Fundamentals of jewellery.pdf

UNIT 1 INTRODUCTION & IMPORTANCE OF JEWELLERY COMPONENTS INTRODUCTION TO JEWELLERY COMPONENTS Components of jewellery refer to the various trims and findings used to construct and complete the design. These components are - Links & Joints Clasps & Fittings Gemstone settings Chai...

UNIT 1 INTRODUCTION & IMPORTANCE OF JEWELLERY COMPONENTS INTRODUCTION TO JEWELLERY COMPONENTS Components of jewellery refer to the various trims and findings used to construct and complete the design. These components are - Links & Joints Clasps & Fittings Gemstone settings Chains Multifunctionality mechanisms (if any) Accent Elements and more. A thorough understanding of these components and their technicalities will help in choosing the right ones as per design requirements. Understanding the various jewellery components will help in determining the flexibility required in the jewellery design, the type of gemstone setting to be used, the function of the jewellery piece, type of fastening to be given, any multifunctionality mechanism to be added, the suitable type of chain to be added and so on. Furthermore, these components can be chosen in such a way that they completely blend with the design creating harmony or can be designed exclusively for a particular jewellery piece adding to its aesthetic value. With plenty of options, there is a huge scope for design customisation as well. Types of Links & Joints: U - wire Hinge Rivet Line Ball & Bar Ring & Bar Ball & Socket Types of Clasps & Fittings Box Clasp Invisible Clasp Tube Clasp Lobster Claw Clasp Toggle Clasp  Spring - ring Clasp Hooks (S hook, U hook, J hook) Mystery Clasp Bayonet Clasp Types of Gemstone Settings Prong Setting Bezel Setting Pave Setting Channel Setting Cluster Setting Flush Setting Pressure Setting Tension Setting Invisible Setting Bar Setting Illusion Setting Types of Chains Bead Chain Byzantine Chain Box Chain Cable Chain Curb Chain Figaro Chain Rope Chain Rolo Chain Snake Chain Trace Chain Singapore Chain Wheat Chain  UNIT 2 TOOLS & EQUIPMENTS USED IN THE MAKING OF JEWELLERY Tools and utilized while making jewellery for various purposes such as Cutting, Sawing, Filing, Measuring, Hammering, Drilling, Soldering, Polishing etc. Measuring Tools: 1. Stainless Steel Ruler: A steel ruler comes with both imperial and metric measurements and is an invaluable tool. 2. Scales: they are used to weigh the metal and measure the carat weight of gemstones. 3. Calliper: A calliper is a small spring instrument that measures anything under 4 inches (100 mm). 4. Dividers: A pair of stainless steel dividers are used for many types of measurements. They can be used for making the same measurements multiple times. Eg. marking the wire for cutting pieces of equal lengths, measuring diameters and lengths accurately, drawing parallel lines on the metal, and many other drawing applications. 5. Ring Mandrel: A ring mandrel is a tapered, usually aluminium mandrel, used for measuring ring sizes, with intervals marked A-Z that correspond to ring sizers. 6. Ring Sizers: A ring sizer is a set of rings marked from A-Z that are used to measure fingers if a ring has to be made to a specific size. Cutting Tools: 1. Saw Frame: A saw frame is used with a saw blade for cutting out metal sheet and cutting through wire and tubing. A 6 inch wide saw frame is good for cutting wider pieces of sheet metal. 2. Saw Blades: Saw blades come in different sizes, for cutting very thick metal and very fine ones as well. These blades are used with the Saw Frame. 3. Snips: Snips are useful for cutting up solder strips, thin metal sheets, and wire. 4. Tube Cutter: A tube cutter is a small handheld tool used to hold tubing, with an adjustment facility that allows you to cut off pieces of equal lengths. Bending Tools: 1. Round - Nose Pliers: They are used for making individual circles or jump rings. The wire is held between the two ends and wrapped all the way around then cut through to make a circle. 2. Parallel Pliers: Parallel Pliers are used to straighten out metal sheet and thick wire, for holding pieces of metal level for filing and for closing thick rings. They come in flat and round versions. 3. Tapered Flat Pliers: Tapered Flat Pliers have a flat inside face and taper to a blunt pointed end. They are used to close awkward or small jump rings and hold other small items. 4. Half-Round and Round/Flat Pliers: Half Round and Round Flat Pliers are used for bending wire and metal sheet into a circle without leaving marks. The flat side is held against the outside of the curve, and the round side is used to make the curve on the inside. 5. Flat - Nose Pliers: Flat - Nose pliers come in a range of sizes and are used to bend sharp corners in wire and metal sheet, and for holding things flat, straightening wire and closing jump rings. Files and Needle Files: 1. Flat file: Used to file flat surfaces, filing between joints to be soldered, edges and outside curves. 