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Created by MSchindel (contact me)
I design unique handcrafted jewelry, so precious metal clay allows me to create truly one-of-a-kind jewelry designs with unique handcrafted beads...
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Metal clay - best known by brand names Precious Metal Clay (PMC) and Art Clay (Silver or Gold) - is an amazing material to work with. You can create unique handcrafted jewelry and other items that, after firing to burn off the organic binders and water in the clay, are fine silver (.999 silver) or 22K gold!
You can set many different kinds of gemstones - synthetic, lab-grown and even some natural gemstones - into the unfired clay. Other gemstones that cannot survive torch-firing or kiln-firing can be set after firing.
The first step is determining whether your stone can be fired successfully. The next step is deciding among the many different ways in which stones can be set in metal clay, both pre- and post-firing.
This lens will help you learn about many of the most popular techniques and will direct you to some of the best information on this subject.
Enjoy! :)
Margaret Schindel, Owner/Designer
Polished & Put-Together
http://www.p-pt.com/
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Gemstones To Fire In Place
There are no hard-and-fast rules about which gemstones will survive torch- or kiln-firing in metal clay. There are only guidelines.Whatever gemstones you embed in unfired metal clay must be able to withstand the temperature and firing times needed for that type of clay. The settings must accommodate shrinkage, and especially if you are planning to fire gemstones in a PMC Standard clay setting, you must make a larger hole to allow for the 30% shrinkage rate (and be sure that the stone can withstand 2 hours of firing at 1650F). Therefore, the "safest" clays to use when firing gemstones in place are PMC3 and Art Clay Low-Fire, whose lowest firing temperatures and low shrinkage rates accommodate a much wider range of gemstones.
I've provided links to several excellent resources for determining which gemstones, natural and mandmade/synthetic, are good candidates for firing with metal clay in the section "More Information on Setting Gemstones in Precious Metal Clay and Art Clay," below.
Tips:
Always ask your suppliers whether the CZ and/or lab-created stones they sell have been tested for firing in metal clay.
Try to buy from suppliers who test their gemstones and stand behind them as being "kiln-safe."
Whenever possible, test-fire a "spare" stone by itself (cover it with a piece of fiber blanket in case it shatters) and see whether it fractures or changes color. Caveat: Even a stone that appears to survive a test firing successfully may be weakened and fracture later on.
Setting Gemstones in "Wet" Clay
Make sure you use stones that can withstand the firing successfully!
To set faceted stones directly in metal clay, ensure that the girdle of the stone (the widest part) is embedded in the clay 1-2mm BELOW the surface, and that the table (flat top) of the stone is level. The clay must shrink-lock around the girdle of the stone during firing. For cabochons, the clay must come up over the shoulder of the stone. Cutting a hole in the clay under the stone helps minimize the amount that the clay pushes up the stone as it shrinks.
Check the depth of the stone vs. the clay thickness. You'll need to add enough clay in the setting area to cover the stone's girdle or shoulder.
Simplest setting. If the clay where is deep enough, just press the stone in so the girdle or shoulder is about 1mm below the clay. It's preferable to cut a hole in the clay slightly smaller than the stone first.
Clay ball settings I. Cut a hole in the clay slightly smaller than the stone's diameter. Roll a small ball of lump clay and flatten it slightly into a disc a bit wider than the stone. Place the disc over the hole and, using a tweezer, place the stone into the center of the disc. Press the stone into the disc until the girdle is covered and the table is level. Note: Hattie Sanderson explains how to make a nifty bezel-making tool out of polymer clay in her excellent instructional DVD set, "Contemporary Metal Clay 1."
Clay ball settings II. Create a ball of clay about twice the size of the stone you are going to set. Moisten the main piece and press the ball of clay onto it. Use a pencil, pointed clay shaper, etc. to make a cone-shaped hole for the stone. Press the stone into the hole so the girdle or shoulder is about 1mm below the surface.
Syringe bezels. Cut a hole in the clay slightly smaller than the stone to be set. Extrude a line of syringe clay to create a rim surrounding the edge of the hole. If necessary, add a second or third line of syringe clay to make the bezel tall enough to cover the girdle of the stone. Using a tweezer, place the stone in the setting and gently press the girdle into the syringe clay until the stone's table (top) is level and the girdle is covered by the syringe clay. You can also add syringe decorations on top of the bezel (and even draping over the stone) for added security.
