Business 8: Avenues for your work
Wholesale/Trade shows: These are large shows aimed at galleries, dealers, and stores. Some wholesale shows are exclusively American made craft, some allow imports. There are also several Jewelry and Accessories shows. Look at the exhibitors and their wares to determine if a particular show is right for you.
Wholesale booth fees tend to be higher than retail. The attraction to wholesale is that you fill your production calendar doing 1-2 shows a year, eliminating a lot of travel expenses and time on the road. You also know how much money is coming in to your business each month which helps in business and cash flow planning. At wholesale shows, you are selling your work (product) to stores. The store’s primary concerns are: Price point, does the aesthetic work for their customers.
Have examples of each piece for buyers to look at and easy to read information about the pieces and yourself for them to take.
Shows: Buyer’s Market of American Craft (Philly), ACC Baltimore (wholesale and retail), NY Gift, JA
Retail shows- Juried: Juried art shows have artists selected from images of their work by a panel of judges. The judges base their selections on a variety of criteria, and if you meet those, you are invited to show. Those close to being accepted are sometimes put on a waitlist and will get in if an artist drops out. Retail shows are open to the general public. Local gallery owners will sometimes attend them looking for new work, but the majority of shoppers are looking for themselves.
Be prepared to give a short explanation of your process. Educate your customers! They more they understand about how things are made, the more appreciative of art they are. Be good-natured and friendly- this is one of the keys to being successful in selling. A lot
Personal/Trunk Shows: Personal shows or home shows are great way to reach a concentrated client base. These are usually arranged by customers or representatives for artists normally for one day/night. Because of the invitation only nature of these shows, you get a group of customers who are already interested and familiar with your work. You will get some customers who begin to collect your work. This can lead to commissioned pieces down the road, and are good relationships to pursue.
Consignment: Some galleries will want to take work on consignment- you are paid by the gallery when the work sells. Typically consignment will pay you 50-75% of the retail price. Local consignment and holiday consignment work well. The local galleries I can visit and check in on, making sure that my work looks good, and easily exchanging work. Holiday consignments are a great way to have galleries and stores sell more of your work during the busy buying season without you having to commit your time.
Exhibitions and Publications: Exhibition artists are usually chosen either through a jury process like retail shows or through invitations. Galleries and museums run exhibitions as a way to promote them and draw customers in. If you develop relationships with galleries, they will likely include you on the invitation list for shows that they think suit your work. Keep galleries updated on your latest work. Open calls for exhibitions can be found in the classified sections of the craft magazines, through SNAG and other guilds.
Publications are similar to exhibitions. Check for open calls, and if there is a project that you hear about that interests you, go ahead and contact the person editing or authoring. If you are interested in contributing to a magazine, write up a synopsis of the piece you are interested in writing. Make sure to show your angle or expertise in the area, and send it off for consideration!
Tuesday, April 22, 2014
Tuesday, April 8, 2014
Lesson: Resizing and Reworking
Lesson 9: Resizing and Reworking
Sometimes it is necessary to resize a ring/ bracelet after you have finished it, or to shorten a linked necklace or bracelet. Consider your styles and how easy or difficult they will be to resize- this is also a good thing to keep in mind when designing. If they will be hard, you may want to consider making a completely new ring instead of attempting a resize. While almost all rings can be resized, some rings do not make good sense to resize.
One tool that is very handy for any resizing job is the Mark-a-size measuring tool. Most of the tools supply catalogs carry this.
To resize:
• Cut open the ring at a convenient point. (preferably on the backside of the ring)
• To go smaller, cut out the necessary material.
• To go larger, add in a piece of metal the necessary length.
• Having the ring on a ring mandrel will help you determine these lengths. The Mark-a-size has all of the lengths laid out for you.
• Resolder at these points.
• File and finish.
Tips:
• For resizing of ½ size or smaller, you can hammer the ring shank on a mandrel to enlarge.
• If your ring doesn’t have any epoxy, enamel, or stones and is a band style you can usually use a ring stretcher to enlarge the ring ½-1 size.
• If there are pearls in the ring, remove them.
• If you have soft gemstones such as turquoise, jade or opal in the ring, remove those as well.
