Setting the standard: Tips for stunning setting work

by carly_midgley | May 3, 2018 8:40 am

By Patrick Dacko

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Setting has become an integral part of jewellery making. From the simplest set styles to today’s extremely precise pavé techniques, the importance of stone setting cannot be emphasized enough. I became a setter because I love the meticulous nature of the work, the problem solving, and the extreme care and preparation that go into making a superb piece. The result is always rewarding and beautiful.

My experience studying under European masters gave me a unique understanding of how setting work is done, how complex problems are approached, and the importance of adherence to the process. From my time spent in these workshops, it appears this last factor—process—is the most important aspect of setting. It is vital to understand how to prepare an item for setting and what to expect when you receive the final piece.

Preparing with precision

How an item is prepared for setting is intrinsic to how its eventual beauty and craftsmanship turn out. Just as with manufacturing, following certain rules allows the job to be seamless, and this results in a better finished piece. Technology has simplified the pre-work for jewellers; most of the rings I work on are 3D printed using computer-aided design (CAD): a design turned into a mathematical model. CAD allows one to lay out the stones and use specific dimensions; as a result, one can create intricate designs and achieve highly precise setting work.

However, one must carefully look at each step to ensure the original intent is still present. As an example, are the edges rounded or sharp? Are dimensions consistent and symmetrical? Is there enough metal for certain types of setting work (fishtail versus bead setting)? These kinds of simple oversights can be avoided if all the different manufacturing elements work together. Another key component of setting work is the measurements of the stones supplied; they should be calibrated with utmost precision and checked for flaws and symmetry.

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For precise pavé work, calibration is extremely important. I would recommend diamond calibration to a quarter sieve plate for ideal results. This is the easiest way to ensure diamond sizing matches the setter’s round burr size. As an example, if one would like to use 1.5-mm (0.059-in.) diamonds, for perfect results, the tolerance should be 1.475 to 1.525 mm (0.058 to 0.06 in.). This type of tolerance allows for better layouts and minimizes stone breakage; quite simply, it contributes to ensuring better workmanship.

Elements of style

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Our workshop specializes in micropavé, following guidelines that allow creation of complex pieces. They start with a simple principle: proportions based on stone sizes. This ensures even the most basic styles, such as bead setting, use proportions to define cutting depths and thickness. This in turn allows a designed piece to stand out. Fishtail technique is one example where diamonds are accented visually by proportional cuts; an illustration of these effects can be seen in the fishtail photo on page 78. Personally, I love setting styles that push boundaries—together with a designer, one can accomplish something truly magnificent.

Three-sided pavé is an example of an advanced setting style that has been gaining popularity. Here, diamonds are set very closely on all three sides of a shank, making the ring’s metal surface disappear. This style is utilized easily on an eternity band, but its intricacy can be applied to various forms. Using this to set an entire halo and shank of a ring, its under-galleries, or prongs, or to create earrings that sparkle from every angle, are simple examples. Adding stones to three sides of any traditional element of jewellery (assuming it is technically viable) will refresh and enhance its look.

The setting work or style should accent the design of an item. For instance, using a bright cut on a simple halo can give it a bolder statement. The fluidity of metal is highlighted, creating a beautiful dance of light the eye can follow as the piece is moved. Current design trends emphasize making jewellery as delicate as possible, and various setting styles match them. French-style pavé and fishtail setting are two of the most popular.

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Depending on how bold the item design is, it is usually best not to mix setting styles; one example is French-style pavé on the shank of a ring, with bead setting around the halo of a centre stone. Each setting style creates continuity and rhythm within an item, giving the viewer a sense all elements contribute to its unity. This is obviously not a set rule, but it should be a consideration when designing the look of an item.

Checking it twice

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The quality of our work is expressed in the details we pay attention to as well as our trust in the abilities of our surrounding team of people, who ensure each step is done with care, precision, and patience. As a team, we go through the setting process, checking throughout to confirm all steps were done properly. Now, at the end, it’s time to look it over once more. The details must be checked to ensure the setting has been done well and the piece is exceptional. Here are some simple things to consider, even if you might not be a setter yourself.

1. It is important to check the tables of the pavé work, no matter their size. The stones should be relatively at the same height, calibration permitting. The diamond tables should also all be set parallel to the metal surface.
2. The cutting or milling done by the setter should be consistent and reflect light smoothly.
3. The edges of the ring should be of a consistent thickness all the way around, unless the design does not permit it.
4. The centre stone setting will largely depend on its style of mounting. In a solitaire, the stone’s table should be parallel to the top of the finger; in a mount that has an under-gallery, I usually set the girdle parallel to the under-gallery, or in line with the surrounding halo. Exceptions to this rule exist, as certain stones are cut for colour and weight. The girdle and table often sit at odd angles and depend on the stone-specific geometry, which may not be perfect. In this case, it is one of the roles of the setter to minimize the visual effect of such imperfections.
5. The claws must sit entirely down onto the stone, with no gap at their tips.
6. Flanges must be cleared and not present at delivery.
7. To make an unsymmetrical stone look symmetrical is one of the hardest things to accomplish. You must always evaluate the look of the stone from the top, checking its cross-sections are facing north, south, east, and west. The amount of manipulation allowed is based on inclusion, positioning, and quantity, as well as the stone’s hardness and toughness.

An ever-evolving industry

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As we look to the future, one significant development to keep in mind is machine setting, a technique that has been shown at many recent trade shows. It is becoming increasingly important for jewellers to ask themselves whether strategies like this will become more common in the near future. Will they replace a human touch when it comes to making setting decisions?

Machine setting could diminish the labour cost of manual pavé on simple, regular jewellery forms like rings. However, it probably imposes even stricter requirements on stone dimensions and regularity, as the machine lacks the human touch, which can compensate for a lot of imperfections of the product and stones.

Another discussion will be about trends. I believe simple stones set on the shoulders will no longer be small, but will be more than 1.3 mm (0.051 in.) in diameter, and less micro will be done in general. One of the reasons for this is setting large quantities of small stones makes jewellery items more expensive due to labour costs. Therefore, when micro is asked for, I believe the expectation will be to pull off something exceptional and very precise—something that seems almost engineered.

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Stone setting—and pavé setting in particular—is a key element of the jewellery creation process and a major attribute of the final product. Whether you are setting large, very expensive coloured stones or creating high-quality micropavé, the process requires mindful preparation from all participants in the development process and, at the end, the skillful work of a setter supported by good equipment and tools. All these contribute to the final impression and quality of a piece.

The author would like to sincerely thank Murtaza Ali, GIA, G.G. (from Al Joher), for his time and support, and Arthur Graham for his photography.

[8]Patrick Dacko has been the owner of Toronto’s Atelier Dacko since 2016. He is a member of the Canadian Jewellers Association (CJA) and specializes in creation and setting of high-end pieces. College-educated in jewellery, Dacko apprenticed under Daniel Piechula in Regensburg and holds diplomas in setting from Jura’s school. He started his apprenticeship in Toronto at Platinum Unlimited. Dacko also works with local jewellery designers and manufacturing firms. He can be reached via e-mail at patrick@atelierdacko.com.

Source URL: https://www.jewellerybusiness.com/features/setting-the-standard-tips-for-stunning-setting-work/

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