Syringe prongs. Start with the "simplest setting," above. Moisten the clay around the stone and add syringe prongs over the stone.
Check the depth of the stone vs. the clay thickness. You'll need to add enough clay in the setting area to cover the stone's girdle or shoulder.
Simplest setting. If the clay where is deep enough, just press the stone in so the girdle or shoulder is about 1mm below the clay. It's preferable to cut a hole in the clay slightly smaller than the stone first.
Clay ball settings I. Cut a hole in the clay slightly smaller than the stone's diameter. Roll a small ball of lump clay and flatten it slightly into a disc a bit wider than the stone. Place the disc over the hole and, using a tweezer, place the stone into the center of the disc. Press the stone into the disc until the girdle is covered and the table is level. Note: Hattie Sanderson explains how to make a nifty bezel-making tool out of polymer clay in her excellent instructional DVD set, "Contemporary Metal Clay 1."
Clay ball settings II. Create a ball of clay about twice the size of the stone you are going to set. Moisten the main piece and press the ball of clay onto it. Use a pencil, pointed clay shaper, etc. to make a cone-shaped hole for the stone. Press the stone into the hole so the girdle or shoulder is about 1mm below the surface.
Syringe bezels. Cut a hole in the clay slightly smaller than the stone to be set. Extrude a line of syringe clay to create a rim surrounding the edge of the hole. If necessary, add a second or third line of syringe clay to make the bezel tall enough to cover the girdle of the stone. Using a tweezer, place the stone in the setting and gently press the girdle into the syringe clay until the stone's table (top) is level and the girdle is covered by the syringe clay. You can also add syringe decorations on top of the bezel (and even draping over the stone) for added security.
Syringe prongs. Start with the "simplest setting," above. Moisten the clay around the stone and add syringe prongs over the stone.
More Ways To Set Gemstones In "Wet" Metal Clay
There are too many methods to fit them all in one Squidoo module! :)
Coil settings. Roll a coil of lump clay and brush it lightly with water. Let the water soak in for a few seconds, then form the coil into loops just slightly smaller than the stones you want to set. Using a tweezer, place the stones in the loops and press them into the clay so that the girdle is covered and the table is level. This technique is explained and illustrated extremely well in "Introduction to Precious Metal Clay" by Mary Ann Devos.
Alternate method: Press the stone into the clay and add a line of syringe to cover the stone's girdle.
Layered cutout setting. Moisten the area where you want to set the stone and add a small clay cutout (made with a knife, straw, aspic cutter, etc., from plain or textured clay). Press to adhere and wick a little water around the edges of the seam. Use an appropriate sized drinking or cocktail straw to remove a plug of clay slightly smaller than your stone from the center of both layers. Press in your stone to cover the girdle or shoulder. (It's sometimes easier to set the stone into the top layer before cutting it and then center the cutter over it.)
Faux pavé settings. Press tiny faceted stones nearly touching into a narrow coil of clay to create a faux pavé effect. Roll out the clay for the main body of the piece and cut a slit slightly longer than the "pavé" strip. Brush some slip or paste over the coil and lay the clay slab on top, carefully opening the slit just enough for the row of stones to show through. Press the seam gently and smooth the edges with a damp brush and some paste or slip. When dry, turn over and apply a generous layer of paste or slip to the back of the seams. Special thanks to Angela B. Crispin for sharing this technique with me.
Coil settings. Roll a coil of lump clay and brush it lightly with water. Let the water soak in for a few seconds, then form the coil into loops just slightly smaller than the stones you want to set. Using a tweezer, place the stones in the loops and press them into the clay so that the girdle is covered and the table is level. This technique is explained and illustrated extremely well in "Introduction to Precious Metal Clay" by Mary Ann Devos.
Alternate method: Press the stone into the clay and add a line of syringe to cover the stone's girdle.
Layered cutout setting. Moisten the area where you want to set the stone and add a small clay cutout (made with a knife, straw, aspic cutter, etc., from plain or textured clay). Press to adhere and wick a little water around the edges of the seam. Use an appropriate sized drinking or cocktail straw to remove a plug of clay slightly smaller than your stone from the center of both layers. Press in your stone to cover the girdle or shoulder. (It's sometimes easier to set the stone into the top layer before cutting it and then center the cutter over it.)
