPERED BEZEL
Standard rub-over settings can be adapted
in a number of ways. In this project, a
tapered bezel is filed to make a crown
prong setting.

TOOLKIT
= Tapered bezel (see page 96)
a Dividers
= Jeweler's saw
« Needlefiles fi Make up a tapered bezel, as previously ™ Starting with the top of the bezel, make
4 described (see page 96). The bezel needs @nsmall saw cuts for reference where the
= Soldering equipment
to be taller to accommodate the prongs, so prong divisions are. Support the bezel as you
a Jump ring increase the top of the template by Ya2—“e in file, and use a round or half-round needlefile
a File (1-2 mm). Divide up the bezel using dividers, to remove enough metal so that the prongs are
depending on the number of prongs that clearly defined.
# Ring shank will be cut, and also mark for the depth of
the cuts.
 CROWN SETTING 109

CROSS-SECTION

& _ Tapered bezel

marked for
prongs
| PUT A SPELL ON YOU
This steel and silver ring by Dauvit
Alexander is set with a richly
coloured amethyst trillion held by
tubes which are set with mandarin
garnets. Grooves were cut into the Start cuts with
jeweler’s saw
tubes before they were levered
around the amethyst to set it.

File prongs
is commonly used to display large stones on ring shanks, but also for earrings.
Prong settings are less suitable for bangles because the stone is not well protected
from impact.
Tapered bezel settings can be adapted to form prong settings by filing V-shaped
sections out of the bezel at regular intervals on its top and bottom edges; these must
be evenly spaced otherwise the width of the prongs will not be equal—the number of File grooves
prongs should be three or more, and is determined by the number of filed areas on the on base
bezel. The underside of the bezel is also filed, and a jump ring is soldered to the base
of the filed bezel to close it, giving the effect that the setting has been pierced. You
can create a variety of designs using this method, or adapt the basic idea further for
even greater variety—holes could be drilled into the bezel before or after it is formed,
or if thicker-gauge metal is used to form the bezel, files can be used to carve the metal Solder jump
ring on base
to a greater degree than would be possible with thinner sheet.
It is possible to buy prefabricated prong settings, but these lack the charm of
handmade settings. The bezel is formed in the same way as described on page 96,
using either the formula to calculate the template for the stone, or a piece of tubing

File the base of the bezel to make Clean up the filed areas of the base of ‘Solder the bezel into a ring shank, taking
ne divisions—this will give the appearance of the bezel and ensure that the base Is ‘care to position it carefully so that it is
a pierced bezel and will allow more light to flat. Solder a jump ring to the base and, once aligned from all sides. The ring shank needs to
enter the stone. These cuts made with a round pickled, file it level with the bezel so that it make good contact with the mount; the base
needlefile can be angled to create an attractive appears to join seamlessly. of the bezel will need to be filed to fit the
pattern, but other shapes of needlefile, such as curve of the inside of the ring, so set it a little
three-square, can be used. low in the shank. Clean up the ring.

Continued over
 GOLD RINGS
This pair of gold rings by Karl Karter
use extensions of the architectural
shanks to form flat prongs which hold
the large oval stones securely.

shaped in a bezel block. The top and bottom surfaces of the bezel must be absolutely
flat and true before you mark out where the grooves will be, otherwise the results will
not be even. Mark the centers of the points between the prongs, rather than the
prongs themselves, before starting the grooves with a jeweler’s saw. Methodically carve
the grooves with a three-square, square, or round needlefile, depending on the design.
COUPE EN DEUX Work down to a mark around the circumference of the bezel—which should be just
This colourful ring by Philip Sajet is prong set lower than the level of the stone’s girdle—taking care to keep the spacing of the
with a replica of the Hope diamond cut from prongs even; if some grooves are filed too deeply then the prongs on either side will
blue glass. The gold shank of the ring is
be thinner than the others. Repeat this process on the lower part of the bezel, though
embellished on its outer surface with shades
of green enamel. here the grooves are purely decorative and need not be so deep. A suitably sized jump
ring made from square-section wire can then be soldered to the base. Complete all
work, including cleaning up, on the mount before soldering it to the piece of jewelry.

SETTING A FACETED STONE IN A

CROWN MOUNT
The smoky quartz brilliant used in this
ring must be seated at exactly the correct
height for the prongs to be left at the
correct length; mark the position carefully
before cutting the seat.

TOOLKIT
a Ring shank, bezel, stone (see page 108)
a Dividers
= Jeweler’s saw
s Needlefile
» Polishing materials When the stone is placed in the bezel, it Starting with a precise saw cut, file a
a Flat-ended pusher should sit inside the prongs. Mark on the groove on the inside of each of the prongs.
inside of the prongs just below where the The groove should not be too deep—just
s Burnisher
girdle of the stone sits, using dividers enough for the stone to click firmly into
position. The groove should match the profile
of the girdle; some stones have wider girdles
than others. Polish the inside of the mount
before inserting the stone.
 CROWN SETTING 111

CROSS-SECTION

“MARGARET” RING
A brilliant-cut citrine is Seat stone
prong set in this ring by
Katherine Agnew. The
entire ring, including the
prongs, was pierced from
sheet silver before being
scored and folded to create
the open cluster.
Use burr or
graver to
cut groove
for stone

Cut tips to
length and
thin ends

Accurate seating of the stone is crucial, so the construction of the setting needs
to be carried out with a high degree of accuracy. The stone must sit evenly within the
setting: if the girdle is not touching each prong, then the angle of the prongs should
be adjusted until it does—make sure that the prongs look even overall. The prongs are Push prong
tips over
then marked inside at the level at which the stone will finally sit—it is crucial that the girdle
marks are all at the same height, otherwise the stone will not be level once set. You
can then use a graver or hart burr to remove a small amount of metal from the inside
of the prong for the stone to sit in. The stone should click into position, and be held
level while it is set. It is often necessary to thin the tips of the prongs with a file before File and
setting, otherwise the thickness of the metal prevents it from moving easily. burnish

&y Thin the outside of the prongs to make @yPush the tips of the prongs over the #% File the tips of the prongs to shape with
€Jthem easier to set. The inner surface of 2#girdle. A flat-ended pusher is used for SSE a file that has a “blind” side so that it
the prongs above the stone may also need this ring, but if the prongs are narrower does not scratch the stone. Burnish the prongs
filing a little so that they sit flat against the or more rounded, a prong pusher may be so that their edges are flush with the stone,
stone. Take care not to thin the metal too more appropriate because it will not slip ensuring there are no areas that could snag
much. You can also adjust the height of the out of position. on clothes. Give the ring a final polish.
prongs at this stage.
112 TECHNIQUES DIRECTORY # PRONG SETTINGS

Basket Setting
= ik
Wire
\Al/arec
structures
ec 170CTI11re
can be STG
So al 4,
used a: (=

for fabricating pronged mounts that use

minimal metal to secure the stone, allo
aye a Ges eee es ee it OFFSET RING
He (wo) be clearly VIEewe Pot Ik
The basket setting has been attached sideways to
the silver shank in this ring by Thomas Smith. The
base of the basket tapers into a solid rod which
intersects with an extension of the shank

skill level

Choosing Stones
Stones that are hard but not brittle are most suitable for this type of setting because
they will be held under pressure. Pronged wire mounts are often used to make a
feature of valuable stones, allowing the maximum amount of light to enter.

Metals
Most wire prong mounts are made from high-karat golds and platinum, and
the thinner the gauge of wire used, the harder the metal should be. The use of
silver for this type of setting should be restricted to trial runs and test pieces and
will need to be a thick gauge. For final pieces, silver should only be used with
QUARTZ COCKTAIL RING inexpensive stones because the resulting mount is unlikely to be strong enough
Jayce Wong's ring features a cut rutilated and for a long life.
tourmilated quartz stone displayed in open
basket-set gold shanks. The tips of the prongs Construction Details
and intersections with the shanks are tube-set
with diamonds and sapphires Traditionally, basket setting consists of pairs of wires soldered onto two rings smaller

BASKET SETTING A BUFF-TOP CUT

Getting the proportions and angles of the
prongs of the basket correct is vital to a
strong and secure setting. While silver is
good for practicing the technique, it is too
soft a metal to make strong wire settings
for larger stones.

TOOLKIT
s Silver wire for jump rings and prongs
» Soldering equipment
Make two jump rings and solder them Solder the small jump ring into the grooves
= Stone for setting closed. One ring should be a bit smaller in the first pair of prongs. Cut out a section
» Needlefile than the diameter of the stone, and the other at the base of the prongs to allow the second
s Jeweler's saw, reverse-action tweezers much smaller—the difference between the two pair of prongs to be positioned. Check the
jump rings and their spacing determines the alignment carefully before soldering, and
» Ring shank
angles of the prongs. Bend sections of straight support the prongs that have already been
= Chain-nose pliers wire to make the prongs, and file a groove to soldered using reverse-action tweezers.
= Prong pusher, graining tool fit the small jump ring first.
 BASKET SETTING 113

than the diameter of the stone; the proportions of the two

STYLES OF CROSS-SECTION
rings and the distance between them determines the angle
PRONG TIPS
of the wire prongs, and how high or low the stone sits within
the mount. Determine position
There are many variations that can be made on this basic of girdle and mark
just below on
premise, as well as plenty of other methods for constructing each prong
settings from wire, and both offer far more design possibilities
than mounts formed from tapered bezels.
Individually positioning wires to form prongs can be
troublesome—it is far easier to use one wire to form an
opposing pair of prongs, either by bending the wire into a \ Use burr or graver
U-shape or by forming a cross from two wires before continuing < to make groove in
with construction. The wires for the prongs can be soldered — eee
onto a supporting form, directly onto a ring shank, or into
drilled holes, which will give them greater strength.
It is a design decision as to whether the stone rests on a
seat, and will also depend on the size of the stone, its height in
Stone clicks
the setting, and the thickness of the prongs. Thick prongs will into position
support the stone better than thin ones. Adaptations to this
setting could include two wires soldered together to make a
wider prong with a “split” in it, or the use of different sections
of wire, such as square or triangular. The shape of the prong
tips can also be adapted to suit a particular design, with the Thin and shape
most commonly used being flat, pointed, rounded, or split. prong tips
Accurate marking and filing is required to evenly space
the prongs around the mount, with notches filed into the ring
Split/double
rather than the U-shaped wire before the prongs are soldered
into position. The finished mount can then be applied to a
range of different pieces before the stone is seated and the Set with
prong pusher
prong tips pushed over to secure the stone.

Mark the height of the groove for the @ Thin the prongs so that they can be more Finish setting the prongs with a prong
larger jump ring a bit below where it sits easily set. Use chain-nose pliers to push pusher, so that they sit securely against the
between the prongs. File grooves and solder over the tips of the prongs—align one side of stone. Rounded tips can be burnished with a
the jump ring in place. Fit the basket mount to the pliers down a prong and close the pliers suitably sized graining tool that has a polished
a ring shank and solder in position. Clean up to push over the opposite prong tip. File the concave recess at the tip.
the ring and file grooves for the stone to click tips to adjust the length, if necessary, and
into, ensuring it sits level within the basket. Cut shape them.
the prongs to length.
114 TECHNIQUES DIRECTORY © PRONG SETTINGS

Closed-back Prong Setting

increase the internal reflections, making colors appear more intense.
skill level

Choosing Stones
This type of setting is often used to intensify light-colored stones. It is not often used
with intensely colored stones because it darkens the color too much—they would
usually be mounted in an open setting. Faceted stones are often used, but many cuts
and shapes can be mounted in this way.

Metals
Mixed precious metals can be used if prongs or tabs are being applied to an existing
form; harder precious metals should be used for more valuable stones to ensure
their security.

Construction Details
Closed-back settings may be less suitable for jewelry items such as rings, which will
be exposed to water and other substances that may get trapped behind the stone.
It is impossible to clean the stone without removing it from the mount, unlike open
CITRINE RING settings, which are accessible from behind.
A marquise-cut citrine has been set in this Wires can be soldered around the appropriate area of a form to create a custom
silver ring by Chris and Joy Poupazis. Four prong setting—the prongs do not have to be evenly spaced, or even made from the
prongs extend from the body of the flat-
same metal or diameter of wire. Small sections of sheet can be used instead of wire, if
topped shank to hold the stone close to
its tips. it is more appropriate that tabs, rather than prongs, are used to set the stone; the only
necessity is that the stone is securely held.

USING FOIL WITH A CLOSED-BACK

PRONG SETTING
Closed-back settings will intensify the
colors of paler stones, but can also be used
to trap gold or colored metallic foil behind
a stone to alter its color.

TOOLKIT
= Cast silver ring (see page 78)
» Files, abrasive and polishing materials
= Stone for setting
» Burr | This project continues on from Wax Carving *% A small amount of shrinkage is caused as
Pe eenn marca: & (see page 78). The silver cast of the wax tena result of the casting process—check that
model needs to be cleaned up—cut the sprue the stone will still sit at the correct level and
s Gold wire off with saw, and file the area. The surface burr the seat if necessary.
« Pickle of the ring can be refined with files to adjust
the shape or remove marks and scratches.
» [op cutter
Remove file marks with abrasives—a flexshaft
» Gold foil, gold size motor will greatly speed up this process—
= Prong pusher, burnisher before polishing.
 CLOSED-BACK PRONG SETTING 115

INLAID NECKLACE
The prongs that hold the faceted square stone
in this necklace by Janis Vilks were constructed
as part of the box setting that holds it.

CROSS-SECTION

.-- Gold prongs

Wax carving can also be used to fabricate closed-back prong settings, either
separately or as an integral part of a jewelry piece. Wax wires may be useful for
creating the “wire” parts of the setting, but it is often preferable to solder wires on
after the piece has been cast because it is easier to clean up the form without them in
place. When wax carving for pieces that will be cast in gold or platinum, it is useful to
make a master in silver with wire prongs soldered in position, which is then reproduced
in the more expensive precious metal with the use of a mold and lost wax casting. The
casting must be cleaned up and polished before the stone is set. The seat may need
Gold foil Silver ring
burring again, as the casting process reduces the volume of the piece slightly and the
stone may no longer fit perfectly.
One of the benefits of a closed-back setting—and this applies to other forms of Push over prongs
with prong pusher
closed-back setting including grain and bezel—is that the appearance of the stone
can be enhanced with the use of foil or other reflective materials. This is a practice that
has been used for centuries to improve the intensity of paler stones, or to create the
appearance of a greater amount of light within colorless stones, particularly paste or
synthetics. Any thin reflective material that will not tarnish, including gold foil and
colored candy wrappers, can be used to intensify the color of stones or create
contrasting effects.

The grooves around the seat for the stone Cover the inside of the closed-back setting Insert the stone, ensuring it sits level, and
were carved in the wax and designed to with gold foil, which will show through push the prongs over the girdle with a
receive wires to make a prong setting. Solder the stone and affect the appearance of its prong pusher. The tips should be burnished
U-shaped lengths of gold wire into position, color. Paint the inside of the setting with gold down against the surface of the stone so that
using silver solder. Once pickled, clean up and size, wait for it to go tacky, and apply the foil. they are flush and feel smooth to the touch.
polish the ring again before trimming the wires Shape the tips of the prongs with a cup burr.
to length.
116 TECHNIQUES DIRECTORY © PRONG SETTINGS

CAM Prong Setting

Building a virtual model of your setting eliminates many
of the problems associated with the complex fabrication
required for pronged mounts; the design can then be
rendered in wax and lost-wax cast.
skill level

Choosing Stones
The choice of stone may be dependent on the type of metal being used and the exact
design of the metal mount. However, it is likely that the piece will be designed around
the stones which are going to be used, or standard cuts will be used—mounts for
these often come as templates in jewelry-specific CAD software, but you can also
create custom mounts for different cuts.

Metals
As with other forms of prong setting, precious metals are most suitable for this type of
mount. Silver is less suitable due to its malleability, but will be fine to use at a thicker
gauge and for less valuable or softer stones.
3E EARRINGS
Construction Details These long, chain-link earrings by Anastasia
The process of building a three-dimensional model is discussed in detail on pages Young are set with graduated rose-cut
garnets. The sections were built virtually
80-85. Unless you are using a service that provides design, rendering, and casting
so that the scale could easily be altered
on-site, it will be necessary to source companies to print or mill the model of the piece to create different sizes of links, as well as
as well as cast it. Prototypes can also be made in acrylic or resin, which may be more mirror the forms.
appropriate for certain forms.

CAM PRONG-SET EARRINGS

The crucial stages in this project are
tackled when designing the piece; the
form must be the correct size for the
stones being used, and the tolerances
sufficient to allow successful casting.

TOOLKIT
a Wax models rendered from CAD files
a Abrasive materials
» Soldering materials
#4, \Nax models are rendered from CAD files ™% Clean up the castings to remove the texture
a» Earring posts 4 using a 3D printer. The waxes are incredibly @eaOf the printed wax from the pieces. If
a Polishing materials fragile and no cleaning up should be attempted multiple components are produced using
before they have been cast into metal. CAD/CAM, you can adapt the pieces to make
= Cup burr
various jewelry forms.
« Wood for support
 CAM PRONG SETTING 117

CROCUS RINGS
This pair of rings by Zoe Marie were
designed using CAD to fit specific shapes
of stone. A round blue topaz is held by
five tapered prongs set with diamonds,
and a pink tourmaline trillion is set with
three prongs to complement its shape.

The prongs that form the mount for the stone should be made a little CROSS-SECTION
longer than required and are likely to be thin and fragile, but they can be Cabochon
cross-linked with “wires” that are cut away once the piece has been cast into
metal. The prototyped wax models are so fragile that it is not advisable to Determine
; : ; Tee ; height of
attempt any cleaning up of build-lines or marks from milling; cleaning up must Bane
instead be done on the metal cast. needed
Intricate areas of the form may be problematic, but many small abrasive
attachments are available for flexshaft motors, which are useful in situations
like these. Abrasive cord and tape are also useful for cleaning pierced areas,
and thrumming can be used to polish hard to reach areas. If multiples are
being created from the first cast “master,” this should be cleaned up well
so that the subsequent copies will not require so much finishing time.
Cut and round
When the piece is ready for the stones to be mounted, check that the off prongs with
prongs are all evenly spaced and mark the positions of the areas that néed cup burr
filing or burring to seat the stone. Mark the correct height of the prongs with
the stone in position, before trimming away the excess with flush cutters.
Depending on the style of the prong tips, clean up the cut ends so that they
are not sharp, and push them over the stones with a suitable prong pusher.
Burnish the tips so that they are flush with the stone, taking care if it is a cee
prong pusher
softer or more brittle stone.

“Solder a large granule and earring post fi, Check the height of the prongs with the :
zd through the hole at one end of the “stone in position, but remove it to trim the wx around the stone. Set two opposing prongs
component. Give the piece a final polish at this prongs. Use a cup burr to reshape the ends of first, and check that the stone is still level
stage, paying particular attention to the area the prongs once they are at the correct length. before pushing over the second pair of prongs.
around the prongs, which will be inaccessible Insert the earring post into a drilled hole in a
once the stone is set. secured piece of wood to support the piece
during mounting and setting.
118 TECHNIQUES DIRECTORY * PRONG SETTINGS

Applied Prong Setting

Many metal forms can be adapted to take stones simply by the addition
of wire prongs, allowing unusual-shaped stones to be secured without
using a complex mount.

skill level

Choosing Stones
Flat-backed stones, such as cabochons or rose cuts, are the easiest to set using this
method, as they require little or no seating. The same is true of uncut crystals if they
have large, flat facets. Faceted and spherical stones will need to be seated to some
degree, so that they are stable and held securely.

Metals
Longer wire prongs should be made from harder metals so that they are strong
enough, but larger gauges of fine silver or gold wire can be used and are especially
appropriate for setting fragile stones. Mixed metals can be used within the same piece.
For example, where the main body of the piece is silver, you could use gold wire to
make the prongs, creating a color contrast and increasing the strength of the prongs.
OWL RING
A carved topaz intaglio is set in this gold ring
by Whitney Abrams. Although the stone is
Construction Details
supported by a textured bezel, it is set by Applied prongs or tabs are a popular choice for mounting uncut crystals because
four prongs with balled ends which echo the the placement of the prongs is not restricted to a specific formation. They are also
beaded bands that form the ring shank. used for securing mixed-media elements to a metal structure, often a supporting
wire framework.

SETTING NATURAL CRYSTALS

WITH PRONGS
Prongs can be applied to a base or form
in a pattern dictated by a specific stone,
choosing positions where the prongs will
provide most structural support and can be
set against the stone.

TOOLKIT
» Natural crystals for setting, metal base
= Center punch, drill
a Ball burr
a Wire for prongs
» Soldering equipment #, Position the crystals on a metal base and *% Use a small ball burr to clean the front and
a Top cutters » decide on the best positions for the prongs fm Dack of the holes. Insert U-shaped wires
to be. Mark as closely as possible to the stones into the holes, ensuring that the prongs they
a File
the positions of the holes that will hold the form will be long enough to hold the stones.
a Pliers wire prongs. Center punch and drill holes the Solder the wires into place.
a Cup burr same diameter as the wire that will be used.
a Prong pusher, burnisher
 APPLIED PRONG SETTING 119

: ; - ION
The strongest method for soldering wires to a form, ea
whether sheet or thick rod, is to drill a hole into which f™*
the wire can be inserted before it is soldered. The top and ‘fee
underside of the hole can be lightly countersunk to reduce
the meniscus of solder around the base of the wire if this will
interfere with the seating of the stone. Where the base is too
narrow to drill through, you could file grooves to increase the
contact of the wire, making a stronger solder join—but any | | |
method which will increase the surface area of the points Solder U-shaped wire into
being soldered will help to make the join stronger. Se eee
Wires are more easily soldered in pairs—bend a length of
wire into a U-shape and insert the ends through the drilled
holes in the base of the piece. This increases the stability
of the wires during soldering and will keep them more
accurately placed, so that they do not move when heated. If Ce
you are using wires with balled ends, it may not be possible
to bend the wire into a U shape. To keep the balls at a
regulated height, cut the wires to a specific length, longer
than the final length, and allow the ends of the wires to
come out through the holes underneath. If the main piece RUSH ONE Beng
is then propped up to raise it above the level of the heat
brick, the wires will all sit down against the brick and stay in STYLES OF SETTING
position and at the correct height. Take care not to overheat
the wires when soldering; this should ideally be the final
soldering performed on the piece so that easy solder can be
used. Aim to heat the thicker and larger areas of the piece
L JEWEL eer ;
Seer eddreeBit heaves first—it is likely that the wires will reach temperature without
prongs are chabazite in basalt, rubies, apatites, being heated directly themselves.
and garnets in this set of earrings and a ring
by Regine Schwaizer.

Balled ends on
wire prongs
|!

“% Trim the wires roughly to length with top fi Use a suitably sized cup burr to shape and “Use a prong pusher to push the prongs
wt) Cutters. Clean up the back of the base = shorten the prongs accurately. The prongs ve’ Over the crystals with firm, even pressure.
sheet—file the ends of the wires flush or file need to be long enough to bend around a Burnish the prongs to polish and further
them short and round with a cup burr. Bend facet of the crystal, but not so long that they work-harden them. Ensure that all the prong
the ends of two of the wires with pliers to cover too much of the surface or can easily be tips are burnished flush against the surface
make loops to hold a chain. pulled away if caught. of the crystal.
120 TECHNIQUES DIRECTORY

Grain Settings
Tiny beads of metal hold the stones in their seats for grain settings.
Most common is the pavé technique, in which the surface of a piece is
carpeted in small faceted stones.

The mount for grain-set stones is a metal surface with sufficient area and depth
to receive the stones. The variations in this style of setting are mainly derived from
the pattern of the stones and their spacing—five-grain setting places an extra,
decorative grain between stones so that they sit farther apart from one another,
whereas in standard grain setting, each grain holds two stones because they are
so closely positioned.

GRAIN SETTING
(see page 122) skill level

This diamond ring by Ming follows the classic combination of

diamonds and white-rhodium-plated, high-karat white gold. The
brightness of the metal adds more light to the stones to dazzling
effect. The outer surfaces of the split bands that hold the larger
stones have been grain set with small diamonds; this technique
is perfect for placing small stones in a linear formation. The grain-
set diamonds in this ring are all of the same size, but graduated
stones can be used to decorate bands that increase in width.

SQUARE-GRAIN SETTING
(see page 128) skill level

Square- or box-grain setting is used to set a single stone within

an engraved border, usually to accentuate a particular area of a
piece. Round brilliant-cut stones are most often set in this manner,
but cabochons or other cuts of brilliant may also be used. The
tips of the prongs of this citrine and white-gold ring by Natasha
Heaslip have been square-grain set with small diamonds.
 FIVE-GRAIN SETTING
(see page 126) skill level

Five-grain setting is a variation of grain setting, with the position

of the grains in relation to the stones determining whether or
not a “fifth” decorative grain is required. The shoulders of this
pearl ring by Joanne Gowan are set with sapphire-covered leaf
forms. Extra grains are used where the shape of the metal will
not allow for another stone and the metal would otherwise be
bare—the grain tricks the eye with another small polished surface
to maintain the texture of the setting overall.

PAVE SETTING MICRO-PAVE SETTING

(see page 130) skill level (see page 132) skill level

Pavé setting is used to cover part, or all, of a surface Blue diamonds and sapphires have been set over
with small brilliant-cut stones; the stones are carefully the entire front surface of these Peacock Earrings
arranged to fit the space available, with any areas too by Annoushka. Micro-pavé setting is done with
small to receive stones being disguised with decorative stereo binocular lenses, allowing tiny stones to
metal grains. This cast silver pendant by Ishbel Watson be pavé set with a very high degree of accuracy.
was designed using CAD, creating a concave stepped The colors of the stones used in this piece are
surface on five sides of the cube, with the sixth complemented by the colors of metal used—rose-
decorated by a square formation of paveé-set brilliants gold prongs hold the pink tourmaline drops, and
bounded by a polished border of metal. the gold has been black rhodium-plated around the
micro-pave.
122 TECHNIQUES DIRECTORY © GRAIN SETTINGS

Grain Setting
Small metal beads appear to hold the stone in this
elegant style of setting, which can be used to set stones
individually or in rows.

skill level

Choosing Stones
Small, brilliant-cut calibrated (machine-cut) stones are usually used for grain setting, but
flat-backed stones, such as cabochons and rose cuts, can also be used, as can half- or
three-quarter-cut pearls. Take care when setting softer stones.

Metals
Most metals can be grain set, including refractory metals such as tantalum. Beginners
should practice with copper or silver as they are relatively soft and grains will be more
easily raised. Harder precious metals will provide more secure settings for more valuable
stones, but are more difficult to work.

Construction Details GRAIN-SET EARRINGS

Grain-set diamonds accentuate the linear
The simplicity of the mount for grain setting means that it can be performed on a wide navette form of these platinum earrings
range of surfaces, including domed, concave, flat sheet, and cast forms. Grain and pavé by Joanne Gowan, which are also set with
setting is suitable for most jewelry forms. Tahitian pearls and prong-set triangular
Grain-set brilliants are used often in contemporary jewelry pieces to provide brilliant-cut diamonds.
highlights and draw the eye to a particular area of a piece. It is a very skilled method
of stone setting, so jewelers will often send the work out to specialist setters. The high

GRAIN SETTING A ROW

OF BRILLIANTS
Small beads of metal are raised either
side of the row of stones to hold them
in position once they have been seated.
Hours of practice with a graver is the only
to way to produce even and regularly
spaced cuts.

