I have a couple of questions for you, re. #3 (sanding the edge
flat). I hadbeen cutting an angle into the bezel wire prior to
setting the stone, using a file, to make for a nice looking (I
thought) finish. and to thin out the metal a little bit bec I have
yet to get all of the metal down without some work (I don't use
fine silver). I suppose that by starting with it thick, you are
able to remove the tool marks (I have very little finesse inmy
technique at this point) and get that nice, bright edge later. One
thing that i had noticed is that if I messed up the bezel at all,
it was a challenge to get the edge back, if I had already angled
the bezel prior to setting.
Forgive me Ros, Iâm not 100% sure what the question is, but I can
say that the method I use will differ from what other people do, in
some way or other. I know some people do like to do things like
angle the outside of the bezel, partly to make it thinner so that
they can turn it onto the stone more easily. I donât do this
personally, because itâs not necessary if using the hammer and
setting punch method of bezel setting. If you like the effect it
gives to your finished settings, then go for it. It may be part of
your signature look. But whatever you do, make every effort not to
disturb the neat topedge of the bezel. You donât want nicks or tool
marks in that. Personally, Ilike to preserve the entire thickness of
the metal in the top edge, sandingit nice and flat/level, and not
disturbing it at all (apart from obviously âpushingâ it over
sideways onto the stone), as that is the edge that frames my stones.
It looks even nicer if you go round with a small burnisher after
setting, being very careful not to scratch the stone, to make a more
reflective inner edge.
Yes, using thicker metal does mean that you can more easily
eradicate tool marks, should you be unfortunate enough to have made
any, but for the vast majority of the time, if all goes well, there
are no tool marks to get rid of in the first place. But for sure, if
your metalâs too thin and you cause toolmarks, then you run the risk
of breaking through the bezel when trying to remove them - I did
this a few times in my early months of metalsmithing, until I
realised that for numerous reasons, I needed thicker metal.
Second question, for setting a pointy or sharp edge cab (not
faceted stone), how do you make sure that there is enough room in
the bezel to not have excess when setting? I have ended up with
some pretty weird corners, not quite snug enough on the stone and
slightly rounded.
I think the problem is a combination of the bezel being too âlongâ
for the stone (ie excess length when calculating bezel length around
the stone), and not quite thick enough metal - also it must not be
too tall. If you form yourmetal and solder it closed and do a trial
fit, if the stone fits snugly andthere are no gaps, there should be
no excess, AS LONG as the bezel is also not too tall. This is
crucial. It should only be tall enough that there is a very small
amount of metal more than where the profile of the stone changes
from upright to angled - sometimes difficult to judge, but I just
eyeball it with the stone sat against my steel ruler, with the
stoneâs base sat at a major point on the scale and I can simply see
how many millimetres tall it needs to be.
If the bezel length and height are correct and the stone fitting
snugly, butyou are still getting funky corners that wonât close,
then I would definitely suggest it is a metal thickness issue. Thin
metal is much more springy than thicker metal, and it work hardens
more quickly, so when trying to set the stone, you work around it in
the usual 12, 6, 9, 3 manner, but find that just as you think youâre
almost done, you get gaps appearing, because as soonas you push the
bezel in in one position, it springs out again either side of where
you pushed it in!!! This is cured by using a thicker bezel strip.
There is more thickness of metal to accommodate compression forces -
âsquish factorâ. Imagine a sponge. when you squeeze it, it
compresses. The same (but obviously to a lesser extent) with a
thicker bezel. This extra thickness actually takes up the
compression forces youâre applying, so that the metal turns over
onto the stone, gets ever so slightly thinner, but does NOT spring
back out, creating gaps.
Sometimes, however, when setting really sharply pointed stones, no
matter how much you try to compress the metal neatly at the corners,
even after thereare no longer any gaps around the stone after
âturningâ the bezel - check with your loupe (and assuming all issues
above have already been addressed), there may still be be some funky
looking excess metal on the outer edge of the corners that just
wonât compress. This is again where thicker metal is a distinct
advantage. The metal can quickly be filed/sanded/polished back to a
neat profile, without the risk of filing right through, once happy
with all of the above. Some people like to file notches or cut slits
into bezel corners before setting, to avoid such problems, but
personally, I find them reallyugly. Most times, thatâs how they were
taught so feel itâs the only way. I prefer to close to bezel onto
the stone, with regular inspections with the loupe, until there are
no gaps whatsoever, and only then go around and file the corner back
to the correct profile, flush with the adjacent sides, if necessary.
One of the best things I did when developing my bezel setting
technique, wasto go all over the Internet, looking at images of
bezel set jewellery. Youâll be shocked at how many bad examples
there are, but it will tell you what aspects of bezel setting you
donât like, and youâll be able to work towards making sure you donât
make the same mistakes yourself.
Iâm SO sorry for the lengthy reply, but I find it really difficult
to explain all the little details without being so wordy.
Regards,
Helen
UK