• Most other stones (and enamel) can be protected with a heat shield product unless they are right near the soldering area.
• If there is epoxy in the ring as a decorative element, you are probably better off remaking the ring. The epoxy will give off dangerous fumes when heated, and I have not had success with any of the heat shield products. The surface of the epoxy becomes ruined.
• Enamel protected by the heat shield may need to be refired. Occasionally the heat shield can mar the surface of the enamel- it depends on the quickness and heat of the soldering, as well as the color of the enamel.
• If you have a textured band-style ring, you will want to save any pieces you cut out from resizing rings smaller to use when you need to make a ring larger. Alternatively, keep an extra unfinished casting around to use for this.
• If you have a wire shank, make sure that you insert a piece of wire the same size and profile. If you do not have one on hand, or cannot find one that matches exactly, insert one slightly larger, and file the profile down to match.
You may also be asked by customers to rework a piece for them. Common requests include different ear wires/posts, different chain and clasp, different finishes, or using their stones in one of your pieces. Most of these requests are easily done.
For earrings, I recommend making a new pair rather than switching from ear wires to post or to a clip backing.
If the customer is interested in having you use a stone they already own in a piece of yours, make sure to see and measure the stone first. Unless the customer is familiar with jewelry, they tend to over or underestimate the size. If it is a very expensive stone have them keep the stone until the piece is ready for setting.
Remember to add in a charge for your time in this. You will likely need to buy or make a new setting, and may have to modify the design of your piece to accommodate the stone.
Sometimes it is necessary to resize a ring/ bracelet after you have finished it, or to shorten a linked necklace or bracelet. Consider your styles and how easy or difficult they will be to resize- this is also a good thing to keep in mind when designing. If they will be hard, you may want to consider making a completely new ring instead of attempting a resize. While almost all rings can be resized, some rings do not make good sense to resize.
One tool that is very handy for any resizing job is the Mark-a-size measuring tool. Most of the tools supply catalogs carry this.
To resize:
• Cut open the ring at a convenient point. (preferably on the backside of the ring)
• To go smaller, cut out the necessary material.
• To go larger, add in a piece of metal the necessary length.
• Having the ring on a ring mandrel will help you determine these lengths. The Mark-a-size has all of the lengths laid out for you.
• Resolder at these points.
• File and finish.
Tips:
• For resizing of ½ size or smaller, you can hammer the ring shank on a mandrel to enlarge.
• If your ring doesn’t have any epoxy, enamel, or stones and is a band style you can usually use a ring stretcher to enlarge the ring ½-1 size.
• If there are pearls in the ring, remove them.
• If you have soft gemstones such as turquoise, jade or opal in the ring, remove those as well.
• Most other stones (and enamel) can be protected with a heat shield product unless they are right near the soldering area.
• If there is epoxy in the ring as a decorative element, you are probably better off remaking the ring. The epoxy will give off dangerous fumes when heated, and I have not had success with any of the heat shield products. The surface of the epoxy becomes ruined.
• Enamel protected by the heat shield may need to be refired. Occasionally the heat shield can mar the surface of the enamel- it depends on the quickness and heat of the soldering, as well as the color of the enamel.
• If you have a textured band-style ring, you will want to save any pieces you cut out from resizing rings smaller to use when you need to make a ring larger. Alternatively, keep an extra unfinished casting around to use for this.
• If you have a wire shank, make sure that you insert a piece of wire the same size and profile. If you do not have one on hand, or cannot find one that matches exactly, insert one slightly larger, and file the profile down to match.
You may also be asked by customers to rework a piece for them. Common requests include different ear wires/posts, different chain and clasp, different finishes, or using their stones in one of your pieces. Most of these requests are easily done.
For earrings, I recommend making a new pair rather than switching from ear wires to post or to a clip backing.
If the customer is interested in having you use a stone they already own in a piece of yours, make sure to see and measure the stone first. Unless the customer is familiar with jewelry, they tend to over or underestimate the size. If it is a very expensive stone have them keep the stone until the piece is ready for setting.
Remember to add in a charge for your time in this. You will likely need to buy or make a new setting, and may have to modify the design of your piece to accommodate the stone.