Faux pavé settings. Press tiny faceted stones nearly touching into a narrow coil of clay to create a faux pavé effect. Roll out the clay for the main body of the piece and cut a slit slightly longer than the "pavé" strip. Brush some slip or paste over the coil and lay the clay slab on top, carefully opening the slit just enough for the row of stones to show through. Press the seam gently and smooth the edges with a damp brush and some paste or slip. When dry, turn over and apply a generous layer of paste or slip to the back of the seams. Special thanks to Angela B. Crispin for sharing this technique with me.
Setting CZ Frit in Metal Clay
Whole Lotta Whimsy has introduced a line of CZ frit that can be added to metal clay in several different ways. See the instructions on the WLW site.
Setting Gemstones in Dried Clay
Gypsy settings. Make sure the clay is thick enough so the girdle of the stone will be covered after pre-finishing. When the clay is bone dry, pre-finish it (sanding, etc.). Use a very small drill bit in a hand drill/pin vise to drill a pilot hole all the way through the clay. Replace the drill bit with a jeweler's stone-setting bur approximately 10% larger than the stone you will be setting, or use a drill bit that's the same size as the stone but drill a little deeper than usual. Test-fit the stone in the hole to make sure that the girdle is slightly below the surface of the clay. If necessary, remove the stone and enlarge the hole slightly. Carefully brush off any loose dust from the clay and from the gemstone. Clean the stone thoroughly, then place it back in the hole. Make sure it's level and clean the top of the stone with alcohol and a sponge-tipped cosmetic applicator or cotton swab. Note: If the stone is set on a curve, use white glue to hold it in place on the way to the kiln.Optional step (but I find it really helps to make sure the stone is shrink-locked securely after firing): Using an applicator tip with a tiny hole, extrude a very fine line of syringe just inside the edge of the drilled setting hole. Alternatively, brush a little paste clay inside the setting hole. Place the stone into the hole as described above, then wipe the edge of the setting with a damp brush to make sure no syringe or paste clay squeezed out above the stone. Let the paste or syringe clay dry completely. If any clay ends up on top of the stone, scrape/flake it off the stone gently once it has dried. Clean the top of the stone with alcohol and place in the kiln.
Idea: Create a photopolymer plate to impress starter holes in the clay where the stones will be set.
Special thanks to Mary Ellin D'Agostino, Tonya Davidson, Maggie Bergman and Priscilla Vassão for their advice on this technique!
Bezel Settings For Cabochons That Will Be Set Post-Firing
Here are several types of settings for gemstone cabochons that will be set after firing the metal clay.
Fine silver bezel wire. Wrap a strip of fine silver bezel wire around the base of a cabochon. Test fit and adjust the bezel over your cabochon on a flat surface. There shouldn't be any gaps but the stone should slide in and out of the bezel easily. When you have a good fit, mark the spot where the wire overlaps. Cut it flush (err on the side of too long vs. too short) and file the ends, if necessary, to create a tight seam when the ends are butted together. Check the fit again before sealing.
Method 1: Embed the bezel into the clay and seal the joint neatly with paste clay. (Keep most of the paste on the outside of the joint so you don't change the fit of the bezel.) Let the clay dry, fill any gaps, dry and fire.
Method 2: Seal the joint of the bezel with paste clay or, better yet, Art Clay Oil Paste. When dry, fire the bezel separately, file the seam smooth and embed in "raw" clay as above.
Tips:
1) The bezel wire must be wide enough to hold the stone in place securely after burnishing, plus 1mm to embed in the clay.
2) Scuff/sand the area of the bezel that will come in contact with the metal clay to give it some "tooth."
3) With a fine-tipped marker, draw a guide line scant 1mm away from the lower edge of the bezel wire to help you embed the bezel in the clay to an even depth.
Paper-type or sheet metal clay bezels for cabochons. Beautiful custom bezels can be created with paper-type (sheet) metal clay to accommodate cabochons of any size and shape. This technique was pioneered by metal clay artist Jennifer Kahn. Her excellent chapter in the superb book "PMC Technic" (see "Books About Setting Gemstones In Metal Clay," below) explains in detail how to size the bezel setting so that it fits correctly after firing and offers some variations.