2. Half Round File: for inside curves and edges. 3. Triangular File: Used for filing around the top edges of bezels, grooves for right angles, and other difficult edges. 4. Square File: Used for making right angles true and filling inside areas. 5. Knife: with one thick edge and one thinner edge, it is used for getting in between small areas. Polishing Tools: 1. Polishing Wheel: A polishing wheel is an electric motor with a horizontal shaft. Polishing mops and brushes can be screwed onto the shaft and polish or liquid soap applied to them. There should be some extraction in the workspace because the polish can be rather dirty and create a lot of dust. 2. Buffing Wheel: The round buffing wheel which is made from calico, can be of different widths. It is screwed onto the shaft of the polishing wheel and charged with the appropriate polish. 3. Stainless Steel Wheel: A stainless steel wheel has lots of fine blunt steel pins that give a satin look to the metal surface. No polish is required with this wheel. 4. Lambswool Buffing Wheel: A Lambswool or muslin buffing wheel is very soft mop used with the last coat of ‘rouge’ polish.  5. Wet & Dry Papers: Wet & Dry papers come in varying degrees of abrasiveness, from very rough to very fine. 6. Burnisher: A burnisher is a polished stainless steel tool that is rubbed firmly against metal edges to give a high shine. Polishing bars: 1. Tripoli Bar - A brown bar used at the first polish 2. Green Bar - A green bar is used as a general purpose polish. 3. White Diamond - A white bar is used to give a high polish. 4. Rouge Polish - Rouge polish is used for the final polishing. Holding Tools: 1. Bench vise: There are 2 types of Bench Vises. One is quite small, able to turn in all directions, and has ‘safe’ plastic jaws. The other is a more heavy-duty vise, which is used to hold stakes, mandrels and draw plates.both types should be permanently fixed to the bench. 2. Ring Clamps: Wooden handheld clamps with leather pads are used to hold rings safely, without damaging their shanks while stone setting. Soldering Tools: 1. Soldering Stand: The base for a soldering area should be a steel plate of some sort. This could be a specially made piece of stainless steel. On the steel base, place a revolving soldering stand. This allows the craftsman to turn the work around slowly as he is soldering, making it easy to see as the solder flows and to check it has all run. 2. Torch: A torch is used to heat the metal to annealing temperature, for all soldering, or for melting metal for casting. There are several types of torches. 3. Insulated Tweezers: Insulation Tweezers are tweezers with insulation on the handles designed to withstand heat. They should be squeezed together to open them. They have either straight or curved ends, which makes them useful for holding pieces together when soldering. They should never be placed in acids or pickles. 4. Quenching Bowl: Place a toughened glass bowl of water close to the soldering area. Use a pair of insulated tweezers to “quench” the work in this water after it has been soldered or annealed. 5. Soldering Block or Firebrick: On top of the soldering stand, place a soldering block or firebrick, or a charcoal block, but there is more reflective heat from charcoal. Use charcoal very sparingly, to minimise any negative impact on the environment.  6. Soldering Wig: A soldering wig looks a little like a wire bird’s nest. Place articles to be soldered on the wig, which will help to distribute heat around them evenly. The wires can be moved to form different supports. 7. Borax and Dish: The borax cone is dipped in water and rubbed around the dish to make a whitish flux paste. The paste or flux is placed in and around a joint before soldering. Borax is one of several available fluxes. 8. Titanium Pick: A titanium pick is used to encourage solder to flow around a joint by drawing it along as the solder is flowing. It can also be used to place solder pallions onto the work as it is being heated up. 9. Binding Wire: Steel binding wire comes on a reel and is supplied in light, medium and heavy weights. It is used to hold pieces together when soldering and for measuring ring and bracelet lengths. It should always be removed before the article is placed in the pickle. Drilling Tools: 1. Center Punch: A center punch is a little metal tool very similar in shape and size to a pencil. One end has a sharp point and the other is blunt and flat. The point is used to make a mark in the metal where a hole is to be drilled. The blunt end is struck with a hammer. 2. Hand Drill: This is a hand-held drill, no longer than the palm of one’s hand. Hand drills can hold different size chucks to allow for many different size drill bits from 76 gauge(0.5mm) upto about 32 gauge (3 mm). 