Creative Stonesetting
Total Page：16
File Type：pdf, Size：1020Kb
Creative Stonesetting John Cogswell brynmorgen press portland, maine Copyright 2008 Brynmorgen Press Drawings John Cogswell All rights reserved. No part of this publication Book design Tim McCreight may be reproduced or transmitted in any form or by any means, electronic or mechanical, Editing Tim McCreight including photocopying, recording, or any Abby Johnston storage and retrieval system except by a Proofreading Lois K. Edwards reviewer who wishes to quote brief passages in Index Jamie Kingman-Rice connection with a review written for inclusion in a magazine, newspaper, web posting, or Designs of all the jewelry shown in this broadcast. book belong to the artists. Preceding page William Richey, Ring ISBN 978-1-929565–22–1 Platinum, gold, diamonds, topaz Printed in Hong Kong Endpapers Selection of settings made by the author. Third printing For ordering and permissions, visit www. brynmorgen.com CREATIVE STONESETTING Ronna Lugosch | Ring Yellow and white diamonds, 18k yellow gold, platinum. Photo: Ronn Orenstein Introduction 1 Getting Ready 9 2 Tools, Supplies, and Equipment 15 3 Bezel Settings 35 4 Prong Settings 87 5 Graver Settings 117 6 Gypsy Settings and Flush-Mount Settings 151 7 Beads, Pearls, and Gem Balls 173 8 Tension Settings 187 Appendix 196 Index 205 Susan Jo Klein | Munsteiner Necklace photo: Peter Groesbeck 18k gold, carved amethyst, brown diamond. Center link, 4" Acknowledgements I wish to thank my incredible wife, believing in me, inspiring me and sharing Barbara, for her unwavering support and all he knew with me. Thanks to Bob Eb- assistance with this project (as well as a endorf for his inspiration and support, much-needed kick in the butt on more and for introducing me to the workshop than one occasion). I cannot even begin circuit. Finally, thank you, thank you, to thank Tim McCreight enough for his thank you to all of the incredible stu- oft-tested patience, understanding, and en- dents, both college and workshop, with couragement. Thanks to Barbara Kuhlman whom I have trial-tested all of this mate- (now deceased, but always in my heart) for rial over the past three decades. We have helping me to start down the path of this all worked hard and played hard. This is life I so love, to my wonderful teacher, for you all, with much love. mentor, and friend, Kurt Matzdorf, for 6 | creative stonesetting Introduction In the competitive and highly specialized what, how, and why you do what you do, world of commercial jewelry, technical in- it forces you to think about your work, and formation is as valued a commodity as pre- the more you think about your work, the cious metals and stones—and is as closely better it gets. It is in the spirit of sharing guarded, too. Within this community, there that I offer this material on stonesetting, is a widely held (mis)belief that divulging my way. trade secrets is on a par with the illicit traf- I decided to write this book for two ficking of documents relating to national main reasons. The first involves an issue security. The sadly mistaken notion that of social responsibility; I am one link in mere possession of technical information a social order, a metalsmithing tradition, somehow confers an advantage has bred that stretches back to the dawn of human an atmosphere of silence and secrecy. Each civilization, and which will, I hope, stretch fellow practitioner is viewed suspiciously even further into the future. As workers in as a competitor, which stifles discussion precious metal, we are—every one of us— and sharing of mutual professional con- stewards of our profession, privileged with cerns and aesthetic issues. The attitude the gift of information handed down to us literally slows the wheels of progress. (traditionally, mostly by word of mouth), Each individual is left to reinvent the perhaps adding a little something to it, and wheel, so to speak. We all use the same tools then passing it on. With privilege comes and techniques; it is what we do with them responsibility, and this gift of knowledge that establishes our individuality. Sharing is actually less a gift than a loan. Though information is a good thing. When you it’s ours to use for the brief time allotted know how to do something, you often just to us, it is incumbent on each of us to pass do it automatically, without much thought. what we know along to others. I take this When you have to explain to someone else responsibility seriously. introduction | 7 I was fortunate to have had excellent but bland and featureless. They lack any teachers and instruction as a student. correlation to the design of the piece on Now I teach, and try to pass along the which they are mounted. Your commer- lore and wisdom that was