TOOLKIT
= Strip of silver, stones for setting
= Bezel-setting punch
= Ball burr, drill, flexshaft motor @, Mark out the metal with the positions of » Mount the silver into setter’s wax. Wax that
= Setter’s wax % the stones—once seated, the girdles of the pushes up into the drilled hole can be
: stones should almost be touching—so using a drilled out with an old drill bit. Use a 1.6 mm
= Wax stick bezel-setting punch of the same diameter as ball burr in a flexshaft motor to open up the
# Half-round and flat scorpers the stones will mark the outlines. Use a small drill holes—burr down a bit further than the
« Graver, spitstick ball burr to start off the hole rather than a widest part of the burr.
center punch, and then drill the holes.
» Grain tool
a Acetone
 GRAIN SETTING 123

CROSS-SECTION
cost of the setting often means that it is a technique cost-
effective only for high-end jewelry made in platinum or gold. Drill hole, clean
up back
Using a bezel-setting stake of the same diameter as the
stones, mark where the stones will be positioned on the metal;
the girdles of the stones should almost be touching. Center Seat stone: use
punch the holes, or use a ball burr in a flexshaft motor to start smaller burr first,
then burr same
the holes off before drilling with a drill bit half the diameter of diameter as stone
the stone. Secure the piece in a clamp or setter’s wax that has
been melted onto a length of wooden doweling. Warm the wax
using a spirit lamp or a torch with a soft yellow flame, taking

Le
care not to overheat it. Roll the warmed wax on a flat steel
surface to create a suitable surface in which to set the piece.
Raise grains with a
Using tweezers, push the metal into the wax far enough for it to half-round scorper
be held, but take care that no wax comes over the surface. The
wax can be cooled in cold water to harden it again.
The wax must be removed from the drill holes using an old
drill bit; otherwise the burrs will get clogged with wax. Burr the
drilled holes to create the seat: first, using a ball burr smaller
Use a spitstick to
“clean and clear”
surrounding metal

TOP VIEW

Bead the raised

grain by rotating a
Detail grain tool over the
spur of metal

“p Use a ball burr 0.1 mm larger than the Place the stones into position, ensuring Use a small half-round scorper to raise
ea! diameter of the stone to seat the stones. #that they are all at the correct height and é Qrains along one side of the stones—this
Burr down just enough so that the table of the firmly seated. A “wax stick” is very useful for ensures that all the cuts are at the same angle.
stone is level with the surface. Having used a handling such small stones and allows greater Force the graver into the metal and push
smaller burr first ensures that the seat grips the accuracy than fingers or tweezers. forward with a slight side-to-side movement
stone so it will not move during setting. that will help raise the spur. Raise the angle of
the graver as it nears the stone, to push the
spur upright.

Continued over
124 TECHNIQUES DIRECTORY © GRAIN SETTINGS

than the stone, and to a depth greater than the girdle will sit, then using a burr
0.1 mm larger than the diameter of the stone. Deepen the seat with the burr until
the stone's table is level with the surface of the metal. Seat all of the stones.
Use a small half-round scorper to raise grains between the stones. Work along one
side first, and then the other—each grain holds two stones. This technique requires
confidence and force from the wrist—start the cut a couple of millimeters from where
it will end and push forward with the scorper at an angle of 10 to 15 degrees. A slight
rocking motion from the wrist will help force the metal up, and it is crucial that the
raised spuris not cut off with the graver. When the cutis almost the correct length,
raise the angle of the graver to lift the spur. There will be a bulge of metal at the front
of the spur; it is this that holds the stones firmly in position. Raise an extra grain at
each corner of the end ofthe lines of stones.
Use a spitstick to cut a line (a thread) along the edge of the stones. This should
be positioned just outside the edge of the grain cuts, joining them up to make a box
framing the stones. Engrave the backs of the cuts, so that an angled surface leads
from the surface of the metal down to the base of the grains; take care not to knock
off the spurs. The thread around the edge of the frame will need to be tidied again
with a flat scorper.
Choose a graining tool of an appropriate size to ball the ends of the raised slivers
LOVE RING of metal over the edges of the stones. If the tool is too big it is likely to chip the stones,
Rows of grain-set diamonds and pink sapphires but if it is too small, it will make unsightly slivers of metal around the base of the grain,
are set around the three shanks of this playful which will catch on fabric and are difficult to remove. Ideally, the same size of graining
set of rings by Ben Day, spelling out the ; =
Perle eireiereen ennai icne ea tere should be used for all the grains on a piece, but it may be necessary to use several
demantoid garnet, held in a rub-over setting. different sizes if the slivers are not of a uniform size. Place the graining tool over the
raised spurs and, applying firm and even pressure, begin to move it in a circular motion,
with the tool rotating at an angle of around 15 degrees from an imagined vertical axis.
This will round off the spur, press it against the stone, and harden and burnish it,
leaving a shiny little bead.
As with gravers, grain tools must be kept sharp, otherwise they will not work
ef iciently. At regular intervals, roll the tip of the tool at an angle over emery paper
f

to reshape it.

* Raise the grains along the other side of the “9 Cut a line, or thread, around the stones » Use a flat scorper to cut inside the thread.
stones—one grain between two stones and # with a spitstick. This is to make a neat ’This will tidy the thread and create an
with the cuts started at the same distance from border around the stones. The thread should angled edge to the frame—angle the scorper
the stones. The grains for the four corners can join up the cuts that were made to raise the away from the stones while cutting. The inside
then be raised, two at each end and with the grains, leaving a border of unmarked metal corners of the frame should also be neatened
graver in line with the corners. around the outside. at this stage.
 GRAIN SETTING 125

RUBELLITE PENDANT
This hand-engraved and enameled white-gold pendant by
Henn of London is bezel set with a 9.79-ct rubellite, with
a row of graduated, grain-set diamonds on either side,
accentuating the form.

TWIST DROP EARRINGS

The brushed gold surfaces contrast with
the glitter of tiny grain-set diamonds to
accentuate the edges of these elegant
twisted earrings by Jessica Poole.

Clean and clear the metal around the grains orm the grains using a grain tool of
and stones with a spitstick, taking care not xactly the right size, otherwise the
to accidentally cut off the grains, which should stone may be chipped or spurs of metal
appear as neat “islands” protruding from the formed where they are not wanted. Firmly
engraved ground. rotate the tool over each raised spur to
compress it into a shiny grain.
Gently warm the setter’s wax to remove the
piece—wax residue can be removed by soaking
the piece in acetone.
126 TECHNIQUES DIRECTORY ¢ GRAIN SETTINGS

Five-grain Setting
In this technique, four grains hold the stone and the
fifth grain is purely decorative. It is raised between the
stones, allowing them to be spaced more widely.

skill level

Choosing Stones
Small brilliant-cut stones of 7 Mohs or more are most suitable for this style of setting,
but other cuts can be accommodated.

Metals
Five-grain setting is most often used to set gems into high-karat gold, platinum, and
palladium, but silver and many base metals can also be used.

Construction Details
EARTH TREASURES RING This is a variation of the basic grain-setting technique (see page 122); so much of the
The lip of this ring by Chris and Joy Poupazis is process is the same. The crucial difference is in the spacing of the stones; there must
embellished with fishtail setting—a variation of be sufficient space between the girdles to accommodate the fifth grain—they must not
grain setting. The concave inner surface of the
be touching. Leave a gap of about a millimeter between the stones when marking out;
ring is dotted with three grain-set diamonds
without an engraved border. the gap can be proportionally larger for bigger stones, and the grain will be larger, too.
Drill, burr, and seat the stones as described for grain setting; however, the position of
the grains is slightly different, too. Instead of the grain between the stones holding the
stones either side, the extra gap means that each stone needs Its own grains—a total
of four—to set It.

SETTING A ROW OF BRILLIANTS

WITH FIVE GRAINS
The addition of a fifth, decorative grain
allows the row of stones to be more
widely spaced. The positions of the stones
will be dictated by the space available to
set them on.

TOOLKIT
a Strip of silver, stones for setting
= Bezel-setting punch
» Ball burr, drill, flexshaft motor # Mark out, drill, and seat the stones into a Each stone is held by four grains, cut in
= Setter’s wax 4 piece of silver (see page 122). The spacing diagonally with a half-round scorper. Cut
of the stones must allow for a grain to sit one grain per stone on one side of the row of
a Wax stick between the girdles of the stones, so they stones in order to maintain the same angle for
a Half-round and flat scorpers should not be as close together as for standard each cut, before doing the same on the other
= Graver, spitstick grain setting. side. Then cut the second grain for each stone
along each side.
= Grain tool
 FIVE-GRAIN SETTING 127

Use a small half-round scorper and, working along one side of the line
of stones, raise one grain for each stone. The cut should be angled so that
it approaches the stone straight on; cutting all the grains in one direction first
will help to keep the cuts more even and at the same angle. Next, cut all the
grains in the same direction along the other side so that each stone has
diagonally opposing grains; this will help to keep them level. Then cut the grains
along both sides in the other direction—each stone should have four grains.
Make diagonal cuts from the back of one grain toward the girdle of the next
stone; this leaves a central island of metal between the two girdles which will form
the fifth grain. First, clean and clear the metal surrounding the grains, using a spitstick
to cut a thread around the stone, and then engrave out the cuts at the back of the
grains with a small flat scorper. Use a suitable size of graining tool to form the grains,
including the fifth grain between the stones.

STARBURST PENDANT
This fabricated silver pendant by Fiona
McCulloch is grain set with brightly coloured
TOP VIEW cubic zirconia, radiating out from a larger,
tube-set brilliant. The spacing of the grain-set
The stones are
VW spaced farther
stones in such a piece requires careful
KeQ : to
apart planning before the stones are seated.
Fifth grain accommodate
the fifth,
decorative grain.

“ Make diagonal cuts between the stones Cut a thread and angled frame around the Use a grain tool of the correct size to
vx) to create an island for the decorative fifth stones to neaten the appearance of the burnish and shape the grains. The fifth
grain. Use a spitstick to cut from the back of setting, and clean up the metal surrounding grain fills up the extra space between the
one grain diagonally across to the center of the the stones and raised grains with a spitstick. stones, and creates the illusion that it helps to
girdle of the next stone. secure the stones.
128 TECHNIQUES DIRECTORY ¢ GRAIN SETTINGS

Square-grain Setting
This type of grain setting is used to frame a single stone within
a square engraved border, with the stone held in position by four
grains, one in each corner.
skill level

Choosing Stones
Brilliant-cut, round gemstones are traditionally used in this style of setting, and it is best
to use harder stones, which are not brittle or prone to fracture. Larger diameters of
stone can be used than for the grain setting techniques previously described.

Metals
Because there is a significant amount of engraving required to complete this setting,
silver is the easiest metal to work with, but other precious metals are commonly used.

Construction Details
The area into which the stone will be set should be prepared in the same way as for
grain setting. Marking out for a single stone is straightforward, but you need to leave
enough space around the stone for the box to be engraved. Center punch and drill a
BASKET RING hole before securing the piece in a clamp or with setter’s wax. Burr out the seat for the
Diamond tipped prongs surround the stone, using a burr smaller than the diameter of the stone first, going a little deeper
faceted citrine in this complex basket ring by than the widest part of the ball burr, and then use a ball burr 0.1 mm larger than the
Annoushka. Each diamond is grain set and
stone size to open up the hole to the point where the table of the stone sits level with
bounded by a perfect engraved box to match
the shape of the prong tips. the surface of the metal. Remove the stone and put it to one side.
Using a square graver, cut an inverted “V” at each corner of the setting, with the
widest part of the “V” next to the stone. This creates an island of metal that will

SQUARE-GRAIN SETTING
A SINGLE STONE
This technique is used to grain set single
stones, enclosing them in an engraved box.
Accurate positioning of the grains at the
four corners of the square is crucial for the
setting to work visually.

TOOLKIT
a Strip of metal
a Setter’s wax
a Drill, burr
= Square graver # Mount the metal in setter’s wax so that it = Cut a square thread around the stone
8 is secure and can be more easily held. Drill &=x USING a spitstick, before straightening up
a Spitstick
and burr the metal to seat the stone, then the sides of the box with a small flat graver.
2 Small flat graver remove the stone. Use a square graver to make These cuts should join up the triangles in the
s Half-round and small flat scorpers two cuts at each corner of the stone—the corners, leaving the islands untouched.
cuts form two sides of a triangle and leave an
= Graining tool
island of metal next to the stone that will form
the grains.
 Se pe
hiss aif

SQUARE-GRAIN SETTING 129

SQUARE-GRAIN SETTING: TOP VIEW.

GRAIN-SET PENDANT Use square graver

Several styles of setting have been used to cut away
to set the rubies in this pendant by Jayce surrounding metal,
leaving four
Wong. The small rubies on the top triangles
section are grain-set in a square box.

Use flat graver to

cut straight edges
of “square”

Raise grains

become the grain that holds the stone. Next, use a small flat graver to join up the
“V-shaped cuts, and straighten the sides of the box, taking care not to cut into the
islands of metal at the corners. Bead grains and
tidy square with a
The seat for the stone will need to be burred again, as the engraving will have flat scorper
pushed some metal over the edge of the hole. You can then put the stone in place and
raise the grains using a small half-round scorper. Use a flat scorper to recut the corners
of the box, and tidy up any areas that need it, before forming the grains at the four
corners. It is possible to create a line of set stones using this technique, but each one
should have its own engraved frame.

TRIANGULAR GRAIN SETTING: TOP VIEW

Triangular border
and three grains
“ Re-burr the seat for the stone, as the fi, The corners of the box will need recutting
ws graver cuts will have pushed metal into the “to neaten them and create the correct
seat, and put the stone into position. Raise the angles, using a small flat scorper. A graining
grains with a half-round scorper diagonally tool is then used on the four grains.
toward the stone.
130 TECHNIQUES DIRECTORY © GRAIN SETTINGS

Pavé Setting
With grain-set brilliants fitted neatly in rows to create a ground of stones,
and the bright-cut engraving between the stones, this setting reflects light
and creates an overall effect of opulent glamour.
skill level

Choosing Stones
Choose small, hard, calibrated brilliant-cut stones of 7 Mohs or above. Often the same
diameter of stones is used throughout a piece, but this will depend on the design—if
the pavé tapers or follows a form you may have to use smaller stones in some areas to
keep the spacing even. Colored stones can also be used successfully; use cubic zirconia
as practice stones.

Metals
Gold, palladium, and platinum are most commonly used for this technique. This style of
setting can be applied to mixed-metal pieces, and to a range of forms, from flat sheet
to curved shapes. Recessed areas can be pavé set, but this may affect the sequence of
construction, with some portions being cold-joined or laser-welded together once the
stones have been set.
PAVE AQUAMARINE RING Construction Details
Two views of “Aquamarine Lake Ring” by
Ming show how pavé-set diamonds encrust Marking the positions of the stones accurately for pavé setting is crucial, because if
the shank of the white-gold ring to create a the spacing of the stones is wrong, the technique will not work. If the stones are too
bold form that splits into the prongs that hold closely set, the girdles will clash, but if they are too far apart, the grains will not be
the large aquamarine. properly spaced. Smaller stones should be set slightly closer together and with smaller
grains than larger stones, so, if a piece contains stones that graduate in size, very

PAVE SETTING AN AREA OF

SHEET SILVER
While the pavé technique is often used to
cover an area of a piece with small round
brilliants, when starting out it is best to
practice on a smaller area.

TOOLKIT
= Sheet of silver
= Stones for setting
= Bezel-setting punch
Drill, burr Mark out a grid for the positions of the Raise grains between the stones in rows,
stones using a bezel-setting punch exactly using a half-round scorper, performing
= Half-round scorper
the same diameter as the stones that will be all the cuts in one direction on each row as
a Spitstick set. The girdles of the stones should almost be described for Five-grain Setting (see page 126).
» Graining tool touching. Drill, burr, and seat all the stones.
 PAVE SETTING 133

PAVE SAPPHIRE PENDANT

Pavé-set sapphires extend right into
the inner corners of this geometric
“Rift” pendant by Paul Battes.

TOP VIEW |
careful planning of the area to be set is necessary. Drill holes for the stones and seat
them so that the tables are flush with the metal’s surface. Raise the grains around the
stones, four for each, in rows as described in “Five-grain Setting,” page 126. It is
important to be methodical, working along the rows one at a time and cutting all the
grains in one direction first, so that the stones stay in position and all the cuts are of
an even size. The grains at the outer corners of the area of pavé are raised last.
Cut an “X” between the stones to leave an island of metal to form the fifth grain.
This grain is purely decorative and is used to disguise the areas of metal left between
the stones by mirroring the grains that surround the stones. Clean up the metal
around each grain with a graver, removing the back of the cut and taking care not to
knock off any grains. Cut a thread around the outside of the pavé to create a neat
border to the engraved metal.
Ideally, the same size of graining tool should be used throughout the piece, but in
practice this depends on the exact size of the spur raised, and a variation of one or
two sizes is unlikely to be noticeable. The fifth grain may require a different size of
graining toolthis will depend on the spacing of the stones and the amount of metal
left between them after the cleaning and clearing has been completed. Cutting deeper
“Xs between the stones will leave less metal remaining and will therefore produce a
smaller grain.

Cie all these grains have been raised, 4 Use a spitstick to make diagonal cuts f° Clean up the metal from around the grains
wé) Cut the grains at the four corners of the “© between the stones, creating islands for ws’ USING a Spitstick, and then cut the thread
pavé area. When applying pavé to a shaped decorative grains. The island should yield grains that borders the outer edge of the group of
area, disguise any spaces at the edges that are that are of a similar size to those that secure stones. Shape the grains with a graining tool.
not large enough to take a stone with the stones.
decorative grains.
132 TECHNIQUES DIRECTORY ¢ GRAIN SETTINGS

Micro-pavé Setting
Tiny brilliants are used to create a uniform carpet of stones on a
miniature scale—the stones are almost too small to identify individually
he naked eye, scattering light deceptively.
skill level

Construction Details
This style of setting is usually done with the aid of stereo binocular lenses; because the
stones used are so small it would be difficult to accurately place them and raise grains
with the naked eye. The miniature scale of micro-pavé means that the technique
is different to pavé—the main difference being the sequence in which the steps
are performed.
Mark out and seat the stones so that one row is offset against the next, allowing
the stones to be closely spaced. Remove the stones and use a small bud burr in a
flexshaft motor to grind out metal from between the stones, leaving raised areas or
“castellations”; this is first done from top to bottom, then from left to right, and
finally diagonally. Burr the seats again with the correct size of ball burr to seat the
stones. The stones can only be placed one at a time, otherwise they will get in the
way of the grains being raised, so start in the center of the pavéd area. The limited
areas of metal available for raising grains means that when raising the grains, the
graver must twist the spur around so that it is in the correct position for a particular
stone. The grains for each stone must be raised before the next stone is seated. Once
SWAN EARRINGS
The surface of these stylized white-gold hoop
all the stones are set and the grains made, the outer thread can be cut, and any areas
earrings by Ming is encrusted with 18-ct that require it cleaned up.
micro-pavé-set white diamonds. Micro-pavé
setting is surprisingly smooth to the touch.

MICRO-PAVE SETTING
Small stones can be used to coat a surface,
but the smaller scale of the setting means
that fewer grains can be raised than for
other types of grain setting; a binocular
microscope is used to magnify the area
being worked on.

TOOLKIT
« Sheet of silver
« Stones for setting
a Drill
# Marking out is crucial for successful micro- ™» Using a 0.6 mm bud burr, carve grooves
» Bud burr “ pave; for this technique, the stones’ girdles om between the seats to remove sections of
a Small flat scorper should be almost touching and the rows the raised areas. The grooves should go from
« Half-round scorper of stones are offset so that they are tessellated. top to bottom and then from left to right
As Drill, burr, and seat the stones before removing between the stones. Cut diagonals so that
# Graining tool them from the metal. “castellations” are left around the seat for
= Spitstick each stone. The outer areas should be
left untouched.
 MICRO-PAVE SETTING 133

MICRO-PAVE-SET RINGS
This set of white, yellow, and black rhodium-
plated gold rings by Annoushka is micro-pavé
set with matching colors of diamonds—
white, brown, and black. This technique
completely covers the surfaces of the rings
and the metal is barely visible.

MICRO-PAVE: TOP VIEW

The stones will need to be seated again % Work from both sides of the first row &* Once all the grains have been shaped
wa’ to remove burrs from the inside edges of ¥ of stones, keeping track of which grains ew with the graining tool, cut a thread around
the seats; position the stones one at a time, are going where. You can then start the next the stones with a spitstick to neaten the
otherwise it will be difficult to raise grains. Use row and work it in a similar way—the grains on overall effect; there will be little space between
a small flat scorper to lift and push a diagonal the outside of the area of stones are raised in the stones to clean up, and at such a small
castellation against the stone. The scorper the usual way, with a half-round scorper. scale it is unlikely to be necessary.
needs to be twisted as the grain is raised so
that it ends up in the correct position.
134 TECHNIQUES DIRECTORY

Fancy Settings
The term “fancy” covers “everything else,” both in cuts of stone and
styles of setting. Variations of standard techniques can be combined, as
in combination setting, or experimental processes such as sand casting
may be used to set stones.
esoveevevoeveeereeevceoeseeceoewvoevrweoeeeveonemeoeveeooezeaoeseoesvneeoeeveonvne eee eves e eevee eee eo & ®

Innovative ways of setting stones can be devised using metals and other materials
such as wood or plastics; less traditional techniques, such as laser welding or
precious metal clay can also be employed. Mounts can be hidden—when stones
are set from behind, mounts can swivel, or allow the stone to be loose. Cold-joining
techniques including riveting, wire wrapping, and spectacle setting are an alternative
to traditional setting methods and are particularly useful for fragile stones.

COMBINATION SETTING TENSION SETTING

(see page 136) skill level (see page 142) skill level

This white-gold ring by Ming displays an array of precious Tension setting relies on the forces within a metal form
and semiprecious marquise-cut gemstones extending from to hold the stone in place, so it is crucial that both the
the stylized wing that curls out from the shank. stone and metal are suitably tough. This stainless steel
The stones are secured under the ledge of feathers at ring by Kara Daniel holds a princess-cut green sapphire in
one end and the tips are set with prongs at the other. place securely; the steel was recessed to hold the stone,
Combination settings can utilize two or more styles Supporting it at four points along its straight sides, and
of setting to hold a single stone, although many stones was given a brushed finish to contrast with the reflective
and types of mount can be used within the same piece surfaces of the sapphire.
of jewelry.
 FANCY SETTINGS 135

SETTING FROM BEHIND

(see page 154) skill level

Stones are usually set from behind

SWIVELING SETTING
to prevent the texture or form of
(see page 148) skill level
a surface form becoming distorted
or altered during setting, or to
This pendant by Annie Cracknell is
disguise the method of setting. In
constructed from silver tubing, and
this brooch by Barbara Christie, the
holds a quartz crystal. The stone is
shell cameo and emerald are set
part-drilled at either end and held
from behind to leave the delicately
under tension by the inserted
textured surface of the gold intact.
tubes, allowing it to swivel in the
Decorative rivets have been used to
setting. Any part of a piece that
secure the brooch fitting, which is
is fabricated to pivot along an axis
entirely concealed from the front
can be used as a swiveling stone
of the piece.
or setting; this is a way of making
double-sided elements that can be
turned around within a frame.

CASTING
UPSIDE-DOWN SETTING
(see page 160) skill level ©
(see page 156) skill level

Rubies were cast directly into this 18-kt yellow-gold ring

Many different styles of setting can be
by Kelvin J Birk, creating an experimental form. Processes
used to set stones upside down. The
such as sand or cuttlefish casting allow molten metal to
inverted intense blue sapphire in this
be poured into a shaped void that has stones positioned
ring by Whitney Abrams contrasts
within—the metal flows around the stones and secures
beautifully with the rich color of the
them in position. It is important that the stones being
22-kt gold shank that holds the stone
used are able to survive the high temperatures involved
in a bezel setting; much more of the
in working with molten precious metals.
stone is visible because it has been set
upside down. Cabochon stones can
also be inverted, but it is the flat base
that will then be uppermost, and the
mount must be able to accommodate
the curved face of the stone and
support it so that it does not move
out of position during setting.
136 TECHNIQUES DIRECTORY ¢ FANCY SETTINGS COMBINATION-
SET PENDANT
This pear-shaped cubic

Combination Setting
zirconia was set into
a silver mount using
both rub-over and
prong settings.

As long as the stone is adequately held, almost any combination

of setting styles in one piece is theoretically possible—part prong,
part rub-over, or part grain-set.

skill level

Choosing Stones
Unusual cuts of stone may be more easily set with this method than standard cuts
because the angles may lend themselves to differing setting styles. The methods of
setting can be adapted to suit softer stones, so hardness need not be an issue.

Metals
The choice of metal will depend on the types of setting used and the hardness of the
stone, but this technique provides scope for experimenting with mixed metals within
one piece.

Construction Details
There are a number of ways of approaching the fabrication of a combination setting,
but they will depend on the styles of setting and the particular cut of stone used.
TOURMALINE RING Tapered bezels and basic bezels can be made to fit a stone; areas can be cut or filed
A fantasy-cut vivid green tourmaline is seated out and parts of different tapered bezels can be soldered together to make a single
against the body of this ring by David Fowkes. mount. Cast forms can be adapted to receive a stone by soldering wires into positions
A brace holds the tip of the stone and a strap
that can be used for prong or peg settings, and ledges can be constructed for the edge
secures the wide end.
of the stone to sit under. It's important that the basic mount fits the stone well—any

COMBINATION SETTING A
PEAR-CUT BRILLIANT
Non-standard cuts, such as pear-shaped
are ideal for combination settings because
the tip and back of the stone can have
different styles of setting used without it
looking out of place.

TOOLKIT
= Strip of silver for bezel (see page 88)
» Soldering equipment Make a bezel the same size as the stone— “® The tip of the large curl of the pendant will
= Needlefile # this pear-shaped bezel was formed from a se form the rub-over portion of the mount,
strip of silver and soldered closed at the point. holding the stone's point. File a groove in
= 8-gauge (3-mm) tapered silver wire
File an angled ledge on the inside of the bezel the flattened end and bend it to match the
= Gallery strip so that the girdle sits on top. Form a pendant profile of the bezel. Fit the pendant frame
s Jett Sett frame from 8-gauge (3-mm) tapered silver wire. to the bezel, ensuring it sits higher. Solder a
section of gallery strip at the back of the bezel
= Pusher, flush setting tool
to form prongs.
= Burnisher
 COMBINATION SETTING 137

10 RING CROSS-SECTION
The emerald-cut
rhodolite in this ring Bezel to rub over
by Anastasia Young
has been secured
with a silver tab
along its top edge,
and two 18-kt
yellow-gold prongs
on its lower
corner facets.

=|
|
it~ Wire seat

room for movement may become exaggerated over time, causing the stone to become
loose. Ensure that the stone is properly seated, carving the correct-shaped groove > Balled wires
set stone
with a graver until the stone is level and stable. If one part of the stone is being held
under a ledge, the engraving of the seat may be more of a challenge. If the mount
is first made up in wax with the seat carved before casting it may be more easily
accomplished. Any refining of prongs, such as cutting them to the correct length,
using a cup burr on the ends of the wires to round them, and thinning the wires,
should also be completed at this stage.
Once the stone is seated in the mount, and the piece is secured so that it can be “Grains
accurately set, a small amount of setting should be done on the different parts of the
mount. Pressure can be applied with the setting tool without too much risk of the
stone moving out of position. Make sure each part of the mount securing the stone is
making good contact with it by carefully burnishing the metal against the stone until
Grains
the edges can no longer be felt. This will ensure that parts of the setting are not easily
caught on clothing and loosened, and will also polish and work-harden the metal.

*% Solder the bezel into position in the #@ Pour boiling water over some Jett Sett Set the point of the stone using a pusher
wo pendant frame, having filed an area inside “granules (see page 65) and, once they have ex’ (flat-ended or prong)—a flush setting tool
the large curve to make more contact between gone clear, embed the pendant in the plastic. with a curved face will aid setting on the
the bezel and the frame, and thus a stronger Make sure that the parts that will be set are concave curve. Make sure that the tip is
solder join. File the prongs and bezel tip to thin still fully accessible, and push the Jett Sett adequately compressed and looks neat. Use the
them so that they will be more easily set. down inside the bezel so that the stone will pusher to push down the prongs and remove
sit correctly. Allow the plastic to cool and turn any marks. Adjust the shape with a needlefile,
white again. clean up, and then burnish both parts of the
combination setting.
138 TECHNIQUES DIRECTORY ¢ FANCY SETTINGS

Multiple and Cluster Setting

Using more than one stone in a piece adds more scope for
combining color and contrasting cuts but can affect the design
and construction of the piece.
skill level

Choosing Stones
Because this type of setting commonly uses different cuts of stone, it is likely that the
choice of stone will be made during the design process.

