Setting Stones in Metal Clay

Jeanette Landenwitch

Brynmorgen Press
portland, maine

Copyright 2008
Brynmorgen Press
Drawings
Design, edit & layout


Index

Tim McCreight
Tim McCreight
Abby Johnston
Michael Deles
Jamie Kingman-Rice

Designs of all the jewelry shown in this book belong

to the artists. Unless otherwise noted, photos are
courtesy of the artists.
Preceding page:
Pendant, Hiroaki Shinonome, Kugi
Fine silver, diamond. 2 x 1
Front cover:
Brooch, Tim McCreight
Fine silver, malachite, moonstones. 2" by 1 "
For ordering and permissions, visit
www.brynmorgen.com

All rights reserved. No part of this publication may be

reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopying,
recording, or any storage and retrieval system except
by a reviewer who wishes to quote brief passages in
connection with a review written for inclusion in a
magazine, newspaper, web posting, or broadcast.

ISBN 978-1-929565290
Printed in Hong Kong
Second printing

Contents

1 Gemstones

2 Tools & Materials

17

3 Choosing the Right Setting

29

4 Bezels

41

5 Prongs

67

6 Other Setting Options

79

7 The Work Behind the Work

98

Appendix 106

Acknowledgements

This book is dedicated to all artists working in metal clay. It is

exciting to be part of the evolution of this wonderful material,
watching as the field has developed from basics to the advanced work that we are seeing today. I hope this book will
encourage the creation of innovative settings, and inspire superior work with gemstones of all kinds.
Id like to say a special thank-you to my editor, Tim McCreight, whose confidence gave me the opportunity to experiment and describe the stonesetting ideas I was collecting.
Thanks to Abby Johnston and Michael Deles at Brynmorgen
Press for their care and energy in bringing this book to life.
Thank you to Kevin Whitmore of Rio Grande for helping
with my preliminary research. And a big thanks to the wonderful artists who offered images of their work to help illustrate some of the techniques in my book. Im sure these
beautiful examples will motivate others to push their limits.

And finally, thanks to my husband, Dave, for his patience
while I put in the hours of research and writing. Your love,
encouragement, and humor were a great pillar of support
through all of it. Thank you! You are a treasure.

Introduction

When I began working with PMC, the wide range of textures, the spontaneous process of hand-building,
and the flowing forms that resulted were a wonderful outlet for my creative sensibilities. As I became familiar and comfortable with the material, I began to look beyond the basics and searched for ways to incorporate color into my work. My first idea was to use stones. But I came to PMC from a potters background and had no metalworking skills. The big question became, How in the world do I do this? Besides pressing a cubic zirconia into a ball of clay and firing it, how do I set other kinds of stones? Not
having a background in metalworking, I was in a quandary. To get the color I wanted, I turned to other
media, first resin, then vitreous enamels, and eventually colored pencils and oil pastels.
But there was this little voice, a persistent, unshakable force that kept calling. An affinity for beautiful, colorful, unusual natural stones was building. I began attending gem and jewelry shows and sought
out shops that sold loose stones. Websites that sold unusual varieties and cuts of stones were being bookmarked on my computer. Gemstones had become a passion, and there was quite a collection accumulating in my drawer.

I began to ask myself some questions. Do bezels always have to be thin? Do they always have to press
in at the edges? Do they have to be strictly functional? Do they have to be inconsequential in the design?
Can they be decorative? Can they be a focal point that enhances the stone? Can they be a design element? Can they be textured? Can they be shaped? Can they be partial? What about prongs? How about
incorporating ready-made setting components? And so my quest began. There are dozens of ways to attach gems to metal jewelry, and while any well-made setting will work technically, not all will work aesthetically in a given situation. The setting is an integral component of the overall piece and should be
carefully considered to reflect the character of the whole design.
The goal of this book is to expand your repertoire of stonesetting options specifically for use with
PMC. And bear in mind that in addition to stones, many of these techniques can be used to set other
materials. Bezel settings, for instance, can be used to set enameled components or polymer clay elements. Prong settings can be used to set coins, tabs can be used to set decorative ceramic pieces, and
dozens of other exciting objects.
This book is a collection of the settings that I have discovered so far, and illustrates their adaptation
to metal clay. Some of the techniques are simple, fast, and easy; others require more planning. Some of
these setting methods have great versatility and will be used often. Others are more specific to particular
situations. Either way, there is a place for all of them.
I hope that these methods will jumpstart your creativity, leading you to the excitement of learning
new techniques. The decision about which method to use depends on the character of the piece, the inherent nature of the stone (such as its resistance to heat, its strength, etc.), and the kind of skills you bring
to the job. Whether you have metalworking skills or not, there is an option for everyone, and a way to set
every stone.
In this book I reference the Precious Metal Clay brand because this is where my experience lies.
These methods can be easily adapted to any kind of metal clay. In fact, there are also references to ways to
use metal clay in work that has been fabricated with conventional metalsmithing techniques.

