Helen - The set of punches works great. But like most of our tools,
you need to learn how to use them. If your stones are high cabs, they
are not useful. Most cabs and nearly all faceted stones can be set
easily with the punches.
They work extremely well on fat bezels. If you are using
conventional 28 gauge bezel wire or bezel cups, it is best to use an
oversize punch to get the bezel to start to close, then size down to
the correct punch. If you start with a too small punch, you will cut
the bezel every time. With thinner bezels, you can use the handle and
wiggle the bezel in with a larger punch, then go to the right size
bezel punch and tap it in. If you want to smack the punch with a
hammer, be sure that the bezel or the back of the piece is flat,
positioned on an anvil or bench block and firmly held down. These
punches are invaluable when you have very closely set stones because
the punch takes almost no space to close the gap around the stone.
Most of the failures in bezel settings are because metal would
work-harden before it closes on a stone. That is why precision in
manufacturing of bezel is paramount. The effect of work hardening
is even more pronounced when using these punches. Experienced
setter will benefit from them, because they work faster, beginners
should stay away because the margin of error is very slim.
Not if the person setting the stones knows what they are doing. This
tool was never designed to slam down a bezel. Like Iāve told
hundreds of stone setters that Iāve trained through the 28 yrs Iāve
been doing this, if you donāt know what youāre doing or canāt see,
then donāt do it!! No brainer, donāt blame the tool, blame the user.
This may ruffle some egoās but sometimes jewelry designers,
craftsmen, and producers have the biggest egos and hate to hear that
maybe, just maybe, they donāt always know what they are doing. I see
it everyday by repairing other peoples work. If this tool is used for
what it is designed for, it does a great job. if it is rough on the
inside and leaves a rough finishā¦ polish the inside of it so itās
NOT rough! Donāt force stones into bezels that they donāt fit into.
After all this is jewelry not erector sets!
Not if the person setting the stones knows what they are doing.
This tool was never designed to slam down a bezel. Like I've told
hundreds of stone setters that I've trained through the 28 yrs
I've been doing this, if you don't know what you're doing or can't
see, then don't do it!! No brainer, don't blame the tool, blame the
user.
In general I would agree with you, but not in this case. Since force
is applied perpendicular to the desired direction, the first
consequence is metal gets compressed in the direction of the force,
and only when the resistance to compression begins to exceed
resistance to deformation laterally, the sideways displacement is
taking place. If stone fits perfectly and it only take a little to
set it, the punches work, otherwise they harden the metal beyond the
point of any possible movement, before the required contact with
metal is taking place.
But they often recommended as a cure for badly made bezels.
Iām trying hard not to be insulted by such comments. I know Iāve
only been making jewellery for about 18 months, but Iāve worked very
hard during that time, I learn from every setting I make and have
constantly found ways to improve my bezel fabrication and precision.
If you look at my last two blog entries, youāll see that my bezels
are not poorly made. The round faceted stones (blue topaz and
peridot) in the earrings of the Chinese turquoise set were handmade
by me from 0.5mm sterling silver sheet. I made the bearers for them
from 0.5mm silver also and soldered them inside the bezels. I worked
hard for a precision fit, cutting the seats with precision setting
burrs, until the stones fit so well that they āsnappedā into place
and sat nice and snug prior to setting, with neat, even metal to turn
onto the stones. In the garnet and CZ set, the large CZ on the
pendant and on the earrings and the round faceted garnet settings
were also handmade by me as per the other set. The three smaller CZ
settings on the pendant, I made from sterling tubing and cut the
seats with stone setting burrs. I did NOT manage to set any of the
round stones using the bezel punches and had to revert to my original
method. I make all my own settings, whatever shape and size.
I didnāt buy the punches with a view to making things easy. I bought
them in the hope that such punches would leave less tool marks than
my bezel pusher and hammer method, thus creating less clean-up.
However, this has not proved to be the case.
Work hardening is more than likely a problem, but that doesnāt make
my bezels bad. I tumble my jewellery before stone setting as I canāt
do it afterwards - I donāt want chipped facet meets on my faceted
stones. Itās all a bit of a compromise. I tumble to work harden
because my sterling jewellery is more resistant to scratching since
Iāve started to tumble my jewellery than it was before. However,
Iāve not noticed a significant difference in setting ability since
starting to tumble, ie Iāve not found it more difficult to set stones
by my original method. Interestingly, I bought the punches before I
bought my tumbler, and attempted setting stones with the punches then
too - and they were just as difficult to use.