Metals
The mount must be reasonably durable and able to withstand the setting of multiple
stones without distortion, so this might mean that the main structure of the piece is
made from a harder metal than the prongs or tabs if setting more fragile stones. It
is also possible to use three-dimensional shapes that will offer integral strength to a
structure made from a softer precious metal. Use less malleable metals for longevity
and durability, especially if more valuable gems are being mounted.

Construction Details
As the name suggests, “cluster” setting involves a group of stones set closely together
on a piece. Tapered bezels are often used to seat the stones, with prongs holding them STONE CLUSTER RING
in place. This means that the prongs can be placed where there is access for the setting Crushed amethyst, tourmaline, and quartz
tool, unlike bezels, which are placed all the way around the stone. The positioning of have been formed into a cluster and applied to
a blanched silver ring using glue, in this piece
the mounts must allow access for each stone to be set, but it is possible to have one
by Kelvin J Birk.
metal element securing more than one stone at a time.

CLUSTER-SET SILVER RING

This project uses a marquise- or navette-
cut stone, clustered with several sizes of
round brilliant. Plan ahead and work out
the best positions for the prongs; these
prongs are made from palladium wire,
which is harder than silver.

TOOLKIT
a Silver strips and tube, stones for setting
» Needlefile, ball burr
» Soldering materials 4, Make bezels for all the stones that will be “® Create a bevel on the inside of the
g F
» Jeweler’s saw, drill % set in the cluster—the bezels should have s= Constructed mount with a needlefile,
the same outer dimensions as the stones. to enable the girdle of the stone to sit level
= Wire for prongs Sections of tube can be used for round stones, with the top of the mount. Use a ball burr the
= Prong pusher but you will have to construct walls for stones same size as the stone to bevel the inside
« Mallet and hardwood of other shapes. edges of the tubing for the round stones.

= Cup burr
= Burnisher, polishing materials
 MULTIPLE AND CLUSTER SETTING 139

CROSS-SECTION

THAI PRINCESS RING

This opulent ring by Ming displays
tiers of rubies set in 18-kt yellow gold.
The central ruby is prong set, with the
smaller surrounding stones half pavé-
set, and half bezel-set.

Combination settings (see page 136) are sometimes used to create cluster settings,
with a sheet-built element holding one end of several radially positioned stones.
Historically, this tyoe of setting was arranged in a tiered construction, with the stones
radiating out from the center, and often gradated in size; similar formations are still
used today.
The design and construction of the piece as a whole has a great impact on how
the stones will be set, potentially, even down to the order in which they are set. The é
easiest production method in terms of construction would be to cast from a printed Traditional—smaller stones set around a
or milled wax model (see page 78). An expert can render designs from drawings, with fed alba Mie ita heck
detailed specifications for the stones, but the use of standard stone sizes and cuts may
well be necessary. Using this method will allow the piece to be cast in one or more

Solder the bezels onto a base, and then #3 Check that all the stones are seated well & The construction of the piece may dictate
pierce out the base sheet from inside. _ “and sit level—burr the bezels again if wa which stones are set first—mount any
Mark the positions of the prongs for each necessary, having bent the prongs out of the stones that will get in the way of others
stone and drill holes for them. Solder wire in | way if they are obstructing access. Trim the being set last. It is also important to remember
to make the prongs, ensuring that the solder prongs to length and file the tips thinner which prongs are allocated to which particular
not only seals them to the base sheet, but also before starting to set the stones. stones. Use a prong pusher to lever the prongs
runs up to hold the wires against the bezels. into place.
Clean up the ring.

Continued over
140 TECHNIQUES DIRECTORY @ FANCY SETTINGS

sections, avoiding all the fiddly construction, but the nature of

the software can often lead to rather traditional formations
of stones.
It is possible to fabricate a cluster of mounts attached to a
jewelry piece without too much complexity. It will take time, and
careful design and planning, but the mounts themselves may
benefit from being simplified, both in terms of design and ease
of construction. Elements of one mount may form parts of the
mount for another stone, allowing less metal to be used and
possibly simplifying the construction process. This may be aided
by the cut of the stone, because certain shapes can be more
easily spaced or tessellated.
The simplest method for creating multiple seats for stones
within one piece of metal is to drill or pierce recesses slightly
smaller than the stone's girdle into a thick gauge of sheet—
18 gauge (1 mm) or more. The sheet can be formed so that it
is not flat, and the degree of forming determines whether the
holes should be made before or after forming; holes in heavily
formed pieces will distort, but certain areas may be less
accessible on a three-dimensional form, so should be made first.
PRIMROSE RING The prongs can then be applied relative to these. Solder prongs
Five Polki diamonds are prong set as petals on into drilled holes to make the solder join stronger. You can use
this ring by Annoushka, surrounded by borders many variations of the prong, including balled ends to the wire,
of micro-pavé set diamonds. The center of the
to create more visual interest.
flower is set with rose-cut diamonds and pink
sapphires in white gold. If you are using bezels or partial bezels, it may be more
appropriate to solder these onto the sheet first, before piercing
out the sheet from inside. The bezels can then be shaped and
adapted further to accommodate the stones.
It is advisable to make a model for complex pieces of this
type to discover any flaws in the design before you start; if the
model is successful it can even be used as a master for lost wax
casting, which will allow the piece to be reproduced in a variety
of metals.

CLUSTER SETTING: SETTING

THE PRONGS
Keeping track of which prongs are
allocated to which stone is important
during the setting process. Take it slowly,
making sure every prong is properly
pushed over and burnished.

™ Use a custom setting tool to push over “9 During setting, thin the prongs with a file
prongs that are obstructed by other bezels & if necessary. This will help neaten the
or prongs—this tool has a narrow, flat taper at appearance of the piece as a whole. At this
the end to allow it into tighter spaces. Stage, the prongs should be only partly pushed
over the stones to hold them in position so you
can still make adjustments to their height.
 MULTIPLE AND CLUSTER SETTING 141

AMETHYST AND DIAMOND RING

This stylish ring by Zoe Marie features an
optix-cut trillion amethyst tension set between
prongs which hold rub-over set diamonds. The
concave facets on the amethyst are cut with a
laser, and produce an unusual lensing effect in
the reflections of the pavilion facets.

TOP VIEW |

Arrows indicate which prongs hold

which stones

8" a stone slips out of alignment slightly, 9, Continue setting the stones in position until
Ytap it back into position with a mallet ww they are all held in place. Using a suitably / that they are flush with the surface of
and a piece of hardwood. This will not sized cup burr, shape and shorten the all of the the stones and will not catch or snag on hair or
damage harder stones, and will force the stone prongs to a similar length. clothing. The surface should feel smooth to the
level with the top of the bezel if the higher touch, with no sharp areas. Give the piece a
side is tapped. final polish.
142 TECHNIQUES DIRECTORY ¢ FANCY SETTINGS

Tension Setting
Tension settings are arguably the most minimal type
of mount, relying on the pressure created when a single
piece of metal is forced open to hold a stone permanently TENSION-SET AQUAMARINE
An unusual method of tension setting
in position. was used for this ring by Teena Ramsay.
Wire loops hold the prongs under
skill level tension, securing the stone in place.

Choosing Stones
This type of setting exerts a great deal of pressure on the stone, so only very hard
stones such as diamonds, rubies, and sapphires can be used, but even then, any
internal flaws in the stones may cause problems.

Metals
Only very hard metals, such as white gold, steel, titanium, or platinum should be used
for tension settings, and special alloys of these metals are available that are particularly
effective. The metal used must be capable of retaining its work-hardened state and
maintaining the pressure on the stone, otherwise it will eventually become loose.

TAHITIAN PEARL RING Construction Details

This intriguing ring by Danila Tarcinale displays Because the ring shank for a tension setting needs to be made from a hard metal,
a large Tahitian pearl tension set into a which is thicker than the height of the stone—so that the culet does not protrude
sculptural 18-kt yellow-gold ring. Caps allow
inside—forming the shank itself may be a challenge. The ring cannot be easily resized
greater contact with the pearl, which is further
secured with epoxy, and grain-set brilliants once the stone is set, so if a particular size is required, then this must be resolved
embellish one band of the shank. before the stone is put in place. If the ring is to be formed from metal rod or wire, it is
easier to work with a longer length of metal than is needed in order to create enough

TENSION SETTING A DIAMOND IN

A WHITE-GOLD BAND
Tension setting relies on the force of the
ring shank alone to hold a stone, so use a
hard metal such as white gold to form the
ring shank.

TOOLKIT
« Metal for ring shank
a» Hammer, vise
= Soldering equipment & Form a ring from a thick-gauge hard metal, ‘» The gap between the two ends of the
a Ring stretcher 4 such as 9-kt white gold. Use a combination ring shank needs to be shorter than the
of hammering and squashing in the vise to diameter of the stone that will be set. Use a
« Jeweler’s saw, file shape the wire, and use a longer piece than ring clamp to force the shank open slightly—
a Stone for setting necessary to Increase the amount of leverage. this style of clamp tightens from the base,
» Ring clamp Tack solder the ends of the ring together, and forcing the top wider.
use a ring stretcher to make it perfectly round.
a Hart burr Cut out the solder join and file the gap.
= Polishing materials
 TENSION SETTING 143

leverage to curve it. The rod can be formed around a mandrel with the help of a vise.
Using the protective jaws on a vise to squash the rod into shape allows much more CROSS-SECTION
force to be applied than with a hammer alone. Once the ring is circular and the correct
size, the excess metal can be cut away and a gap cut in the ring, which is smaller than Diameter of
stone wider
the diameter or width of the stone—the metal is held apart by the stone and it is this than gap
tension that keeps the stone in position.
Casting allows more room for design details and also makes the construction
much easier, but the piece must be cast in a hard alloy in order for the tension setting
Use burr to
to have longevity. It will be necessary to use a burr smaller than the diameter of the carve recesses
stone to carve the seat. A fraise burr that slips easily into the gap should be used for stone’s
girdle
with a flexshaft motor to carve grooves in the same position on both sides of the
gap. It is very important that the grooves are even, level, and deep enough so that
the stone cannot move at all—try to match the profile of the edge of the stone as
Open shank to
perfectly as possible. All work on the ring should be finished before the stone is set, insert stone
including polishing.
To set the stone, stretch the shank open either with a ring stretcher or by forcing it
up a mandrel, just enough to slip the stone into place. Be careful not to overstretch
or the ring will not close enough to hold the stone, and the shape may be distorted. Stone is set
When the ring is released, the shank will contract and hold the stone. when shank is
released

STYLES OF SETTING

SIDE VIEW

Exaggerated sides Cast shank

TOP VIEW.

Begin to cut a groove for the stone to 4 The groove must be close enough to the if Release the ring from the tension and the
sit in, using a hart burr smaller than the “top of the shank so that the culet does not wé) gap will close again, trapping the stone.
diameter of the stone. The groove should protrude underneath. Clean up and polish the The stone should sit level and be held so firmly
be deeper in the center to accommodate the ring. Open up the ring enough to slip the stone by the shank that it does not move.
girdle of a round stone, and must be level on into position—if the metal cannot be opened
both sides so that the stone sits straight. that far on the clamp, force the ring up a
mandrel, or use a ring stretcher.
144 TECHNIQUES DIRECTORY ¢ FANCY SETTINGS

Caged Setting
Caged setting allows stones to be permanently secured within a structure.
It can be used to create an openwork showcase for individual stones or to
trap contrasting stones together in groups.
skill level

Choosing Stones
The choice of stone is likely to be influenced by the design and construction of the
piece. If laser welding will be used, no heat is required to finish the mount, so more
vulnerable stones such as pearls can be used. Cubic zirconia and other heat-resistant
gems will allow the soldering of elements with the stone in its final position.

Metals
Because caged settings are often constructed from thin wire, it is advisable to use less
malleable metals, which will not be accidentally bent out of shape; however, you can
use thicker gauges of softer metals to counteract the problem. If the cage is to be
soldered closed, silver—which has the lowest soldering temperature of the precious
metals—is the most suitable choice because there is less potential for damage to the
stone from heat exposure. If you are welding the cage, the options for metal choices
are far greater and include stainless steel and the refractory metals.

Construction Details
TOPAZ PENDANT
Platinum wires have been laser welded to form
Caged settings can provide an attractive way of displaying stones in the round,
a cage for this topaz drop pendant by Cathy but can cause technical problems in terms of securing metal parts. Technology such
Stephens. The platinum wires accentuate the as laser welding is very useful for permanently joining metal elements in order to trap
shape of the stone. stones securely inside.

CAGE SETTING A MOSS

AGATE CYLINDER
There are a number of construction
techniques that can be used to create
caged settings; in this project, wire rivets
are used to hold the top on a form
constructed from wire and fine tubing.

TOOLKIT
a Wire for jump rings
a Cylinder-shaped stone
» Soldering materials
{ Make four jump rings, two of which should *% Solder the small jump rings into the larger
» Round needlefile be just large enough to fit around the = Ones to form a pair of double rings. Divide
a» Binding wire cylinder-shaped stone. The other two jump the outer rings into three, and file a groove
a Pickle rings should be smaller, but should not be able with a round needlefile at each of the points.
to pass through the first two and should be The groove needs to be deep enough to hold
a File smaller than the diameter of the stone. a piece of thin tube, but not so deep that the
= Jeweler's saw tube would stop the stone from sitting on the
= Steel block and hammer inner ring.
 CAGE-SET NECKLACE
AND EARRINGS
This set of jewelry by Daphne Krinos is
made from oxidized silver. It holds
crystal-cut citrines on wires that were
laser welded at each end to secure
them within the cages.

STYLES OF SETTING CROSS-SECTION

Simple cages
Silver is one of the most difficult metals to laser weld because it is so reflective, but
it can be dulled with the use of a marker pen. Silver wire is sometimes used to “stick
feed” into the welded joins. It is advisable to check the minimum gauge of wire or
sheet metal that can be used, because if the metal is too thin the laser pulse may cause
it to vaporize. There are specific problems associated with particular alloys of certain
metals, including white gold and titanium, so do check before beginning construction
of the piece.
As when making prongs, it is far easier to construct a cage using one piece of Stone put into
wire that is bent to form two prongs that can be joined to the piece at the same time. soldered frame

Pierced sheet can also be used to form caged structures but it will need to be carefully
formed once pierced, so that the design does not distort. Placing a thin sheet of copper
underneath the form will help to prevent thinner areas warping. It is important
to decide how and in which order you'll carry out the construction of the cage—
especially which portion of the mount will be left unattached so that the stone can
be put in, or how easily the stone can be inserted without distorting the shape of the
cage. All component parts should be assembled, cleaned up, and ready to be joined
Laser- or TIG-welded
before handing the pieces over to the laser welder, along with clear instructions. cage closed

Cut three lengths of tube to form the File the ends of the tubes flush with the “Insert riveted wires into all three tubes and
cage around the rings. Use binding wire outer rings. Mark corresponding points on put the stone in position. The lid should slip
to hold them in position for soldering. Ensure both rings so that they can be matched up onto the wires so that it is touching the
that the gap between the rings is large enough again, and use a jeweler’s saw to cut through stone—if the tubes are too long, file them
for the stone to sit in. Remove the binding the tubes on the inner side of one of the rings. some more. Working on a steel block, rivet
wire before pickling the piece and, once clean, File the ends of the tube flat, taking care not to the ends of the wires to secure the cage.
dry thoroughly. bend them out of position.
146 TECHNIQUES DIRECTORY @ FANCY SETTINGS
WOBBLY STONES
An aventurine sphere is held loosely yet
securely within a constructed frame by a
screw to make this pendant.

Wobbly Stones
Settings that allow stones to wobble can add playfulness to a piece of é
jewelry, and many different cuts and colors of gemstone can be used. &
skill level

Choosing Stones
Because little or no pressure is exerted during setting, soft stones can be used for
this technique; however, if the stone is likely to receive wear from rubbing or moving
around inside the setting, then it may be advisable to use a harder stone. Because the
stones are not fitted tightly within the mount, many cuts can be used which would be
problematic to seat in the usual way. “Wobbly” mounts require stones with properties
suitable for the particular type of setting that will be used.

Metals
Because the stones are not being set in the traditional manner—and because It Is
likely that cold-joining will be necessary in some form—mixed materials or metals with
surface effects that cannot be heated can be incorporated into the piece without too
much extra design work. Most precious metals are suitable for this technique, as are
many base metals.

Construction Details
WOBBLE ROSE RING
A wobbly setting is used in this white-gold
The design of the mount is crucial and will determine much of the construction
ring by Zoe Marie. A ball and socket joint has process; this is an opportunity to explore ideas around a theme, or create a piece that
been made to allow the mount for the natural is materials-led. Creating a mount that allows the stone to wobble inside can also be
pink diamond to move freely. used for interchangeable stones, see page 166, if the mount is not permanently fixed
shut and can be opened and closed.

AVENTURINE SPHERE
WOBBLY PENDANT
Screw threads are a useful method
for cold-joining components, but do
a trial run first to ensure that all the
measurements are accurate in order
for all parts to function properly.

TOOLKIT
» Soldering equipment
a Jump rings
= Dapping block and punches Solder together enough jump rings to Solder a jump ring onto either side of the
= Sheet of silver » make a domed form large enough to hold dome, large enough for the size of screw
a spherical stone. The excessive use of hard being used. Trace around the outline of the
a Drill
solder will give the form greater strength and, domed form onto a base sheet, which must
= Rod as more soldering will be done on the piece, be at least 16 gauge (1.2 mm thick) to take a
= lap-and-die set also help prevent problems later on. Dome the screw thread. Drill holes in this sheet which
form in a dapping block, and solder a large align perfectly with the jump rings.
w Jeweler’s saw jump ring onto the base.
a Watchmaker's screwdriver
 WOBBLY STONES 147
CAGED EARRINGS
Free-moving
rhodochrosite
spheres in caged
forms are the CROSS-SECTION
feature of these
earrings by Chris
and Joy Poupazis.
The forms were
constructed from
sterling silver.
Dome made
from jump rings

~ Stone sphere
Because they usually rely on metal exerting pressure against
STYLES OF SETTING
the stone to hold it in position, it is unlikely that the usual
yore
methods for stone setting can be used for a wobbly setting.
EXE This means that the mechanism for setting a stone that can
move will require cold-joining techniques; these could include
riveting, screws, tabs, staples, or a bezel used to set a metal
element that traps a stone. Whichever method you choose,
accurate construction of the parts so that they fit together well
and function correctly is very important. The mount must be
secure and designed so that even if slightly bent out of shape,
the stone cannot come out of the mount.
All the component parts should be completed, cleaned up,
Rub over and be given their final finish before the piece is assembled. If
cold-joining is used, effects such as patinas or gold leaf can be
Ball and socket = used on the inside of the setting to create interesting effects
wobbly mount
and color contrasts.

Screw-threaded hole

=% Cut a screw thread on a piece of rod, and 4 Check that all the component parts fit = Attach the dome to the base with a jump
3 in one of the drilled holes. The starting “© together and function properly, cleaning ring at one end that doubles as a bail,
diameters of the rod and drilled hole will be them up and polishing, or applying the final insert the stone, and use a watchmaker’s
determined by the size of tap and die being finish. The inside surfaces should be polished, screwdriver to tighten the screw into the
used, as well as the system—BA, metric, or but the outside can be made matte with an base plate. Trim the screw shorter if necessary.
ISO. Cut the threaded section of rod off, abrasive to create a contrast to the stone.
leaving a small amount of uncut rod to form
the screw head.
148 TECHNIQUES DIRECTORY @ FANCY SETTINGS

Swiveling Setting
Swiveling settings can be set with one stone or with two
different stones. The settings can be turned around, for a
more versatile piece, whether for different colors or cuts
of stones, or contrasting designs.
skill level

Choosing Stones
The best type of stone to use for a swiveling setting depends on the exact type of
setting used to hold the stone, as well as what the final piece will be—ring, pendant,
or earrings for example. Other considerations include how often the piece will be worn, INSIDE-OUT RING
and whether one or both of the stones will touch the skin; some stones are susceptible The outer band of this ring swivels away from
to oil and may become dull over time. the pavé-set inner band of the ring by Anna
Molinari, allowing the dark rubies to be
Metals viewed more clearly. Black rhodium plate
; has been used around the stones over the
Softer metals are suitable for bezels in this type of setting, but for moving parts hard 18-kt yellow-gold band.
metals should be used for longevity.

Construction Details
This type of mount is commonly set into a U-shaped frame, or between two ends of a
ring, but other shapes and forms of frame can be devised. When designing for this type
of setting, always consider the height and comfort of the finished piece.
It is possible to weight the mount on one side so that the setting tends to sit with a
particular side uppermost. The mount can be made to rotate freely within its frame, or
be held more tightly, so that it has to be turned to change side. The construction can

DOUBLE-SIDED
SWIVELING PENDANT
A section of tube soldered between
two back-to-back bezels forms the pivot
for the bezels to swivel inside the frame
of this pendant.

TOOLKIT
a Silver for making bezels (see page 88)
a Cabochon stones for setting @ Make up bezels for a pair of cabochon = Use a round needlefile to create a fine
= Needlefiles % stones that have the same width. Use fine ex groove along the central line of each bezel.
: : ; silver for the walls and sterling silver for the Continue filing the groove until a thin section
K See a equipment, pickle bases. One or both of the backs may be of tube can be held between the backs of the
a Drill pierced out to leave a ledge, allowing light to bezels, with the backs making good contact.
a Polishing materials pass through the stones. Clean up the bezels.
« Flat pusher
a Rivet, hammer
 SWIVELING SETTING 149

be as simple or as complex as you like, but you'll need at least

CROSS-SECTION
a pivot and a frame in which the mount can turn. The simplest
form consists of two wires soldered to either side of the mount,
which are riveted into place in the frame. More complex Double bezel

constructions can feature tubing, screw threads, and washers,

with the working parts hidden inside the mount.
When making double-sided mounts, the two stones do not
have to be the same size or shape, but if they are then it will be Drilled
much easier to construct the bezel and solder a dividing wall to hole
support the stones so that they do not touch. If you make two
separate bezel cups, they can be soldered together with a
mechanism between them to allow pivoting—a piece of narrow-
gauge tubing is perfect.
Because it is the stones that will dictate the dimensions of Spaces
the piece, and because the construction will need to be very
accurately fitted, the bezels should be constructed before the
frame. The frame can then be made to fit the mount. The rivet STYLES OF SETTING
or screw should be made of a hard metal, such as white gold,
so that it has greater longevity, especially if it is for a piece that
will be worn often.
All metalwork construction, including the frame, should be
completed before the stones are set, but the cold-joining of the
mount and the frame should be left until afterward, unless there
is a reason not to, such as very fragile stones or mechanisms
SINGLE BEZEL DIFFERENT-SIZED
that are hidden under the stones. The mount will need to be STONES
supported while the stones are set, and in this case setter’s wax
will be the most useful medium, because it will prevent the
unset mount on the underside from becoming damaged while
the first stone is set.

“% Solder the section of tube into position #, Make a frame for the setting to swivel = Set the stones in the bezels, rubbing
wot? between the two bezel cups. Once pickled, “© \vithin, and drill holes the same diameter we’ Over the fine silver walls with a flat-ended
file the tube so that it is flush with the sides as the inside of the tube at either end. Check pusher. Insert a rivet made from half-hard wire
of the bezels, and clean up the form, inside that the holes line up on either side of the tube of the same diameter as the inside of the tube,
and out. by carefully inserting a drill bit. Solder a bail on and rivet the setting into the frame.
top, and clean and polish the frame.
150 TECHNIQUES DIRECTORY ¢ FANCY SETTINGS

Built-up Setting
Built-up settings raise the level of the stone above the main piece, and can
be pierced to allow more light to enter a stone without compromising the
strength of the setting.
skill level

Choosing Stones
Most types of stones are suitable for built-up settings, but they will need to be of an
appropriate cut and hardness for the specific setting used. Raised, pierced mounts help
to show off faceted stones by allowing more light to enter the stone.

Metals
Metal should be chosen with both the construction method and the properties of
the stone in mind. If you are making a thin wire structure, silver is fine to practice
with, but is unlikely to be durable enough to use for the finished piece. Store-bought,
manufactured gallery strips and settings can be used, but they are limiting in terms of
both the range of metals available and the choice of design. However, they can be
adapted or enhanced and will save fabrication time.

OEP PENDANT |
This abstract pendant piece by Michelle Xianou
Construction- Details ,
Ni uses balled prongs to hold the agate stone Fabricated galleries can be as complicated as your skill levels will allow. Pierced designs
above the body of the piece. can be used to great effect, to apply figurative or abstract designs around the mount.
Granules or other soldered-on elements can also be applied to add visual interest, but
do ensure that the design does not compromise the strength of the gallery, or the
amount of light that can enter the stone.

BUILT-UP SETTING FOR A PENDANT

This project utilizes stamped gallery strip
to raise the large cubic zirconia above
the level of the piece, allowing more light
to enter.

TOOLKIT
= Stamped gallery strip
= Stone for setting
» Soldering equipment ® Construct a pierced mount for a stone from ™% Check the height of the wall around the
= Jump ting » gallery strip—the stone should fit inside the stone when it is in position in the mount,
5 wall. Make a jump ring to form a ledge for the and reduce the wall height by filing if
a File stone to fit on—the jump ring needs to be a necessary. Construct a frame from wire to
a Wire or ring shank tight fit inside the mount so that it can be hold the mount to make a pendant, or solder
= Pickle, emery stick soldered accurately in the right position. the mount onto a ring shank.

= Flat-ended pusher, mallet, burnisher

 BUILT-UP SETTING 151

FLUORESCENT
CROSS-SECTION
SPIRAL RING
Layers of stones
have been built up to
create the stunning
effects visible under Pierced and
UV light in this ring filed prongs

by Jayce Wong.
A ruby disk sits Pierced slots
under the large allowing
tourmalated quartz, light to enter
making it glow in the
right conditions.

Wire seat,
burred to
fit stone

Wire constructions can also be used to make galleries. The section of the wire will
greatly influence the design and fabrication of the mount; consider round, square,
triangular, or D-section wires. Sheet metal can also be used to make gallery settings.
While gallery mounts usually form the base for prong settings and their variations,
exaggerated prongs or tabs of sheet metal could be used to form a rub-over setting,
and these do not have to be evenly spaced.
Solder paste in a syringe may offer a neater and more convenient soldering process,
but the resultant joins may be more brittle than those produced by traditional pallion
and flux soldering. Take care not to overheat any wires when working with thin
forms—position the join so that it is at the back of the piece and the rest of the mount
is effectively behind the flame during heating. A small, intense flame will also help
with accuracy.
Once all soldering and construction has been completed, finish mounts in the
usual way. The exact method of setting will depend on the design. Bought gallery
strips should be made up in the same way as a bezel, so that the stone fits inside. A
supporting seat will need to be soldered into position or, alternatively, the bezel can be
made a little too small and a groove carved into the base of the prongs with a hart
burr—the stone then clicks into the groove.

Pickle the piece, then clean it up and thin 4 Support the piece in a jig to set the stone. Use the tip of a burnisher to smooth and
the edge of the wall so that can be more * Use a flat-ended pusher to force the wall highlight the inside of the setting, which
easily rubbed over the stone. Remove the file over the edge of the stone evenly; make sure will help to reflect more light inside the stone.
marks with an emery stick and polish the piece. the piece is adequately supported, hold the The pierced wall of the mount that holds the
pusher in one hand, and tap it with the mallet. stone will also allow light in.
152 TECHNIQUES DIRECTORY © FANCY SETTINGS

Protective Setting
Spacers, barriers, cages, and raised walls can all be used to create settings
in which a stone is protected from accidental knocks and everyday wear.
skill level

Choosing Stones
The protective nature of this type of setting means it is ideal for soft, brittle, or
otherwise fragile stones, such as pearls, amber, and turquoise. It's also good for other
materials that may be set in place of stones including shell, bone, and Jet.