holly gage

Holly Gage
Winter Dance
Fine silver, dendritic quartz, cubic zirconia

Chapter 1

Gemstones

hrough the ages, humans have been drawn to

the beauty and mysticism of gemstones. The
many varieties have been used not only in making
jewelry and wearable art, but also decoratively in
functional and non-functional items such as tools,
furniture, architecture, sculpture, and as currency.
Gemstones were, and still are, used in religious
objects such as monstrances, reliquaries, rosaries,
and icons. Stones such as lapis were ground into
powder for use as eye cosmetics.
Some of the first known gem materials included lapis lazuli, amethyst, emerald, amber, turquoise, garnet, jade, and coral. In early societies
these stones were reserved for the wealthy, and
served in many cultures as symbols of status and
power. Common folk would use more easily obtained ornaments such as shells, bone, seeds, and
animal trophies like antler and teeth.
Folklore and legends abound, from the
meaning of certain stones as amulets and talismans that ward off evil powers, to providing spiritual powers, magic healing powers, protection
against injury, and as a source of inner strength.
There are gemstones chosen to represent each of
the planets that are seen as reflecting the cosmos.
Zodiac stones are believed to relate to constella-

tions and their effect on the timing of ones birth.

These ancient traditions live on in the assignment
of birthstones to the months of the year. The
power of the gemstone industry today plays on the
intrinsic value of a gem, its natural beauty, and its
important role as a status symbol.
Gemstones are fascinating to study, and with
the easy availability of hundreds of different kinds
of stones, the varied and unusual cuts, and the
continued discovery of new species, gemstones
are a fun way to add color, dimension, and value to
metal clay designs. The methods and techniques
taught in this book will provide the freedom to use
any kind of stone.

Natural Gemstones
Natural gemstones are divided into two categories, called precious and semiprecious. A gemstone that is rare and has a hardness of nine or ten
on the Mohs scale is considered a precious stone.
These gems have the highest commercial value.
The most familiar examples are diamonds, rubies,
emeralds, and sapphires. Semiprecious stones
have a hardness of less than eight, and are abundantly available. Lesser quality precious stones are
sometimes classed as semiprecious.
9

 Some natural stones can withstand heat, and

this allows them to be set into metal clay and fired
in place. In addition to the mineral itself, we need
to be aware of inclusions, cracks, and fissures in a
natural gem because any of these can cause problems. While inclusions can produce beautiful and
even spectacular effects in a stone, they can also
predispose it to cracking and breaking when fired
in the kiln.
There are a few organic materials, found on
land and in the water, that are considered gems,
though they are in fact formed by the biological
processes of living organisms. These include pearl,
ivory, shell, coral, amber, and jet. These gems
should never be kiln-fired as they will burn up at a
low temperature.

Synthetic Gemstones
Synthetic, lab-created, and lab-grown are synonymous terms. Synthetic stones are made in the laboratory, and have the same appearance, composition, hardness, and optical and chemical properties as natural gemstones. Their inclusions are very
different from those of natural stones, being more
like gas bubbles, or veil and feather patterns. Many,
but not all, synthetic stones can be fired in the kiln
at the lower temperature schedules of metal clay.

Simulated Gemstones
Simulated, or imitation gemstones are an inexpensive way to have a look-alike of an expensive or rare
gemstone. These stones are not really stones at
all. They look like natural gemstones, but the optical, physical, and chemical properties are different.
The cubic zirconia (CZ) is the most widely known
simulant. CZs are manufactured at a temperature
of about 3000F (1650C), making them ideal for
kiln-firing at any of the metal clay temperatures.