Embedded silver bezel cup settings for calibrated cabochons. For calibrated cabochon stones, you can embed either 1) fine silver bezel cups or 2) sterling silver bezel cups that have been "depletion gilded" (heated and pickled repeatedly to bring the oxides to the surface and remove them, leaving a layer of fine silver on the surface). The settings must be embedded securely into the clay in such a way that the clay can shrink-lock them into place. For depletion gilding sterling silver findings, you can use a traditional pickling product like Sparex, or Silver-Prep from Cool Tools which is supposed to be safer.
Fine silver bezel wire. Wrap a strip of fine silver bezel wire around the base of a cabochon. Test fit and adjust the bezel over your cabochon on a flat surface. There shouldn't be any gaps but the stone should slide in and out of the bezel easily. When you have a good fit, mark the spot where the wire overlaps. Cut it flush (err on the side of too long vs. too short) and file the ends, if necessary, to create a tight seam when the ends are butted together. Check the fit again before sealing.
Method 1: Embed the bezel into the clay and seal the joint neatly with paste clay. (Keep most of the paste on the outside of the joint so you don't change the fit of the bezel.) Let the clay dry, fill any gaps, dry and fire.
Method 2: Seal the joint of the bezel with paste clay or, better yet, Art Clay Oil Paste. When dry, fire the bezel separately, file the seam smooth and embed in "raw" clay as above.
Tips:
1) The bezel wire must be wide enough to hold the stone in place securely after burnishing, plus 1mm to embed in the clay.
2) Scuff/sand the area of the bezel that will come in contact with the metal clay to give it some "tooth."
3) With a fine-tipped marker, draw a guide line scant 1mm away from the lower edge of the bezel wire to help you embed the bezel in the clay to an even depth.
Paper-type or sheet metal clay bezels for cabochons. Beautiful custom bezels can be created with paper-type (sheet) metal clay to accommodate cabochons of any size and shape. This technique was pioneered by metal clay artist Jennifer Kahn. Her excellent chapter in the superb book "PMC Technic" (see "Books About Setting Gemstones In Metal Clay," below) explains in detail how to size the bezel setting so that it fits correctly after firing and offers some variations.
Embedded silver bezel cup settings for calibrated cabochons. For calibrated cabochon stones, you can embed either 1) fine silver bezel cups or 2) sterling silver bezel cups that have been "depletion gilded" (heated and pickled repeatedly to bring the oxides to the surface and remove them, leaving a layer of fine silver on the surface). The settings must be embedded securely into the clay in such a way that the clay can shrink-lock them into place. For depletion gilding sterling silver findings, you can use a traditional pickling product like Sparex, or Silver-Prep from Cool Tools which is supposed to be safer.
Prong Settings for Faceted Gemstones That Will Be Set Post-Firing
Embedded silver prong settings for irregularly-shaped cabochons. These findings are embedded in clay similarly to bezel cups (see above).
Prong Settings For Cabochons That Will Be Set Post-Firing
Embedding wire prongs. You can set large or unusually-shaped cabs with custom wire prong settings. Fold lengths of fine silver wire in half (but don't crease the wire at the fold). Bend the ends of the wires at 90-degree angles to form "legs" (these will ensure that the ends of the wire are securely shrink-locked into place. Place your cabochon on the "raw" clay and embed the "legs" of the prongs into the clay around the edges of the stone. (The wire prongs won't shrink, but the clay into which they're embedded will, so leave a little space around the stone to allow for shrinkage.) Remove the cabochon. Seal and strengthen the area where the wire enters the clay by using paste clay and, if desired, some syringe clay. After firing, place the stone inside the prong and gently bend the prongs over the cabochon, taking care not to twist the prongs.
Variation: Before firing, decorate the prongs with syringe clay, paper-type clay cutouts or other metal clay adornments secured with paste clay or syringe.
Variation: Before firing, decorate the prongs with syringe clay, paper-type clay cutouts or other metal clay adornments secured with paste clay or syringe.