I do think the thickness of my bezels and the work hardening are a
problem but I refuse to resort to pre-made settings or to use
thinner silver. I used to use 0.3mm sheet but visually, I found it
too thin so will continue with my 0.5mm sheet. Iāll try Richardās
suggestion of starting with a larger punch and working my way down as
the bezel closes.
If the stone is sitting too low the metal will eclipse the surface
when setting so either file the edge of the bezel or use an small
piece of tubing or bent wire to elevate the stone. If the stone is
sitting too high it won't hold and fall out.
Iām very careful when making my own bezel settings with bearers,
from sheet and when making them from bought tubing and cutting the
seat. The height of metal to turn over is not a problem. Richard
suggested starting with the largest punch that will turn the metal,
which makes sense. Iāve been using the one which is just larger than
my setting. Iām hoping that his suggestion will work.
Place the stone on top and set it trapping the smaller tube within.
I donāt understand how that works, unless youāre talking about
closed- backed settings. I only (attempt to) use the bezel punches
for open- backed settings for faceted stones so I always solder my
bearers in. I donāt use them on closed-backed settings for opaque
cabochons as they are generally domed and I wouldnāt want to risk
marring the top of the stone with the inside surface of the bezel
punch, whereas the table of a faceted stone sits level with the top
edge of its bezel setting so thereās no such risk with those.
I do make my bezels from 0.5mm sterling silver sheet, which makes
for a nice chunky looking bezel. I make my bearers from the same
0.5mm sheet too. So maybe itās just too thick when used on the
smaller stones, to use the punches effectively. It is very
frustrating not to be able to use the punches, but at least I can
still set the stones successfully by the method I used before
purchasing them - bezel pusher and hammer - no matter how thick the
bezels or how small the stones.
Iāll work on it some more. Thanks for the advice.
Most cabs and nearly all faceted stones can be set easily with the
punches.
Iām using them on faceted stones only as I donāt want to risk
marring the tops of any cabochons with the insides of the punches.
They work extremely well on fat bezels.
I do make fat bezels but physics says that they should be harder to
turn by any method than thinner bezels.
If you are using conventional 28 gauge bezel wire or bezel cups,
I donāt use bezel wire of any gauge or bezel cups. I make my own
from 0.5mm sterling sheet. I donāt know what US gauge that is
equivalent to though, but I think itās thicker than 28 gauge. In the
UK, suppliers sell bezel strip in 0.3mm thickness. I used to make my
bezels from 0.3mm sheet but found it too thin visually so now use
0.5mm and work hard to retain as much of that thickness as possible.
If you start with a too small punch, you will cut the bezel every
time.
I think thatās been one of my problems and will try to use bigger
punches when I give it another try.
If you want to smack the punch with a hammer, be sure that the
bezel or the back of the piece is flat, positioned on an anvil or
bench block and firmly held down.
I hold my jewellery to be set in thermo-plastic in my bench vice.
Maybe thereās too much spring or shock absorption in the thermo-
plastic? The only other option is to set the stones first, on a
solid surface such as a bench block and then solder the settings in
place as someone suggested a couple of days ago.
Iāll persevere for a short while longer before giving up. Thanks for
the advice Judy.
I had a set of those punches. I couldnāt get it to work well.
I found your words very comforting indeed. Sorry if that sounds
horrible - itās not meant to - but to know that an experienced
jeweller like yourself has not found success with them is somehow
comforting. Iām sure you know what I mean.
the inside dome of the punch was very rough and would chew up
the bezel,
Yep, Iāve found that too. I work hard at getting a good finish on
all faces of my bezel settings and then the rough punches just chew
it up and leave horrible scratches - which as you say can be got rid
of but it is a pain nonetheless.
I thought it better to waste the set than waste another $tone.
I may just chalk this one up to experience and learn my lesson of
not being so quick to purchase something like that in the future,
when my original method works really well already - and I can set any
shape of stone that way and not just the round ones that the punches
can set!
I am under the impression that these punches are designed to
tighten round prong settings.
When I bought the set, there were two: one for bezels and one for
prong settings. I bought the one for bezel settings. Iāve used it
exactly as you describe but to no avail unfortunately. I use it (or
attempt to use it) for closing handmade sterling silver round bezel
settings or tube settings Iāve cut from tubing and cut the seat -
for faceted stones. Iāll persevere and may get the technique at some
point hopefully.
Start with the largest size that just starts moving the top edge of
the bezel in, keep in, going down in size until the bezel is as far
as it will go in or until the punch in too small to fit over the
bezel
Ah!!! Maybe thatās where Iāve been going wrong. Iāve been using the
size thatās just larger than the setting Iām working on. The bigger
the punch, the less force needed - those moments again! Iāll
definitely be trying that one!
