Class board 1/26

Split/Semi Bezels

Lesson: Split/ Semi Bezel

Split or Semi bezels are a good setting when you want more light to hit the stone than with a full bezel and want more protection than a prong setting. Semi bezel settings are basically a bezel that instead of going all of the way around, they bracket the stone like parentheses.

To make a semi-bezel, follow the same steps as a regular bezel. Once the stone fits and everything is soldered together, cut out the areas you want to remove. In creating a functional semi-bezel, you do not want to completely separate the 2 bezel halves. You either need to make the bezel walls much thicker or leave most of the material below the seat.

By making the bezel very thick, you ensure that the halves will not distort when set and have enough integrity to hold the stone in place. Many cast semi bezels use this method- they still may have some filigree or a small bezel in the middle of the 2 halves, but it is not a structural element. By leaving most of the material intact below the seat, you use that material to keep the halves from distorting upon setting.

Semi-bezel settings in general are thick bezels- 14ga or thicker. 

Layout:

• Make sure that the end angles of the bezels are correct and even.
• If you extend a line out from the ends of the bezels it should go through the center of the stone.
• Clean up the area between the bezel halves with the flat graver.
• Clean up any crevices with the needle burnisher.
• Make sure that the top of the setting is flat and even.
• Measure so that the culet is centered in the opening.

Cutting the seat:

• Use a setting bur to cut the pavilion shelf.
• You will need to free hand cut the shelf.
• Focus on the center of each bezel part, since the burs will try to skip out to the edges.
• If the pavilion shelf gets too thick, use a bud bur to reduce it.
• Drill a hole through the bottom of the setting and clean up.
• Check the stone in the setting with Seat Check.
• If there are specific spots that show up with the Seat Check, clean these with an onglette graver.
• If the stone is rocking just a little bit, take a small ball bur and shave down the area and the pavilion shelf.
• Clean off the seat check with a natural bristle brush.
• Cut the inside chamfer with a setting bur.
• Really watch the edges of the bezel when cutting the chamfer- it should be even the entire way around.
• File an outside chamfer.

Setting the stone:

• Place the stone into the setting.
• Tap the ends first with the flat end of a chasing hammer (less dents).
• To keep the walls from mushrooming, roll from the outside in.
• After hammering the entire bezel, move to the steel punch.
• Check the ends to make sure that they aren’t spreading out from the stone.
• If they are, tap them back into place.
• Shape the bezel on the outside by filing to keep it smooth and even.
• Clean the inside chamfer with the flat graver.
• Burnish with the snowshoe burnisher.
• Be careful not to fall out at the ends of the bezels.
• File a slight outside chamfer to finish.
• If the wall goes out or is thinner at the ends, needle burnish the top to stretch.
• After filing and burnishing, finish with flat graver, then use the pumice wheel.

Setting Bezels and Cleanup

Lesson: Setting Bezels and cleanup

Bezel Setting Wisdom:

• Be patient!
• Regular shaped stones are easier to set!
• The thinner the wall the quicker it is to set. Think about how the wall thickness adds to the design of your piece.
• Leave an opening in the bottom of the bezel. This way you can get in to clean the stone after it is set. Stones in rings and earrings especially pick up body oils and dirt very quickly. Thinking about this while creating a piece makes it easier for you to take care of it.
• Make sure that your bezel fits the stone properly! If the stone sits correctly, setting is much easier- trust me. It is well worth the extra time to get it right.
• To set the bezel, work opposite sides during setting. This keeps the stone centered and the pressures balanced.

Setting Thin Wall Bezels:

• Place the stone into the setting, and hold with clear tape.
• With a burnisher, push the wall into the stone at 12 o’clock, then 6 o’clock. Follow at 9, then 3.
• Rock the burnisher from almost perpendicular to almost parallel to the bezel wall.
• Continue this cross pattern until you have gone all the way around the stone.
• Once the stone is held securely, go around the setting in a circular pattern smoothing the bezel out.
• Mask your stone with tape or rubber cement.
• File and sand any bumps or nicks out of the bezel.
• Polish the bezel if desired.
• Remove masking from stone

Setting Thick wall Bezels:

• Place the stone into the setting, and hold with clear tape.
• Tap with the steel setting punch to set.
• Only tilt the punch less than 20 degrees- it should be almost straight up and down.
• Start on the small ends of the stone for oval cuts.
• Work from the ends toward the center.
• File. If needed, you can retape the stone and file through the tape.
• Guide the file with your other hand to prevent slippage.
• Use your flat graver on the inside to take down the high spots on the chamfer.
• Refile the top, and clean with pumice wheel.