Metals
As with other types of setting, use softer metals for bezels and harder metals for
prongs. The raised or protective areas of the setting should be made from a harder
metal so that there is less risk of movement, which could expose the stone to damage.

Construction Details
Constructing an area of metal that is more prominent than the stone makes it less
likely that the stone will be rubbed or knocked and damaged by accident. The higher
protective area of metal must either allow space for the stone to be set, or it must be
possible to securely attach the mount to the interior of the raised area after the stone
has already been set. Certain forms of setting will be more easily performed under
SHERRY TOPAZ RING
Two bands of pavé-set diamonds make a
these circumstances—peg or prong settings, for example. Wires can be soldered into
physical barrier to protect the fragile sherry the base of a dome or press form that will hold the stone below the level of its top
topaz in this ring by Boodles, which is edge and therefore protect it.
elegantly prong set in yellow gold. Bezel setting is also suitable for protective mounts, but can be trickier to put
together if a continuous raised section or wall surrounds the stone. Cut-out areas can

PROTECTIVE BEZEL SETTING

The stone used for this project is a form of
“goldstone,” which is a type of glass and
therefore relatively vulnerable to wear.
The raised edge of the setting will help to
protect softer stones.

TOOLKIT
= Fine silver for bezel (see page 88)
« Cabochon stone for setting # Make a bezel from 28-gauge (0.3-mm ™ Form a dome that is roughly twice the
a Silver sheet, dapping block and punches © thick) fine silver to fit a stone. This en diameter of the stone—the stone will sit
cabochon is synthetic and relatively soft, down inside the dome and be prevented from
= Wire for jump ring
so the very thin bezel will prevent the stone accidental knocks and scuffing. Form a wire
= Soldering equipment from being damaged as it is set. Ensure that ring to sit on the top edge of the dome and
= Square-section wire for ring shank the bezel is not too tall, because the stone solder it in place. Solder the bezel centrally in
will be sitting deeper than it would in a flat- the base of the dome.
a File, polishing materials
based bezel.
# Burnisher
 PROTECTIVE SETTING 153

TURQUOISE RING
This 18-kt yellow-gold ring by Lilly Hastedt, set CROSS-SECTION |
with a Persian turquoise cabochon, has not only
protective “petals” surrounding the main stone, Bezel

but also tube-set diamonds raised up around the

turquoise, which is a relatively soft stone.

be filed into both the outer wall and the bezel, but you will need to ensure that
enough of the bezel is left to hold the stone securely. Any gaps in the outer wall should
correspond with the areas of the bezel that require setting, so that access is not
inhibited during assembly.
The access allowed by the protective raised sections may dictate exactly how a
stone is set. Bezels may need to be pushed over the stone at a higher angle than is
ideal due to lack of access. If this is the case then it is important that the bezel is
a)» Soldered
exactly the right height for a stone, and not too tall, otherwise it may wobble in the 3 wires
setting. Under certain circumstances it may be necessary to make or modify tools so
that the setting can be performed in a restricted space. Old burrs can be adapted to
make small setting tools and burnishers; snap off the blunt head and grind the end of Ring shank

the burr to a suitable shape with an oilstone before polishing the tool. Angles can be y- Cle
bent into the shaft of the tool so that it can access places more easily and without
damaging the surrounding metal.

“y Using square-section wire, construct a ring 4 For setting in a restricted space such as a
eg, ~ Finish setting the bezel with the custom
ed? shank. After soldering and cleaning up, file “this, it is often necessary to make a custom we’ pusher, before smoothing the bezel with a
a curve in the top of the shank for the dome to setting tool. File one end of a thin piece of burnisher. Carefully clean up the inner surface
sit on, and solder the two parts together. Clean steel rod to a flat taper, and polish it. The inner of the dome with wire wool to impart a
up the ring. edge of the top ring provides leverage and very shine—cover the stone with masking tape so
little force is needed to push the thin bezel that it does not get scratched.
around the stone.
154 TECHNIQUES DIRECTORY @ FANCY SETTINGS

SETTING FROM BEHIND

Setting from Behind

A large, black onyx cabochon was set
into a press-formed pierced frame from
behind using an applied fine silver bezel.

Securing the stone on the back of the piece allows more intricate
detail to be applied aroun d the stone with no risk of it being
damaged during setting. ei

skill level

Choosing Stones
This style of setting can accommodate any type of stone, and most shapes, too;
however, your choice of stone may depend on the exact method of setting, in terms
of the hardness of the metal required.

Metals
The choice of metal will depend on the style of setting, and type and shape of stone—
select a metal based on your knowledge of setting and stone properties.

Construction Details
Many different methods of stone setting can be adapted so that stones can be set
from behind, including rub-over, prong, and grain. However, you'll need to adapt the
design of the mount so that it is worthwhile setting the stone from underneath.
Decorative elements or other factors should dictate that it is necessary to form the front
CRUISE ON THE LAKE TANA of the mount first, otherwise there is little point in going to the trouble of setting a
Ornella lannuzzi’s pendant holds 102.5 kt stone in this manner.
of Welo opals in 22-kt gold, rub-over There are many construction variations to consider for this type of setting, such as
set from behind. Diamonds, sapphires, and
riveting components together, or using an unsoldered sprung ring of hard metal which
tsavorites punctuate the gold borders.

SETTING A CABOCHON INA

PIERCED PRESS FORM
Setting a stone from the back allows
intricate designs to be applied to
the front, which might otherwise be
distorted during setting. Fitting a form
to the contours of a stone can be a
challenge, however.

TOOLKIT
a Stone for setting
a Pencil, acrylic sheet, silver sheet
= Jeweler’s saw 4 Draw around the stone to make a template ® Do a few test-run press forms with copper
to cut a hole in a piece of acrylic sheet, fm Sheet first to check that the stone fits
» Copper sheet, rubber sheet
adding on at least 2 in (1 mm) all the way Layer up the acrylic die, copper base sheet,
» Vise or hydraulic press around to accommodate the metal. Draw out pierced silver, and rubber sheet and compress
a Chasing hammer, steel block and transfer a design onto 24-gauge (0.5-mm it in a vise or hydraulic press to force the metal
thick) silver sheet, and pierce it out into the hole in the acrylic. Anneal the copper
a Fine silver for bezel (see page 88)
and silver between rounds of pressing.
a» Soldering equipment
» Sandbag, flat-ended pusher, burnisher
 slips into a groove in the bezel behind the stone,
STYLES OF SETTING
or tabs of metal that are folded down over the
stone once it is in place. As long as the stone sits
hard up against the inside of the setting and is
oN Pierced dome
held there securely, there is no right or wrong way
Tabs to design the mount.
When setting the stone, the front of the
setting, including the mount, must be protected
from damage—the face of the stone is likely to be
the highest point and it may not survive direct
| Underside
contact with certain surfaces. Cover the stone with
masking tape, and work on a surface covered by
leather—hardwood or rubber blocks are ideal. A
HAWTHORN NECKLACE
sandbag can be used if the piece is large enough The focal point of this piece by Lucy
to hold steady while setting and does not require Sylvester is a labradorite cabochon, set
wh Wire cage too much force to set the stone. Setter’s wax or a from behind to preserve the replica-gold
reusable thermoplastic fixturing compound such decoration of the hawthorn leaves.
Wire ring
as Jett Sett can also be used to support the piece
Prongs
during setting, especially if the stone Is a
cabochon and will not sit flat on a surface, or if
the method of setting requires a larger amount CROSS-SECTION
Wire ring of force. The setter’s wax can be applied to a Press form
wooden block, making it possible to secure the Ae si G lati
Wire cage Sa Se: ranulation
piece in a vise during setting; this leaves both
oFi Yoyy
hands free should the bezel need chasing around ( ie Bezel
the stone with a hammer and pusher.

Prongs Trane Stone

~ Wire rings

% Once the press form is deep enough to Solder the bezel onto the press form, Working on a sandbag so that the front of
? hold the stone, chase the edge of the oval “ and then file the edges so that they appear the piece does not get damaged or distort,
flat on a steel block. Make a bezel from fine as one piece of metal. Divide up the bezel into set the scalloped bezel over the back of the
silver to fit the stone. Pierce out around the sections, and use these as a guide to file a stone with a flat-ended pusher. Burnish the
base of the press form and sand down the scalloped edge with a half-round needlefile. edges down further and ensure the bezel is
base on a large flat surface until it is the same Clean up the edges and the form and solder smooth around the stone.
size as the bezel. on a bail.
156 TECHNIQUES DIRECTORY @ FANCY SETTINGS

Upside-down Setting
Setting stones in an unexpected manner adds another
layer of interest and curiosity to a piece of jewelry. Inverted ECLIPSE PORCUPINE RING
stones are perfect for design-led jewelry, because many This statement ring by Annoushka is
upside-down set with tiny diamonds.
variations can be explored. The pavé-set stones are set table-side up
further down the shank so that the ring
skill level is comfortable to wear.
4
CROSS-SECTION Choosing Stones
It could be argued that only stones that will obviously look like they are upside-down
a> & Stone is same
should be used for this technique, but in fact, any cut can be used. The hardness of the
| } diameter as
mid-point of
stones used will depend on the setting method and the type of piece being made.
tube wall
Metals
Seats for stones The choice of metal will depend on the type of setting, but harder metals can be used
burred to
correct depth for harder stones where strength is required, and softer metals for softer stones.

Construction Details
In theory, many of the standard setting types—tapered bezel, prong, and grain—could
File a groove be performed with the stones upside-down, with few or no extra adjustments needed
with round
needlefile to the mount. Mounts or bezels for flat-backed stones and cabochons will need to be
adapted to accommodate the shape of the stone so that it stays level during setting.
You should consider the implications of setting a stone upside-down, with the culet
sticking out, in relation to the type of stone and the piece of jewelry itself. Sharp points
are not appropriate for rings, because they may cause damage to the wearer and to
the stone, but earrings, pendants, and brooches are more suited to this kind of setting.
Remaining Hard stones such as diamonds are less likely to be chipped; the culet of softer stones is
wall set with
pusher
likely to be damaged as a result of wear.

INVERTED-STONE
EAR STUDS
Faceted stones can be set
upside-down with the culet
uppermost, but should only
be applied to pieces where
the sharp points won’t be
too uncomfortable!

TOOLKIT
a Fine silver for bezel (see page 88)
#, Construct a bezel for the stone in the usual ™® Place the earring post in a hole in a block
a» Soldering materials
way (see page 88), and solder a base and é= Of wood while you set the stone with a
a Silver sheet, earring posts an earring post onto the base. File the top of flat-ended pusher. Burnish around the edge of
« File, ball burr, stones for setting the bezel to shape if you like. Use a ball burr the bezel before giving the piece a final polish.
the same diameter as the stone to create a seat
= Flat-ended pusher, burnisher
for the stone.
 WEEKDAY EARRINGS
The stones in these earrings
by Nicholas Yiannarakis have

Capping
been laser-riveted into the
gold caps that hold them.

Capping is a method of suspending top or side-

drilled gemstones, often drops and briolettes.
The metal fitting can take a variety of forms,
but should always complement the stone.
skill level

Choosing Stones ——— Se

Briolettes are inexpensive when cut from stones such as quartz. Any price range can be CROSS-SECTION
catered for—ruby or diamond drops will cost much more. Stones are part-drilled from
the top, fully drilled horizontally across the top, or vertically from end to end. IN Cap with
N twisted wire
Metals
The choice of metal can be determined by the design rather than by functionality. The
only necessity is that a narrow-gauge wire passes through the drilled hole in the stone, Top-drilled
so a harder metal can be used to ensure durability. , briolette

Construction Details STYLES OF SETTING

The construction of the cap does not need to be complicated—the basic form can
fi~
be fabricated or cast in wax, and a range of decorative elements applied. The only
requirement is that the drilled portion of the stone fits neatly inside the cap.
For top-drilled stones, a flat wire should be soldered into the cap in the correct Dy \
position. Once pickled and cleaned up, the wire can be twisted and cut to length.
The twisting helps the adhesive make a stronger bond with the metal.
Side-drilled gems can be secured in a similar manner, but the ends of the wire must
be adequately resolved. For soft wire they can be carefully riveted or screw threaded;
for hard wire, they can be used to construct a bail that slips into the drill hole in the Hard wire inserted
from either side
stone from either side.

CAPPING A TOP-DRILLED GREEN

QUARTZ DROP
A simple cap for a briolette or drop can be
secured with the use of a twisted wire and
epoxy adhesive.

TOOLKIT &@ Construct a long cone by hammering a *% The wire must be thin enough to fit the
s Hammer, scribe # scribe into a length of annealed tube. #a ole in the briolette and should be twisted
Solder a jump ring on the wider base, and a at the end. Apply a small amount of epoxy
s Annealed silver tube, jump ring
shallow dome on the top. A drilled hole in the adhesive to the tip of the wire and insert it
# Soldering equipment, wire top will allow a wire to be inserted—form a into the briolette. Allow to dry. The length
= Briolette stone for setting loop at the top and leave a long end until you of the cap will hide the wire and the drilled
have soldered in the wire. hole in the bead.
a Epoxy adhesive
158 TECHNIQUES DIRECTORY @ FANCY SETTINGS

Precious Metal Clay

Synthetic gemstones can be fired into precious metal
clay, allowing scope for experimental forms of setting,
and the use of unusual cuts of stone for which mount GARNET PENDANT
To set the stones in this pendant by Anastasia
construction would otherwise be difficult. Young, the main body of clay was allowed to dry
and seats for the garnets cut with ball burrs. Rolled-
out slivers of clay were applied to the form to
hold the stones, before the piece was fired.
skill level

Choosing Stones
Stones must be able to survive the firing temperatures required for precious metal clay,
so there are a limited number of options. Diamonds, rubies, and sapphires are heat-
resistant enough, but if they have been heat-treated to improve their color, it may
change during the firing process. Clear cubic zirconia will be fine, but colored ones may
change color—try to find heat-resistant synthetic gems. Dichroic glass and garnets are
also possible options for setting in precious metal clay.

Metals
There are several brands of precious metal clay available, in silver, copper, and gold.
Once fired, the clay becomes fine metal. Several different forms of clay are available,
RUBY RINGS
This pair of precious metal clay rings by
including sheet, lump clay, and slip, which can be extruded from a syringe.
Pat Waddington use a modified carved
bezel to hold the large stone in the Construction Details
wider band. The thinner band displays Once you have decided on a design and chosen stones, there are a number of methods
a row of smaller, flush-set rubies which for making a form in precious metal clay. You can make a mold from an object or
were set into the clay.

SETTING STONES IN PRECIOUS

METAL CLAY
Elements of metal clay can be combined
with slip once they are dry and at the
“greenware” stage. Make sure enough
metal clay is used to counter the shrinkage
that occurs during firing; exaggerate the
bezel walls and push the stones quite
deeply into the clay.

TOOLKIT
a Olive oil #, \Norking on a lightly oiled surface, and *» Allow the clay to dry, and then clean up
4 with oiled fingers, roll small amounts of he outsides of the balls using an old file or
= Precious metal clay
clay into balls and push in the cubic zirconia, other abrasive. The forms can be altered at this
a Cubic zirconia which are heat resistant. The stones should be stage, and any unwanted marks on the clay
pushed in quite deep because the clay will removed. Even up the border of clay around
shrink during firing. the stones and ensure no clay is left on the
« Acrylic rod
surface of the stones.
= Polishing materials
BAND RING PRECIOUS METAL CLAY 159
Precious metal clay has
been used to create a
stylish bezel setting for a
trillion-cut stone, applied CROSS-SECTION
to an anticlastic band in
this pair of rings by
Emma Baird.

Wet clay

texture and push the clay into it so that it takes on its shape. Silicone putty is ideal for Excess ridge of clay
making this kind of open mold. The clay can be left to dry in the mold, or carefully
Greenware
removed while still damp.
Other, more sculptural techniques are ideal for metal clay. Working on an oiled
surface, you can roll the clay out and cut it to a basic outline. Shaped pieces of clay can Firing shrinks clay
then be applied to the outline, bonded in place with a little water. You can add
accurate detail and further shaping with small steel carving tools; impressed textures Fired clay

can be very effective. If the clay begins to dry out while you work on it, apply water
using a spray or paintbrush.
Clay can also be molded around an existing metal frame or structure, but the clay
must enclose parts of the frame otherwise it may come apart; steel mesh is useful for
supporting large flat forms, as the clay will penetrate the weave of the mesh.
You can push stones straight into the clay when it is damp, so that the table pennies
of the stone is below the surface of the clay with a raised ridge surrounding | - burred recess
it—alternatively, build pieces of clay up around the stone to form a setting. The stone fom
must be mounted with enough clay to hold it securely at strategic points. The clay wes clay
will shrink and contract during firing by as much as 25 percent, so it's better to have applied
too much clay than too little. ae
Dry the clay in a domestic oven for 30 minutes at 300°F (150°C) and allow it to
coo]. At this “greenware” stage, further refining and cleaning up can be done.
Extruded clay
Ensure that the clay around the stone is neat and smooth using fine steel tools and from syringe
emery paper.
The exact method of firing the clay varies by brand, but most can be fired
either with a torch or in a kiln. Read the manufacturer's instructions for the exact
temperatures and times required. Allow the piece to air cool, before working on the ND TOP VIEW
surface with a fine steel brush to remove the blanching. You can then polish the piece
as if it were metal.

”%
ol Roll out flat shapes of clay on the oiled #7,| Fire the clay at the lowest recommended Clean up the forms with a wire brush
SS
wd? Surface, using a piece of acrylic rod as ““’ temperature for the amount of time « in a flexshaft motor. Pieces can be barrel
a rolling pin. Apply the “stone settings” specified in the clay’s information sheet. polished—this will help to work-harden the
to the base using slip, which can be made Place the pieces in the kiln while it is cold and fine silver clay form, as well as polishing it. Run
from watered-down clay or by adding water allow it to come up to temperature before the tip of a burnisher around the inside edge
to clay dust. Once they are dry, clean up the starting a timer. When the time Is up, let the of the settings to give them a highlight.
forms again. pieces cool down with the kiln to prevent the
stones cracking.
160 TECHNIQUES DIRECTORY © FANCY SETTINGS

Casting
Stones can be cast directly into place using either
lost wax or sand casting techniques, allowing for an
: :
experimental approach to mounting and: setting
ey a
gemstones. CRYSTAL RINGS
this series of rings by Mabel Hasel
was created using the lost wax casting
technique. The rough crystals of ruby,
; sapphire, emerald, and aquamarine were
skill level © embedded in wax models before being
cast into silver forms.

Choosing Stones
Stones used for casting must be able to survive the temperature of the molten metal,
but this is the only limiting factor, so colorless cubic zirconia, heat-resistant synthetic
gems, diamonds, rubies, sapphires, and garnets are all suitable.

Metals
Any of the metals commonly used for casting can be used—bronze; sterling silver;
yellow, red, and white gold; palladium; or platinum. For sand casting, scrap metal
can be melted down and used, but it must be clean and free of solder.

Construction Details
If you are having the piece commercially cast, you will need to discuss construction
with your caster. It is crucial that the casting is not quenched because this will cause the
USING CASTS
The cast silver form on
stone to fracture. Different types of wax can be used to create the jewelry form—sticky
the left forms a perfect, wax wires can be added to carved wax, and may help to hold a stone better than
stone-set copy of the welded-on or melted additions. See page 78 for more information on wax carving.
bronze original on the Sand or clay casting requires a form with which to make an impression. Models can
right, once cleaned up. be made from acrylic, metal, or wood, or a suitable found object with no undercuts—

CASTING STONES IN PLACE USING

“DELFT CLAY” SAND CASTING
Synthetic or heat-resistant gems can be
cast directly into metal forms using the
sand casting technique. Use smaller stones
because larger ones will crack with the
shock of the molten metal hitting them.

TOOLKIT
« Delft clay and aluminum frame
# Steel ruler, hammer
« Model for casting
#, Prepare the Delft Clay by chopping it finely * Place the top part of the aluminum frame
» Talcum powder & with a ruler. Pack it into the bottom half = in position with the registration mark lined
» Stones for setting of the aluminum frame and compact it with a up. Pack in more clay and compact it with a
» Silver for casting, borax, crucible hammer. Scrape the surface with the steel ruler hammer. Carefully separate the two halves and
to make it level with the rim of the frame. Push remove the model. Place the stones into the
= Pickle the model halfway into the clay, and dust the recess left by the model, pushing them down
= Jeweler's saw surface with talcum powder. lightly. Cut a % in (6 mm) hole to make a
sprue in the top half that connects directly to
= Polishing materials
the recess.
 CASTING 161

CROSS-SECTION
Model pushed into
otherwise it cannot be removed cleanly from the sand. The clay-packed frame
form shouldn’t be too complex or delicate—not less than “ie in
(2 mm) thick— and you need to consider the flow of the molten Aluminum
frame TOP HALF
metal throughout the form.
The stone can either be incorporated into the model so that LJ LJ U
Clay
its position is dictated—when the model is removed the stone
will need to be placed back in position before the molten metal Model

is poured in—or the stone can be pushed into the clay once an
impression has been made. The clay must cover enough of the
stone to hold it in position during casting, but likewise, enough Sprue hole Air vent*
Stone pushed into position
of the stone must be left exposed so that the metal will secure once model is removed
it. Remember that the empty space will be filled with metal.
Once the smaller half of the aluminum mold has been
packed with sand, you can push the object in. Place the second LJ ‘ L_| Ul

ring on top with the registration marks lined up, and pack more TOP HALF
\~ Void left
by model
sand in. When the two halves have been separated again and
the object removed, cut a sprue hole in the upper half, and *one of severa

poke several air holes through the clay at strategic points with a TOP HALF

thin steel rod. Realign the two halves before the molten metal is
poured in through the sprue hole.
The weight of the model should give an indication of how
much metal will be needed—silver is 10.4 times heavier than Molten silver poured in Void Stone held in
through sprue hole position by clay
wax and acrylic, and an extra 5-10 grams of metal should be
added to account for the sprue. Casting grain is not suitable to
use because of its additives. Melt the correct amount of metal in
a crucible with some borax powder, and pour it quickly, with the
torch keeping it hot until the very last second. Allow the mold
to air cool before opening it and retrieving the piece, which will
need pickling before you can cut the sprue away. You can then
Stone held in
clean up and polish the piece. position by
cast silver.

“ Push thin holes through the top half as Ae the silver forms a liquid mass, pour it f=" Pickle the cast silver form to remove the
8 well to allow air to escape. Replace the top into the sprue hole. Keep the torch on the wx’ Oxides. Cut off the sprue with a jeweler’s
part of the frame, making sure the registration silver for as long as possible, and pour very saw and file the area to shape. You can then
marks are lined up. Weigh the model and quickly, with the crucible on the edge of the clean up and polish the piece, taking care not
calculate how much scrap silver will be needed, frame so that the silver does not cool too much to scratch the stones.
adding on 10 grams for the sprue. Melt the before it fills the mold. Allow the mold to cool.
silver with plenty of borax powder in a crucible.
162 TECHNIQUES DIRECTORY # FANCY SETTINGS

Soldering Stones into Place

When a design requires stones to be soldered into position between metal
components, accuracy is often the key to success, creating interesting
construction challenges.

skill level

Choosing Stones
Cubic zirconia and heat-resistant synthetic gemstones are the most suitable stones for
this technique. There are other stones that will survive the temperatures reached during
soldering, but it is not worth taking the risk with valuable stones.

Metals
For soldered-in stones, the lower the soldering temperature the better, so use easy
solder wherever possible. Because silver has the lowest soldering temperature of
the precious metals, it is the safest metal to use until you gain confidence with this
technique. Where silver and gold are used in the same piece, silver solder should be
used, making the combination of these metals ideal for this process.

Construction Details
Stones can be secured in recesses with soldered-on elements; the stone can fit
tightly into a space, or be loosely held, as long as there is no way for it to work free.
CZ EARRINGS
A groove was filed for the tips of each stone
All fabrication and finishing should be completed before soldering in the stone.
in a silver dome before a jump ring was Points to be joined with solder must make good contact and should be held securely
soldered in place to hold the stone. in position with binding wire so they don’t move during heating. Build a box around

CUBIC ZIRCONIA SOLDER-SET

EAR STUDS
Heat-resistant and synthetic stones can be
soldered into position, trapped between
metal elements. Do ensure that the
components are close-fitting, otherwise
the solder joins will be weak.

TOOLKIT
= Sheet silver, jeweler’s saw
= Rectangular stone for setting #, Pierce out a disk with cut-outs to =p Make a large jump ring that fits the top
= Dapping block and punches % accommodate the corners of a rectangular en edge of the dome, to hold the stone in
stone. Dome the disk using a dapping position. The ring can sit directly on top of the
= Earring post
block and punch so that the stone fits inside, edge, or just inside it, depending on how deep
= Wire for jump rings and solder an earring post to the back of you want it within the domed form.
« Soldering equipment the dome.
a Reverse-action tweezers
» Pickle, burnisher
 SOLDERING STONES INTO PLACE 163

DELUXE FREEFORM RINGS

Sapphire and garnet were used for these
sand-cast rings by Kelvin J Birk. Techniques
that require the metal to be heated to set the
stone must use heat-resistant stones to ensure
that they survive the process.

CROSS-SECTION

Drilled hole

: ; ’ ; ; : ; oe we RNG Silver dome

the piece with fire bricks before starting. This will allow the piece to be heated much
more efficiently, and will stop any drafts from affecting it as it is cooling. Use the
lowest melting point solder available for the particular metal; in some cases it may
be appropriate to use syringe solder so that there is no risk of solder running into
difficult-to-clean areas. Heat the piece slowly at first to dry out the flux, and to bring
the thickest areas of metal holding the stone up to temperature. Never heat the stone TOP
directly, even when soldering very close to it. Do not quench the piece—allow it to air
cool very slowly, and do not move it until it has completely cooled.
It is possible to solder pieces that already have stones set in them—for example, if
a ring needs resizing—but if the stones are valuable it is advisable to take the piece to
Solder at
a professional repairer. Heat-resistant paste is very useful for protecting stones—always points 1-4
follow the manufacturer's instructions, but a layer of paste around % in (1 cm) thick is
usually effective. The stone and surrounding metal should be packed with paste, and
reverse-action tweezers applied to the ring shank either side of the solder join to act :
as a heat sink. A very small intense flame is required to get metal hot enough under
these circumstances. oS) Tonto
Ss) dome filed

Support the earring post in a pair of Gently heat the piece to dry out the flux §&" Pickle the piece until it is thoroughly clean
reverse-action tweezers and place the stone and then bring the parts up to soldering and rinse well to remove pickle residue.
and jump ring in position. Apply flux with a temperature quickly, trying not to heat the The area underneath the stone cannot easily be
fine brush to the edge of the form and place stone directly. As soon as the solder melts and cleaned, so make sure it is evenly blanched by
pallions of easy solder so that they are touching runs across the join, remove the flame. Allow the pickle. Clean up the outside of the form,
both the edge and the ring. the piece to cool completely before moving it. burnish the jump ring, and ensure that the
earring post is straight.
164 TECHNIQUES DIRECTORY # FANCY SETTINGS

Setting Odd-shaped Stones

Uncut or unusually shaped stones can be a challenge to make mounts for,
but there are several methods that provide adaptable solutions to securely
setting this type of stone.

skill level

Choosing Stones
This type of setting is suitable for any stone that is not a conventional shape, such
as beach stones, pebbles, drusy, polished stone slices, and uncut crystals.

Metals
Because irregularly shaped stones are likely to be softer or more fragile it is
better to use fine silver or gold for the setting; these metals are very malleable,
allowing bezels to be fitted snugly around the stone. Make wire mounts from
harder metals.