10

Glass and plastic are frequently used to make

simulant gemstones. Polymer clay can be made to
look very much like natural semiprecious stones.
Plastic and polymer cannot withstand the heat of
firing, period. Some glass may survive a firing
schedule, but testing is recommended.
Synthetic and natural gemstones are also
used to make simulants. These are composite
stones, such as doublets and triplets, where the
actual gemstone is the top layer, fused to some
other material that makes up the rest of the stone.
This fusing of the layers makes them unsuitable for
kiln firing.
Enhancement
For as long as gems have been set in jewelry, people
have experimented with ways to enhance their appearance. Modern techniques include oiling, dying, staining, waxing, foiling, heat-treating, irradiating, drilling, and filling. Kiln-firing will affect these
applications and change the appearance of the
stone. This means that even if a gem material is inherently capable of withstanding high temperatures, it is possible that a particular stone might fail
because of its treatment. Part of the excitement of
working with natural stones is the understanding
that no two specimens are exactly alike. All the observations given in books (including this one) refer
to researched results, but remember that there are
no promises.

Cuts of Stones
Cabochon
Cabochons are the simplest cuts, with plain, polished surfaces. They can be domed, or squared as
in a buff top. They usually have flat, unpolished
backs and can be cut to varying thicknesses ranging from a very thin few millimeters, to tall domes
called tongues or bullets. While simple in their

domed look, cabochons can be cut into endless

shapes. This cut shows off the spectacular effects
that occur in stones such as jaspers, rutile quartz,
and agates. Most cabochons are cut so that the
curve of their profile creates a slope or angle at the
bottom edge, where the top meets the bottom.
This is what allows a bezel to hold the stone securely in place.

Most cabochons fall into one of these four types: standard,

high (bullet), buff top, or double (lentil).

Faceted
Understanding the parts of a faceted stone will
clarify details of the setting process. Faceting is
done mostly on transparent gemstones, though
opaque and translucent stones are sometimes faceted. Facets are the highly polished, flat planes that
reflect light. They are cut in geometric patterns
designed to achieve the best play of light. The quality of the cut is important because a stones color
and fire is determined by the way light enters the
gem and is reflected from the bottom facets back
through the top.
In the language of faceted gems, the term
shape refers to the outline of the perimeter of the
stone. Some common shapes of faceted stones are
round, marquise, oval, emerald, pear, baguette,
cushion, trillion, square, and heart.

A well-cut cabochon has a sharp edge like the stone on the left.
Cabs with round or irregular edges around the base will be
more difficult to set.

Parts of a Faceted Gemstone

Table
Crown

Girdle

Pavillion
Culet
It is helpful to know the proper names for the parts of a faceted stone.
There are more terms that are important for lapidaries, but for setting,
these will be enough.

11

Faceted stones are cut in a variety of shapes, of which these are the most common.

Choosing the Right Setting

There are several factors to consider in determining what kind of setting to use for any particular
stone.
The Cut
To get the maximum sparkle from a faceted stone,
consider a prong setting or a bezel cup setting with
an open back. A closed bezel setting might highlight a spectacular buff top agate cabochon. A tab
setting, or combination tab setting with a short
bezel at its base, might showcase a cabochon stone
that has beautiful striations throughout the top
and sides.

pair of earrings, for instance, rarely see much

stress, but bracelets and rings are subject to accidental bangs and bumps during normal wear.
Hard stones, such as rubies or sapphires, can be
safely set in a high profile prong setting. Softer
stones such as turquoise benefit from a sheltering
setting like a full bezel, or a bezel cup. Brittleness is
different from hardness, but in terms of matching
stones to objects, the same rules apply. Objects
that are likely to see hard wear are not well suited
to fragile, soft, or brittle stones.

Hardness
Hardness is a factor when choosing stones for objects that expose stones to hard wear. A pendant or

12

babette belmondo

The Shape
Shapes such as the marquise, heart, and square
faceted stones have points that are vulnerable to
chipping. These need to be protected in the setting
by double prongs or a partial bezel at the tips.
Thinly cut cabochons need a setting with a solid
back to give it extra support in order to avoid
breaking.
Barbara Becker Simon, Ant Lentil Bead
Fine silver, 24k gold, diamond
1" diameter

Heat Sensitivity
In traditional jewelrymaking, this factor is not usually very important because stones are always set
after all heat processes are completed. For metal
clay artists, the ability of a stone to withstand heat
is one of the first items to be determined. Stones
that can withstand temperatures over 1110F
(540C) can be set into metal clay and fired in
position. Obviously, such stones could also be set
after firing using more conventional methods.
Gemstones that cannot reliably withstand sintering temperatures require techniques that will allow us to complete the metal object and then secure the stone in place by pressing a metal rim or
prong onto the stone. We can think of this as a fork
in the road: If a stone is able to withstand high
temperatures, a specific set of options is available.
If not, that path is closed and we can immediately
focus attention on setting methods that are used
after firing.