Gemstones

There is a gem show upcoming in Chantilly VA Feb 20-22. Details here

Also, there are sometimes dealers at the ACC Baltimore show, also Feb 20-22.

A few places to go:
Terra Firma in Pikesville. Bill has some stones.
Check out the Gem Cutters Guild (in the same building as we are).
United Gemco has good semi-precious stones
Bill Gangi carries some really amazing and unusual stones

Class board 1/19

Bezel Setting Prep

Lesson: Bezel Cleanup and Setting Prep

• The thinner the wall the quicker it is to set, but the harder it is to finish cleanly. Thicker walls take a bit more time to set, but there is more material to move around and file for finishing. Think about how the wall thickness adds to the design of your piece.
• Leave an opening in the bottom of the bezel. This way you can get in to clean the stone after it is set. Stones in rings and earrings especially pick up body oils and dirt very quickly. Thinking about this while creating a piece makes it easier for you to take care of it.
• Make sure that your bezel seats the stone properly! If the stone sits correctly setting is much easier- trust me. It is well worth the extra time to get it right.

Flat Bezel:

• Check fit of bezel to stone.
• Mark the direction that the stone fits best- use either sharpie or bit of tape or pastel to align. When setting multiple stones, you can use masking or blue painters (low tack) tape to keep stones in order and oriented.
• Mark any areas where the stone is hitting the side of the bezel and open those areas up with an inverted cone or cylinder bur.
• For bezel wire/thin wall bezels, you can use your burnisher to push the walls out slightly, but if more than minor tweaking is needed, you will need to remake the bezel- fit is very important!
• If there is any solder inside the bezel that needs to be removed, use an inverted cone or cylinder bur gently to grind that down.
• Check the depth of the bezel wall and mark any excess that needs to be removed. For stones that are symmetrical, you can mark the proper bezel height with dividers. For asymmetrical stones, mark with a sharpie.
• File to correct height.
• For thick wall bezels, use setting bur to cut inside chamfer.

• If needed, you can smooth the chamfer out with a rubber wheel.
• File an outside chamfer so that there is a very small flat area at the top of the bezel.

Seated Bezel:

Layout:

• Estimate the bearing (seat) depth.
• Go deeper if you are uncertain since you can always file excess off of the top.
• Look at the side view and file to level off the top. Check from all angles.
• Check the girdle thickness and also check for uniformity of thickness.
• Especially in oval cut stones, there is a lot of variation in the girdle thickness due to “makeup” facets to keep the shape even.

Cutting the seat:

• Check the bearing vertex (seat) to see if it needs to be evened out.
• If so, use an inverted cone bur to cut it down.
• If the setting doesn’t have a seat, mark one into the setting with dividers.
• Double check the depth against the stone and then cut the line with an inverted cone bur.
• Open up the setting to the correct size with a cylinder bur.
• Ride the bottom of the bur lightly on the seat to keep even
• When the stone begins to go in, mark any areas where it is touching the side with a sharpie and just open up those areas further.
• Look at the depth of the pavilion shelf.
• You can turn the stone upside down if it is a symmetrical cut to get a clearer view.
• Reduce the pavilion shelf with a bud bur- not the slimline reamer!
• Go almost all of the way to the edge of the shelf, so there isn’t a lot of material to remove when cutting the bearing seat.
• Cut the bearing seat with the setting bur.
• Take a small ball bur (slightly taller than the girdle height) and make a slight undercut in the side walls.
• This will keep pressure off of the top corners of the girdle and help to prevent breakage of the stone.
• Cut an inside chamfer with a setting bur.
• If needed, you can smooth the chamfer out with a rubber wheel.
• File an outside chamfer so that there is a very small flat area at the top of the bezel.

Homework: Have your 2 flat bezels and your seated bezel cleaned up and ready to set next week. 

Project 1

Project 1

Create a piece incorporating at least one bezel set stone. The stone can be in a flat bezel, seated bezel, or split bezel. In designing consider how to make the piece and the stone work together- through textures, colors, forms, placement, etc. Pick your stone, and design the piece with that particular stone in mind. Use any and all skills from previous classes.

For inspiration, think about layers. Layers of meaning, structural layers, visual layers, layers of technique and skill, translucent layers where you can see the progression and history, opaque layers that are only visible from the side.

For next week- Have 10 designs or maquettes of pieces as well as the stone(s) or measurements of the stone(s) you are planning to use.

Important Dates:

Designs due January 19.

Project due beginning of class February 9.

Seated Bezel

Lesson: Seated Bezel

• Good for all stone types.
• You can vary the width/depth of the seat to best suit your stone.
• For faceted stones, use 22-18ga for the seat
• Make sure that the bezel is tall enough so that the bottom of the stone doesn’t peek out (and scratch you)
• For cabochons, you can either use sheet or square wire,

I recommend square wire.