Construction Details
When making a simple bezel for an irregularly shaped stone, the bezel needs to follow
the contours of the stone. If you are using fine silver, it should be possible to push the
NATURAL DIAMOND RING
silver around the stone accurately enough, but ensure that the wall stays perpendicular
A 22-kt gold bezel was used to rub-over set
the rough diamond in this textured ring by Leo to the base all the way around. Harder metals will probably need to be shaped with
Pieroni. The high-karat gold is quite soft and pliers to get a good match with the stone's profile. The shape can be adjusted further
forms a deep bezel that follows the form of once the ends are soldered closed, and it is easier to accurately shape closed forms,
the uncut stone. but once the bezel has been soldered to a base this will be difficult.

SETTING AN AMETHYST SLICE

Fine silver bezel strip, sold off-the-reel,
is ideal for setting odd-shaped stones
because it is so thin and malleable. This
allows the metal to be burnished closely
to the contours of an uncut edge.

TOOLKIT
a Fine silver bezel strip (see page 88)
: , \Norking with fine bezel strip, which is very ™® Solder the bezel closed and solder on
m ane slice | thin and soft, fit the bezel roughly around Z a jump ring from which to hang the
» Burnisher the stone. Try to fit the bezel more closely to piece. The pointed end of the stone is tapered
a Pliers any areas of the stone that protrude so that and beveled, so the bezel needs to be reduced
« Soldering materials, jump ring the bezel does not end up being too big—it in height with a file from both sides. It would
can be easily pushed into recesses with a otherwise be difficult to compress it over
« File burnisher, or bent with pliers to shape it the point.
a Flat-ended pusher more accurately.
 SETTING ODD-SHAPED STONES 165

The height of the bezel may need to be lowered at certain CROSS-SECTION STYLES OF SETTING
points; lower areas of the stone will require a reduced bezel
height, otherwise too much of the stone may be obscured. The Bezel made to fit contours of stone Balled wires soldered onto a
supporting wire frame
bezel should be set around the stone in a similar manner to a
normal bezel—pushing in at opposing points until all of the
bezel is flush with the stone; however, tight curves may be
problematic and you'll have to take care to compress the metal
slowly and methodically. If the stone is not level on its base, it
may move while being set, so at first, push the bezel around
areas which will keep it level. Adjust bezel height according
to shape of stone
Wire forms, similar to caged constructions (see page 144)
can also be used to hold irregularly shaped stones and are
perhaps most suitable for rounded pebble shapes. The cage can
Riveted wire frame (could
be left with an opening that can be closed using one of a also be welded closed)
number of different methods, such as riveting, screwing, laser or
TIG welding, or wire wrapping. Whichever method you choose,
it must be both secure and in keeping with the design.
Another way to set uncut stones is using prongs attached to
Set tightest
a frame or base which the stone sits on. A slightly thicker gauge curves first
of wire can be used to make the prongs if silver is being used;
this will ensure that the prongs are strong enough. This type of
prong is also a bit longer than the traditional style and the ends
of the wire can be “balled” to make an exaggerated terminus.

Cross-
section
of rivet

”% \nsert the stone in the bezel and use a flat- fi Continue rubbing over the bezel with the & Use a burnisher the force the fine silver
cspee pusher to begin working the bezel ““” pusher, paying particular attention to any ww? over the edge of the stone, smoothing and
over the edge of the stone at key points. Work areas of the bezel that will need to compress polishing it. Burnish out any sharp edges and
from both sides until the stone is held in place. more than others, such as protrusions or ensure that the stone is firmly secured within
corners. The bezel will begin to fit the contours the bezel.
of the stone more closely.
 TECHNIQUES DIRECTORY @ FANCY SETTINGS

Settings for Interchangeable Stones

Simple mechanisms can be used to allow a setting to be opened and
closed so that the stone can be changed, allowing the wearer greater
choice over the color or cut of stone.
skill level

Choosing Stones
To keep the mount reasonably simple, use different stones of the same cut in
contrasting colors. It is not advisable to use very valuable gemstones because there Is
the potential for the loss of stones as they are being changed over. With this in mind,
standard cuts and sizes are the easiest to source and replace if necessary.

Metals
Working parts of mechanisms should be made from hard, and therefore more
durable precious metals that will not wear or distort with use. But these are the
only functional restrictions, and the choice of the main metal for the piece may be
influenced by design.

Construction Details
It is the function of the mechanism, rather than the mount itself, which poses the
greatest construction challenge for this type of setting. This needs to be uncomplicated
and easy to use, with no risk of it coming open by accident—unless a complex
INTERCHANGEABLE RING mechanism is a design feature of the piece and written instructions are perhaps
A hammered and reticulated band holds the provided. Giving the wearer the choice of color of stone to wear in the piece on a
marquise cabochon in this ring by Donna particular day adds another dimension to a piece, but if the mechanism is too difficult
Russell. The setting can be removed from the
to use, then it may prevent the owner from changing the stones.
ring to allow other stones to be attached.

BAYONET FITTING FOR

INTERCHANGEABLE STONES
Simple mechanisms can be used to allow
different mounts to be changed ona
piece. For this project, tube settings are
altered to make a bayonet fitting for
a ring.

TOOLKIT
= lube, chenier cutter
a Drill
= Soldering equipment
%, Cut sections of tube using a chenier *» Drill a 16-gauge (1.3-mm) hole close to
= Jeweler’s saw “ cutter—the longer pieces will form tube €= the base of each piece of longer tube
a Ring shank settings for several stones. The shorter piece and solder a wire of that diameter through
must fit around the longer pieces, forming the the hole. Trim the wires so that they protrude
a Pickle
bayonet fitting. further than the base tube that forms
a Files and burrs the fitting.
a Stones for setting
« Pliers
 SETTINGS FOR INTERCHANGEABLE STONES 167

The design of the piece, and its mechanism, is crucial to its

success: a number of technical devices can be used to effect
this, from screw threads, bayonet fittings, or hinges to catches or
springs, and more than one device may be used in combination.
The piece can be designed so that either loose or mounted
stones are interchangeable. Stones that are already mounted may
offer more versatility, because the mount itself can be adapted
to be attached to the main piece of jewelry—loose stones will
require the opening of the mount itself, which may be limiting
in terms of function. However, you can always find ingenious
solutions to a technical challenge.
It's a good idea to make test pieces and models of the
mechanism you decide on in base metals. This will provide a
clearer idea of metal gauges and proportions, and will reveal any
pitfalls of the design—it is unlikely that the first attempt will
work perfectly.

CROSS-SECTION

SCREW RINGS
Drilled beach glass and ceramics are
interchangeable on this set of silver rings by
Melissa Hunt. The screws that hold the glass
Bayonet ‘
ccning are made from white and yellow gold for
durability, with yellow-gold tube-set diamonds.

“% Solder the base tube onto a ring shank, i,| Use files and burrs to carve the gap on & The stone settings should slip easily into the
we pickle, and clean up. Mark the position of “both sides of the tube, checking the fit of wé ting, and are secured with a quarter twist.
the wires from one of the long tubes, drawing the wire in the gap at regular intervals until the The base tube can be adjusted carefully with
a mark as wide as the wire; the mark goes bayonet fitting functions well. Set the stones in pliers to tighten the gap if necessary.
straight down for a distance and turns at a the longer sections of tube as described in Tube
right angle as it reaches the base. Settings (see page 92).
168 TECHNIQUES DIRECTORY @ FANCY SETTINGS

Spectacle Setting
This technique for setting is often used for fitting
spectacle lenses, but it can also be used to greal effect
a

’ designs to hold fragile stones, as it applies

ry it

skill level

Choosing Stones
In theory, many shapes of stone can be set in this way—round or oval
being the easiest—but in practice, it is most suited to flattened forms.

Metals
Any of the standard alloys of gold and silver can be used, as well as other metals.
The level of construction required means that softer metals are not suitable

Construction Details
This type of setting uses a band of metal to secure the stone—the band is closed either
with a rivet or a screw thread. Looking at old pairs of spectacles, it is apparent that
the settings for the lenses are often formed from a U-shaped piece of metal, thereby
using the least amount of metal possible. This is very difficult to do without specialist
DONNA RING
The amethyst cameo in this silver and gold
equipment and is rather time consuming. It is far easier to fabricate a wall with a
ring by Barbara Christie is spectacle set by groove or recess on the inside that will hold the stone. This type of form could either
a gold band slipped over the ends of the be carved in wax and cast, or constructed in the following way.
extended bezel Make two rings very slightly smaller than the diameter of the stone from round-
section wire, and solder them closed. True them on a mandrel, clean up the solder

SPECTACLE SETTING AN OVAL ROSE

QUARTZ CABOCHON
Although spectacle setting is often used to
set very fragile stones or enamels, it makes
an interesting alternative setting for less
brittle stones too.

TOOLKIT
# Silver wire Make two rings that match the outline of Solder two sections of tube onto the
» Soldering equipment the stone; they need to be a bit smaller rings—one thinner, longer piece that will
than the circumference of the stone so that it form the closure of the spectacle setting, and
a Oval mandrel, mallet
does not quite fit inside. Solder the rings closed a larger piece to act as a bail. Use a ball burr
a Tube and true the ovals on a mandrel with a mallet. with the same profile as the edge of the stone
= Ball burr, jeweler’s saw Solder the two rings together, one on top of to carve a groove on the inside of the mount,
a Stone for setting the other. between the two wire rings.

» Scribe, steel block

 SPECTACLE SETTING 169

CROSS-SECTION

Wall sits
around widest
DRUSY THREE-ROW NECKLACE part of stone
Fragile onyx drusy ovals have been spectacle
set in gold and suspended between chains to
Side, cross-section
create this necklace by Annoushka.
Cut through here

Filed groove
seams, and ensure that they are flat. Solder them together, one on top of the [ (CH) haa te)i
other, making sure that they are perfectly aligned. Use a burr to reshape the inner poe
intersection of the two rings to conform to the edge of the stone—if there is a > ‘
rounded edge on the stone, use a ball burr of a similar diameter to carve out an ;
even groove all the way around. aeietaeen
Solder a section of small-diameter tube over the first solder seams—tile a shape of
groove for it first, so that there is greater contact. Any fittings, such as a bail, ae eae
should also be soldered on at this stage, before cleaning up and polishing.
Cut through the rings and the tube at its mid-point—the form will spring
open a little, enough for the stone to be slipped into position. If the stone is loose Cross-section of
when the setting is closed, file the cut ends of the setting to make it shorter and riveted closure
test it with the stone in place again. You can then rivet the tube shut or, if you
prefer and the tube is thick enough to take it, cut a screw thread in one half of
the tube, and make a small screw to go through the blind tube, screwing into Facey
the other half and pulling the setting closed. The screw should be made from a |
hard metal such as white gold, and will need a head that cannot pass through
the blind tube. The screw end of the wire may be riveted lightly to prevent’it from STYLES OF SETTING
coming undone, but if there is likely to be any change or adjustment needed this Two round wires Wire rings
soldered together, soldered on
should not be done. groove burred on eee either end of | |
inside for stone sheet ring

“= Once the groove is deep enough to ff Fit the stone into the mount and squeeze nsert a section of tube into the thinner cut
wf securely hold the stone evenly along its fit closed. If the stone is loose, file the cut tube. Spread one end of the inserted tube
length, cut through the central point of both ends to reduce the length of the metal with the tip of a scribe and then do the same
pieces of tube with a jeweler's saw to open up surrounding the stone. Ideally the stone should for the other end. Support the tube on the
the form. be held under slight pressure, so there should edge of a steel block while working—firm
be a very fine gap when the ends of the mount pressure on the scribe should be enough to
are pushed together. open up the ends of the thin tube and hold the
join closed.
170 TECHNIQUES DIRECTORY @ FANCY SETTINGS

Wrapping
Wire wrapping can be a simple way of securing gemstone beads, but this
cold-joining technique can also be used to mount undrilled stones, using
a combination of wire wrapping and textile techniques.

skill level &%

CROSS-SECTION

Choosing Stones
Most types of gems are suitable for this style of mounting; the shape of the stone will
“eee Twisted directly influence the way the wire is used, whether the stone is drilled or not. Larger
wire
stones are easier to handle, and smaller gemstone beads can be incorporated within
wrapped wire pieces (see also Wired Beads, page 188).
On more unusual cuts, you can use the shape of the stone to facilitate the
wrapping, catching the wire at various edges and points, and the shape of some
types of stone can be adapted with carved grooves to aid the process.

Metals
Wire for wrapping pearls and beads needs to be malleable enough to be manipulated,
but strong enough to hold its position and not snap easily. Fine silver or gold wire of
26-28 gauge (0.3-0.4 mm) is ideal and is very versatile. Colored copper wires can also
be used, but they cannot be soldered.

WIRE WRAPPING A SIDE-DRILLED

BEAD DROP
Wrapping is a useful solution for
combining drilled semiprecious gemstones
with enameled copper wire because
neither can be heated or soldered.

TOOLKIT
» 18-gauge (1-mm) enameled
copper wire Make a wire-frame pendant to support the Thread thinner 28-gauge (0.3-mm) wire
a Former stone using 18-gauge (1-mm) enameled ea through the drilled hole in a briolette
copper craft wire. To make loops, wrap the drop. The wire may be of the same color, or a
a Chain-nose pliers
wire around a former a few times, remove contrasting one. Pass the briolette along the
= 28-gauge (0.3-mm) wire the former, and wrap more wire around and center of the section of wire and twist both
« Drilled briolette stone through the loop to hold it firm. Tuck the ends ends of the wire together.
into the form so that they do not stick out
= Tweezers
using a pair of chain-nose pliers.
 WRAPPING 171

WRAPPED WIRE BRACELET

This wire Swarovski Rivoli crystal bangle
by Huan Pham was constructed with solid
silver and gold-fill wire. The central stone
has been framed by the wires to form the
bracelet and enhance its beauty.

Construction Details
There are two main considerations when securing loose stones with wire: that the
stone is adequately mounted and that the ends of the wire are dealt with in an
aesthetically pleasing and comfortable way. Stones with drilled holes allow the COLORED
ends of the wire to be secured inside the hole with adhesive, but you'll need to find RING
other solutions for undrilled stones. If the bulk of the piece that will hold the gem is Tourmaline and
constructed from wire before the stone is included, it should be possible to solder one aquamarine
crystals have
wire end into the form to prevent it from poking out. Tubes and crimps can be used to
been wrapped
hold ends, but may not be as visually satisfying as a solution, especially
if they are used around a gold
as an afterthought. Knitted or woven wire structures may have enough thickness to ring with wire in
allow wire ends to be tucked carefully inside the form. this piece by
Pliers will help with wire wrapping, but take care not to damage the wire when Kika Alvarenga.
bending or shaping it—always choose the appropriate pair of pliersfor the shape you The pieces are
held in place
are making. Wires may be wrapped around themselves, or around a former or jig, to
with transparent
create specific shapes that can then be adapted or worked around. Half-hard wire can resin so the
be used to forma structural basis for the piece, with thinner-gauge,softer wire used stones are less
to create the wrapped mount. The weight of the stone may influence the gauge of precarious than
wire and type of structure you create, which must be able to withstand wear and bear they appear.
the weight of the stone.

“% Thread the thinner wire around a loop on #, \Nork the thinner wire around itself at the The ends of the wire can be tucked into the
dé) the frame and wrap it around this loop a “top of the stone, and if the drilled hole in hole in the briolette and glued there—use a
few times, allowing a little length for the stone the stone is large enough to allow it, pass the fine pair of tweezers to help maneuver the wire
to hang. wire back through to increase the strength of into the hole. The wrapped wire should hide
the structure. Continue wrapping the top of the hole in the stone, so manipulate it into
the stone onto the frame until the join looks position if required.
well made.
2 TECHNIQUES DIRECTORY @ FANCY SETTINGS

Settings as Functional Devices

Gemstones can be used as an integral part of devices
such as catches, as well as forming decorative rivet
heads that can be used to join metal and mixed
media components.
skill level

EMBOSSED ARMOUR FINN CUFFS

Choosing Stones
Stone settings form the closing mechanism for
The choice of stone really depends on the design of the mechanism and the functional
these leather cuffs by William Vinicombe.
requirements of the piece—for particular forms, flat cabochons will be appropriate
because the piece as a whole will be less bulky. When making catches, a large
interesting stone can be used as a decorative centerpiece. If it is necessary to hammer STYLES OF SETTING
on the reverse of the setting, as for tube riveting, choose hard stones that are unlikely ee
to fracture or cleave easily. : armen

Materials zl Ee
The choice of metal for the stone mount is dictated by the design and function of the |
piece. The devices discussed here include methods for joining or linking elements of a Magnet _
mixed materials, and decorative rivets are particularly suited to flexible materials such
as leather, soft plastics, or textiles. Magnets can also be used within mounts to make
magnetic clasps.

Construction Details
Many types of stone setting can be used to decorate catches and clasps, but large
Magnetic catch
bezel-set stones are particularly effective when used to conceal the inner workings of

DECORATIVE RIVETS FOR SECURING

FLEXIBLE MATERIALS
Flat-based bezel cups can easily be
converted into decorative stone-set rivets.
The difference between the diameter of
the bezel and that of the tube rivet makes
it ideal for holding flexible materials,
especially with the addition of a washer
on the underside.

TOOLKIT
a Fine silver for bezel (see page 88)
a Soldering equipment, sheet silver, tube “i To make a decorative stone-set rivet to » File the top of the bezel to shape it into
» Shagreen, washer 4 secure fittings to shagreen, first make a “vetals,” and use a jeweler’s saw to cut
3 fine silver bezel for the stone. Solder a base four slits in the tube. File the cut sections of
a Jeweler's saw, file ny
onto the bezel, and a piece of tube to the the tube to divide them further—this will help
» Steel rod underside. The tube must be long enough the rivet spread more easily and neatly.
» Stone for setting to pass through two layers of shagreen and
Seen aelet Sea with enough length left to spread

= Burnisher
 SETTINGS AS FUNCTIONAL DEVICES 173

CROSS-SECTION

mechanisms, providing a decorative and functional solution FUNCTIONAL DEVICES

to fitting elements and then concealing them from view. A hematite cabochon forms
Magnets are a great example of this. Very small and powerful the front of this decorative
magnets that have enough power to work through sheet metal rivet, which is used to secure
Tube for rivet
can be secured in the base of a mount before the stone is a fitting to a shagreen cuff.
set; this is useful for magnetic catches, but do make sure the
magnet is placed the right way around, so that it pulls rather
than pushes away.
Rivets are very good for securing flexible materials, especially
_
Cuts through tube
when combined with functional metal elements such as catches. \
Decorative rivets can be made by soldering wire or tube to the
base of the bezel cup prior to setting the stone.
Tube settings (see page 92) are ideal for making rivet heads
Fitting for catch because they are reasonably quick to make up. A base disk
can be soldered onto the underside before a second, smaller
Leather diameter of tube is soldered to the other side of the disk; for
very soft materials it’s best to use an oversized stone and a
Washer 2 washer on the underside to prevent the rivet from slipping out.
Riveted tube / = The length of the rivet must be greater than the thickness of the
materials it will join, and two saw cuts should be made through
the end of the tube so that it soreads more easily
when hit. A hole just a fraction smaller than the
tube rivet should be punched into the material,
and the rivet slipped into place. Working stone side
down, on a surface protected with leather, use a
punch to spread the cut tube end evenly. Use a
Washer
mallet to flatten the ends of the cut tube against
Riveted tube the washer so they are not sharp.

“% Punch two holes the same size as the Place the bezel cup on a steel rod the same &= Working on a steel block, insert the stone
tube through the shagreen, and thread it diameter as the stone—this Is to prevent wé’ INto the bezel cup and use a bezel setting
through the silver fitting before inserting the the bezel from distorting during setting. Use punch to close the bezel around the stone.
rivet. Place a washer over the back of the tube a dapping punch to spread the ends of the The metal parts of the piece can be carefully
rivet to make the tube rivet stronger—the tube rivet over the washer by tapping it with a cleaned up and burnished to finish the piece.
flexible shagreen will be less likely to come mallet. Use the mallet to ensure that the petals
away from the rivet. of the tube rivet are knocked down flush.
174 TECHNIQUES DIRECTORY @ FANCY SETTINGS

Mixed Materials and Other Metals :

From wood, acrylic, and resin to niobium and aluminum, mixed
materials are very useful for adding more color and visual texture
to a piece than is possible with precious metals alone.
skill level

ACRYLIC AND WOOD

Choosing Stones
These relatively soft materials can be used to make mounts, so it is possible to use
very soft or fragile stones with them, as long the fabrication methods used will allow it.
However, the contrast between very hard, well-cut expensive stones and nonprecious
materials can provide an interesting design feature.

Metals
Cold-joining methods, such as riveting, require metal to be used with mixed materials
to aid construction. Harder metals, including half-hard silver, are best for wire rivets
and screws. Metal mounts for stones can also be combined with mixed materials to
HYACINTH RING
great effect. Silver has been combined with an experimental
plastic technique to create this outlandish ring
Construction Details by Alidra Alic. A faceted strawberry quartz
Acrylic and close-grained hardwoods can be worked in a similar way to one another. nestles between the petals of one of the
They should be cut with a spiral saw blade and refined with a rough file (cut 0) before hyacinth flowers.
being cleaned up with wet-and-dry paper. Plastics should always be sanded with water
to prevent harmful dust from being released, but some woods will absorb too much

SANDWICH SETTING WITH WOOD

AND ACRYLIC
Mixed materials can be riveted together to
trap a stone in a carved recess between
the two halves. For this project, mopani
wood and % in (3 mm) ivory acrylic sheet
are used to make a cold-joined ring.

TOOLKIT # Cut out two identical ring blanks from Drill holes in the acrylic first with a drill bit
» Wood and acrylic sheet i wood and acrylic sheet using a spiral saw the same gauge as the rivet wire. Holding
= Spiral saw blade, file blade, and file them to shape. The thickness of the wood and the acrylic firmly together in
the two sheets needs to be greater than the the correct position, use the drill bit to mark
a Wire for rivets
diameter of the stone being set. Mark the through one drilled hole onto the wood.
a Drill positions of drill holes for the rivets that will Separate the pieces and drill this hole. Pass
= File, small burr hold the two pieces together. a wire through both parts to hold them in
position and mark and drill the remaining
= Hammer, steel block
two holes.
 MIXED MATERIALS AND OTHER METALS 175

WEATHER RING CROSS-SECTION

Diamonds have been set Filed grooves in
directly into sculpturally carved es ee
white jade to form this ring by
Xin Ran Lu. The jade is held in Drilled hole filed
to square
white-gold mounts.

Engraved
groove

water to make this feasible, so always wear a suitable dust mask when working with
dry wood. Both materials can be polished in the usual manner; use Vonax or other
polishing compounds for plastics. Acrylic and hardwood can also be carved with
engraving tools, burrs, and files to produce intricate three-dimensional forms.
In order to incorporate stones into pieces made with wood and acrylic without
using metal mounts, It is necessary to use cold-joining techniques such as rivets, XX Va
screws, or adhesive. Stones can be trapped in recesses between layers of sheet material ® ‘XQ O
before being permanently secured, in effect making a flush setting; for round stones,
file a small, short groove at corresponding points on the inside edges of two sheets to
be joined. When the materials are clamped together, the groove forms the starting
point into which you can burr a seat for the stone—but the seat size should be smaller
than required for a particular stone. With the two sheets separated, use a graver to cut
a line about %2 in (1 mm) from the top of the seat into which the girdle of the stone Pee cae
will be trapped once the two halves are joined. and trap stone
The layers of sheet material can either be riveted together, or bonded using a
suitable adhesive (taking care not to let the adhesive come into contact with the
stone). Two-part epoxy resin adhesives form a very strong bond between mixed
materials; however, if just wood is being used, then wood glue is the best option
because it is absorbed into the surface of the wood and forms a very strong bond.

Mark the center of the front of the top Use a small burr to carve a groove inside # Make three rivets. Put the two halves of the
of the ring on both materials, and file “the filed recess in both the wood and the ‘ring together, with the stone trapped in the
a groove. Use a flat-faced file to create a acrylic. This will create a lip to hold the stone recess and push the rivets through so that the
rectangular recess at the front of the ring, but in place once the two halves of the ring are put heads are on the wood side. Working on a
do not file away any material from the inside of together, with the groove accommodating the steel block, trim the wires, file them flat, and
the finger hole. At the top, the recess must be stone's girdle. rivet the ends.
smaller than the dimensions of the stone.
 HIDDEN RING
The texture for the cast resin elements of this
ring by Kika Alvarenga were molded from the
black tourmaline crystal which forms its focal
point. The gemstone and resin parts of the
ring are attached to a silver liner with resin.

skill level

RESIN
Choosing Stones
Some stones, including quartz, have a very similar optical refraction qualities to resin,
HEALTH AND SAFETY WHEN and as a result of this their edges appear indistinct when they are embedded in it—only
WORKING WITH RESIN a hint of color gives away their presence and all sparkle is gone. Cubic zirconia and
When working with chemicals such other synthetic stones are fine, but foil-backed stones will also lose their sparkle.
as resin, always wear goggles, gloves,
and a mask suitable for chemical Resin Types
fumes. Ideally, liquid resin should Resins are liquid plastics that harden when mixed with a chemical catalyst. This allows
only be handled in a fume cupboard them to be easily colored with dyes and have objects, such as gemstones, embedded in
with extraction, but working outside them. Resin can also be used as a bonding agent to hold elements of a jewelry piece
and upwind of the resin should also together, as well as a coating medium or cold enamel.
minimize any risks. Dispose of unused Epoxy resin is the most suitable type of resin for jewelry making, because it dries
resin and hardener, mixing pots, and tack-free, has minimal shrinkage, and no odor. Certain types of epoxy resin are less
any other contaminated equipment viscous than others, which can lead to problems with air bubbles forming during
carefully in a sealed bag or container. mixing. Resin usually becomes more fluid at slightly higher temperatures, so gently
warming the mixture with a hairdryer or portable heater (at a safe distance—and
NEVER use a naked flame) will encourage bubbles to the surface, and also accelerate
the curing process. Pot life and curing times are dependent on the brand of resin used
and the ambient temperature.

EMBEDDING STONES IN
EPOXY RESIN
Gemstones can be trapped between layers
of epoxy resin, so that they are suspended
within a piece. Allow one layer of resin to
cure before applying the next.

TOOLKIT
= Silver frame
» Soldering equipment
= Epoxy resin
» Stones for setting
7, Construct a silver frame to hold the resin. = Tack a piece of Melinex foil (Mylar) onto a
= Melinex foil (Mylar) + The frame must be large enough to hold $= piece of polyboard with masking tape, and
= Polyboard, masking tape, plasticine stones of the desired shape and size, and deep place the frame on top. Roll out a length of
enough to take at least two layers of resin plasticine, and use it to seal the frame to the
a Dye or metallic powder
which will hole the stones. Solder on a hanging Melinex, pushing down on the frame so that
a Wet-and-dry papers loop or other fitting, depending on the piece. the plasticine cannot get in underneath the
a» Polishing materials Clean up the silver. frame. Mix up a small amount of epoxy resin
and pour it into the frame. Allow the resin
to cure before positioning the stones, table
side down.
 MIXED MATERIALS AND OTHER METALS 177

Construction Details
CROSS-SECTION Any constructed metal container or open frame could form a
setting, with the stone held in place with resin. Open-backed
frames must be well sealed to a base using modeling clay before
First layer of resin Silver frame the resin is poured in. The base may be acrylic or polyboard, but
should be lined with Melinex foil (Mylar), a type of acetate sheet
~ Plasticine that the resin will not adhere to.
Weigh out the liquid resin and its hardener accurately, in the
correct proportions, and stir them slowly until they are well
mixed, taking care not to incorporate air bubbles. Once the resin
Polyboard
is mixed, you can add transparent dyes or other additives such as
Melinex foil fine metallic powders, but they should not make up more than
2 percent of the total mixture, otherwise curing will be inhibited.
Stones usually sink in the resin, so use a minimum of two
~ Second layer layers of resin to tra p stones internally. The first layer forms a
of resin
barrier so that the stones will not break the surface, and the
= second contains the stones, which would be damaged during
cleaning up and pol ishing if they protruded through the resin.
Once the first layer has cured, you can position the stones, and
pour in the second |ayer of resin. Slightly overfill the frame to
counter shrinkage o f the resin, and remove bubbles on the
thon Third (dyed)
surface by draggi
layer of resin ng them out with a pin.
If you are using brilliant-cut stones, they need to be set
upside-down on their tables, so that they sit straight. This means
al filling the piece with resin back-to-front, so that the base of the
| piece will face up.

