Threads and wire to make fashion jewelry

Tools

Choosing threads to make fashion jewelry or wire Match the thickness of your cord, thread, wire or other material to the size and weight of die beads to be used. If possible, take your beads with you when purchasing silks or thread. When knotting, the knot should not slip into the bead. Keep in mind that knotted strands require you to doubl

The term’fancy’is applied to any nonstandard setting method. Fancy settings are often used to set unusually shaped stones, and can involve cleverly devised solutions that may utilize several different setting techniques.

Combination settings

When more than one type of setting is used to secure a stone, it is known as a combination setting. These might involve half the stone being supported by a collet while two wire prongs secure the other side, or a rub-over setting that has been partly carved to form prongs that are grained at the tip. The metals used in such set

Stinging beads to make a nice piece of fashion jewelry
Threads and wire

Threads are available in both natura! and syn-thetic materials; the most popular choices are nylon and silk. Ribbons and cords of leather, waxed cotton, silk and synthetic materials can be used for stringing. Sewing supplies stores provide plenty of variations that can add a unique touch. Wire is also suitable for stringing. Nylon-coated beading wire, an extremely flexible multistrand steel wire, is a popular contemporary choice because of its strength, flexibility and ease of use. Gimp, a flexible tube of coiled metal wire, is used to protect silk/thread where it attaches to the clasp or jump ring and to give a professional finish (use a length of about 1?1.5 cm/l/2 in. per strand end).

Tools

Basic fashion jewelry tools can be used for stringing projects, for example flat-nosed pliers, round-nosed pliers, chain-nosed pliers, snips and instant glue. Specialist tools useful for string

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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STONE SETTING

Stones can add colour, light and allure to a piece of fashion jewelry, but choosing the right style of setting for a particular stone and securing it permanently in position are crucial to the success and longevity of a piece, especially as the stone often forms the focal point. The method of setting will depend either on the type of stone, which may determine how it is set due to its hardness or shape, or the design that may dictate the way in which a stone or stones are incorporated into a piece of jewelry to maximize the effect. fashion jewelry that is worn on a daily basis must be durable and comfortable, so the stones must be resistant to wear and tear and the setting robust so that it doesn’t loosen over time. Occasional jewelry need not be so practical, so the range of settings that can be used is much greater, allowing a greater arena for creative solutions to fixthe stones in place with metal.

A bezel is the’wall’that sits around a stone and, once it has been rubbed over, holds the stone securely in position.The bezel may be used with both cabochon and faceted stones, and bezels can be constructed from sheet metal, or made from tubing.

Setting a cabochon in fashion jewelry

Cabochons are usually domed, unfaceted stones that come in a variety of shapes and sizes .The bezel used to set a cabochon must be accurately formed to fit the shape of the stone, whedier round, square, pear-shaped or freeform ? round and oval are the least challenging forms to make. Soft or fragile stones should be set with a bezel made from fine silver or gold, as these metals are softer than Standard alloys. A flat-ended pusher, which has been matted with emery paper to keep it from slipping, is used to gradually compress the metal around the diminished circumference of the curve of the stone.

Setting a faceted stone

Faceted stones can also be set using the rub-over method, but the construction of the setting must account for the difference in shape of the stone. Often tubing is used to form die bezel - choose a size of tube that has a smaller inside diameter than that of the stone, and a larger outside diam

‘Grains’are small beads of metal that secure a faceted stone in position; when stones are set in a line or grouped using this type of setting, it is called pav