CLAW-SETTING A FACETED STONE
This example uses square-section wire to construct a claw setting, which is soldered onto a ring shank made from square wire. The stone used is a 6 mm cubic zirconia (synthetic diamond).
Seating the stone
The stone must sit evenly within the setting: if the girdle is not touching each claw, then adjust the angle of the claws until it does - make sure that the claws look even overall. Then mark inside the claws at the level at which the stone will finally sit - it is crucial that the marks are all at the same height, otherwise the stone will not be level once set. Use a graver or hearing cutter bu.tr to remove a small amount of metal from the inside of the claw for the stone to sit in - the stone should click into position, and be held level while it is cut. It is often necessary to thin the tips of the claws with a file before setting, otherwise the thickness of the metal prevents it from moving easily.
A prong pusher, which is a setting tooi with a groove in the end for the claw to sit in, is used to push the tip of the claw over the sirdle. The claws must be burnished down flush with the stone so that there are no edges that could catch.Faceted stones can be set into a recess in a piece by burnishing the edges of the metal around the girdle of the stone; this makes the stone appear flush with the surface of the metal form. This type of setting is also called gypsy setting.Flush setting is often applied to curved surfaces, as the method of setting is made easier by having raised edges. The metal should be at least l mm (18 gauge) thick to support the stone and with-stand the pressure applied during setting. The culet of the stone should not project out from the underneath of the metal form, especially if stones are being flush set into a band ring, as they will dig into the finger uncomfortably. Domed thick sheet is ideal for flush setting, as are curved cast.
The piece of fashion jewelry should be finished and polished before setting begins; protect the piece from slips with masking tape, use a piece of leather over the bench peg, and work in a ring clamp or use setters wax on a block or stick if appropriate.
Certain types of stone, which can be prone to fracture because of their crystal structure, are not suitable for flush setting and may chip or fracture during setting.
Seating the stone
A ball burr that is the same diameter as the stone is used to open up a drilled hole to a depth where the girdle of the stone sits just under the edge of the metal. The stone in the fashion jewelry must sit level in the setting, and not too deep, otherwise it will be covered by too much metal once set - use a piece of wax rolled to a point or stuck on a small wooden stick to piek up and place the stone. Adjustments can be made to the angle of the ledge on which the girdle of the stone sits using a seating burr. A flush-setting tooi, which has an angled end, can then be used to ease the metal down over the girdle, first pinning the stone at ‘north’, ’south’, ‘east’ and ‘west’ so that it remains level during the subsequent setting. Test that the stone is set by trying to pull it out of the setting with the wax stick.
Finishing the piece of fashion jewelry
Once the stone has been set, rub the surrounding metal down further with a curved burnisher, and tidy the inner edge of the setting with a graver or run around it with the tip of the burnisher co even and polish it. Any scratches or slips should be carefully removed with a file if deep, or bur-nished or emeried out if light. The piece can be repolished to give the final finish.
Channel setting
This type of setting involves setting small square or rectangular stones in a row, often in a recessed channel in an accurately constructed frame. The stones are set on two sides, and touch along the side edges, creating a continuous channel. The construction of the piece must be very accurate, and the stones used should be calibrated so that they are all the same size and sit evenly on the ledge inside the setting, or the effect will not be even.
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