Sunday, April 6, 2014
Lesson: Working with Commerical Chain
Lesson 8: Working with Commercial Chains
Unless you are creating a show-stopper one-of-a-kind piece, you will likely be working with commercial chain. Making your own chain is time consuming, and there are many options out there. When deciding between commercial and handmade chain, consider price point, time, and overall look and audience for the piece.
Non-Metal Chains:
• For any chain that is not metal, you will need to glue or crimp your end caps on. I recommend Devcon 2-ton epoxy. This particular epoxy has worked well for me on various surfaces.
• Longer drying epoxies have more strength, tend to yellow less, and become less brittle over time.
• Look for epoxies that are waterproof. Water –resistant is good also, but waterproof is better.
• If you bead, use superglue for beading only. It is not good for findings or stones; it becomes brittle in under a year.
• When using dyed leather or suede, check to see if the dye is waterproof.
End caps:
• Tube end cap:
o Cut a piece of tubing that the chain just fits into.
o Slip the chain in one end, and either your clasp or jump ring to the other end, and solder.
o If the tubing is wider than your clasp, solder one end of the tube to a piece of sheet, cut and file. Put chain in the open end, and line up clasp on the closed up end and solder.
o You can vary the tube end cap by making different shapes- you can use hollow beads instead of tubing for example.
• Open link chains:
o The neatest way to finish of chains that are made of open links is to solder a jump ring through the last link.
o If you have a tightly woven chain, like foxtail, use your scribe to open up a hole in the last couple of links, and solder a jump ring through.
o Your jump ring doesn’t have to be round- try different shapes.
o Solder a jump ring through the chain and onto an element for a more elaborate look.
Clasps:
• Think about using some of the design in your piece in the clasp as well. Some clasps work very well as a centerpiece also.
• A lot of clasps that are sold commercially have ways that you can modify them- addition of stones, or texture.
• Clasps are something that I recommend making- they personalize the piece, and most clasps can be cast to reduce time spent making them.
Tips:
• Link chains can be tumbled to harden them and give them better strength.
• Chains should NEVER be polished on the polishing machine or flexshaft.
• To polish a chain:
o Wrap one end in leather or thick fabric and secure in the vise. The wrapping is to prevent damage to the chain from the teeth of the vise.
o Rub a polishing cloth or scotchbrite up and down the chain while holding the other end.
• If using commercial end caps and clasps, choose ones appropriate to your design. If you have a simple design, get simple findings.
• Remember that the chains are part of the overall piece. Find ones that work for you. If possible find one or 2 styles, buy them in bulk and use them for multiple pieces.
Unless you are creating a show-stopper one-of-a-kind piece, you will likely be working with commercial chain. Making your own chain is time consuming, and there are many options out there. When deciding between commercial and handmade chain, consider price point, time, and overall look and audience for the piece.
Non-Metal Chains:
• For any chain that is not metal, you will need to glue or crimp your end caps on. I recommend Devcon 2-ton epoxy. This particular epoxy has worked well for me on various surfaces.
• Longer drying epoxies have more strength, tend to yellow less, and become less brittle over time.
• Look for epoxies that are waterproof. Water –resistant is good also, but waterproof is better.
• If you bead, use superglue for beading only. It is not good for findings or stones; it becomes brittle in under a year.
• When using dyed leather or suede, check to see if the dye is waterproof.
End caps:
• Tube end cap:
o Cut a piece of tubing that the chain just fits into.
o Slip the chain in one end, and either your clasp or jump ring to the other end, and solder.
o If the tubing is wider than your clasp, solder one end of the tube to a piece of sheet, cut and file. Put chain in the open end, and line up clasp on the closed up end and solder.
o You can vary the tube end cap by making different shapes- you can use hollow beads instead of tubing for example.
• Open link chains:
o The neatest way to finish of chains that are made of open links is to solder a jump ring through the last link.
o If you have a tightly woven chain, like foxtail, use your scribe to open up a hole in the last couple of links, and solder a jump ring through.
o Your jump ring doesn’t have to be round- try different shapes.
o Solder a jump ring through the chain and onto an element for a more elaborate look.
Clasps:
• Think about using some of the design in your piece in the clasp as well. Some clasps work very well as a centerpiece also.