• Consider piercing or texturing the bezel wall for effect.

Steps: 

• Form outer bezel wall.
• Solder, file.
• Fit bezel perfectly to stone. Mark top of bezel and any directionality
• Make seat for bezel from either sheet or wire.
• Solder, file, and fit inside bezel wall. The seat should be a tight fit!
• Solder seat inside bezel wall.
• File the bottom of your bezel and your seat straight before soldering- this helps you solder your seat in straight. The tighter the fit, the easier the soldering. Since this is an overlapping seam, you will use more solder than you think- cut extra!
• File, sand, and finish the bezel. Use an inverted cone bur or cylinder bur to clean up and excess solder inside of the bezel and seat.

Homework:

For next class- create a seated bezel for one of your faceted round or oval stones. 

Class board 1/12

Flat Backed (Cup) Bezels

Lesson: Flat backed Bezels

Bezels are one of the most common ways of setting stones. With a bezel, the stone has a wall or lip of metal all of the way around it holding it in place. Bezel settings are good for all types of regular cut stones. Uncut, rough cut and drusy-style stones can be set in bezels, but due to the uneven surface and height of these stones it is trickier to get a good-looking setting. Bezels are also commonly used to set enameled pieces, fused glass work, and coins.

Bezel walls are formed out of metal anywhere from 14ga-30ga. The thinner the metal the easier it is to set. 24-28ga. are industry standards for pre-fabricated bezel wire. Some jewelers prefer the look of a thicker bezel.

Bezels can be formed from any metal. Frequently, bezel strip is sold in fine silver rather than sterling as it is easier to set and can be fused rather than soldered, thereby eliminating a joint.

Make and finish your bezel, then solder setting to the piece. You will have a little cleanup after soldering, but it is much easier to do the majority of cleaning and sanding prior to attaching the setting.

Setting the stone should be one of the last steps.

After the stone is set you may apply patinas (depending on stone and patina), or do a final polish/finish. You cannot heat the piece, solder the piece, pickle the piece, or tumble the piece after setting.

Flat Bezel (Cup bezel):

• Best for flat bottomed cabochons.
• Consider piercing or texturing the back for effect.
• Remember to put at least a hole on the back so that you can get your stone in and out prior to setting.
• Form your bezel wall.
• Solder. If using fine silver bezel wire, fuse.
• File and sand.
• Form perfectly to stone using pliers, mallet and mandrel.
• Make sure your stone fits well! It should be snug.
• If you need to make the bezel larger, planish.
• To make smaller, cut a piece out and resolder.
• Solder to bottom sheet.
• Cut off excess bottom sheet, file, sand, and finish.
• Trim bezel wall to correct height, file and sand.
• Make sure to sand the top of your bezel flat. This will create a more professional finish after setting.

Policies

Class Policies

Attendance

·         Attendance is very important. We cover a lot of material and you need to make the most out of your class time. Demonstrations will generally be held at the beginning of class, so please be on time.

·         If you miss class, it is your responsibility to get the information you missed- talk to classmates, check the blog, looks at the printed handouts in the class folder.

·         If you need to miss a class, please let me know in advance or as soon as you know.

·         There will be time designated to work in class, so make sure to come prepared. However, do not expect to complete all your work during class time. Plan to rent some bench time or use your home studio space outside of class time.

Studio Access

·         The studio may be used during class time. To use the studio outside of class time, you must purchase a rental package, or pay by the hour. Having work time outside of class will allow your work to grow more and for you to be more comfortable in your work habits and the studio.

Studio and Work Safety

·         Make sure to always follow the printed safety information and your instructor’s instructions for working in the studio and safety apparel/procedures. Safety glasses, dust masks, and gloves are the most common pieces of safety equipment- make sure you have them! Earplugs and an apron are also recommended.

·         If you have not been shown how to operate a piece of equipment by an instructor or technician, don’t use it!

·         You must wear closed toed shoes- no plastic shoes or Crocs. Any long hair, loose or dangling clothing or accessories must be tied back, secured, or removed. Natural fiber clothing is highly recommended.

·         Be smart- don’t work when sick, on medication, or tired.

·         Be respectful of other students and share the communal tools- take turns!

·         Clean your area thoroughly before leaving, and make sure you clean and return all the tools and equipment you were using. Sweep/wipe down your desk, check the drawers and trays, and check the flexshafts for stray bits before turning in your tag.

Grading

Courses may be taken for a grade or for audit. 

Grades are based on the following criteria:

·         Creativity and Aesthetics: Your ideas are well thought through, interesting, and reflect your artistic viewpoint and eye. Your projects are cohesive and convey your idea and concept well. You use the design prompts in interesting and new ways, exploring fresh visual ground for yourself and continuing your growth.