entrusted to me. cial settings look just like everyone else’s, However, there is a severe limitation on and this lessens the visual impact of your the number of people I can reach directly, work. in person. Dimming eyesight, graying hair Anyone with competent soldering and and a gradually increasing assortment of fabrication skills can make the settings minor aches and pains leads me to suspect described in this book. Having the ability that I won’t be able to teach one on one to create unique settings that are integral forever. So here I sit, hunting and pecking, to a design greatly expands options and a one-fingered keyboard wonder. It is my possibilities. You won’t be restricted to the hope that this book will reach a larger au- standard range of sizes and shapes com- dience, and for longer than I can. mercially available. You can create settings My second reason for writing this for stones of any shape or size. And, there book is simple: perceived need. I have long are other ancillary benefits, as well. As I noted, with some degree of surprise and say to my students: “More different is often chagrin, that there seems to be a dearth of more better.” Creative, innovative settings written information that deals specifically, invite second looks. They add interest in any depth, with creative stonesetting. By and freshness to your work. Also, in the creative stonesettings, I mean unique, orig- process of learning how to assemble the inal settings designed and fabricated from settings described in these pages, I guaran- scratch. There are many jewelry books tee that your manual, technical, and design that describe simple settings like the basic skills will improve. When you can solder bezel, but they seldom explore the range of the ten solder joints of a basic four-prong possibilities. Most leave the topic of ston- basket setting—all with hard solder and all esetting at that plain thin band of metal, within a space no larger than a pea—all of and for too many people that’s where the your other soldering jobs will be a breeze. lesson ends. There are also a number of Although the focus of this book is on technical manuals that describe step-by- stonesetting, it necessarily involves some step techniques for mounting stones in practical information about gemstones. I commercial settings. These are well suited do not plan to delve into gemology, miner- for trade jewelers, but they are of limited alogy, or lapidary beyond a brief discussion use to most studio craftspeople. of pertinent issues. Though these three When commercially manufactured areas of study are related to stonesetting, settings are well-made and properly used, they require more attention than I can give they do what settings are supposed to do: them here. Fortunately, each area is well hold stones. Because they are churned covered in its own literature. I encourage out by the thousands, they have a built-in you to acquaint yourself with the various anonymity that stems from their mass- gemstones and their properties. You’ll find produced ‘look-alike-ness.’ More often that a basic knowledge of gem materials than not, when we use them in original, will come in handy in both the market- handcrafted work, they look like tacked- place and the studio. on afterthoughts—functional, perhaps, Now it’s time to get started. Let’s set stones! 8 | introduction Chapter One Getting Ready As mentioned earlier, a full description of lapidary or mineralogy is beyond the scope of this book, but it is important for jewelers to have a practical understanding of char- acteristics pertinent to stonesetting. It will be useful to establish a common vocabulary of terms that will be used throughout the book. Let’s start with some basic nomen- clature and practical considerations specif- ic to stonesetting. For example, stones that do not depend on the introduction of light are customarily set in solid bezels, while those that benefit from light are usually set in more open structures like prong settings. However, this “white wine with poultry, red wine with meat” approach has more to do with convention than practicality or ne- cessity. Since virtually all light that enters any stone does so from the top, any cut of Alan Perry | Commitment Ring stone can be set in any kind of setting that 18k gold, amethyst, tourmaline, boulder opal will hold it securely and attractively. That’s photo: Robert Diamante useful to know. It is also important to know the parts of a stone, and some characteris- tics that may help you in the design of an appropriate setting. getting ready | 9 Gemstone Terminology Cabochons Cabochons are polished gemstones with base meet, is called the girdle. Most cabo- smooth, rounded tops (the crown, or chons are opaque (impenetrable to light), dome) and flat bases.