How do you know which category a stone fits

into? Fortunately, several people have conducted
experiments and are willing to share the results of
their research. No two stones are exactly alike,
particularly natural stones, so there are never guarantees, but the chart on the next page will allow an
educated guess about whether a gem will survive.
If you are unsure about a particular stone, either
purchase several and test one by heating it, or set
the stone after the metal clay piece has been fired.
Bear in mind that you dont need to include metal
clay to determine if a stone will survive. Simply set
the gem on a kiln shelf and run it through a firing
sequence. If it survives, you will know it is worth
investing time and materials to use in a piece. If the
stone discolors or breaks, you wont have wasted
any time or metal clay.

Naoko Tanaka
Jyoman
Fine silver, quartz crystal
19 x 15 x 12

13

Gem Tests

Kevin Whitmore and the staff at Rio Grande conducted tests with gemstones, first alone, and then set into PMC.
They share their results here, along with a warning that every stone is unique, so your results may vary. Used with permission (and thanks).

Test 1:
TORCH FIRING
Heat to 1110F (600 C )
then hold for 3 minutes.
By definition, this will be a
fast ramp.

Test 2:
SYNTHETIC
GEMSTONES
Fast ramp to 1110F (600 C )
then hold for 30 minutes.

14

gemstone

stone in PMC

opinion

Natural Gemstones
Blue Sapphire (AAA-Grade)
Blue Sapphire (A-Grade)
Labradorite
Peach Moonstone
Peridot
Rhodolite
Ruby (A-Grade)
Ruby (AAA-Grade)
Silver Moonstone
Tanzanite
White Sapphire

survived
survived
damaged
damaged
survived
survived
survived
survived
damaged
survived
survived

good bet
good bet
unsafe
unsafe
good bet
good bet
good bet
good bet
unsafe
good bet
good bet

Lab-Grown Gemstones
Blue Spinel
Green Garnet
Green CZ
Moissanite
White CZ
White Sapphire

survived
survived
damaged
damaged
survived
survived

good bet
good bet
unsafe
unsafe
good bet
good bet

stone in PMC
survived
survived
survived
survived
survived
survived
survived
survived

opinion
good bet
good bet
good bet
good bet
good bet
good bet
iffy
iffy

gemstone
Alexandrite
CZ
Emerald
Ruby
Sapphire
Spinel
Tavalite CZ
Star Corundum

Test 3:
SLOW RAMP
Slow ramp to 1110F (600C )
then hold for 30 minutes.

Test Four:
NATURALS
Heat natural gemstones and hold at
1110F (600C) for 30 minutes.

gemstone
Amethyst
Aquamarine
Citrine
Green Tourmaline
Green Topaz
Labradorite
Peach Moonstone
Pink Tourmaline
Rainbow Moonstone
Rainbow Topaz
Silver Moonstone
Smoky Quartz
Tanzanite
White Topaz

stone only stone in PMC

opinion
damaged
not tried
unsafe
survived
damaged
iffy
damaged
not tried
unsafe
survived
survived
good bet
survived
survived
good bet
survived
survived
iffy
slight damage slight damage iffy
damaged
not tried
unsafe
damaged
damaged
iffy
damaged
damaged
unsafe
slight damage slight damage iffy
damaged
not tried
unsafe
survived
survived
good bet
survived
survived
good bet

gemstone
stone only
Almandine Garnet
survived
Amethyst
destroyed
Aquamarine
not tried
Aventurine
damaged
Black Onyx
damaged
Black Star Sapphire
survived
Blue Mist Chalcedony damaged
Blue Topaz
destroyed
Carnelian
damaged
Chrome Diopside
not tried
Citrine
damaged
Denim Lapis
survived
Hematite
not tried
Iolite
destroyed
Jadeite
damaged
Lapis LazuliDark
damaged
Malachite
destroyed
Mexican Fire Opal
not tried
Moonstone
survived
Peridot
survived
Pyrope Garnet
survived
Rhodochrosite
damaged
Rose Quartz
destroyed
Tsavorite Garnet
not tried
Tigers Eye
darkened
Tourmaline
survived
Turquoise
destroyed