The key is setting the stone first BEFORE you solder it in place.
Thatās interesting! Iāve been trying it while setting CZās so I
could solder afterwards as Iāve done that a number of times
successfully. Why would it not work normally though, ie on settings
that are already soldered in place? I always support the work solidly
with thermo- plastic so I canāt understand why it wouldnāt work.
Hand maade bezels are a problem with these punches, apparently
because of the uneven oposing forces.
What do you mean by uneven opposing forces? I have been trying to use
them on my handmade settings, but I am very careful to get as much
precision as possible when making my round (and other shaped) bezels.
I close them, round them up on a round bezel mandrel, make and solder
in the bearer, file and sand the outsides and the top and bottom
edges flat and level so that they are nice and crisp and then cut the
seat with stone setting burrs (then all the finishing steps of
course). So they are nice and round. Iāve also tried them on settings
Iāve made from commercially bought tubing into which Iāve cut a seat
and Iāve still had no luck unfortunately. Iāll keep trying though. I
too have not found the handle to be of any use whatsoever.
In general I would agree with you, but not in this case. Since
force is applied perpendicular to the desired direction, the first
consequence is metal gets compressed in the direction of the
force, and only when the resistance to compression begins to exceed
resistance to deformation laterally, the sideways displacement is
taking place. If stone fits perfectly and it only take a little to
set it, the punches work, otherwise they harden the metal beyond
the point of any possible movement, before the required contact
with metal is taking place.
Sounds like the long way of saying that if you hit it wrong the
settings will be crooked. That was exactly my point! Light tapping
is recommended with a circular motion while tapping (on a solid
surface). That way you can distribute the pressure some what evenly
around the bezel, similarly to squeezing prongs down on stones,
working opposite sides at a time. I find that there is too much give
when using a hard plastic backing. Lots of trial and error. I have
set literally thousands of different stones and that is usually the
best teaching method. Trial and error and Repetition and practice.
Like I said before, if you are getting rough marks, then polish the
inside of the tool.
I havenāt really been following this thread, but I gather it started
with frustration with the round punches for closing bezels? Iāve
looked at them, and never understood why anyone would want to use
them, except in a production environment. (Where itās the same
stone/ bezel combo, every time.)
It would seem that they lack flexibility to deal with not-entirely-
round stones or bezels. Frankly, Iāve always figured I could do
better, faster, with either a bezel rocker, or a hammer handpiece.
For thick bezels like what you were describing, I tend to use either
a small flat hammer tip on a hammer handpiece on the flex-shaft, or a
similar tip on a gravermax.
For total overkill, Iāve been known to chuck tube settings into a
lathe, and spin the bezels closed, but first you have to have a
lathe to pull that stunt.
(Of course, that also makes it very easy to use a setting bur to
cut the seat. Just chuck that into the tailstock, and off you go.
Perfectly level, every time.)
Iāve pulled the same basic trick on loose (small) tube settings by
chucking them into a #30 handpiece on a flex shaft, and spinning the
bezels closed that way. You have to do that with a stone thatāll
take the heat of soldering afterwards, or have some other scheme in
mind for securing them to the piece afterwards though.
Please donāt take this the wrong way, but it sure sounds like you are
putting WAY to much time and labor into making and setting your own
bezels, especially when they are only silver. You may want to look
into purchasing pre-made bezels for setting, that way you spend a
lot less time on labor that you could spend on doing other projects.
They are available VERY economically and have a great look! And they
are available in all sizes and shapes. Sounds extremely time
consuming to put all that labor into bezels. Just buy them already
made. They are also easy to set, especially with these punches, tap,
tap, tap and they are done, next step.
The key is setting the stone first BEFORE you solder it in place.
Thatās interesting!
This is one situation where goldsmithing goes into another place
from other metals. The fact that diamonds can take soldering heat
(with a boric acid coating!!!), coupled with the lack of heat
problems that silver has (firescaleā¦) opens up a new world. Helen
asks about setting things anyway, in the ānormalā way, which is
perfectly fine. But you can set a diamond bezel (or prong), polish
it, and then sink it into a place that you could never set in place.
Thereās a pretty common design that has a diamond in a bypass ring
with a rod of metal crossing it, holding the stone in place. Those
are solderedā¦ We have design with an arc of diamonds channel set
into platinum, going under the center stone. With the space inside
there, itās impossible to set in place, so itās preset and soldered
after. Thereās all kinds of things that are done with the
methodā¦ Very often when you might ask, āNow how on earth did
they set that?ā - they didnāt, it was soldered in place.
Please don't take this the wrong way, but it sure sounds like you
are putting WAY to much time and labor into making and setting your
own bezels, especially when they are only silver.
