freeformbezel

Freeform Bezel Setting for a Designer Cab I wanted to set large designer cabs in bezel settings and preferred the look of a recessed bezel. This is the technique I worked out to get the look I wanted. This tutorial assumes a basic knowledge of metal clay technique. If you are a beginner please check out my resources page for more information about PMC.
25 gm PMC3 PMC 3 paste designer cab shaping tools - roller, cards, tissue blade, paint brushes, needle tool needle files flush cutters olive oil 10 mm rod 4 mm rod 999 fine silver quality stamp casting investment polymer clay sanding sponges wet dry sandpaper - 800, 1000,1500 and 2000 grit 3 M polishing papers sunshine cloth liver of sulphur 28 gauge 1/8" x .013" fine silver bezel wire emery boards finishing tools - wire brush, burnishers or tumbler Stone setting tools - stone pusher and curved burnisher easy solder handi flux butane torch particle mask vermiculite kiln shelf kiln
	First lets make the bezel and investment spaces for our stone. Wrap the bezel wire loosely around the stone and cut at the point where it overlaps.
	I soldered my bezel wire closed. You can use PMC3 paste to join and fire in a kiln or with a torch if you prefer, but I personally have better results soldering with these large bezels.
	Check the fit - the stone should fit loosely in the bezel.
	Roll out some polymer clay about 6 cards thick. Set the clay on a small dish and the set the bezel on the clay and push down gently until there are no gaps between the edge of the bezel and the clay.
	Mix up a small amount of casting investment and pour into the bezel...
	...until it reaches the top. Set aside to allow it to set up.
	After the investment has set up, remove it from the polymer clay and set it aside to dry completely. Bonus hint: if you just need an investment spacer the shape of your stone use a small piece of tape to close the bezel wire instead of soldering it. After the spacer has dried you can remove the wire (the bezel wire can be used again for another spacer or to make a bezel for another stone).
	After the spacer has dried, paint a little PMC3 paste over the soldered joint and allow to dry. This will keep the joint from discoloring or coming apart in the kiln.
	Now lets work on the design for our pendant. I traced the stone on a piece of paper and then drew the backplate design around it. I used a copy machine to enlarge the drawing by 20% (I have found that when I fire at 1650 for 2 hours my shrinkage is about 20% with PMC3. Your shrinkage may vary so you might need to experiment a bit to get the exact % for your set up). Make another copy of your enlarged design.
	Cut out the center portion of one of the designs....
	...and place on PMC3 that has been rolled out 3 cards thick.
	Cut out the design in the clay using a craft knife.
	Roll out some more clay 2 cards thick and cut out the second design. Allow both pendant parts to dry to leather hard stage.
	We're going to make an unusual bail - you'll see why later :) Roll out some clay 2 cards thick...
	... and cut it to measure .75 x 2 ", slightly rounding the corners.
	Place a piece of teflon sheet on a small tray and arrange lightly oiled rods as shown.
	Push the clay gently into the gap between the two rods (I've used the round end of a drill bit to push it down evenly).
	It should end up looking like this. Allow to dry to leather hard stage.
	Remove the bail from the rods and refine the shape with an emery board.
	Using emery boards and a curved file, refine the shape of the pendant top.
	Place PMC3 paste on the back of the pendant top layer and moisten the edges of the front side of the pendant backplate...
	...and set the top layer on the backplate, pressing down gently. With a paintbrush, run a bead of water around the clay where the edges meet. Allow to dry.

	Sand and add a quality mark to the back.
	Sand the edges smooth.
	Sand the front - I want a mirror finish, so I sanded with 800, 1000, 1500, and 2000 grit paper in order to get it very smooth.
	I'm going to add a few etched lines onto my pendant to give it a bit more interest. I draw them on with a pencil...
	...and then etch them in using a craft knife.
	Add the bail to the pendant by placing PMC3 pate on the back of the pendant and on the bail.
	Set the bail on the pendant and press down gently. Add a signature circle in the same manner if desired.
	Support the pendant in a bed of vermiculite on a kiln shelf and center the investment spacer with it's bezel wire in the center of the hole. Fire at 1650 degrees for 2 hours. Carefully remove the pendant from the kiln and quench in water (the investment will dissolve at this point).
	I have two problems to fix on my fired piece. A large blister has formed in the upper right half. I will use my dremel with a burr attachment to smooth that down. And there are some small gaps between the bezel wire and the pendant front. I will fill these with PMC3 paste...
	...and also run some paste around the inside edges of the bezel, allow to dry and then fire again for 1 hour to firmly attach the bezel to the pendant.
	Sand with sanding sponges, followed by wet/dry sand paper and then finish with polishing papers to achieve a mirror finish. I patinated with liver of sulphur to highlight the etched lines and then polished again with a sunshine cloth.
	Now I want to check the fit of the stone. I'm going to place a small piece of dental floss over the bezel. This will keep the stone from getting stuck and help me remove it later.
	I decided that I want the stone to be a little higher in the bezel. I find that with larger stones it is easier to raise the stone than to file down the bezel, so...
	...I draw the outline of the stone on some paper toweling. OK - I know that sounds weird. I read in an old book on jewelry making that some jewelers would use pinches of sawdust under the stone to raise it. I found that a paper towel* served the same purpose nicely.
	I've used 3 layer of toweling to get the stone to the height I want.
	I check the fit again...
	...and set the stone with a pusher. Go around several times, pushing the bezel gently against the side of the stone and then smooth the edge of the bezel wire against the stone with a curved burnisher.
	Here's the reason for the funny little bail. I want to hang my pendant on a two stand heishi necklace that has large silver cones. I would have had to make a huge bail to go over them. This way I just slide the heishi strand under the edge of the bail and up into the rounded top portion. And now it's time to...
Sit back and admire your work.
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