Settings for Pearls and Half-Drilled Beads
Settings for pearls and half-drilled beads. The easiest way to add pearls or half-drilled beads to your design is to securely embed a length of silver wire (either fine silver or depletion-gilded sterling silver) into the clay, leaving a piece exposed to serve as a post or peg. After firing, epoxy the pearl or bead onto the wire. Alternatively, you can embed a fine silver (or depletion-gilded sterling silver) earring post into the clay and then add the pearl or bead with epoxy after firing.
More Information on Setting Gemstones in Precious Metal Clay and Art Clay
These are the best online resources I know of for learning about setting gemstones in metal clay.
- Jennifer Kahn's Lapidary Journal Article on Metal Clay Bezels
- Jennifer Kahn - Celie Fago's apprentice and a wonderful metal clay artist in her own right - developed a terrific technique for making accurately-sized bezels from PMC+ paper type clay for cabochons that can't be fired in place. Her excellent step-by-step instructions was published in the May 2005 issue of Lapidary Journal. Unfortunately, LJ no longer sells reprints of the individual article, but this link will take you to the magazine's online store for back issues and you can order the May 2005 back issue as long as they still have copies available. Otherwise, check your local library. It's well worth the effort to track this down!
- Natural Gemstones To Fire In Place or Set Afterwards
- This page from Mary Ellin D'Agostino of MED'A Creations lists natural gemstones that can be fired in place successfully as well as some that should be set after firing.
- Lab-Grown Gemstones and CZs to Fire In Place
- This page from Mary Ellin D'Agostino of MED'A Creations lists the colors of lab gemstones and CZs that can be fired in place successfully at 1650F vs. 1110F.
- Attaching And Setting Stones Into Pure Silver Settings
- From Jackie Truty at Art Clay World USA, this terrific PDF provides clear, detailed instructions on how to successfully embed fine silver settings into metal clay and how to set the gemstones in the settings properly after firing.
- Firng Gemstones and Natural Stones
- This PDF from Art Clay World USA provides tips for selecting stones suitable for firing in metal clay and for testing stones.
- Bling, Bam, Boom, and Things That Go Poof in the Kiln
- If you're a Member of the PMC Guild, get this wonderful article on gemstones by Deric Metzger, G.J.G. A.J.P. in the Fall 2004 · Volume 7, Number 3 back issue of Studio PMC Magazine.
- Tips on Creating Jewelry with Titanium and Metal Clay
- This superb tutorial by Holly Gage is focused on creating fine silver settings for use with titanium, which can't be fired with metal clay, but it is equally valuable for creating settings for any stone or inclusion to be set after firing.
- Natural and Synthetic Gemstone Tests (Rio Grande)
- Kevin Whitmore of Rio Grande put together this seminal chart of his test results on natural and synthetic gemstones, both dry-fired and fired in PMC3.
- Gemstones In Metal Clay (Cool Tools)
- This fabulous guide by Mardel Rein of Cool Tools shows which natural and synthetic gemstones can be fired successfully in metal clay, by what methods (kiln and/or butane torch), and at what temperatures. It's formatted as a PDF file for easy printing, and you'll want to keep a copy in your work area for frequent reference.
- Setting Dichroic Glass in Art Clay Silver, Precious Metal Clay, ACS, PMC, Metal Clay
- If you're interested in learning how to add dichroic glass cabochons as well as gemstones to your metal clay designs, Lisel Crowley's informative Squidoo lens is a great place to start.
Recommended Tools, Supplies, Books and DVDs
- Silver Prep citric pickle (Cool Tools)
- Silver Prep is designed as a safer alternative to traditional pickling products for depletion-gilding sterling silver findings for use with metal clay. Cool Tools owner Mardel Rein has posted an excellent video tutorial on YouTube that shows how to use Silver Prep to prepare sterling silver for firing in metal clay.
- Hattie Sanderson's Instructional DVDs
- PMC Supply carries Hattie Sanderson's instructional DVDs, including "Contemporary Metal Clay 1" which demonstrates a bezel-making tool you can create from polymer clay.
Recommended Suppliers
I can personally recommend the following suppliers of gemstones and supplies for setting in metal clay.
- Cool Tools
- Mardel Rein is one of the most knowledgeable people in the field about which stones are safe to fire in metal clay. In addition to offering CZs, lab gems and natural gemstones, she sells a Silver-Prep product that can be used for depletion-gilding of sterling silver findings so they can be fired in PMC3 or low-fire Art Clay.