stone in PMC
survived
not tried
damaged
not tried
damaged
survived
not tried
not tried
not tried
survived
not tried
survived
survived
not tried
not tried
not tried
not tried
damaged
survived
survived
survived
not tried
not tried
survived
not ried
damaged
not tried

opinion
good bet
unsafe
unsafe
unsafe
unsafe
good bet
unsafe
unsafe
unsafe
good bet
unsafe
iffy
good bet
unsafe
unsafe
iffy
unsafe
unsafe
good bet
good bet
good bet
unsafe
unsafe
good bet
unsafe
iffy
unsafe

15

drew davidson

Doris King
Spriral Treasure
Shell Ring
Fine silver, 14k gold, shell, hessonite garnet

chapter 2

Tools and Materials

any books and videos describe the basic

tools used with metal clay, so I wont repeat
that information here. If you are just getting started, turn to any of those books for an introduction
to metal clay techniques. What might not be familiar, even to experienced metal clay artists, are
the tools and materials of traditional jewelrymaking. Since these will come up in the following
pages, it makes sense to describe them here.
Part of the fun of working with PMC is discovering (and accumulating) new tools. Every
time I look through a jewelry supply catalog,
something else catches my eye. And thats not to
mention a stroll through a hardware store or a toy
shop. In addition to tools we buy, many artists enjoy creating tools, or modifying tools to make
them especially useful for the task at hand.

Bench Tools
A jewelers sawframe with assorted blades is a
useful tool to cut wire, trim away excess, clean
up seams, and cut sizing plugs.
An awl is handy for making starter holes for
drilling, and for flaring tube rivets.
An automatic center punch creates a starter
point for drilling holes.

Steel punches can be used along with a hammer to move a thick bezel, for instance when
setting a stone into a thick-walled bezel after the
piece has been fired.
Burnishers have several functions in stonesetting. A rocking motion with a curved burnisher
will push a bezel over a stone. Burnishers come
in many shapes and sizesuse the one most
appropriate for the area being worked.
A ruler with metric and inch measurements is a
must.
A machinists square (also called a try square) is
great, especially if you are working with square
stones or making boxes with square corners.
Dividers are useful for comparing distances
and retaining measurements.
A sliding caliper is a fast way to measure stones,
burs, bits, and metals. A simple version shows
size with a mark on a ruler. More sophisticated
versions have either a digital readout or a dial
that shows the reading.
A bench plate or bench block is nothing more
than a piece of steel that is used as an anvil at the
jewelers bench. Commercial versions are hardened and polished (which is nice) but in fact
any block with flat surfaces will do.
17

Popular handtools mentioned on previous page. Clockwise, from upper left: sawframe, bench block, graphic templates, awl,
sliding calipers, automatic centerpunch, ruler, dividers, burnisher, machinists square, stamping punches.

Gemstone and graphic arts templates are handy for initial design work and for laying out the
locations of stones.

Tweezers
Tweezers come in an array of styles and sizes, from
long, to short, curved to angled, and sharp to
blunt. Most are made of stainless steel, and some
have other materials on the tips or handles for
specific tasks.

Cross-lock, straight,
and curved tweezers
all have their own feel
and uses.

18

I recommend these tweezers to fill out a complete

tool kit:
multi-purpose fine point and medium
point straight tweezers.
fine point and medium curved tweezers.
straight and curved cross-locking tweezers
with a fiber handle for soldering.
curved copper tongs for pickling.
grooved tweezers for handling stones.

Hammers and Mallets

For cold connection stonesetting methods, there
are three basic types of shaping hammers that
come in handy.
A rivet hammer is a delicate tool with one flat
face and one wedge-shaped cross-peen. Besides forming rivets, this is useful for light
planishing and creating textures.

to close prongs over the stone. The ones I find

most useful for metal clay work are pictured here,
but of course youll need to experiment to determine which work best for you.

Here are some of the most common hammers and mallets.

From the top: rawhide, plastic, chasing, ball-peen, and rivet.

A ball-peen hammer (also called a machinists

hammer) has one flat face and one round
peen. It is used for shaping rivets and texturing
the PMC.
A chasing hammer is designed specifically for
tapping small punches. It has a broad face, a light
weight, and a handle that lends itself to hours of
comfortable use. It is also handy for making rivets, for texturing, and for light shaping.
Mallets are used to move metal without
marking it. The most common variety is made of a
coil of rawhide, though other versions are made of
plastic, rubber, or wood. You probably wont need
more than one, and the choice is simply one of
personal preference.