I wonāt take it the wrong way. I know what youāre saying, but buying
ready-made bezels is NOT something Iām going to do. I may only be
working in silver at the moment, but I have every intention of
moving onto gold soon and I have a gold project to make in the new
year.
The whole point of teaching myself this discipline is to train
myself in making jewellery from scratch and eventually reach the
point where I can hopefully call myself a goldsmith - I want to make
fine jewellery. Iāve worked very hard at āperfectingā my bezels to
get them to the point they are now and I will put similar efforts
into prong and other types of settings when I work on them. Right
from the start, if I had wanted to buy ready made bezels and solder
them together, I could have done exactly that - but that is NOT what
I wanted to get out of all this and it wouldnāt have taught me what I
have learned. I wanted to learn how metal behaves when you do x, y
and z to it. If you start out by soldering together ready made
bezels, shanks, etc, you donāt learn how to be a goldsmith. I have
learned an enormous amount in the last eighteen months, with Orchid
as my teacher and itās only in starting out and making lots of
mistakes and learning from them, that I have developed my method for
making bezel settings for both cabochons and faceted stones. My
methods just so happen to correspond to methods found in some books
or as testified to by various Orchid members (I
discovered afterwards), but in deriving them myself, I know why one
does this, that or the other and the consequences of various things.
This makes learning other techniques go more smoothly.
We all want different things out of this. I am training myself to be
a maker of fine jewellery and will therefore continue to fabricate
my own bezels, shanks, bales, even earring posts, etc. Iām not
earning anything from what I do at the moment (apart from selling the
odd piece to family and friends) because my focus is on learning and
so Iāve not put much effort into selling, but I have some contacts
lined up with a view to selling my work via jewellery galleries next
year and the quality of my work is gaining me a following. So I may
be going about this a little bit upside-down but I decided where I
wanted to go, set out on my journey and Iām getting there. Anything
is possible if you are determined to get there and you go via the
right route for you.
I've looked at them, and never understood why anyone would want to
use them, except in a production environment.
Unfortunately, I think it was a poorly-judged purchase on my part to
buy these punches. Theyāve proved more trouble than theyāre worth
and I can close a bezel more neatly and more quickly by my usual
method! Go figure! Iāll stick to my chasing hammer and polished bezel
pusher. Iāve set enough stones with the combo now to have the
correct feel for the amount of force needed and the appropriate
direction - and as you say, theyāre only good for round stones
anyway, so even if theyād been brilliant, Iād have still had to use
my original method for other shapes of stones.
I've pulled the same basic trick on loose (small) tube settings by
chucking them into a #30 handpiece on a flex shaft,
Of course, that also makes it *very* easy to use a setting bur to
cut the seat.
Incidentally, when you put the tubing in the chuck of the flexshaft
(which is something Iāve considered), how and with what do you hold
the setting burr?
It is all in choices, and you clearly have made yours. Fine anything
takes time and dedication. I believe you make both happen. Almost
everything on the market has a buyer, does not at all mean that is
what we must do.
I much prefer making my own bezels, and they are much more
substantial than those from catalogues, which seem almost foil like.
I love patterning my bezels as well, and was overjoyed to have
access to a patterned side roller from Kenneth Singh, for the rolling
mill at school. I had lots of fun with that.
It is all a matter of choice, and for some in production expediency.
Those are the decision makers. Even for those who order bezel, it is
wise to know how to roll your own, just in case of an immediate must
have. Simple as lighting a torch, melting the metal into an ingot,
rolling the ingot, and it is in your hand, not in the mail.
But you can set a diamond bezel (or prong), polish it, and then
sink it into a place that you could never set in place.
I have looked at some designs and wondered how they set the stones,
so thanks for that. Incidentally, I did make an emerald and CZ
pendant with a pear-shaped emerald in the centre, surrounded by
tube-set CZās. Because of the small size of the tube settings (which
I made myself - but which in future I would make from purchased
tubing), I set the CZās in the settings first and soldered them to
the pear- shaped bezel afterwards. Obviously, the emerald was set
last of all - but it worked out really well. I will be remaking it -
or something similar - because I had problems with firestain ('twas
before I was using Pripps) and it was impossible to get into the
nooks and crannies to remove it - and I broke the point off the
emerald when setting it!!! - but thatās besides the point. That was
at a time when I would use force to seat a stone, due to impatience -
whereas now I will not even attempt to set a stone unless it sits
beautifully in its setting first - progress!
So, although Iām expressing surprise that such a thing is possible,
Iād forgotten that Iād done it myself already!!! Doh - another Homer
Simpson moment!