• A lot of clasps that are sold commercially have ways that you can modify them- addition of stones, or texture.
• Clasps are something that I recommend making- they personalize the piece, and most clasps can be cast to reduce time spent making them.
Tips:
• Link chains can be tumbled to harden them and give them better strength.
• Chains should NEVER be polished on the polishing machine or flexshaft.
• To polish a chain:
o Wrap one end in leather or thick fabric and secure in the vise. The wrapping is to prevent damage to the chain from the teeth of the vise.
o Rub a polishing cloth or scotchbrite up and down the chain while holding the other end.
• If using commercial end caps and clasps, choose ones appropriate to your design. If you have a simple design, get simple findings.
• Remember that the chains are part of the overall piece. Find ones that work for you. If possible find one or 2 styles, buy them in bulk and use them for multiple pieces.
Business: Photography
Business 6: Photography
Good photographs of your work are a must. Most art shows, exhibitions, and publications rely on images to make a decision regarding inclusion of your work.
Art show sites have specific guidelines to follow regarding image sizing and formatting. With digital files, the size of the file and the resolution are very important. Save your initial image at the highest resolution and either tiff or raw format.
Formats:
Digital images can be several different types of files. The most common are JPEG (.jpg) and TIFF (.tif). Most photographers will be shooting the images in RAW (.raw) mode.
RAW: To access a RAW image, you must have a photo-editing program like Photoshop. RAW
Images contain the most pixel information and are shot at the full resolution of the camera. These files are very large (26MB or so). In processing the RAW image, the photographer can correct the white balance of the image, calibrate the colors, and set the temperature of the image to match that of the lighting. All of these things insure that the image is an accurate representation of the piece.
TIFF: TIFF images are smaller than RAW images by a lot, and contain more information than
JPEG files. TIFF files are better for converting to slides. TIFF files are readable by some programs, and not by others. This is a good format to do any editing in.
JPEG: The most common type of image, and is readable by most programs. JPEGs have less
information than TIFF files, but they have a small size which makes them the best choice for websites, emails, etc. Many of the digital jury sites want JPEG images. JPEG gives you a range of compression levels to choose from. For higher quality images save at high (7-9). For web images you can save on medium (5-7) or low (1-4). The lower the number the more compressed the file is. This means that the size of the file is smaller, but also that some data is lost. You will notice this if you open up a JPEG saved on low and blow it up to actual size.
Resolution:
The resolution of a digital image is measured in DPI. The higher the dpi of an image, the more pixels per inch, and the more information it contains. Web images are usually saved at 72 or 150dpi. This makes them a small file, looks good on the web, but blurry when you blow it up large. Images used for postcards and print ads are usually saved at 300 or 600dpi. These are much clearer when you enlarge them. For very large poster sized prints you want an even higher dpi 800-1200dpi. Print shops will let you know the resolution that will give you an optimal result. I recommend saving a high resolution TIFF file (600dpi) and a low resolution JPEG file (150dpi). Resolution can be changed in most photo programs.
Lighting:
For shooting images of jewelry you want a diffused light. This prevents the jewelry from getting hot spots (or areas of overexposure). Most jewelry photographers will have some sort of translucent tent or dome that the piece is placed into. The lights are on the outside, casting a soft glow onto the jewelry.
Different types of lighting are available as well. Instead of normal incandescent and fluorescent bulbs, most photographers will use tungsten lighting. It casts a light more like daylight, and shows colors more accurately.
Catalog v. Jury Images:
Jury and catalog images are designed for two very different purposes. Depending on your goals you may want to have both types of images shot.
Jury images:
These images should be of one piece of work. The shot should be composed in such a way to lend the image movement. Frequently you will see rings shot from a ¾ view to give depth to the piece. This also creates a diagonal in the frame which draws the eye to the left or right depending on the orientation.
For jury images, you want to have a series of 4-6 images of work that flow from one image to another. The work shown should be fairly focused. Do not try to show everything that you do. Stick with a theme. Juries also project their images in a certain configuration. Look at your images in the configuration the jury will be. Make sure that they look balanced and draw your eye through the series.