“® Pour a second layer of resin over the fi, Peel the frame away from the Melinex and Polish the surface of the resin with a plastic
ud Stones, to fill the frame. You can add a dye * clean off the plasticine. Rub the front and polish such as Vonax or a cream polish on a
or metallic powder to the resin once it back surfaces of the resin down to the level of piece of suede—the resin will look cloudy until
has been mixed with the hardener to give a the frame using wet-and-dry paper with water. it has been polished.
background color. Fill the frame with resin until Start with 600 grade, and work up to 1200.
the dome starts to form—the resin will shrink The layer of transparent resin in front of the
as it sets. Allow to cure for at least 24 hours. stones will protect them.
178 TECHNIQUES DIREEGTORY e FANCY SETTINGS

skill level

OTHER METALS
Choosing Stones
The choice of stones will very much depend on the piece being made and the metals
being used. Hard stones (8-10 Mohs) that are not brittle should be used if they are
being set into titanium or steel because these metals require more force to move them.

Metals
The refractory metals are named after the range of colors produced when they are
oxidized. As a group of metals, they are relatively hard and cannot be annealed or
soldered under normal conditions. This means that the range of techniques they are
suitable for is limited to cold-joining methods, and a restricted range of forming and
texturing processes. Aluminum and steel are somewhat more workable. A limited range
of products including sheet, rod, tube, and mesh is available.
Niobium: The softest and most malleable of the refractory metals, it is possible to
flush set, texture, and lightly form Niobium. This metal work-hardens slowly, but is
not very strong. It gives the best range of refractory colors when anodized.
Tantalum: This metal has similar working properties to gold, and is therefore the
LA BELLEZZA DELLA LOTTA most suitable for stone settings, but because of the fabrication limitations the most
Another aspect of using mixed, or appropriate type of setting to use is rub-over. Tantalum can also be anodized.
nonprecious, materials is the ways in which Titanium: The hardest and lightest of the refractory metals, titanium cannot be
they can be treated. In this brooch by Dauvit
annealed under normal circumstances, so techniques are limited to cutting and
Alexander CAM-milled ebony has been
claw set onto a pierced silver frame, subtractive texturing. Use plenty of lubricant when working titanium so that tools do
combined with claw-set pear-shaped stones not blunt too quickly. Titanium is most suitable for tension setting (see page 142), and
and an iron gear. can be vibrantly colored using a torch flame or an anodizing bath.

A PIERCED SETTING IN
TANTALUM SHEET
22-gauge (0.6-mm thick) tantalum
sheet was used to make this pair of
ear pendants. The metal was anodized
before being shaped, but could also be
anodized afterward. Tantalum is a light
metal, similar in properties to titanium,
but not as hard to work.

TOOLKIT
a 22-gauge (0.6-mm) tantalum sheet
4 Mark out the design on a piece of * Draw a circle that intersects the six lines,
» Dividers, scribe, steel ruler
© tantalum using dividers, a scribe, and a &= and center punch for the seven drill holes.
» Center punch, drill, burr steel ruler. The central hole in which the stone Drill the large hole and the six smaller holes
a Jeweler’s saw sits needs to be %2 in (4.5 mm) for a % in surrounding it, using plenty of lubricant. Burr
(5 mm) stone; divide the circle into six—the the central hole with a % in (5 mm) ball burr,
s Hardwood
lines radiating from this central point will form and use a small burr to remove the sharp edges
a Stone for setting the tabs that hold the stone. from the small holes. Pierce the radiating lines
a Burnisher with a saw.
Aluminum: This metal can be formed, textured, polished, and anodized to color
the surface. The anodizing of aluminum is a commercial process, which creates a hard
skin of oxides receptive to dyes. You can also buy pre-anodized metal, which can be
colored with dyes or printed by hand. Because aluminum is so light, a thicker gauge
of metal can be used for larger pieces, but it cannot be soldered. Aluminum is a
contaminant to other metals because it has such a low melting point, so use separate
tools to work it.
Steel: Stainless steel is the hardest steel alloy, making it useful for applications
that require strength with a thinner piece of metal. It is commonly found in jewelry
mechanisms, such as springs, catches, clasps, pins, and store-bought cufflink backs.
It is easiest to form while red-hot, possible to solder with silver solder and a high
CLUSTER BROOCH
temperature flux, and polishes well. Steel can be annealed, but not pickled—remove A vivid cubic zirconia,
oxides with emery paper—and can also be spot, TIG, or laser welded. Complex wire bezel-set in sterling silver,
forms which are durable and may contain trapped stones, can be welded. nestles in the center of the
fronds of anodized aluminum,
Construction
:
DetailsP eye aly
titanium, and niobium that

It is possible to set stones in the traditional way with some of these metals, but the Meghan O'Rourke.
harder metals may pose a problem, and aluminum is too soft to offer enough security
for valuable stones.
Any of these metals can be riveted with silver, gold, or brass wire or tubing,
allowing stones to be trapped or “set” between layers of sheet metal. Use plenty of
lubricant, either machine oil or cutting fluid, when drilling or burring these metals to
improve the efficiency of the tools. Screw threads, folded tabs, handmade staples, and
other cold-joining methods can all be used to design stone mounts with these metals.

PEACOCK VESSEL
Tabbed prong settings
have been used to secure
lampworked glass
components into the
titanium panels of this
beautifully colored object.

mp Use a tapered piece of hardwood to prize

dé? Up three of the cut tabs, because the wood ““@ piece of wood so that they close over
will not damage the anodized surface of the the edge of the stone and hold it securely in
metal. Lift up the tabs from the front, just position. While setting the stone, support the
enough to slip the stone into position. piece on a wooden surface with a hole for the Carefully burnish the edges of the tantalum
culet of the stone to sit in so that it is set in the to add a finishing touch to the pieces.
correct position.
180 TECHNIQUES DIRECTORY

Pearls and Gem Beads

VN Traditional pearl-strung necklaces are made using silk that is knotted between each
4) pearl to prevent them from rubbing together. Semiprecious gemstone beads are
/} strung in the same manner but are much heavier, so a synthetic thread provides
// greater strength. Part-drilled pearls or gems can be secured on a short post with a
lam /j suitable adhesive, often with a small cap to ensure that the hole is fully concealed.
i Sf i Beads may also be strung on wires and woven into complex designs, allowing color
| : to dominate a piece.

(see page 154) skill level

The pearls that support this

pendant by Peter Page have
}
been traditionally strung on silk,
(see page 182) skill level and knotted between each pear!
to protect them; this also means
Elegant cast white-gold caps have that if the silk breaks no pearls
been used to secure the Southsea will be lost. The pendant forms
pearl drops to this pair of earrings the catch for this necklace—it
by Lilly Hastedt. The caps conceal Slides into two parts, and is set
he top of the half-drilled hole in with diamonds, sapphires, and
he pearls, which are secured in pearls. The pearls used for
lace on a twisted wire with a necklaces should be well matched
strong adhesive, euphemistically in terms of color and size to give
referred to as “jeweler’s cement.” the best results.
any variations of cup-and-peg
settings are possible, but the
design should be sympathetic
to the piece as a whole so
that the pearls do not look like
an afterthought
 PEARLS AND GEM BEADS 181

ILLUSION CA
(see page 182) skill level

The Tahitian pearl in this pendant by Zoe

Marie is actually suspended by the snake
chain, rather than set in the cage, which
creates a deceptively simple solution. Beads
and pearls can be combined with metalwork
in cleverly conceived ways, to add color or a
contrasting surface to a piece.

WIRED BEADS
(see page 188) skill leve

Strands of rough pearl beads have been threaded onto thin

gold-headed pins in this piece by Nicholas Yiannarkis. The wires
are wrapped at the tops of the strands to form a loop. The beads
are attached to the 18-kt gold earrings with a gold bar that was
laser welded onto the backs of the forms, through the wire loops.
Cold-joining methods such as wrapping or laser welding can be
invaluable for combining beads with metal components.

(see page 188) skill level

Antique coral beads have been combined with carved

coral and cast gold flowers to create the focus of this
bold two-finger ring by Ming. The coral elements have
been riveted to attach them to the main body of the
18-kt yellow-gold ring. Take care when riveting beads,
especially soft or fragile stones such as coral.
 Working with Pearls
s to metalwork can add
a touch of classical elegance and subtle
]
i

luster, whether they are contrasted with ORC RMICCERG

hard polished surfaces, brushed metal a This large, sculptural ring by Ornella
lannuzzi displays coral and a Tahitian
pearl held by rhodium-plated cast silver
5 Ss branches, evoking a feeling that the piece
has grown organically into its final form.
skill level

PEARL PENDANT Choosing stones

An Akoya pearl nestles in the It is easy to source pearls to suit any budget or project. Inexpensive pearls are likely to
curved drop of this elegant be cultivated and dyed, but provide good scope for experimentation.
pendant by Aleksandra Vali.
Cultivated pearls are available in many shapes, sizes, and colors. High-quality pearls
The method of attachment is
perfectly concealed, creating with a good color and luster are expensive, but for fine jewelry these are a necessity.
a contrast of both color and
texture with the prong-set Metals
blue topaz. When working with pearls, your choice of metal will depend largely on design or
technique. Standard alloys of precious metals are best for constructed pieces, including
posts for cementing pearls into position, which do need to be strong.

CUP-AND-PEG SETTING FORA

BOUTON PEARL
Twisted wires are used to secure half-
drilled pearls in position. Curved caps
will cover the area around the drill hole,
making the mount look neater; this project
combines a cup-and-peg mount with a
fused wire silver pendant.

TOOLKIT
a Round silver wire
» Bouton pear!
a Drill
a File
a Sheet silver
s Dapping block and punches
= Soldering equipment
a Pickle Find a gauge of round wire that will fit ™» Dap a silver disk enough to fit the base of
a Flat-nose pliers snugly into the drilled hole in the pearl. The tm the pearl, and drill part way into the inside
a Jeweler’s saw hole in the pearl can be enlarged carefully with center of the dome. Solder the flat wire into
a drill bit if necessary. File the wire to make it the drill hole with hard silver solder. Pickle,
= Epoxy resin flat, but do not reduce the width. clean up, and then solder the dome into
= Thin stick position on the final piece using easy solder.
 STRINGING PEARLS AND GEMSTONE BEADS 183

CROSS-SECTION Construction details | TYPES OF PEARL

In order to mount pearls on posts, it is often necessary to drill a ace te Shape Se a
ae pearl hole, or to enlarge an existing hole to fit the post. High-speed co Sess es
twist drills may be used, but they must be sharp to avoid in matching pairs.
chipping the nacre around the hole. Special pearl drills are Three-quarters Raina Wwithmeccrma tes
available; these clear the dust as they drill, are less liable to chip base: half-drilled or
the nacre, and will help prevent the pearl from overheating. Drill undrilled.
large holes by working through incrementally larger drill bits Bouton le Button-shaped, being
Toes until you reach the desired size. The dust created when drilling domed on top and flat
pearls is incredibly fine, so wear a mask. underneath; usually
Ag Pearl clamps, used for holding pearls while drilling, allow half-drilled.
Matal cue! greater accuracy, but alligator tape wrapped around the fingers _ Half-cut This is a hemispherical
will grip pearls adequately. a ein lees
Wire posts for mounting pearls usually have a flat or cup- | Half-drilled Drilled partway in,
Pearl mounted shaped base designed to cover the drilled hole and any damage | allowing for mounting
ana caused during drilling, but these can be oversized as a design — oe Oe ee
feature. The wires should be around 20-gauge (0.7-0.8 mm), Fully drilled Drilled right through to
flattened and twisted—this gives the adhesive more purchase. allow Spin usta
sold loosely strung.
Carefully apply adhesive to the wire before inserting it into
the hole; the wire should fit tightly into the pearl. Epoxy
Adhesive
resin adhesive is the most appropriate because it allows for
repositioning before it hardens. Wipe away any excess glue once
the pearl is in position. Pegged settings are also suitable for
mounting pearls.

#= Place the pearl on the peg and push it into

»# place with gentle pressure until it sits down
into the dome. Carefully wipe away any excess
adhesive, and leave the piece to cure for the
recommended length of time.

“% Twist the flat portion of the wire with ff, Mix equal parts of the resin and hardener
ew flat-nose pliers, and cut the wire to ““” of a suitable epoxy adhesive. Apply a small
length so that the base of the pearl sits snugly amount of the adhesive to the twisted peg,
against the dome. Ensure that the whole piece using a thin stick. The twist in the wire gives
is cleaned up at this stage, and apply the final the adhesive more purchase.
surface finish.
184 TECHNIQUES DIRECTORY # PEARLS AND GEM BEADS

Stringing Pearls and

Gemstone Beads

skill level

Choosing Stones
The choice of beads will most likely depend on budget, as well as the color, cut, or
type of beads. The size of the drilled hole is also a consideration, but as holes can be
enlarged this does not have to be a limiting factor.
The type of pearl or gem bead and its quality will affect price: it is common for low-
quality gem material to be used for beads rather than cut stones, so better quality
KNOTTED NECKLACE
beads are likely to carry a premium. The close-up detail of this necklace by Guen
Palmer clearly shows the knotting between the
Metals and Stringing Materials pearls and the French wire used over the silk
A vast range of stringing materials is available, far too many to mention here. The most where it attaches to the handmade, diamond-
simple method of stringing uses tigertail (nylon-coated steel cable) which is secured at set gold clasp
either end around the catch fittings using crimps and special crimping pliers. The ends
of the wire are fixed into the hole of the first and last bead with adhesive. This

PEARL STRINGING
This project describes the stages in
producing a traditionally knotted string of
pearls, using silk thread, French wire, and
a knotting tool to create perfect knots
between each pearl. Ensure that the silk
is the correct thickness for the pearls that
are being used.

TOOLKIT
«= Pearls for stringing
a Silk thread
R The first three and last three pearls of Cut a double-up length of silk three times
apse the string will have a double thickness of the length of the finished string. Thread a
« Needle thread passed through them, so their holes wire needle onto it and move the needle up to
=» Gimp need to be enlarged with a reamer. Check that the center of the strand. Thread the first three
the holes are large enough, and keep these six pearls onto the silk, down to the far end. Leave
= Clasp or metal fitting pearls separate from the rest enough silk to hold in your hand, then thread
» Knotting tool on a short length of gimp, followed by the
= Superglue or clear nail polish clasp or metal fitting
 STRINGING PEARLS AND GEMSTONE BEADS 185

technique is often used for less valuable stones,

and can support heavier beads because tigertail is
incredibly strong.
Traditionally, pearls and gem beads are strung on silk
thread, which is knotted between each bead. This is so MIXED GEMSTONE NECKLACE
that they do not abrade one another, and if the string Swiss granite and coral beads have
breaks, fewer beads will be lost. Silk threads are available been used in this necklace by
Barbara Christie, creating a balance
in a range of thicknesses and colors, and you can find
of color and contrasting textures,
plenty of synthetic alternatives. To protect the silk from with the focal point of the piece
raveling where it is attached to the catch, use French being a cut and polished river stone.
wire (also called gimp or purl wire). This is a spiral tube
of very fine wire which is very flexible and is threaded
over the silk where it passes through the metal fitting;
it is available in a range of gauges and is usually gold or
silver plated.
Knotting tools greatly increase the speed at which
a string of beads can be completed, and help keep the
knots evenly sized—the device pulls the knot tight against
the last bead as it closes the knot and is very easily
operated. Twisted wire beading needles are available in
a range of sizes and styles. Some are already attached to
the silk and some have collapsible eyes, and so can be
used more than once.
Many kinds of adhesive can be used to seal knots or
secure stringing materials inside beads—cyanoacrylates
are useful, but some brands of adhesive have a very
fine applicator nozzle that is perfect for getting between
beads. Clear nail polish also works well.
Any precious metal can be used for clasps—whether
bought or handmade—though fine metal is not as
suitable. It is important that the clasp complements the
piece, whether it is a focal point or a discreet fastening.

”% Thread the needle back through the pearl All the pearls, except the last three, should
wx Closest to the gimp, and pull the silk thread now be threaded onto the silk and moved « between the fingers and over and through
tight so that the gimp sits over the clasp and to the needle end. Hold the end with the first the loop of silk.
against the pearl. Tie a knot and pass the three pearls with your right hand and wrap the
needle through the second pearl, then pull the silk once around your left-hand index and
silk tight and tie a knot. Pass the silk through middle fingers.
the third pearl, but this time do not tie a knot
or cut the end of the silk.

Continued over
186 TECHNIQUES DIRECTORY ¢ PEARLS AND GEM BEADS

Construction Details
Before starting, ensure that the diameter of the holes in the pearls is compatible with
the thickness of the silk, gimp, and beading needles you will be using. Thinner silks can
be used as a double strand to increase the thickness and ensure that the beads will not
slip over the knots. Make up a sample with a short length of silk and a few beads to
check that the knots will be the correct size for the beads being used—this can save
a lot of frustration! It takes many hours of practice to achieve speed, accuracy, and
uniformity of knots, so it is always worth doing a trial run.
The silk should be cut to three times the length of the final string and stretched to
remove any kinks. The holes in the first and last three beads must be enlarged so that
they can take double the thread (see diagram).
Thread the first three beads onto the silk with the use of a suitably sized beading
needle, followed by the gimp and then the claso—pull them along to the far end of
the silk, leaving a few inches to hold onto. Pass the needle through the third bead,
taking care to ensure that the gimp pulls tightly around the jump ring or catch and
neatly up against the bead. Tie a knot at this point, and pass the needle through the
second bead, tying a knot after that. Pass the needle through the remaining bead, but
do not tie a knot or cut the excess silk yet—use the knotting tool to make the knot
after the third bead using the long end of the silk. The remaining beads (except for
the last three) are then threaded onto the silk and the knotting tool is used to aid the
stringing process. Slide the beads down into position one at a time before using the
knotting tool to make a tight, neat knot after each one; take care to keep the sequence
of beads and knots correct, as two knots together will mean starting over!
The process for finishing the string of beads is the same as for starting: thread on
three beads with enlarged holes, then the gimp and the other end of the clasp. It is
important to leave just enough space between the three beads for the knots when
threading the needle through the last bead to tighten the gimp around the clasp
PEARL NECKLACES
fitting. Use a small amount of adhesive to seal the knots between the second and third Small, off-white pearls and seed pearls have
beads, before carefully trimming away the ends of the excess silk as closely as possible. been strung on crimson silk for contrast in
this pair of necklaces by Anastasia Young, with
18-kt yellow-gold clasps that have been prong
and bezel set with rose-cut garnets.

& Use the needle of the knotting tool to pick “= Pull the long end of the silk so that the ©) Place the silk in the fork of the tool, and lift
“~ the silk loop up off your fingers. Be careful * pearl is tight up against the needle of the “the knot off the needle by raising the tab at
to keep the tension in the thread so that it knotting tool. the front of the knotting tool with your right
does not tangle. thumb, Pull the silk to keep the knot tight and
flush up against the pearl. Slide the next pear!
down and repeat the sequence for making
a knot.
 STRINGING PEARLS AND GEMSTONE BEADS 187

CROSS-SECTION
Twisted wire needle

=,

First three beads with Long length

enlarged holes of silk

ee~ End of silk Clasp

Silk passes back

through bead

Tie knot Gimp pulled tight

here around clasp and up
against third bead
Knots are now
made using
knotting tool

Needle ‘ Knot Knot

. a.

Single strand . Cut excess silk =Knot

of silk
Cod

1 0 Make a knot between the

© “# last and second-to-last pearl,
before threading the silk through
the third pearl. Apply a drop of
superglue or clear nail polish to the
penultimate knot at the start and
end of the string, and trim the end
of the silk as close as possible to
the nearest pearl.

Once all the pearls have been knotted

¥ into position, thread on the last three
pearls, a second piece of gimp, and the other
side of the catch. Repeat the same sequence
as for starting the string (Steps 1-3), making
sure that the gimp is pulled tight, but leaving
enough space between the last two pearls
to make knots.
188 TECHNIQUES DIRECTORY @ PEARLS AND GEM BEADS

Wired Beads
From simple head and eye pins to complex three-
dimensional forms, wire can be used to attach pearls
and gemstone beads to jewelry, adding both color
and movement.
skill level

Choosing Stones
Most types of gemstone beads and pearls are suitable for this technique, but take
care if you are using very valuable stones because they could be damaged by the wire
through wear and tear. Similarly, very inexpensive beads may be made from more brittle
gem material with fractures or faults that could cause the bead to crack. The size of the
hole in the bead may also be a factor—if drilled holes are very small, then only very thin
wire can be used, which could compromise the strength of the piece. Holes may be
drilled larger or enlarged with a diamond reamer. WIRED BEAD BROOCH
Wired beads are used to great effect in
Metals this Orchid Brooch by Sophia Mann. Two
Gold, silver, platinum, and palladium are all suitable. Standard alloys of metals work Ra Wie SACOa eon as oa
the beads to be woven into position, and
best for constructed pieces, such as a framework to support beads—particularly half- include ruby, sapphire, and yellow diamond
hard wire as it will not be easily bent out of shape, and it is not possible to solder the cube beads.
wire once the beads are in position. Fine silver or gold wire is often used for wrapping
beads because it is very malleable and easy to manipulate.

Construction Details
The wire forms used to support the beads and attach them to each other or larger
pieces of metalwork can be very simple, such as straight wires with a hanging loop at

USING HEADPINS AND EYEPINS

WITH GEMSTONE BEADS
Wire for making unsoldered eyepins
should be half-hard, and the thickest
gauge possible for the holes in the beads
so that it does not lose its shape easily.
Thin-gauge fine silver wire can be used for
balled headpins, and if thin enough, the
end can be tucked back inside the drilled
hole of the bead.

TOOLKIT
= Sterling silver = Fine silver wire @ 10 make a beaded chain with eyepins— Thread one bead onto each wire, and bend
ae Gaetan having previously calculated the length the protruding wire to a right angle. Use
required—cut the same number of lengths round-nose pliers to form a loop very close to
a Pliers » Jump ring of sterling silver wire as there are beads. Use the bead. The two loops can face in the same
= Gemstone » Ring shank the thickest gauge of wire it's possible to fit Or Opposing directions, as desired.
sae « Soldering through the beads. Fold a right angle at one
‘ end of each wire using flat-nose or parallel
equipment pliers, then curl the end to form a loop using
round-nose pliers.
 STRUCTURAL SUPPORT
Alternate links of this necklace by
Chris and Joy Poupazis are set with
amethyst beads held in position
with balled wire. The surrounding
silver protects the beads and
also allows them to rotate within
each frame.

ihea oo
in a

CROSS-SECTION . a ae
wv
oi
Pehl

one or both ends, or more complex fabricated elements. Whatever the structure, use
solder closures wherever possible to increase strength—if a loop at one end of a link can

s
Join soldered closed be soldered before the bead is put on, the structure will have greater strength. Soldered
wires can be barrel polished to work-harden them before the beads are applied.
The correct use of pliers is crucial for accurate and neat wirework. Familiarize yourself
Loca with the different types of pliers and which processes they are most suited to (see
Ste page 66). Steel rods in a range of diameters are also useful—wire can be wrapped
pliers around these formers to make individual or multiple loops, and a coiled spiral of wire
can be cut into jump rings.
Judging the correct length of wire for a piece can be tricky. Make up models in
brass or copper wire, in the same gauge as the final piece so that you can calculate
the lengths. When making repeating units, such as chain, it is always a good idea to
perform each step on each component part in order to keep the elements uniform.
Work out the sequence for the piece and plan ahead.
Very complex structures can be built up in this way, with the wires cross-linking
through drilled holes, or around one another. Articulated forms will mean that the
jewelry will be more versatile and comfortable to wear.
Open loop this
side—to attach
more links, use
flat pliers

: Open the loops one at a time to begin

“% fi To make a cluster of gem beads using Thread the loop through a jump ring that
ww linking the chain links together—use flat- ““headpins, heat one end of a piece of has been soldered onto a ring shank, and
nose pliers and open the loops sideways so as narrow-gauge fine silver wire until it melts and wrap the wire around itself in the space above
not to distort the shape of the loop. Continue forms a ball—no flux is required. You can then the bead. The coil of wire should continue right
until all the links have been joined. thread the beads onto the wire. Make an open up to the top of the bead, and be cut to length
loop on the protruding wire using round-nose if necessary. Use chain-nose pliers to tuck the
pliers and leaving some space above the bead. end of the wire neatly in above the bead.
ce t
: ie
nA

cae:
A RIOR
i
ca Ke
! ll . aN ly HA l t i
ay ie i \
ia
Ell f
t
lil ANNbi
aN ! tl
i ANN i
MN Nii
Te
Ni
a ne

Aaa MRAM
SATA
Jewelry designing and making usually requires a

large amount of behind-the-scenes information,

from knowing which suppliers to go to, to how to

calculate and draw out a template for a stone

mount, or convert a measurement. This reference

section aims to provide a wealth of useful tables,

charts; and resources. It is a good idea to keep your

own notebook for information that you regularly

use to form your own technical journal for projects.

This will save you time and provide reference if you

repeat projects.

CHAPTER 4
192 REFERENCE

Conversions

Temperatures B&S gauge Inches Millimeters Mohs’ scale of hardness

ele AC Si Thou. Fractions 1 Talc (softest) 6 Feldspar

2 Gypsum 7 Quartz
32 0 1100 0.787 Yea
3 Calcite 8 Topaz

100 38 200 0.591 "a2

4 Fluorite 9 Corundum

0.394 5 Apatite 10 Diamond (hardest)

150 66 300

200 93 400 0.204

Stone Mohs’ Specific

250 121 1500 0.162 hn scale value gravity

Amber PES 1
300 149 1600 0.129 "%e Br.
Amethyst 7 2.6
350 177 1700 0.102 2.6
Aquamarine 8 ESS:
400 204 1800 0.080 |
Coral 335 2a

450 232 1900 0.064

Diamond 10 3.4-3.6

500 260 2000 0.050 Emerald 75-8 215

550 288 2250 0.040 Garnet Oa Tias) 3.541

0.032 Jadeite 6.5—7 3:3

600 216 2500

Lapis lazuli 23) 23-3

650 343 2750 0.025
Malachite 3.5 3.8
700 371 3000 0.020
Moonstone 6-6.5 2.6
800 427 3250 0.016 1
64

Opal 330) 5) TES

900 482 3500 1927 0.013

Pearl 2,5-4 DADS:

1000 538 4000 2204 0.010 Peridot 6,5-/ She

Ruby/sapphire 9 4

Topaz 8 3h.)