Pliers
Pliers are useful for bending and shaping metal, as
well as for assembling jewelry components, for
instance when adding jump rings to necklaces or
bracelets, or putting earrings onto earwires. The
most commonly used styles are chain-nose,
round-nose, and flat-nose pliers. There are also
several kinds of specialty pliers designed specifically for stonesetting. Some are used to open
prongs in order to remove a stone, some are used

The shapes show the cross sections of the most popular pliers:
chain-nose, flat, round-nose, and ring forming.

Wire Cutters
Wire cutters, also called snips, are used to cut
prongs and bezel wire to size. There are many
kinds and styles of cutters, and most come in several sizes. I prefer the 5 inch side cutters for
metal clay work.
Wire cutters are commonly available in three
blade types, each making a different cut.
Super-flush cutters create a flat cut that requires the least amount of filing, sanding, and
finishing. There will be only a very small
raised point at the end of the wire.
Flush cutters give a nice cut, but the raised
point will be more pronounced. These are
more durable than the super-flush cutters.
Bevel cutters are the strongest and least expensive of the three types. They leave a noticeable point at the end of the wire that requires a bit of finishing.

19

reach areas. They are typically about 6" long

and have a cutting surface of an inch or less.
Escapement files are basically miniature needle files, which makes them useful for really
tight, detail areas. Because of their fine cut,
they can create a delicate finish that resembles
a sandpaper surface.
The shape at the left is called a wire cutter, side cutter, or snip.
They are sold in many sizes, and should match the scale of
work you do. The tool on the right is called an end cutter.

I have two sets of files of various sizes and

shapes, one set dedicated for use on PMC before
firing, and one set to be used on PMC after it has
been fired. A stiff brass brush (the kind found at
the local hardware store) is good for cleaning the
files when they fill with PMC dust.

This sketch shows the three kinds of cutting surfaces you will
find in snips. The first is the most common, the cheapest, and
the one that leaves the roughest end. The other two are styles of
flush cutters, which means they leave one end of the cut with a
square or nearly square tip.

Files
Files come in many sizes and shapes, and like
tweezers, it is helpful to have a full selection at
hand. Larger files are described by the length of
the toothed section, while smaller files, called
needle files, are described by their total length.
Files are available in several grades of coarseness, the most common being #0 (the roughest),
#2, and #4. Diamond files come in grits ranging
from 140 to 400.
Needle files, miniature needle files, and micro
needle files range in overall length from 4" to
8", with cutting surfaces from 1" to 4" in
length. These files are usually sold in sets of
twelve various shapes, but they can also be
purchased individually.
Riffler files have shaped ends that are usually
curved which makes them handy for hard-to20

Needle files, rifflers, and escapement files are useful for delicate
shapes and surface adjustments.

Deb Fitz
Fine silver, carnelian, agate
1" diameter

Setting Tools
Bezel and prong pushers, as their names indicate,
are used to push metal bezels and prongs over a
stone to hold it snugly in place. These pushers can
be flat to press bezels and prongs, or grooved to
press prongs.
A bezel roller is a tool with a curved edge that
is used with a rocking motion to push the bezel
onto the stone. These have larger handles than bezel pushers and therefore provide more leverage.
The curved end of an old toothbrush handle
works well as a bezel pusher, especially when setting soft stones that might be scratched if the tool
slips.

Specialty burs are very helpful when setting

stones into dry metal clay or after firing. The type
of setting and personal preference come into play
here, but typical would be setting burs, Hart burs,
inverted cone burs, and cylinder burs.

These are the most common burs used in stonesetting. From

left to right: setting, Hart, inverted cone, and cylinder.

Soldering Tools

A bezel pusher is a simple and effective tool with a squat handle and a
steel or bronze rod with either a flat
or notched face.

The tools and equipment for soldering PMC are

much the same as those used for conventional
metal soldering.
Torches range from small handheld models
like a butane pencil torch or Bernz-o-Matic on
a stand, to larger and more powerful oxygen/
acetylene or oxygen/propane models. For
metal clay stonesetting work, the handheld
butane torch will handle most jobs, but a propane torch might also be useful.

A toothbrush handle
and a traditional steel
bezel roller are other
tools used to press a bezel over a stone.