Jury slides usually have a simple background- the focus is on the work. A graduated grey to black background or a black background with graduated spot on the jewelry are the 2 most common.
Catalog images:
These images are meant to convey your lines to the buyers. Most catalog shots are groupings of several pieces. Common shots are all of the rings in a line or a necklace, earring, and ring set.
Catalog shots should show the variations that you offer for each piece. If you offer a set of earrings in silver, gold, and oxidized silver, show all three. Even if all 3 finishes aren’t in the same image, make sure that the buyer can reference all the finishes and colors in the catalog.
Catalogs are where you can use interesting backgrounds or models wearing the jewelry. Your background should go with your overall image and your work.
Good photographs of your work are a must. Most art shows, exhibitions, and publications rely on images to make a decision regarding inclusion of your work.
Art show sites have specific guidelines to follow regarding image sizing and formatting. With digital files, the size of the file and the resolution are very important. Save your initial image at the highest resolution and either tiff or raw format.
Formats:
Digital images can be several different types of files. The most common are JPEG (.jpg) and TIFF (.tif). Most photographers will be shooting the images in RAW (.raw) mode.
RAW: To access a RAW image, you must have a photo-editing program like Photoshop. RAW
Images contain the most pixel information and are shot at the full resolution of the camera. These files are very large (26MB or so). In processing the RAW image, the photographer can correct the white balance of the image, calibrate the colors, and set the temperature of the image to match that of the lighting. All of these things insure that the image is an accurate representation of the piece.
TIFF: TIFF images are smaller than RAW images by a lot, and contain more information than
JPEG files. TIFF files are better for converting to slides. TIFF files are readable by some programs, and not by others. This is a good format to do any editing in.
JPEG: The most common type of image, and is readable by most programs. JPEGs have less
information than TIFF files, but they have a small size which makes them the best choice for websites, emails, etc. Many of the digital jury sites want JPEG images. JPEG gives you a range of compression levels to choose from. For higher quality images save at high (7-9). For web images you can save on medium (5-7) or low (1-4). The lower the number the more compressed the file is. This means that the size of the file is smaller, but also that some data is lost. You will notice this if you open up a JPEG saved on low and blow it up to actual size.
Resolution:
The resolution of a digital image is measured in DPI. The higher the dpi of an image, the more pixels per inch, and the more information it contains. Web images are usually saved at 72 or 150dpi. This makes them a small file, looks good on the web, but blurry when you blow it up large. Images used for postcards and print ads are usually saved at 300 or 600dpi. These are much clearer when you enlarge them. For very large poster sized prints you want an even higher dpi 800-1200dpi. Print shops will let you know the resolution that will give you an optimal result. I recommend saving a high resolution TIFF file (600dpi) and a low resolution JPEG file (150dpi). Resolution can be changed in most photo programs.
Lighting:
For shooting images of jewelry you want a diffused light. This prevents the jewelry from getting hot spots (or areas of overexposure). Most jewelry photographers will have some sort of translucent tent or dome that the piece is placed into. The lights are on the outside, casting a soft glow onto the jewelry.
Different types of lighting are available as well. Instead of normal incandescent and fluorescent bulbs, most photographers will use tungsten lighting. It casts a light more like daylight, and shows colors more accurately.
Catalog v. Jury Images:
Jury and catalog images are designed for two very different purposes. Depending on your goals you may want to have both types of images shot.
Jury images:
These images should be of one piece of work. The shot should be composed in such a way to lend the image movement. Frequently you will see rings shot from a ¾ view to give depth to the piece. This also creates a diagonal in the frame which draws the eye to the left or right depending on the orientation.
For jury images, you want to have a series of 4-6 images of work that flow from one image to another. The work shown should be fairly focused. Do not try to show everything that you do. Stick with a theme. Juries also project their images in a certain configuration. Look at your images in the configuration the jury will be. Make sure that they look balanced and draw your eye through the series.
Jury slides usually have a simple background- the focus is on the work. A graduated grey to black background or a black background with graduated spot on the jewelry are the 2 most common.
Catalog images:
These images are meant to convey your lines to the buyers. Most catalog shots are groupings of several pieces. Common shots are all of the rings in a line or a necklace, earring, and ring set.