Tourmaline AHS 3H ah,2

Turquoise 6 2.8

Zircon 6.5 3,.9-4,7

 CONVERSIONS 193

USING RING BLANK MEASUREMENTS Table of ring sizes

Always add the thickness of the metal WHC, 1) WES: Europe _ Ring blank Ring blank Inside Inside diameter
you are using to the length of blank | length* (mm) length* (inches) diameter (mm) — (inches)
required for a particular size, to ensure
accurate results. When measuring a 2 sy ne a ce a

oo
making—a wide-band ring will need to
Eee
be a larger size to fit over the knuckle c Me ee aot 70 ine oe
than a thin band.
D 2 42.5 44.5 ofS eZ 0.52

E 2" 43 45.8 80 13.6 0.54

F 2) 44 47.2 1.85 14.0 0.55

G 3% 45 48.3 90 14.2 0.56

H 3% 46.5 49.5 95 14.6 0.57

| AM 48 50.8 2.00 15.0 0.59

J ie 49 DZe 2.05 15.4 0.61

K 5% 50 53.4 2.10 15.8 0.62

L 5% Bile) 54.6 2M) 16.2 0.64

M 6% DS 56.0 2.20 16.6 0.65

N 6% 54 57.8 DLS 17.0 0.67

O 7 553) 58.4 2.30 ee 0.68

P Tp HO.5 eh) 1.5335) 17.6 0.69

Q 8 58 Bis 2.40 18.0 0.71

R 8% oY) 62.3 2.45 18.4 0.72

S 9 60 63.4 2.50 18.8 0.74

ii 9M 61 64.8 2.95) 19.2 0.76

U 10 62.5 65.9 2.60 19.6 0.77

V 10% 64 67.4 2.65 20.0 0.79

W 11 65 68.6 AIM) 20.4 0.80

RCE
Forms canDIVIDER
be quickly divided up into equal parts X 11% 66 69.9 Qld 20.8 0.82
when placed centrally on a circle divider. A
polished ring will reflect the lines, making it Y 12 68 Wile 2.80 DD 0.83
easier to mark accurately.
194 REFERENCE

Stone Shapes
The way in which a gemstone is cut determines its beauty, value, and the ways
in which it can be mounted or set into a piece of jewelry. The crystal structure
of certain gems means that specific cuts are more likely to be used, depending
on their planes of fracture. Many stones are calibrated, meaning they are cut by
a machine that produces very regular proportions and facets, but the range of
cuts produced by this method is limited. Many more cuts exist than are described
here, and vintage or antique stones in unusual cuts can be sourced.

BRILLIANT CUT
These are the terms for
the different parts of rae os Upper girdle
a round, brilliant-cut
gemstone. Their varying
proportions will affect
the brilliance and
color of a stone.
Marquise cut Cushion cut Pear shape: Pear shape:
Crown Pavilion

Oval brilliant Oval brilliant

cut: Crown cut: Pavilion

<< yp
LZ AUS

Oval brilliant ken

cut: Side Trillion

i < MAXIMUM LIGHT DISPERSION

The brilliant cut maximizes the light dispersion
within.a stone, producing maximum “fire” and
brilliance. This cut can be applied to shapes
other than round, such as marquise (sometimes
43.1%
called navette), cushion, pear, and square
(“princess cut”).
 STONE SHAPES 195

STRAIGHT-SIDED CUTS ROSE CUT

The step cut is used to show off the color of a stone, but does not produce The rose cut is a historic cut; it was used
the same sparkle as a brilliant cut. A modification of the step cut is the French as far back as the early 1600s and was still
cut, which is usually found on small stones with rectangular, square, and popular in Victorian jewelry. Its principal
triangular shapes. feature is the flat back, which allows it to be
set like a cabochon. It can be simple, with
Pavilion Pavilion three or six facets, or more complex with
: facets
Crown
side
Crown
ide ffacets
corner facets___SIe eyf ee, in multiples of six.
facets radiating

CZ NS”
Culet

Emerald cut: Crown Emerald cut: Side Emerald cut: Pavilion

Full-Holland rose cut Pear-shape rose cut

Baguette cut \/Vy

Calf’s head cut Cut-corner triangle cut

Step-cut trapeze Step-cut hexagon Emerald cut with Square French cut Houbleroce cor
baguette two crown steps with square table

N27

K-ESS
French-cut equilateral Cross-cut Cross-cut long Cross-cut pillow An orange princess-
triangle rectangle hexagon (barrel) cut sapphire is set
in a hand-forged
stainless steel prong
setting, in this ring by
Kara Daniel.
 FANCY CUTS CABOCHON CUTS
Fancy cuts, such as mirror and prism cuts, Cabochon cuts can vary in both outer girdle shape
can be used to create optical effects in stones. and the convex curve of the surface, which can
Variations of existing cuts may be used to range from a flat slab to a high-domed bullet. The
retain the maximum weight in irregularly base can be flat, or rounded as a double cabochon
shaped crystals. to increase color density in light-colored stones.

This incredibly clean Low d i

Ukranian beryl was cut to pa A hte High dome
leave some of its natural : :
form intact—the rough edge Flat top with step- Buff top with
makes an interesting design cut pavilion brilliant-cut pavilion
feature in this necklace by
David Fowkes, complemented
by the tube-set white and
champagne diamonds.

HEE : -
Chasseur Bent-top rectangle Double-beveled Hollow/carbuncle
triangle cut

The ring below, by Henn of :

London, features a stunning
20.8-ct green tourmaline.
Pavé-set diamonds and green i
basse-taille enamel adorn the 47
white-gold shank. Double Flat cut/slab

The tension-set ring below

center by Natasha Heaslip \|
features a faceted beryl in
a contemporary cut.
=
we

Prongs hold a 7.36-ct uncut

natural diamond in the 22-kt Rondelle Step-cut bead
gold ring below right by
Leo Pieroni. Buff top Buff top (cross-vaulted)
 STONE SHAPES 197

Approximate carat weights for brilliant-cut stones Birth stone

Stone (diameter in mm) Month Stone

Diamond Nees) January Garnet

February Amethyst
Blue topaz 53
March Aquamarine
Ruby/sapphire 1.60
April Diamond, rock crystal
Garnet .60
May Emerald
Aquamarine/emerald 1.70
June Pearl, alexandrite

Quartz 0.20 1.30 July Ruby

Approximate carat weights for emerald-cut stones August Peridot

September Sapphire
Stone (diameter in mm) 5x3 6x4 1X5 10x8 12x10
October Opal, tourmaline
Diamond 1.00
November Topaz, citrine
Blue topaz 23
December Turquoise, tanzanite

Ruby/sapphire ANS

Reflection Brooch by Lauren

Garnet
Tidd features a 22-ct pear-
shaped checkerboard
Aquamarine/emerald amethyst
set in white
and yellow gold.

Quartz 1.00

Approximate carat weights for oval stones

Stone (diameter in mm) Xo 11x9 HANG

Diamond 5.00

Blue topaz 6.00

Ruby/sapphire 6.00

Garnet 5.00

Aquamarine/emerald

Quartz

1 metric carat = 200 mg

A prong-set 17.14-ct
5 metric carats = 1 gram faceted marquise-cut
4 grains = 1 metric carat green tourmaline is the
1 grain = 4 carat = 50 mg focal point of this ring
by Henn of London.
198 REFERENCE

Templates for Settings

Girdle Width at girdle

MAKING A
Measurement
TAPERED BEZEL at culet
Width at culet

TEMPLATE
Traditionally, tapered bezels
are made from sheet metal,
and a template must be
made in order to construct
a cone that has the
correct proportions for \
\
a particular stone. 1
1
!
!
!
!
U

For a round stone: For straight-sided stones:

1 Measure the diameter of the stone at the girdle. Use this 1 Measure the square stone along one side = AD.
measurement to draw AD. 2 Measure the height from girdle to culet (allow extra if you are
2 Measure the vertical distance from the girdle to the culet, making prongs or a rub-over setting) = AB and DC.
allowing extra if you are making prongs as part of the cone = 3 Extend lines AB and DC to meet at Z.
AB-DC. 4 Draw a circle, center Z, with a radius DZ.
3 Use these measurements to draw lines, continuing AB and DC 5 Draw a circle, center Z, with a radius CZ, and draw an arc, CF.
to meet at Z. 6 For a square stone: Measure the side of the stone (i.e. AD) with
4 Draw a circle, center Z, with a radius DZ. dividers and mark this measurement three times on the outer
5 Draw a second circle, center Z, with a radius CZ. circle finishing at E.
6 Use dividers to measure the distance AD, and mark this For a rectangular stone: Work as for the square stone but
dimension on the outer circle starting at point G. Mark the measure both the long and short sides of the rectangle. The
distance three and one-seventh times (7m), and mark this point E. measurement AD and GH will be the long side; the measurement
7 Draw in line GZ. DG and HE will be the short sides.
8 Draw in line EZ. The shaded area within these letters is the flat pattern that can
9 Make points H and F on the inner arc. be transferred to the metal. The lines DC, GJ, and HI are scored
The shape bounded by GEFH is the template for the cone. and bent up so that AB can be soldered to EF.
Transfer this to metal and pierce it out, then form and solder the
join closed. The cone can then be trued in a bezel block—the
taper of the cone will dictate whether a 17° or a 28° bezel block
and punch should be used.

GEOMETRY FORMULAS
To find the circumference of a circle from the diameter: To find the diameter of a circle used to make a dome:
Circumference = 3.142 x diameter Outside diameter of sphere minus thickness of metal x 1.43
e.g. 18 mmo. d., 0.6 thickness: 18 - 0.6 = 17.4; 17.4 x 1.43
To find the area of a circle: =25mm
Area = 3.142 x (radius?) If less accuracy is required, add the diameter of the dome to its
height to find the approximate diameter of circle needed.
 TEMPLATES FOR SETTINGS ¢ GLOSSARY 199

Glossary
Base metal Nonprecious metal, Chasing The process of commonly available with round,
such as aluminum, copper, iron, punching a relief design in square, or triangular holes.
and nickel. metal from the front.
Electroforming The process of
Beveled On a slant or Chenier Thin metal tubing, forming metal objects by using
inclination. often used for making hinges an electric current to deposit
in jewelry. It can also form the metal in a mold. The
Bezel The rim of metal that is other parts of a piece. mold must be coated with a
used to secure a stone in a rub- substance that conducts
over setting. Chips See pallions. electricity. Electroforming is
The black opal in this ring by sometimes used to reproduce
Joanne Gowan has been set in a Birefringence The difference Clarity The relative amount antique pieces; the process
deep 18-kt yellow-gold bezel. between the highest and of freedom from inclusions in is also used for creating new
lowest possible refractive a gemstone. individual pieces, and for
indices of a material. mass production.
Cleavage A plane direction of
Blanks Flat shapes cut from breakage in a material. This is Electroplating The process
Acetone A flammable liquid sheet metal. defined by a material’s internal of depositing a layer of metal
solvent, used for dissolving structure. Some materials may on an object by means of an
setter’s wax, stop-out varnish, Borax A flux commonly have cleavage, others may not. electric current. Jewelry made
and permanent marker-pen ink. used when soldering jewelry. Ease of cleavage can range from base metal is often
A special form of borax is from very hard to easy. electroplated with silver or
Adamantine The highest produced for use by jewelers gold to enhance its appearance.
possible luster, which is that Is easier to dissolve and Countersink The enlargement Items made from plastic of
displayed by a diamond. melt than ordinary borax. of the entry to a hole. other nonmetallic substances
can be electroplated if they are
Alloy A mixture of metals; Brilliance The reflection effect Culet The small facet on first coated with a substance
sterling silver is an alloy of from the front and back facets the base of some brilliant- that conducts electricity.
fine silver and copper. of a polished stone. cut stones.
Engraving The process of
Annealing The process of Brilliant cut A round ideal Curing The process of liquid cutting away the surface of a
heating and then cooling cut created especially for a components turning solid— substance, using a sharp steel
metal to make it softer and diamond, designed to give resin, for example. tool called a graver. Lines are
thus easier to work with. maximum brilliance and fire. often engraved in a metal
The required temperature Die Tool used for shaping by surface to form a decoration
for annealing, the duration Burnish To polish by rubbing, stamping or press forming, or or inscription. Cameos and
of heating, and the rate of usually with a polished steel a cutting tool used for making intaglios are made by
cooling vary according to the tool. screw threads. engraving gemstones.
metal used.
Cabochon A stone that has Dispersion The splitting of
Arkansas stone A fine been cut to have a domed top light into its component
abrasive stone, used for and a flat back. spectral colors by two non- This white-gold ring by
sharpening steel tools such parallel facets (see also fire). Lauren Elizabeth Tidd
as gravers. Cameo A gemstone with a features a 7.5-ct fancy-
design cut in low relief. Double refraction A visible cut citrine and a square-
Assaying The process of faceted pyrope garnet.
doubling effect that can be
determining the proportion of Carat A unit of weight, now seen through some gemstones.
precious metal contained in an standardized as being equal to
alloy. Most jewelry is assayed one-fifth of a gram; one carat Doublet A stone made of
at an official Assay Office and consists of 100 “points.” The two materials joined together
given a hallmark that indicates weight of gemstones is usually to give the appearance of
the type and fineness of the expressed in carats. one gemstone.
precious metal.
Cat's eye effect A streak of Draw plate A hardened steel
Baguette A gemstone light effect, best visible with a plate with a series of holes of
cut so that the shape of the point light source that seems to various sizes. Wire is drawn
top (table) is narrow and hover just below or above the through the plate to reduce
rectangular. It takes its surface of a material. its thickness, or to change its
name from the long French shape. Draw plates are
baguette loaf.
 Flux A substance used In Gilding metal A gold-colored Iridescence A rainbowlike
soldering to ensure that the alloy consisting mainly of play of color produced when
solder flows. Any oxide present copper and zinc. It is used to internal structures interfere
on the metal tends to prevent make inexpensive jewelry and with paths of light.
the solder from flowing. The is usually gilded.
flux is applied to the parts to Jeweler’s saw A saw with a
be soldered and prevents air Gimp See French wire. blade narrow enough to be
from reaching them. As a threaded through a drilled
result, no oxide is formed, so Girdle The widest hole so that a pattern can be
the solder is able to flow and circumference of a gemstone. cut out from sheet metal or
join the metal. Borax is the flux The girdle forms the boundary other material.
A mirror-cut commonly used by jewelers. between the crown (top) and
yellow beryl is the the pavilion (base). Jig A tool used to form several
centerpiece for Forging The process of items of identical shape.
this pendant by hammering metal to change Grain (1) A unit of weight,
Roger Morris.
its shape. common to both the Troy Karat A measure of the
and Avoirdupois systems. Four fineness of gold or gold alloy.
Former See mandrel. grains are equal to one carat, The number of karats is the
the unit of weight for precious number of parts by weight of
French wire A coil of very fine stones and pearls. pure gold in 24 parts of the
wire used to protect the ends metal. Pure gold is, therefore,
of threads on which beads or Grain (2) A tiny ball of metal described as 24 kt, and 14-kt
pearls are strung. The ends are (see granulation). gold is an alloy that contains
Etching The controlled passed through gimps so that 14 parts of pure gold in
corrosion of a surface with they cannot wear away by Granulation The decoration 24 parts of the alloy. In Britain,
acid. In jewelry, the process rubbing on the catch of the or texturing of a surface by the the legal standards for the
is used to form surface jewelry. Also called gimp. application of tiny balls (grains) fineness of gold are 9 kt,
decoration on metal—some of gold or silver. Various 14 kt, 18 kt, 22 kt, and 24 kt.
parts of the surface are Fretwork A sheet that has techniques have been
protected by an acid-resisting been pierced to make an developed for making and Loupe Magnification tool
substance, while others are ornamental pattern. attaching the grains. used by gemologists to view
eaten away by the acid. gemstones. A 10x lens is
Fume cupboard A glass- Hallmark A series of usually used.
Facet A flat surface ground on fronted cupboard that has impressions made in an item
a cut gemstone. an extraction or air filtration of gold, silver, or platinum. The Luster The degree of
system inside, in which hallmark is an official guarantee brightness reflected from the
Ferrous Containing iron. chemical processes such as of the fineness of the metal. surface of a material. Luster
etching or resin are done. is described based upon the
Findings Mass-produced Hardness The ability of appearance of a stone’s surface
jewelry components, such as Gallery (1) A wire fixed to a gemstone material to reflection. For example, this
catches, joints, and clips, which the back of jewelry to raise the resist abrasion. reflection may look greasy,
are commonly used, even on level of the metal so that there pearly, metallic, vitreous (glass-
handmade jewelry. When is sufficient clearance below for Host rock Original rock in like), or adamantine (possessed
such components are made by the stones. which materials such as opal by diamond).
hand, they are sometimes and turquoise may have
called fittings. Gallery (2) A mass-produced been deposited. Malleability The property,
decorative metal strip, often usually of a metal, of being
Fire The colors visible when a with a series of elongated Imitation A material that has easily hammered, rolled, or
faceted stone splits white light holes across the center, usually the appearance of another but pressed to shape without
(see also dispersion). known as a closed gallery. is not physically the same. fracturing.
Open galleries are made by
Firestain (Firescale) The black cutting a closed gallery along Inclusions Internal features Mandrel A steel shape for
coating that forms on silver the middle of the holes to of gemstones. supporting metal while it is
when it is heated. The coating produce a series of U-shapes being hammered. Mandrels
consists of copper oxide and is on each piece. An open gallery Intaglio An object with a are also known as formers.
formed by the copper in the can be used as a ready-made hollowed-out design, the flat
impure silver combining with prong setting, the arms of the surround being the highest Marquise, also Navette Any
oxygen in the air. U-shapes forming the prongs. part. The opposite of a cameo, gemstone with a boat-shaped
an intaglio is sometimes known girdle. The curved sides meet
Fluorescence The emission of Gauge A standard of as hollow relief. In jewelry, at a point at each end of
visible light by a material when measurement, such as the intaglio designs are usually the stone.
excited by a higher-energy thickness of sheet or the made in gemstones and
wavelength. diameter of wire. sometimes in metal. Melinex foil See Mylar.
 GLOSSARY 201

Moh's scale A scale from 1 to Schiller effect A sheen similar Step cut A cut that consists
10 that indicates a gemstone’s to Iridescence, produced by the primarily of rectangular facets
ability to resist scratches. interference of light reflecting in a stepped arrangement.
off internal layers within
Mylar A nonreactive acetate a gemstone. Soudé A gemstone containing
film to which resin does a colored layer inserted
not stick. Scintillation The sparkling between two colorless or near-
effect of light seen across a colorless layers. The colored
Outwork Processes or special diamond when it is moving. layer is usually near the girdle
professional services that are of a faceted stone, resulting
performed by someone else, for Scorper A type of engraving in the stone appearing a
example engraving and tool—shapes include flat, single color.
electroplating. square, and round.
Swaging The process of
Pallions Small pieces of solder, Shank The part of a ring that making metal U-shaped by
taken from the French word for passes around the finger. hammering it into a U-shaped
“flake.” Also known as chips. groove in a metal block.
Soldering The process of
Patina A surface finish that joining metal, using an alloy Synthetic A material that is
develops on metal or other called solder. The solder made by artificial processes
material as a result of exposure is designed to melt at a but which has a natural Bezel-set opals,
sapphires, a garnet,
to chemicals or handling. temperature lower than the counterpart. and a pearl embellish
metal it is intended to join. The these reticulated gold
Pickle A solution used during work and solder are heated Table The flat surface on top of earrings by Irena
construction to clean flux and until the solder melts. On a faceted stone. It is usually the Maria Varey.
oxides from metal after cooling, it solidifies to form largest facet.
heating, for example, after a firm joint. The terms easy,
soldering. Pickle is also used medium, and hard solder Tap A tool used for cutting a
to clean finished jewelry. Dilute describe solders with screw thread inside a hole.
sulfuric acid is often used progressively higher melting
as a pickle. points. Thus, some joints can Tapered bezel A metal band
be made at a relatively low that surrounds and supports
Planishing The process of temperature without melting a stone. Triplet A stone made of
hammering metal with a earlier joints made with a three materials joined together
polished hammer to obtain higher-melting-point solder. Tang The end of a file, graver, to give the appearance of
an even surface. or tool that is fitted into a one gemstone.
Specific gravity The density of wooden handle.
Pleochroic A term used to a material expressed as a ratio Tripoli An abrasive compound
describe a gemstone that to the density of water. For Tempering The process of used in the first stages of
appears to have two or more example, sterling silver has a heating metal after hardening polishing metal.
different colors when viewed specific gravity of 10.4 and is to reduce Its brittleness.
from different directions. therefore 10.4 times denser Vitreous A term to describe
than water. Toughness The ability of a a gemstone’s glassy luster.
Polycrystalline A material material to resist breakage.
that is made up of many Sprue The unwanted piece of Work-hardening The
small crystals. metal attached to a casting and Triblet A tapered steel rod on hardening of a metal caused by
formed by the access channel which rings are shaped. hammering or bending, which
Refractive Index (RI) A value in the mold. often makes the metal too hard
measuring the ability of a Trillion Triangular-shaped to work with until it has been
material to refract light. Most Stamping The process of stone with slightly rounded, softened by annealing.
materials have a specific range forming a pattern in sheet bulging sides.
of values that are helpful in metal, using a punch bearing
identification. the complete design. The Graduated micro-pave-set
pattern is formed by a single white diamonds retreat into
Repoussé A relief design blow and the process is suitable the funnel of this ring
by Jessica Poole.
punched into thin metal from for mass production.
the back.
Star effect Effect showing
Rouge Jewelers rouge is red multiple intersecting streaks of
iron oxide, a fine abrasive used light, best visible with a point
for the final polishing stages of light source that seems to
precious metals. hover just below or above the
surface of a material.
202 REFERENCE

Suppliers and Services

U.S.A. Paul Gesswein and Company, Inc. C.R. Hill Company CANADA
Tools 255 Hancock Ave. 2734 West 11 Mile Road Tools
Allcraft Tool and Supply PO Box 3998 Berkeley Busy Bee Machine Tools
666 Pacific Street Bridgeport MI 48072 2251 Gladwin Crescent
Brooklyn CT 06605-0936 Tel. (248) 543 1555 Ottawa, ON
NY 11207 Tel. (203) 366 5400 Fax (248) 543 9104 K1B 4K9
Tel. (718) 789 2800 Fax (203) 366 3953 Web www.crhillcompany.com Tel. (613) 526 4695
or
Anchor Tool and Supply Rio Grande Hoover and Strong 1909 Oxford Street East
Company 7500 Bluewater Road NW 10700 Trade Road London, ON
PO Box 265 Albuquerque Richmond N5V 2Z7
Chatham, NJ New Mexico VA 23236 Tel. (519) 659 9868
Tel. (201) 887 8888 Tel. (800) 545 6566 Fax (800) 616 9997
Fax (800) 965 2329 Web www.hooverandstrong.com Lacy and Co. Ltd
Armstrong Tool & Supply Web www.riogrande.com 55 Queen Street East
Company Also stock tools, gemstones, Belden Wire and Cable Company Toronto, ON
31747 West Eight Mile Road and findings. PO Box 1327 M5C 1R6
Livonia, MI 48152 350 NW N Street Tel. (416) 365 1375
Tel. (800) 446 9694 Swest Inc. Richmond Fax (416) 365 9909
Fax (248) 474 2505 11090 N. Stemmons Freeway IN 47374 Web www.lacytools.com
Web www.armstrongtool.com PO Box 59389 95352-3837
Dallas Tel. (765) 962 7561 Precious metals
Otto Frei Company TX 75229-1389 Web www.belden.com Imperial Smelting & Refining
119 Third Street Tel. (214) 247 7744 Co. Ltd.
Oakland Fax (214) 247 3507 Base metals 451 Denison
CA 94607 Web www.swestinc.com NASCO Markham, ON
Tel. (800) 772 3456 1524 Princeton Ave. L3R 1B7
Fax (800) 900 3734 Precious metals Modesto Tel. (905) 475 9566
Web www.ottofrei.com David H. Fell & Company CA 95352-3837 Fax (905) 475 7479
6009 Bandini Blvd Tel. (209) 529 6957 Web www.imperialproducts.com
Indian Jeweler’s Supply Company City of Commerce Fax (209) 529 2239
601 E Coal Ave CA 90040 Johnson Matthey Ltd.
Box 1774 Tel./Fax (323) 722 6567 Revere Copper Products 130 Gliddon Road
Gallup Web www.dhfco.com PO Box 300 Brampton, ON
NM 87305-1774 Rome LEW 3M8
Tel. (505) 722 4451 T.B. Hagstoz and Son NY 13442 Tel. (905) 453 6120
Fax (505) 722 4172 709 Sansom Street Tel. (315) 338 2554 Fax (905) 454 6869
Web www.ijsinc.com Philadelphia Fax (315) 338 2070 Web www.matthey.com
PA 19106 Web www.reverecopper.com
Metalliferous Tel. (215) 922 1627
34 West 46th Street Fax (215) 922 7126 Gemstones UNITED KINGDOM
New York Web www.silversmithing.com/ Boston Gems Tools
NY 10036 hagstoz 333 Washington St # 646 Buck & Ryan
Tel. (212) 944 0909 Boston Victoria House
Fax (212) 944 0644 Handy and Harman MA 02108 Southampton Row
Web www.metalliferous.com 1770 Kings Highway Tel. (800) 225 2436 London WC1B 4AR
Fairfield Web www.gemsboston.com Tel. (020) 7430 9898
Myron Toback CT 06430 Wholesale gemstones. Web www.buckandryan.co.uk
25 West 47th Street Tel. (203) 259 8321
New York Fax (203) 259 8264 JOSEPH P. STACHURA H.S. Walsh
NY 10036 Web www.handyharmanproducts. 435 Quaker Highway (Rt. 146A) 234 Beckenham Road
Tel. (212) 398 8300 com Uxbridge Beckenham
Fax (212) 869 0808 MA 01569 Kent BR3 4TS
Web www.mjsa.polygon. Hauser and Miller Company Tel. (508) 278-6525 Tel. (020) 8778 7061
net/~10527 10950 Lin-Valle Drive Web www. or
St. Louis stachurawholesalegemstones.com 44 Hatton Garden
MO 63123 Wholesale gemstones. London EC1N 8ER
Tel. (800) 462 7447 Tel. (020) 7242 3711
Fax (800) 535 3829 Web www.hswalsh.com
Web www.hauserandmiller.com
 SUPPLIERS AND SERVICES 203

Gemstones Electroplating and polishing E-Magnets UK Ltd

A E Ward & Sons F. Sinclair Ltd Samson Works
8 Albemarle Way 23 Hatton Garden Blagden Street
London EC1V 4JB London EC1N 8BQ Sheffield, S2 5QT
Tel. (020) 7608 2703 Tel. (020) 7404 3352 Tel. (0114) 276 2264
Web www.aewgems.co.uk Gold, silver, rhodium, and Web http://e-magnetsuk.com/
ruthenium plating; polishing,
R. Holt & Co. and sandblasting. AUSTRALIA
98 Hatton Garden Precious metals
London EC1N 8NX Cheyne & Close Ltd A & E Metal Merchants
Tel. (020) 7405 5284 Unit 3 104 Bathurst Street, 5th Floor
Web www.holtsgems.com 14-16 Meredith Street Sydney, NSW 2000
London EC1R OAE Tel. (029) 264 5211
Levy Gems Tel. (020) 7837 5957 Fax (029) 264 7370
Minerva House 26-27 Web www-silverpolishing.co.uk
Hatton Garden Gold, silver plating, and polishing. Johnson Matthey (Australia) Ltd
London EC1N 8BR 339 Settlement Road
Tel. (020) 7242 4547 Electroforming Thomastown, VC 3074
Web www.levygems.com Richard Fox Tel. (039) 465 2111
8-28 Milton Avenue Web www.matthey.com
Marcia Lanyon Groydon
PO Box 370 Surrey CRO 2BP
London W6 7NJ Tel. (020) 8683 3331
Precious metals Tel. (020) 7602 2446 Web www.foxsilver.net
Cookson Precious Metals Ltd Web www.marcialanyon.co.uk Electroforming, plating,
49 Hatton Garden and polishing.
London EC1N 8YS Casting
Tel. (0845) 100 1122 West One Castings CAD/CAM
Web www.cooksongold.com 24 Hatton Garden Jewellery Innovations
Also stock tools, gemstones, London EC1N 8BQ 98 Hatton Garden
and findings. Tel. (020) 7831 0542 London EC1N 8NX
Tel. (020) 7242 5535
Rashbel UK Ltd Weston Beamor Web www.jewelleryinnovation.com
24-28 Hatton Wall 3-8 Vyse Street Also offers complete manufacturing
London EC1N 8JH Birmingham B18 6LT service including stone setting.
Tel. (020) 7831 5646 Tel. (0121) 236 3688
Web www.rashbel.com Web www.westonbeamor.co.uk CAD-MAN
Also stock tools, gemstones, Full range of precious metals, also Unit 8, 3rd Floor
and findings. offers complete manufacturing 11-13 Hatton Wall
service including stone setting. London EC1N 8HX
Johnson Matthey Metals Ltd Tel. (020) 7430 1317
40-42 Hatton Garden Morflin Precision Castings Ltd Web www.cad-man.co.uk
London EC1N 8EE 21 Northampton Street
Tel. (020) 7269 8400 Birmingham B18 6DU Other materials
Web www.matthey.com Tel. (0121) 233 9361 Hamar Acrylic Fabrications Ltd.
Web www.morflin.com 238 Bethnal Green Road
Base metals London E2 OAA
FAYS Metals BAC Castings (Clerkenwell Silver) Tel. (020) 7739 2907
Unit 3, 37 Colville Road 62 Britton Street, Web www.hamaracrylic.co.uk
London W3 8BL London EC1M 5UY Acrylic stockist, laser-cutting service.
Tel. (020) 8993 8883 Tel. (020) 7253 3858
Web www.clerkenwell-silver.co.uk Alec Tiranti
Scientific Wire Company 27 Warren Street
18 Raven Road London W1T 5NB
London E18 8HW. Tel. (020) 7380 0808
Web http://wires.co.uk Web www.tiranti.co.uk
Sculptors’ supplies including
resin, silicone, ceramic clays,
and patination chemicals.
204 REFERENCE