- Gem Resources International
- Shirley is incredibly helpful and honest, and her prices for CZs and lab-created gemstones are fantastic. Get on her mailing list for monthly specials.
- MED'A Creations
- Mary Ellin D'Agostino carries some fantastic CZ assortments in gorgeous colors and great shapes!
- PMC Supply
- PMC Supply carries Hattie Sanderson's excellent instructional DVDs as well as kiln-safe stones.
- PMC Connection
- PMC Connection offers lots of CZs, lab gemstones and star sapphires.
- Rio Grande
- Rio carries not only a huge selection of CZs and natural gemstones, but also fine silver bezel wire, setting tools, sterling settings and Sparex pickling solution for depletion-gilding them.
- Whole Lotta Whimsy
- Tonya Davidson offers a very large selection of CZs and lab gemstones in absolutely gorgeous colors, as well as excellent stone assortments and crushed CZ frit that is made especially for Whole Lotta Whimsy.
Related Useful Information
- Basic Gypsy (flush mount) Setting
- An article by metalsmithing guru Charles Lewton-Brain on the traditional "gypsy" stone-setting method for metals.
Books About Setting Gemstones in Metal Clay
All books about working with metal clay have information about setting gemstones in the clay. I have found the following books to be exceptionally helpful on this subject.
PMC Technic: A Collection of Techniques for Precious Metal Clay
A phenomenal book - don't miss the chapter by Jen Kahn on creating bezels for stones to be set after firing.
Amazon Price: $30.00 (as of 05/20/2008)
The Art of Metal Clay: Techniques for Creating Jewelry and Decorative Objects
Amazon Price: $14.93 (as of 05/20/2008)
Creative Metal Clay Jewelry: Techniques, Projects, Inspiration
Amazon Price: $21.80 (as of 05/20/2008)
Metal Clay Jewelry
Amazon Price: $15.63 (as of 05/20/2008)
Metal Clay for Beaders
Amazon Price: $13.37 (as of 05/20/2008)
More Books About Setting Gemstones in Metal Clay
Working with Precious Metal Clay (Jewelry Crafts) (Jewelry Crafts)
Amazon Price: $29.95 (as of 05/20/2008)
Art Clay Silver and Gold: 18 Unique Jewelry Pieces to Make in a Day
Amazon Price: $14.95 (as of 05/20/2008)
Precious Metal Clay In Mixed Media
Amazon Price: $17.96 (as of 05/20/2008)
Introduction to Precious Metal Clay
Amazon Price: $17.72 (as of 05/20/2008)
Cabochons on eBay For Your Metal Clay Designs
Most of these should be set AFTER firing your clay!
Fetching new data from eBay now... please stand by
Guestbook
Another place to leave your feedback and suggestions :)
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DazzlingDesigns
Very nice lens. Definitely 5-Stars. Please feel free to stop by my Unique Handmade Jewelry Lens. Posted March 24, 2008 |
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MSchindel
Thanks, Deric! I'll definitely check it out! :) Posted March 21, 2008 |
Deric Metzger GJG AJA AJP
I just thought I should add that there is a book out there (mine) that has been out for some time and took a few years of intense research to write. It shows 107 unique stones and dozens of varieties of each. Take a look if you are into natural gems: www.lulu.com/dericmetzgerPMC
Posted March 21, 2008
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magscrafts
Thanks for sharing, this is some great information! Posted February 10, 2008 |
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LeslieBrenner
I've never worked with PMC, but find it interesting. Thank you for the useful information. Posted February 03, 2008 |
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This lens is copyrighted by the author and is protected by a Creative Commons "Attribution-NonCommercial" license. You are free to share this lens and to adapt the content with proper attribution and for non-commercial use.
Exception: If you are teaching a class, you are welcome to distribute unaltered, printed copies of this lens along with the link information.
This
work is licensed under a
Creative Commons Attribution-NonCommercial 3.0 License.
©2007 Margaret R. Schindel. All rights reserved.
Exception: If you are teaching a class, you are welcome to distribute unaltered, printed copies of this lens along with the link information.
This
work is licensed under a
Creative Commons Attribution-NonCommercial 3.0 License.
©2007 Margaret R. Schindel. All rights reserved.