Catalog shots should show the variations that you offer for each piece. If you offer a set of earrings in silver, gold, and oxidized silver, show all three. Even if all 3 finishes aren’t in the same image, make sure that the buyer can reference all the finishes and colors in the catalog.
Catalogs are where you can use interesting backgrounds or models wearing the jewelry. Your background should go with your overall image and your work.
Wednesday, April 2, 2014
Business: Marketing Basics
Business 5: Marketing Basics
Some of the basic marketing tools that you should create:
Resume: List exhibitions, shows, gallery representation, awards, publications, and schooling if appropriate. Include an image or two of your work. This should be different that a job resume. Don’t forget your contact info!
Business Cards: A great tool for artists is to print best known images on the front of your card, and all of your information on the back. This helps people connect a visual image of your work to your contact information. Hand customers the card image side up. This helps to fix the visual in their mind before they turn it over to look at the contact info. I strongly suggest renting a post office box for security. As a jeweler, it is smart not to give people your physical address. Once you have established a relationship with a client, then you can give them your street address if you wish.
A great place for business cards and also mini-cards is http://us.moo.com/
Moo offers an option to upload several images so you don’t have to pick just one for your card.
Postcards/ Photos: Good photographs of your work are a must! You should have both high resolution and low resolution digital images. High res images are used for advertisements and postcards. Low res images are used for websites and email messages. You may want to consider getting a couple of black and white prints of a favorite piece. Some newspapers prefer them. Get a nice photo taken of you as well. You should have one of you at work and one head shot. The headshot can be casual or formal.
Letterhead: Should contain your logo, and all of your contact information. You can also have envelopes printed up if you wish, although it is easy to simply print these at home.
Website: Don’t go for too many bells and whistles. Keep it simple and easy to navigate. Make sure that it will load correctly on all the main browsers. There are many WYSIWYG (what you see is what you get) editors out there. If you are familiar with computers, you will do fine with one of those. If you are apprehensive, hire someone. There are many people out there, so prices are competitive- talk to graphic design and web design students!
Whether or not you sell work directly from your website is up to you. If you don’t sell direct from your site, I would recommend linking to places where customers can purchase your work- galleries or an online store like Etsy.
Press Kit: A standard press kit includes a bio of you, black and white as well as color images of you and your work, business card, and a written statement of 1-2 paragraphs conveying the news or information that you are looking to have the publication print. For example, if you are exhibiting your work at a local gallery, let the local newspapers know. Keep it simple, to the point, and give them an angle that makes it unique. Highlight your connection to the area, an interest of yours, or something else to give the story a human element. Make sure to include digital copies of images, bio, and release.
Some of the basic marketing tools that you should create:
Resume: List exhibitions, shows, gallery representation, awards, publications, and schooling if appropriate. Include an image or two of your work. This should be different that a job resume. Don’t forget your contact info!
Business Cards: A great tool for artists is to print best known images on the front of your card, and all of your information on the back. This helps people connect a visual image of your work to your contact information. Hand customers the card image side up. This helps to fix the visual in their mind before they turn it over to look at the contact info. I strongly suggest renting a post office box for security. As a jeweler, it is smart not to give people your physical address. Once you have established a relationship with a client, then you can give them your street address if you wish.
A great place for business cards and also mini-cards is http://us.moo.com/
Moo offers an option to upload several images so you don’t have to pick just one for your card.
Postcards/ Photos: Good photographs of your work are a must! You should have both high resolution and low resolution digital images. High res images are used for advertisements and postcards. Low res images are used for websites and email messages. You may want to consider getting a couple of black and white prints of a favorite piece. Some newspapers prefer them. Get a nice photo taken of you as well. You should have one of you at work and one head shot. The headshot can be casual or formal.
Letterhead: Should contain your logo, and all of your contact information. You can also have envelopes printed up if you wish, although it is easy to simply print these at home.
Website: Don’t go for too many bells and whistles. Keep it simple and easy to navigate. Make sure that it will load correctly on all the main browsers. There are many WYSIWYG (what you see is what you get) editors out there. If you are familiar with computers, you will do fine with one of those. If you are apprehensive, hire someone. There are many people out there, so prices are competitive- talk to graphic design and web design students!