Further Reading
Books A World of Rings: Africa, Asia,
Jewelry Concepts and Technology America
Untracht, Oppi Cutsem, Anne van
Doubleday, 1982 Skira Editore S.p.A, 2000

Complete Metalsmith Traditional Jewellery of India

McCreight, Tim Untracht, Oppi
Brynmorgen Press, 2004 Thames and Hudson, 2008

Metals Technic: A Collection of Art Nouveau Jewellery

Techniques for Metalsmiths Becker, Vivian
McCreight, Tim (Ed.) Thames and Hudson, 1998
Brynmorgen Press, 1997
Rings: Jewelry of Power, Love
The Workbench Guide to Jewelry and Loyalty
Techniques Scarisbrick, Diana and
Young, Anastasia Fenton, James
Interweave, 2010 Thames and Hudson, 2007

Jeweler’s Directory of Gemstones Magazines

Crowe, Judith Jewelry Artist
Firefly, 2006 www.jewelryartistmagazine.com

500 Gemstone Jewels Metalsmith (Society of North

Lark Books, 2010 American Goldsmiths)
www.snagmetalsmith.org
Diamonds
Dundek, Marijan Schmuck Magazin
Noble Gems Publications, 2009 www.schmuckmagazin.de

Gemstones: Properties, Crafts

Identification and Use www.craftscouncil.org.uk/crafts/
Thomas, Arthur
New Holland Publishers Ltd, 2009 Retail Jeweller
www.retail-jeweller.com
Adorn
Mansell, Amanda Web sites
Laurence King Publishing, 2008 Klimt02: International
community for art jewelry
Jewellery in Europe and America and jewelry design
Turner, Ralph www.klimt02.net
Thames and Hudson, 1996
Metalcyberspace: Information
New Directions in Jewellery and resources
Astfalck, J. and Derrez, P. http:/Awww.metalcyberspace.com
Black Dog Publishing, 2005
The Ganoksin Project: Archive
New Directions in Jewellery II of technical articles, and
Clarke, Beccy much more
Black Dog Publishing, 2006 www.ganoksin.com

Ornament and Object: Canadian The Goldsmiths’ Company

Jewellery and Metal Art Directory
Barros, A www. whoswhoingoldandsilver.com
Boston Mills Press, 1998

Jewels and Jewellery

Phillips, Clare
V &A Publications, 2008
 FURTHER READING ¢ GALLERIES, FAIRS, AND ORGANIZATIONS 205

Galleries, Fairs, and Organizations

Galleries Fairs Ethical Metalsmiths
Velvet Da Vinci Gallery, San SOFA (Sculptural Objects & www.ethicalmetalsmiths.org
Francisco, USA Functional Art), Chicago, New
www.velvetdavinci.com York, Santa Fe, USA Goldsmiths’ Company
www.sofaexpo.com www.thegoldsmiths.co.uk
Ornamentum Gallery, Hudson,
NY, USA International Gem & Jewelry Benchpeg newsletter
www.ornamentumgallery.com Show Inc., USA www.benchpeg.com
www.intergem.com
Contemporary Applied Arts Jewellery Association of
Gallery, London, UK Collect, Saatchi Gallery, London Australia Ltd
www.caa.org.uk www.craftscouncil.org.uk/collect/ WWW.Jaa.cOMm.au

Lesley Craze Gallery, London, UK Origin, Somerset House, London Society of Jewellery Historians
www.lesleycrazegallery.co.uk www.craftscouncil.org.uk/origin/ www.societyofjewelleryhistorians.
ac.uk
The British Museum, London, UK Goldsmith's Fair, Goldsmith's Hall,
www.britishmuseum.org London Guild of Enamellers
www. thegoldsmiths.co.uk/events/ www.guildofenamellers.org
William and Judith Bollinger
Jewellery Gallery, Victoria and Albert Rock ‘n’ Gem Shows, UK The Institute of Professional
Museum, London, UK www.rockngem.co.uk Goldsmiths
www.vam.ac.uk www.ipgold.org.uk
Inhorgenta, Munich, Germany
The Scottish Gallery, www.inhorgenta.com Responsible Jewellery Council
Edinburgh, UK www.responsiblejewellery.com
www.scottish-gallery.co.uk BaselWorld, Basel, Switzerland
www.baselworld.com/ No Dirty Gold
Galerie Rob Koudijs, Amsterdam, www.nodirtygold.org
Netherlands SIERRAD, Holland
www.galerierobkoudijs.nl www.platformsieraad.nl Fairtrade & Fairmined Gold
www.fairtrade.net/gold/
Galerie Marzee, Nijmegen, Organizations
Netherlands Society of North American
Wwww.marzee.nl Goldsmiths
www.snagmetalsmith.org
Alternatives Gallery, Rome, Italy
www.alternatives.it Gemological Institute of America
www.gia.edu
Oona, Berlin, Germany
www.oona-galerie.de The Gemmological Association
of Great Britain
LOD, Stockholm, Sweden www.gem-a.com
www.lod.nu
Hand Engravers Association
Deux Poissons, Tokyo, Japan of Great Britain
www.deuxpoissons.com www.handengravers.co.uk

e.g.etal Gallery, Melbourne, Association For Contemporary

Australia Jewellery
www.egetal.com.au Www.acj.org.uk

Fingers, Auckland, New Zealand Crafts Council

www.fingers.co.nz www.craftscouncil.org.uk

Craft Central
www.craftcentral.org.uk
206 INDEX

Index
& CAD software 82-84 capping 157 hematite 44
Abrams, Whitney 118, 135 caged setting 144-145 cup and peg setting 180 Henn of London Ltd 76, 125,
abrasives 62 moss agate cylinder 144-145 dome setting 94 196, 197
acrylic 174-175 CAM prong setting 107, 116-117 grain setting 122, 125 holding media 56, 65
sandwich setting with wood and acrylic earrings 116-117 micro-pave setting 121, 132 Hughes, Sian 87, 94
174-175 capping 157 oxidized earrings 77 Hunt, Melissa 167
adhesives 63 top-drilled green quartz drop 157 soldering 162-163
agate 43 carat weights 197 upside-down setting 156 H
Agnew, Katherine 111 Carter, Karl 110 wobbly stones 147 lannuzzi, Ornella 20, 78, 154, 182
Alexander, Dauvit 14, 109, 178 carving 16-17 electroforming 29 illusion cage setting 181
Alic, Alidra 174 Wax Carving 28, 78-79 emerald 33 inspiration 18-19
aluminium 179 casting 28-29, 135, 160-161 synthetic emerald 51 inspiration from the stone 20
Alvarenga, Kika 171, 176 delft clay sand casting 160-161 interchangeable stones 166-167
amazonite 40 lost wax casting 78, 90 bayonet fittings 166-167
amber 50 cat's eyes 47 fancy cuts 196 iolite 44
Anderson, Marianne 97 chalcedony 41 fancy settings 134-135
annealing 69-70 channel setting 87, 104-105 fashion jewelry 15
Annoushka 121, 128, 133, 140, 156, 169 anticlastic ring 104-105 files 58, 67 jade 42
applied prong setting 107, 118-119 chemicals 54-55 filing 68, 69 jewelry design 6
natural crystals with prongs 118-119 chenier vises and cutters 58 finish 22-23 analyzing the work of others 20
aquamarine 36 Christie, Barbara 135, 168, 185 five-grain setting 121, 126-127 CAD/CAM 80-85
chrysoberyl 37 row of brilliants 126-127 contemporary gem-set jewelry 14-15
8 Clamp, Alex 86 flexshaft 61 design considerations 22-24
Baird, Emma 159 clamps 65 flexshaft motors 69 design development 18-19
basket setting 106, 112-113 cleaning up 69, 72 fluorite 47 design process 21
buff-top cut 112-113 closed-back prong setting 107, 114-115 flush setting 87, 102-103 designer-makers 14
Battes, Paul 103, 131 using foil 114-115 flush setting faceted stones on domed development of stone settings 13
beads see gemstone beads; riveted beads; cluster setting 138-141 surface 102-103 geographical factors 12
wired beads silver ring 138-141 fluxes 63 jewelry saws and blades 58
bench vises 60 collections 19, 21 forging 74-75
bending metal 70, 71 combination setting 134, 136-137 Fowkes, David 22, 87, 136, 196 K
bezel blocks and punches 64 pear-cut brilliant 136 Kimberley Process 33
bezel setting 86, 88-91 commissions 26-27 Krinos, Daphne 77, 145
calculating length of bezel 90 computer-aided design and manufacture garnet 39-40 kunzite 44-45
height of stone 91 see CAD/CAM gemstone beads 180, 181
making bezel for cabochon 88-91 conversions 192 stringing 184-187
rectifying mistakes 57 table of ring sizes 193 gemstones 12, 31 abradorite 40
bezels with corners 87, 100-101 using ring blank measurements 193 carving tips 16-17 apis lazuli 42-43
constructing square bezel for square coral 48 cutting softer gems 16 aser welding 29
cabochon 100-101 cost 24 general care 51 Lauders, Guntis 73
Birk, Kelvin J. 135, 138 Cracknell, Annie 135 having stones cut to order 17 Leathers, Paul W. 79
Boodles 152 crown setting 106, 108-111 making faceted cuts 17 Levis, Francis 96
bracelets making crown setting from fabricated Ginebra, Lilian 93 ight dispersion 194
tube setting 93 tapered bezel 108-11 Gnatchenko, Elizaveta 15, 69, 99 ost wax casting 78, 90
wire wrapping 171 cutters 60 Gowan, Joanne 98, 121, 122 Lu, Xin Ran 175
brilliant cut 194 cutting 68 grain setting 120, 122-125 ubricants 63
brooches 197 row of brilliants 122-125 uxury brands 14
mixed materials 178, 179 i grain settings 120-121
setting from behind 135 Daniel, Kara 74, 87, 134, 195 grain tools 65 Mi
wired beads 188 dapping 71 granulation 75, 77 magnifiers 65
Buer, Jeanette 87 dapping blocks and punches 60 gravers 65, 67 malachite 47
built-up setting 150-151 Day, Ben 21, 124 mallets 59, 70
burnishers 64 diamond 32-33 man-made stones 50-51
burrs 61, 67 diopside 46 hammers 59, 66 mandrels 59
rectifying mistakes 57 dome setting 87, 94-95 Hancock, Liz 73 ann, Sophia 188
drill bits 61 Harris, Gwyneth 16 arie, Zoe 71, 117, 141, 146, 181
é"ee
drilling 71, 73 Hasel, Mabel 160 marking tools 59
cabochon cut 196 durability 23 Hastedt, Lilly 102, 153, 180 McCulloch, Fiona 127
CAD/CAM 6, 28, 80 health and safety 54-5 measuring tools 59
rapid prototyping 81 equipment 55 metal, bending 70, 71
sculptural mesh CAD software 85 earrings 20, 71 working with resin 176 eyer, Jack 80
software packages 81 caged setting 145 Heaslip, Natasha 120, 196 micro-pave setting 121, 132-133
three-dimensional surface modeling CAM prong setting 116, 117 heatproof mats 63 milling machines 28
Ming 20, 104, 108, 120, 130, 132, 134, Poupazis, Chris 19, 114, 126, upside-down setting 135, 156 holding media 56
139, 181 147, 189 wire wrapping 171 preventing and rectifying
mistakes, preventing and rectifying 57 practicalities 24 wobbly stones 146 mistakes 57
Molinari, Anna 148 precious metal clay 158-159 riveted beads 181 tools 56
moonstone 40 setting stones 158-159 riveting 75-76 technology 6, 13
Morris, Roger 23 press forming 74 using wire rivets to cold-join sheet templates for settings
multiple setting 138-141 probes 63 metal 76-77 round stones 198
prong settings 24, 106-107 rose cut 195 straight-sided stones 198
Ni mistakes 57 Roux Fine Jewellery Ltd 85 tapered bezel 198
necklaces 7, 14, 21, 196 prong tips, styles of 113 rub-over settings 86-87 tension setting 134, 142-143
caged setting 145 protective setting 152-153 ruby 34 diamond in white gold band 142
closed-back prong setting 115 protective bezel setting 152-153 synthetic ruby 51 texturing 76
gemstone beads 185 prototypes 19, 81 Russell, Donna 166 Thomas, Catherine 89
pearls 184, 186 pushers 64, 66 Tidd, Lauren Elizabeth 107, 197
spectacle setting 168-169 titanium 178
wired beads 189 Sajet, Philip 14, 106, 110 tools 56
niobium 178 quartz 55 sapphire 34-35 carving 17
synthetic sapphire 51 hand tools 58-63
@] Schwaizer, Regine 107, 119 stone-setting tools 64-65
obsidian 47-48 Ramsay, Teena 142 setting from behind 135, 154-155 tool shapes 66-67
odd-shaped stones 164-165 research 18-19 cabochon in pierced press form topaz 36-37
setting an amethyst slice 164-165 resin 176-177 154-155 torches 62
opal 40-41 embedding stones in epoxy resin settings 13 tourmaline 38-39
outsourcing 28-29 176-177 bought settings 25 triblets 59
p
reticulation 75, 77 mistakes 57 tube setting 86
rings 15, 20, 23, 25, 69, 73, 78, 79, 195, outsourcing stone setting 29 choosing stones 92
Page, Peter 180 196, 197 oxidization 91 construction details 92-93
Palmer, Guen 184 applied prong setting 107, 118, 119 settings as functional devices 172-173 metals 92
Park, Ko 92, 105 Art Nouveau ring 13 decorative rivets for securing flexible mounting faceted stones 92-93
patination 75, 77 basic bezel setting 86, 88, 89 materials 172-173 turquoise 43
pave setting 121, 130-131 basket setting 106, 112 shell 48-49 tweezers 63
sheet silver 130-131 bezels with corners 100 sketching 18
peacock vessel 179 built-up setting 151 Smith, Thomas 112 u
pearls 49-50, 182-183 CAM prong setting 117 soldering 72, 162-163 Ufer, Tanja 88
cup and peg setting 180 carving a ring from wax 78-79 cubic zirconia solder-set ear studs upside-down setting 135, 156
cup and peg setting for bouton pearl casting 135, 160 162-163
182-183 channel setting 87, 104-105 pallion soldering a band ring v
illusion cage setting 181 closed-back prong setting 107, 114 72-13 Vali, Aleksandra 91, 182
stringing pearls 180, 184-187 cluster setting 138-141 soldering tools 62, 63 Varey, Irena Maria 75, 86
types of pearl 183 combination setting 134, 136, 137 types of solder joint 72 Vilks, Janis 115
pendants 16, 22, 24, 25 crown setting 106, 108, 109, spectacle setting 168-169 Vinicombe, William 172
basic bezel setting 91 110, 111 oval rose quartz cabochon One

bezels with corners 87 dome setting 87, 94-95 168-169 uy

built-up setting 150-151 drilled rings 73 spinel 35-36 Waddington Pat 158
caged setting 144 engraved ring 76 synthetic spinel 51 Watson, Ishbel 121
CAM prong setting 107 five-grain setting 121, 126 square-grain setting 120, 128-129 wax carving 28, 79
channel setting 105 flush setting 87, 102 single stone 128-129 carving a ring from wax 78-79
combination setting 136 forged ring 74 steel 179 lost wax casting 78, 90
five-grain setting 127 glue ring 14 Stephen, Cathy 24, 144 wearability 22
flush setting 103 grain setting 120, 124 stereo microscopes 29 wire wrapping 170-171
grain setting 125 interchangeable stones 166, 167 stone shapes 194-195 side-drilled bead drop
illusion cage setting 181 lost wax casting 90 straight-sided cuts 194 170-171
pave setting 121, 131 medieval ring 12 stringing tools 65 wired beads 181, 188-189
pearl pendant 182 micro-paveé setting 133 sunstone 40 using headpins and eyepins with
reticulated pendant 75 mixed materials 174, 175, 176 swiveling setting 135, 148-149 gemstone beads 188-189
setting from behind 154, 155 odd-shaped stones 164 double-sided swiveling pendant wobbly stones 146-147
setting oval cabochon pendant 90-91 pallion soldering a band ring 72-73 148-149 aventurine sphere wobbly pendant
square-grain setting 129 pavé setting 130 Sylvester, Lucy 155 146-147
stringing pearls 180 pearls 182 Wong, Jayce 21, 112, 129, 151
swiveling setting 135, 148-149 precious metal clay 158, 159 T wood 174-175
tube setting 86, 92 protective setting 152, 153 tantalum 178 sandwich setting with wood and
peridot 39 regard ring 13 pierced setting in tantalum sheet acrylic 174-175
Pham, Huan 171 remodeling 26-27 178-179
pickle 62 Roman intaglio 12 tanzanite 46
pickling 71 sculptural mesh CAD software 85 tapered bezel setting 96-99 Xianou, Michelle 150
piercing 68 spectacle setting 168 forming tapered bezel for faceted stone
Pieroni, Leo 90, 107, 164, 196 square-grain setting 120, 128 96-99
pin vises 61 swiveling setting 148 Tarcinale, Danila 142 Yiannarakis, Nicholas 100, 157, 181
plating 29 tapered bezel setting 96, 97, technical journals 19, 191 Young, Anastasia 7, 106, 116,
pliers 60, 66, 71 98, 99 techniques 53 137, 186
polishing 29, 69 tension setting 134, 142-143 advanced fabrication techniques 74-77
polishing wheels and compounds 62 three-dimensional surface basic fabrication techniques 68-71 Z
Poole, Jessica 125 modeling CAD software 82-84 health and safety considerations 54-5 zircon 38
208 ACKNOWLEDGMENTS

Publisher acknowledgments co.uk p.98tr, p.120tl, p.122tr, p.199tl; Julie Hiltorunner p.172tr; Xin Ran Lu www.xinranlu.com p.175tl; Zoe
www.silversmyth.com p.31b; kara |daniel JEWELRY Marie www.zoemarie.com (Photo: Michael Davies) p.71,
Alex Clamp www.al exclamp.com p.86¢ * Alexandra Vali
http://aleksandraval i.com p.3br, p.91tr, p.182tl; Alidra www.karadanieljewelry.com p.74tr, p.87bl, p.134br, p.195br; p.117t, p.181tl.
Alic www.alidraalic. com p.174tr; Annie Cracknell Karl Karter www.karlkarter.com, p.3bl, p.110tr; Katherine
Special thanks to Chris and Joy Poupazis for assistance with images.
www.anniecracknel .com p.25t, p.135t ; Annoushka Agnew www.katherineagnew.co.uk p.111tl; Kelvin J Birk
www.annoushka.co m p.121br, p.128%l, p.133tl, p.156tr, www.kelvinbirk.com p.135bl, p.163tl; Kika Alvarenga All other images are the copyright of Quarto Publishing plc. While
www.kikaalvarenga.com p.171cr, p.176tl; Ko Park every effort has been made to credit contributors, Quarto would like to
p.168-169t, p.204bl; Barbara Christie www.barbarachristie. apologize should there have been any errors—and would be pleased
com (Photo: Graham Harris) p.135tr, p.168tl, p.185cr; Ben www.kodesigns.ca, p.2br, p.92tl, p.105; Lauren Tidd
to make the appropriate correction for future editions of the book.
Day www.benday.co.uk (Photo: Nigel Haynes) p.21bl, p.124tl www.lauren-elizabeth.co.uk p.107tr, p.197br, p.199br;
Cameramannz p.18tc; Catherine Thomas www. ctsilver.co.uk Leo Pieroni www.pieronistudio.co.uk p.90tl, p.107br,
164tl, p.196br; Lilian Ginebra wwwalilianginebra.com
p.89tr; Cathy Stephens www.cathystephens.co.uk p.24tl/r;
p.93tr; Lilly Hastedt www.lillyhastedt.com p.102tl, p.180bl; Author acknowledgments
Chris and Joy Poupazis www.cjpoupazis.com (Photo: Chris
Liz Hancock www.lizhancock.com p.73tl; Liz Oliver p.10t; Gemstone consultant: Lizzie Gleave FGA, DGA.
Poupazis and Rob Popper) p.19t (all), p.28bl/r, p.29bl/r, p.30,
p.56b, p.114tl, p.126tl, p. 147t, p.189tr; Daphney Krinos Lucy Sylvester www.lucysylvester.com p.155tr; Mabel
www.daphnekrinos.com p.77tr; Dauvit Alexander, The Hansell www.mabelhansell.com p.160tr; Marianne Anderson
www.mariannenaderson.co.uk p.97tr, p.203tl; Meghan A E Ward & Sons whose superb range of
Justified Sinner, http://www.justified.sinner.com p.1, p.14tr, stones feature on pages 16-17 and in the Gemstone
p.109tr, p.178tl; David Fawkes www.dfjewellery.co.uk p.22, O'Rouke www.meghanorourkejewellery.com p.179tr/cr;
Melissa Hunt www.melissahuntjewellery.co.uk p.167tr; Ming Directory, pages 30-51. For more information, check
p.87tr, p.196tl; Donna Russell p.166tl; Elias Jaguar p. 18tl;
Lampson www.mingjewellery.com p.20t, p.104tr, p.108tl, out their website: www.aewgems.co.uk
Elizaveta Gnatcenko [email protected] p.5tr, p.15b,
p.68tr, p.99tl; Emma Baird www.emmabaird.wordpress.com p.120tr, p130tl, p.132tl, p.134bl, p.181br, p.302br; Natasha
p.159t; Fiona McCulloch www. fionamcculloch.co.uk heaslip www.natashaheaslip.com p.120bl, p.196bc; Nicholas
Cooksongold www.cooksongold.com
(Photo: Nelson Photography) p.127tr, p.205br; Francis Levis Yiannarakis www.nicholasyiannarakis.com p.100tl, p.157tr,
www. franceslevis.com, (Photo: Keith Leighton), p.3t, p.96tl; p.181cr; Ornella lannuzzi www.ornella-iannuzzi.com p.20br, Niall Paisley for demonstrating grain, five grain, box, pave, and
p.78tl, p.154tl, p.182tr; Pat Waddington [email protected] micro-pave setting.
Guen Palmer www.guenpalmer.com (Photo: Full Focus
Photography) p.10br, p.30bl/r, p.184tl; Guntis Lauders, p.158tl; Paul Battes, www.paulbattes.com, p.2t, p.103tl,
Jack Meyer for the text and images so expertly explaining CAD/
courtesy of Art gallery PUTT] www.putti.iv (Photo: Sergei p.131t; Paul Leathers www.alluvium.com p.5tl, p.79tl; Peter CAM, pages 80-85. www.h3-d.com
Didyk) p.73tr; Gwyneth Harris p.16; Henn of London Ltd Page www.peterpage.co.uk (Photo: Nigel Wilson) p.180br;
Philip Sajet www.philipsajet.com p.14, p.106cr, p.110tl; Paul Wells for helping out behind the scenes and on the photo
www.hennoflondon.co.uk p.76tl, p.125tl, p.196bl, p.197bl; shoots, for making the crown setting and the tantalum tab setting
Huan Pham p.171tl; Images Jewelers www.imagesjewelers. Regine Schwarzer www.regineschwarzer.com (Photo: Steve used in demonstrations, for being the voice of reason, and for
com p.28tl; Ingrid Prats p.18tr; Irena Maria Varey irena@ Wilson) p.107tl, p.119tl; Roger Morris www.rogermorris.eu making me more cups of tea than | probably deserved.
irenamariavarey.co.uk (Photo: Clarissa Bruce) p.75tr, p.86cl, p.23, p.200tl; Sian Huges www.sianelizabethhuges.co.uk
Vicky Forrester at Flux Studios www.fluxstudios.org
p.201tr; Ishabel Watson p.121; J nis Vilks courtesy of Art p.87tl; Sophia Mamm www.sophiamann.com p. 188tr;
gallery PUTT! www.putti.iv (Photo: Imants Gross) p.115t; Tanja Ufer www.tanja-ufer.co.uk p.31t, p.88tl; Teena Central Saint Martins College of Art and Design
Jayce Wong www.jaycewong.com p.21br, p.112tl, p.129t; Ramsay [email protected], p.10bl; Thomas Smith
www.tmjewellery.co.uk p.112tr; V&A Images p.12t/b, p.13tr; Phil Wilkins « Heather Wang @ Hannah Terry Sally Leonard ¢
Jeanette-Marie Lund Buer www,jeanettebuer.com (Photo: Jolan Kozak ¢ David Valle ¢ Scott Millar
Knut Buer), p.4tr, p.87br; Jessica Poole www. jessicapoole. Whitney Abrams www.whitneyabramsjewelry.com p.118tl,
co.uk p.125tr, p.201br; Joanne Gowan www.joannegowan. p.135br; William Vinicombe www.williamvinicombe.com Author's website: www.anastasiayoung.co,uk

PoneOREM OREsGEMSTONE Sei TING

inspiration &@ techniques

With TrlESE JEVVEERY-MAKING RESOURCES FROM INTERWEAVE

im
3

Woe
Jewelry Making Daily The Workbench
Guide to Jewelry
Techniques
Jewelry Making Daily is the ultimate online community Anastasia Young
for anyone interested in creating handmade jewelry. Get ISBN 978-|-59668-169-9
tips from industry experts, download free step-by-step $34.95
projects; check out video demos; discover sources for
supplies, and more! Sign up at Jewelrymakingdaily.com

i: Jewelry Making Daily Shop

shop,jewelrymaking.com
 Ss pies Me ON 4 We eaeTyne ‘ ‘ Se Se oe
‘ fet a

‘ j Ms foroNMae ite a
() j 2 DPN ante ) |
‘ ce
acaa Ri - (ie
mnt i ae Rare

enige. en : 3
4 i , Nessa uaite CU
i ; seas etd usa eneaN i gait Ss
} "
; ; eae! ‘ es se
j ‘ :
t

nth me Sars ; WSS

‘ : i i

ve :
Wri) , it ‘ d
4 i \ r
‘

|
:
a :
; ae ae
he % ‘ eee ot Neri %
»
crafts/ jewelry making

SoCIsHe: IOCb=.
ONE: EXQUISTT E-S TONE IIA
Gem lovers, rejoice! The most in-depth technical guide to stone setting is here.
With Gemstone Settings, you will fall in love with an encyclopedic technique overview,
featuring extensive stone-setting processes, detailed information about stones and
metals, and gorgeous photos and illustrations for visual support. Learn how to set
your most beloved precious, semiprecious, and organic stones with projects that range
from elegant diamond masterpieces to pearl or coral everyday favorites. In addition,
youll explore:

¢ The suitability of specific stones and metals

¢ What makes a design wearable and durable
¢ Pre-made versus handmade settings

Capture riches in your settings with this essential reference guide.

ANASTASIA YOUNG ‘sa practicing designer, jeweler, and

artist whose work has been exhibited internationally. She is a
graduate of the Royal College of Art and Central Saint Martins
College of Art and Design in London and is the author of The
Workbench Guide to Jewelry Techniques (Interweave).

$29.95 I2BD08
ISBN 978-1-59668-636-
| 52995 >

9°781596"686366 | |

s5) INTERWEAVE.
ilv interweave.com