3. Flex Shaft Motor: A Flex Shaft motor is attached above the workbench, and has a flexible driveshaft. Anything from small drills, abrasive cutters, grindstones, polishing wheels, felt brushes and muslin mops can be fixed onto different sized collets or mandrels, making it a very useful addition to the tools collection. Forming Tools: 1. Stakes: Stakes are shaped metal formers. They are used mainly by silversmiths, to raise and forge metal sheets when making larger pieces and vessels. 2. Dapping Block: A dapping block is a brass or metal cube with different size half-spheres moulded into each side. It is used to form round metal discs into domes. 3. Dapping Punches:Dapping Punches are shaped to fit into each different size of half-sphere in the dapping block. They can be of wood or steel and are placed on the top of the metal disc and hit with a hammer or a mallet to form the dome. 4. Swage Block: A swage block is a metal block with semicircular lengths moulded through both sides. The handles from wooden or metal dapping punches are used to shape the metal. 5. Mandrel: A mandrel is a tapered steel or wooden former that is used to shape the metal. Mandrels can be round, oval, square, teardrop, or hexagonal in cross section. 6. Bezel-Forming punches and blocks: These are similar to dapping blocks and punches but they are used to form a cone shape, for setting faceted stones. They can be round, oval, rectangular, square, hexagonal and other shapes.  UNIT 3 JEWELLERY FINDINGS TYPES OF LINKS & JOINTS Links and joints make it possible for jewellery to move and to be worn on clothing or the body. These articulated elements allow jewellery items to move in one or more directions. They can be both functional and decorative, but it is important to create them to withstand the stress of daily wear. Of all the fabrication processes in jewellery making, it is most important to invest the time and effort to make models and practice pieces of all types of mechanisms. After creating a practice piece, any design flaws or wearability issues can be corrected before creating the final jewellery object. These mechanisms fall into two general categories: hinges or linkages. Hinges are one of the most beautiful and the most difficult mechanisms to fabricate in jewellery making. They are joints that move in one direction and can have a wide or narrow range of motion. Linkages are joints that can move in two or more directions and typically have a wide range of motion. Hinges Hinges are two-sectioned mechanisms joined by a pin or rod. Interlocking sections of tubing are joined to each of the two parts and the pin is inserted into the tubing. The pin allows the hinge parts to rotate toward and away from each other. The sections of hinge tubing are called knuckles and typically, three or another odd number are required to allow a hinge to work properly. Knuckles are soldered onto the piece so the larger number is on the heavier part. Ball and Socket Linkages Ball-and-socket linkages allow sections to move with the greatest range of motion. They can be hot- or cold-connected, but the size of the ball or other terminating feature relative to the socket is what determines the movement of the joint. Slot and Tab Linkages Slot-and-tab linkages allow movement in one or two directions. Tabs can be permanently attached or inserted into shaped slots that allow the jewellery object to be opened and closed by twisting or turning it at the linkage. Gravity secures the closure of the linkage in this style of mechanism. Hook and Loop Linkages Hook-and-loop linkages are the main connection style for necklaces and chains. Toggles, keyhole catches, and fishhook catches fall into this category; again, gravity keeps them closed. U Wire Linkages This is the most common type of link used in solitaire necklaces​. ​A U-shaped wire is passed through the collets such that each collet is linked to each other.​ This simple system restricts movement to horizontal flexibility and is suitable for joining stone settings of various shapes.​ Rivet Linkage A rivet is used when the pieces of jewellery are not to be soldered.​The two pieces that have to be joined together have holes drilled in them one piece is supposed to slide into the other, in a way that holes come into line then a metal rod is passed through the holes, joining the two pieces together.​ This system can be restrictive unless some spacing is incorporated into the joint.