·         Technical Proficiency: Your projects show a dedication to craftsmanship and working at the highest technical level you are able. Your materials are appropriate and in keeping with your ideas and the course. You show understanding and skill in the techniques we learn over the semester.

·         Attendance, Participation and Effort: You are expected to be prompt to class, and in regular attendance. You are also expected to participate in class discussions and critiques throughout the semester and be able to talk about your ideas and work. You will need to keep a sketchbook/documentation  of your ideas, projects and samples. You will need all projects for the final critique. I expect strong and consistent work ethic throughout the semester. 

Supplies

Materials List

In addition to your jewelry tools, you will need to purchase the following if you do not own them already. Please have all materials marked with a * by next week. All other materials need to be purchased by our third meeting

*Burnisher

*Calipers

*Dividers

Prong pusher

GRS quick change (QC) handpiece with 3 tool holders

http://www.ottofrei.com/GRS-Quick-Change-QC-Hand-Graver-Handle-with-3-QC-Holders.html

GRS QC flat graver size No.QC-45

High speed steel slim reamer burs (2.5mm and 3.3mm)

http://www.ottofrei.com/High-Speed-Steel-Slim-Reamer-Burs-2.50mm-11.10mm.html

Nylon jaw pliers

Bur life

*Drill bits

*Ring clamp- good one!

*Silver bezel wire

*18-20 ga sheet

18 ga round or square wire

16 ga wire

Faceted stones (go with inexpensive stones to practice on! 5-10mm round or oval stones)

Cabuchons (between 4x6 and 10x12mm- round or oval)

Syllabus and schedule

Introduction to Stone Setting

Spring 2015     Baltimore Jewelry Center

Jenn Parnell, Instructor

Class information:

Mondays 10am-1:30pm

January 5- March 23

Office Hours: by appointment, also most Wednesdays 4:30pm-6:30pm

Class blog: http://introstonesetting.blogspot.com/

Class Description:

         Since stone cutting began, gems and minerals of all kinds have been incorporated into the art of jewelry fabrication. Because of the diversity and distinct characteristics of gemstones, multiple setting techniques have been developed throughout the centuries to enhance each stone's brilliance and wearability. The basics of several setting techniques, including prong, bezel, and handmade basket settings are taught during this class. Through hands-on instruction students will learn to apply the proper techniques to strengthen their jewelry making capabilities. Students will complete a series of exercises that will improve their technical ability

Class Schedule:

Week 1: Jan 5

• Discussion: Stone setting and class materials
• Lesson: Flat Backed Bezel fabrication (bezel wire and sheet)
• In Class: Begin bezel fabrication
• Homework: Fabricate 2 sample bezels- one with bezel wire, one with 18-20 ga sheet. Make sure all necessary supplies are ordered.

Week 2: Jan 12

• Lesson: Seated Bezel fabrication
• Lesson: Bezel cleanup and setting prep
• Introduce Project 1
• In Class: Prepare flat backed bezels for setting, begin seated bezel fabrication

·         Homework: Fabricate a seated bezel , prepare flat backed bezels for setting

Week 3: Jan 19

• Lesson: Setting bezels, cleanup
• In Class: Discuss designs for Project 1 with Jenn
• In Class: Set flat backed bezels
• Homework: Set seated bezel

Week 4: Jan 26

• Lesson: Split bezels
• In Class: Work on project, fabricate sample split bezel
• Homework: Fabricate and set split bezel, work on project

Week 5: Feb 2

• In Class: Work on project

• Homework: Complete Project 1

Week 6: Feb 9

• In class: Project 1 Group Critique
• Introduce Project 2
• Homework: Designs for Project 2

Week 7: Feb 16

• Lesson: Sheet prongs
• Lesson: Wire prongs with gallery
• In Class: Discuss Designs for Project 2
• In Class: Begin sample sheet prong and wire prong with gallery settings
• Homework: Fabricate sample wire prongs with gallery

Week 8: Feb 23

• Lesson: Basket setting
• Lesson: Tiffany style wire prongs
• In Class: Fabricate sample basket setting, work on project
• Homework: Fabricate sample basket setting, work on project

Week 9: Mar 2

• Lesson: Setting prongs
• In Class: Set sample prong settings, work on project
• Homework: Complete sample prong settings, work on project

Week 10: Mar 9

• In class: Work time on project and any sample for the entire class
• Homework: Work on project

Week 11: Mar 16

• In Class: Work time for the entire class.
• Homework: Complete project 2 and any outstanding samples

Week 12: Mar 23

• In Class: Individual Final Critiques