For convenience and low cost, its hard to beat a compact butane torch. For larger or extended work, the acetylene/air
torch shown lying down here is a popular choice.

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 There are many kinds of surfaces that can be

used for soldering, including Solderite boards,
charcoal blocks, ceramic pads (some with
honeycomb surface), and cordierite board
(some with grooves, some with rubber feet).
A tripod with firing screens is useful to raise
the work in order to heat it from underneath.
Soldering picks are nothing more than a wire
in a wooden handle. Some are steel (a coat
hanger will do) but other versions come with
tungsten or titanium tips. Tungsten can withstand higher temperatures than the titanium
tips, which is useful in working with platinum.
For metal clay work, titanium picks work well.
I prefer a tool with a wood handle because it
remains cool during use.

Finishing Tools
Abrasives are used to shape metal clay before firing, and then to refine edges and surfaces after firing. Abrasives are available in a dizzying range of
media, shapes, and styles. The most popular are
silicon carbide sandpaper, sanding sponges, sanding sticks, and polishing papers. In recent years,
metal clay artists have found new uses for manicure boards. I wonder if the manufacturer knows
why sales are up? Maybe, like me, youve had the
thrill of going into a beauty supply store and wanting to explain our peculiar use of their Salon
Boards. These come in a variety of grits and can be
used to refine and finish metal clay after it has been
fired.
A soft bristle wire brush, either brass or steel,
makes short work of polishing detailed PMC
pieces to a satin or brushed finish. The brass brush
can be used under running water along with a
touch of polishing compound such as pumice or
dishwashing liquid.

Three time-tested soldering surfaces are a charcoal block, a soft

firebrick, and a steel tripod, usually used with a screen on top.

A properly equipped soldering station will

also include a striker, flux, flux brushes, and
some of the tweezers mentioned earlier. For
details of these materials, consult a metalsmithing text.
The PMC firing station will include a spatula
for removing work from the kiln, work gloves
to protect your hands, and support media
such as firing tiles, vermiculite, alumina hydrate, or refractory wool.

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Whether steel or brass, lubricate the burnishing action with

soap and water.

Power Tools
The flexible shaft machine (flex-shaft for short)
is a valuable motorized tool for any metalworking
studio. It doesnt take long to hand finish PMC,
but there are times when the efficiency of the flexshaft comes in handy. Bristle polishing disks and
steel and brass brushes work well on fired metal
clay. They also work quickly, so take care not to
wear the design away. Always use protective goggles and a dust mask
when using the flexshaft machine. Other
uses for the flex-shaft
include drilling holes
and cutting notches
into prongs.
A flex-shaft is used for
drilling , grinding, and
polishing.

A tumbler is a machine with an electric motor that automates the burnishing process. To get
the best results from your rotary tumbler, fill the
barrel at least half full with tumbling medium (details below), add the metal clay pieces, fill the barrel with just enough burnishing liquid to cover the
contents. Seal the barrel tightly with its lid, then
tumble for about two hours. The barrel should
never be more than three-quarters full with everything in it. The time will vary depending on the
design of the tumbler, the size of the load, and the
effect you want to achieve. Check frequently to
catch it at the right stage.
Tumbling media are available in many materials, shapes, and degrees of coarseness. Most
metal clay artists use the tumbler to duplicate
hand burnishing, and this is best accomplished
with steel or stainless steel shot. Stainless steel shot
is preferred because it is easier to maintain. If you

opt for the less expensive carbon steel shot, just be

careful to prevent it from rusting. If properly cared
for, the results of the two are identical. Most people use a mixture of shot with a variety of shapes.
When the tumbling process is complete, rinse the
shot thoroughly with clean water. If you will use
the tumbler again soon, cover carbon shot with
water to prevent exposure to air and the rust that
will form. For longer storage, spill the shot onto a
towel and dry it with a hairdryer.
Porcelain ceramic shot, used along with a
burnishing solution, will produce a beautiful satin
sheen. For best results, it should be seasoned by
tumbling it for about 12 hours before using with
finished metal clay pieces.
All tumbling should be done with a liquid
media. In a pinch, use water with one to two drops
of dishwashing liquid (the kind with the least
amount of added fragrances and chemicals), but
proprietary solutions deliver more consistently
clean results. These are usually sold as concentrates that are mixed with water as needed.

A basic but very workable rotary tumbler.

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