Whether or not you sell work directly from your website is up to you. If you don’t sell direct from your site, I would recommend linking to places where customers can purchase your work- galleries or an online store like Etsy.
Press Kit: A standard press kit includes a bio of you, black and white as well as color images of you and your work, business card, and a written statement of 1-2 paragraphs conveying the news or information that you are looking to have the publication print. For example, if you are exhibiting your work at a local gallery, let the local newspapers know. Keep it simple, to the point, and give them an angle that makes it unique. Highlight your connection to the area, an interest of yours, or something else to give the story a human element. Make sure to include digital copies of images, bio, and release.
Wednesday, March 26, 2014
Lesson: Other Findings
Lesson 7: Other findings
Pin backs:
• In addition to ear wires, pin backs are also very easy to make and add a lot of value to your piece.
• Use nickel silver instead of sterling- it is stronger and harder.
• You can also use steel. If using steel, remember no pickling!
• Common types of pin backs are the stem and catch (and their endless variations) and the stud variety.
• The stud pin backs are great for heavier brooches/pins that may flop forward if supported by a single stem. You can get these commercially.
• The one drawback of the stud type is that it is harder to affix.
• After soldering your pin backs or stud post, tumble if possible.
• If not tumbling, twist the stud post back and forth with a pair of pliers to harden and hammer the band of the pin stem. If using steel, no hardening is necessary.
Cufflinks:
• Cufflink findings come in several forms: T-Bar, Solid, and Riveted.
• The style preferred by most men is a riveted T-Bar, or T-Bar that is connected with jump rings. This style is easiest to put on and the range of motion keeps the cufflink on better, and puts less stress on the joint between cufflink back and cufflink.
• These can be either hand-made or purchased commercially. If you are planning to use the T-Bar, they are easier to purchase.
Tie Tacks and Tie Clips:
• Tie Tacks are very similar to the Stud style pin back. Some tie tack studs have a small upturned point of metal which helps to keep the tie pin oriented correctly.
• Tie clips slide onto a tie. They are better suited for larger pieces than a tie tack, since the clip finding is larger.
• Both of these are available commercially.
Pin backs:
• In addition to ear wires, pin backs are also very easy to make and add a lot of value to your piece.
• Use nickel silver instead of sterling- it is stronger and harder.
• You can also use steel. If using steel, remember no pickling!
• Common types of pin backs are the stem and catch (and their endless variations) and the stud variety.
• The stud pin backs are great for heavier brooches/pins that may flop forward if supported by a single stem. You can get these commercially.
• The one drawback of the stud type is that it is harder to affix.
• After soldering your pin backs or stud post, tumble if possible.
• If not tumbling, twist the stud post back and forth with a pair of pliers to harden and hammer the band of the pin stem. If using steel, no hardening is necessary.
Cufflinks:
• Cufflink findings come in several forms: T-Bar, Solid, and Riveted.
• The style preferred by most men is a riveted T-Bar, or T-Bar that is connected with jump rings. This style is easiest to put on and the range of motion keeps the cufflink on better, and puts less stress on the joint between cufflink back and cufflink.
• These can be either hand-made or purchased commercially. If you are planning to use the T-Bar, they are easier to purchase.
Tie Tacks and Tie Clips:
• Tie Tacks are very similar to the Stud style pin back. Some tie tack studs have a small upturned point of metal which helps to keep the tie pin oriented correctly.
• Tie clips slide onto a tie. They are better suited for larger pieces than a tie tack, since the clip finding is larger.
• Both of these are available commercially.
Wednesday, March 12, 2014
Lesson: Commercial Stone Settings
Lesson 5: Commercial Stone Settings
In production jewelry, commercial stone settings can be a valuable time saver. You should use commercial settings for smaller stones (1.5-6 or 7 mm) that have standard cuts- round, oval, baguette. For smaller stones, the time saved by purchasing the settings offsets the costs. As stones get larger, commercial settings are harder to find in a variety of styles.
You should not use commercial settings for any unusual cuts, irregular cuts, or for large stones. For these types of stones, you can make the setting easier, and the stone is a larger part of the overall design, so customization and integration of the setting becomes more important.