​  TYPES OF CLASPS & FITTINGS The first requirement of all clasps is that they secure neckpieces and bracelets in such a way that they will not fall off the wearer. Once this is accomplished, there are other concerns that should be addressed. A clasp is a component of the entire design of the piece of jewellery, and should relate to the rest of the work. In some cases this is a matter of making the catch unobtrusive and in others the catch may be emphasised as a decorative element. The catch must be designed and placed so the wearer can operate it without difficulty. The maker (whether goldsmith or factory) would like the catch to be simple to make, if possible. It is also an advantage if the design of the catch allows for easy adjustment. It is unrealistic to expect a single “ideal” catch that can fulfil all these expectations. For this reason, the history of jewellery has several categories of catches with countless variations in each style. Spring rings and box catches are the most common closures used for chains and bracelets, perhaps because they lend themselves to inexpensive mass production.These catches have become so familiar that they are often used without consideration to how they fit into the whole design of a piece. Some goldsmiths even use mass produced catches in their creations when competing in competitions! This is regrettable because failure to consider the catch as an integral part of the design can diminish an entire piece. Making catches requires a high level of skill, but the rewards, in both technical and aesthetic satisfaction, make the effort worthwhile. The following examples should only serve for inspiration, and may need to be altered for your particular use. It is part of the creative process when designing and drawing the piece to create the most suitable catch and to incorporate it into the entire design of the work. Hook Clasp It would be difficult to imagine a catch more basic than a hook. The basic shape is easily bent up from round wire. The free end of the hook should if possible be long and bent around so that it sits tightly against the jump ring. The opposing jump ring should be large enough that the hook just fits through it. The security of a hook depends on the tensile strength of the material used to make it. A hook made from thin annealed copper, for example, will simply not stand up to normal wear, no matter how beautifully fashioned it is. Hooks also work best when they are under some tension. In the case of a necklace catch, the weight of the pendant will keep the chain pulled taut, making the hook secure. When a chain is hanging loosely, as is typically the case in bracelets, it is necessary that the hook and ring snap tightly together. Spring Ring Clasp The spring ring clasp is perhaps the most familiar of all necklace closures. They are commonly used on inexpensive chains though they are also seen on expensive pieces. Of course it is possible to make spring rings by hand, but the high quality and low cost of machine made versions make this unnecessary. Every spring ring has a small jump ring by which it is attached to the chain. This is soldered onto the loop during manufacture, but arranged so its joint remains open. When the chain is connected this ring remains unsoldered because the heat of soldering would destroy the springiness of the catch. Where added security is needed – as in the case of a particularly expensive pendant – the connecting ring can be sealed closed with a low-melting tin-based solder. Wear on a spring ring usually occurs at the attaching jump ring. Though it is possible to remove the spring and repair the ring, this is usually not worth the bother. The rings are cheap enough that it is more efficient to remove the worn clasp and replace it with a new one. Spring rings should never be placed into pickle because the steel spring causes an ion exchange that will cause copper flashing (plating) on the work. If the chain needs to be pickled it can be hung into the bath in such a way that the clasp is not immersed, or the clasp can be removed. Bayonet Clasp This clutch mechanism, named after its application in securing a bayonet onto a rife. The rod is inserted into a tube-like sleeve so that its small projecting pin enters a slot in the side of the tube. The rod is pressed against a spring, rotated, and recoils to seat the pin in the end of the track. A bayonet catch showing the interior spring that keeps the closure under tension. The inner rod can be made of solid wire or a tube that has been capped on both ends, depending on the size of the catch. It is matched with a sturdy tube into which it makes a snug fit. The tube is capped at one end and a jump ring is attached there to connect to the chain. Threaded Clasp This threaded mechanism can be modified to blend into the design of a piece unobtrusively. In traditional ivory and bone necklaces it is common to carve the catch from the same material. In the case of metal jewellery, the shapes of the beads can often be adapted to the form of the catch. The most basic version is shown in the figure below and consists of two identical sections of tubing. Both are capped on one end and drilled to accept a wire onto which a bead has been drawn. This wire will be bent up to make a jump ring and of course is free to rotate independent of the catch. A jump ring connection that was fixed to the catch would cause the necklace to wind up as the catch was being closed. Threaded clasps can be designed to blend