Commercial finding are usually made one of 2 ways- die-struck or cast. Die-struck settings tend to be cleaner and more exact regarding size. Cast settings usually require more cleanup of the setting to remove mold marks and usually have thicker walls, but are softer.
Bezel settings:
Commercial bezel settings usually come in 2 different types: bezel cups and open back or tapered tube bezels. If you have a faceted stone, get the open backed settings. If you have a cabochon, you can get either setting.
Remember to drill a small hole in the bottom of the bezel cup so that you can pop your stone out prior to setting if needed.
Prong settings:
Some prong settings also have an option of coming pre-notched. Unless you are certain that the gemstones you are setting are calibrated, I recommend against this. Cutting the notches doesn’t take very long, and that way you are assured of a perfect fit every time. The pre-notched settings are aimed for jewelers who are setting tens or hundreds of the exact same stone.
Prong settings also come in different heights. In deciding what height to buy, consider how high you want your stone to sit up from the piece. If you are setting a stone in a concave shape, you may want a higher setting, than if you were setting it on the top of a ring.
Using commercial settings:
• Make sure that the setting is cleaned up, any blemishes or mold marks removed.
• Check to see that the setting fits into your piece. Adjust if necessary.
• Make sure that your stone fits into the setting. If the stone doesn’t fit, see how close it is to fitting. If it is very close, make the minor adjustments to the setting, then retry the stone.
• If the stone is not close to fitting, order a new setting.
• To enlarge the setting slightly, place on mandrel and tap gently with a mallet. This should open the setting up slightly.
• If it is a bezel, or a prong setting with thick prongs, use a setting bur to remove material from inside the setting.
• For bezels, remove any excess thickness on the bezel wall from the outside.
• Solder the setting into place.
• For prong settings, notch the prongs.
• Once the rest of your piece is completed, set the stones.
In production jewelry, commercial stone settings can be a valuable time saver. You should use commercial settings for smaller stones (1.5-6 or 7 mm) that have standard cuts- round, oval, baguette. For smaller stones, the time saved by purchasing the settings offsets the costs. As stones get larger, commercial settings are harder to find in a variety of styles.
You should not use commercial settings for any unusual cuts, irregular cuts, or for large stones. For these types of stones, you can make the setting easier, and the stone is a larger part of the overall design, so customization and integration of the setting becomes more important.
Commercial finding are usually made one of 2 ways- die-struck or cast. Die-struck settings tend to be cleaner and more exact regarding size. Cast settings usually require more cleanup of the setting to remove mold marks and usually have thicker walls, but are softer.
Bezel settings:
Commercial bezel settings usually come in 2 different types: bezel cups and open back or tapered tube bezels. If you have a faceted stone, get the open backed settings. If you have a cabochon, you can get either setting.
Remember to drill a small hole in the bottom of the bezel cup so that you can pop your stone out prior to setting if needed.
Prong settings:
Some prong settings also have an option of coming pre-notched. Unless you are certain that the gemstones you are setting are calibrated, I recommend against this. Cutting the notches doesn’t take very long, and that way you are assured of a perfect fit every time. The pre-notched settings are aimed for jewelers who are setting tens or hundreds of the exact same stone.
Prong settings also come in different heights. In deciding what height to buy, consider how high you want your stone to sit up from the piece. If you are setting a stone in a concave shape, you may want a higher setting, than if you were setting it on the top of a ring.
Using commercial settings:
• Make sure that the setting is cleaned up, any blemishes or mold marks removed.
• Check to see that the setting fits into your piece. Adjust if necessary.
• Make sure that your stone fits into the setting. If the stone doesn’t fit, see how close it is to fitting. If it is very close, make the minor adjustments to the setting, then retry the stone.
• If the stone is not close to fitting, order a new setting.
• To enlarge the setting slightly, place on mandrel and tap gently with a mallet. This should open the setting up slightly.
• If it is a bezel, or a prong setting with thick prongs, use a setting bur to remove material from inside the setting.
• For bezels, remove any excess thickness on the bezel wall from the outside.
• Solder the setting into place.
• For prong settings, notch the prongs.
• Once the rest of your piece is completed, set the stones.
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