in to a wide range of shapes. Box Clasp Box catches lend themselves to a wide range of shapes and are frequently used on chains, bracelets and cuff bracelets. They combine security with ease of use and the ability to be adapted to the needs of each design. After mastering the basics, it becomes an appealing challenge to a goldsmith to design a box catch uniquely suited to each new piece. Toggle Clasp In this simple clasp, a crossbar on one end of a chain is free to pivot so it can be laid flat along the chain. This allows it to pass through a ring on the opposite end of the chain. When allowed to hang, the bar is pulled perpendicular and cannot pass back through the ring, thus securing the clasp. The design is not complicated – the bar is nothing more than a short length of wire with a jump ring soldered onto the middle to provide the connection to the chain. The opposing jump ring should be just large enough that the bar with its jump ring barely fits through. It is nearly impossible for the bar to slip out of its ring accidentally, but to be absolutely safe, solder another jump ring onto the opposing one (to create a “figure 8” ). When the bar is passed through both, the effectiveness of the catch is doubled – even if it slides through one ring, the odds of it passing through both are extremely low. The bar looks more finished if the ends of the small rod are balled up into small spheres as shown.  CHAINS The chain in precious metals, by itself, has a long history of use as a jewel. Chains alone are used decoratively as necklaces, bracelets, belts, hair ornaments, or fillets, to mention only a few examples. Functionally, they can support other ornaments, such as pendants, earrings, watches, medals, keys, and eyeglasses, and in endless ways can be used as a device for connecting parts of an ornament. Symbolically, the chain alone evokes an image of bondage (which may mean willing bondage to a loved one). In some societies it is a symbol of marriage, a symbol of a link with ancestors and the past, or in abstract form, a symbol of eternity. In its basic form, a chain consists of a series of similarly shaped units that intercept or pass through one or more preceding units. Each unit is normally able to move freely within the last so that the total chain length is flexible. Repetition of units, flexibility, and endlessness are ideas inherent in the concept of a chain. Therefore, any construction having these qualities may rightfully be designated as a form of chain. THE LINK: The chain unit The link, also called a loop, is the basic chain unit. Ordinarily it is made of wire and is round or oval in form, but it can also be of special shapes as long as these function as links. The wire used for links can be round, square, half- round, flat strip, twisted wire, or patterned wire. The units of one chain may all be the same, or they may vary in a regular or an irregularly repeated sequence. Units can also be made of other forms of metal such as sheet or tubing, or they can be forged. The manner of their linkage may be obvious and exposed or completely concealed. As long as they are linked in some way as units and they are not strung on a continuous supporting strand (in which case they would be termed beads), they are termed links, and the total is a chain. Below is the list of different types of chains and their illustration -  UNIT 4 GEMSTONE CUTS Cutting gemstones is a process by which rough crystal is turned into the polished, transparent, and brilliant gemstones, as we commonly know them to be. This process also designates a specific shape for the stone. Both of these attributes – cut and shape – work together to perfectly enhance the colour, clarity, and shine of the gem. Gem cutters, known by the professional term lapidary, weigh all of the various considerations about each unique gemstone in order to choose the most advantageous cut and shape. The lapidary is most often seeking to enhance the best qualities, and diminish any perceived imperfections. Unlike a diamond, where colour is spread uniformly throughout the crystal, in gemstone roughs, the colour often appears in greater concentration in one part of the crystal than in other parts. Hence the cutter must orient the stone so that the most desirable colour is reflected through the table of the stone. For every gemstone, the lapidary is seeking the best compromise between a beautiful appearance and the retention of size. An easy way to distinguish between cuts and shapes, and the relationship between the two, is that gemstone cuts differ in the size and amount of facets carved into the gem’s surface within each category of shapes. For example, the shape of a gemstone may be square, but the cut does not necessarily need to be a princess cut. The lapidary may determine that the features of the stone make it better suited for a radiant cut, an Asscher cut, or perhaps a cushion cut. While the cut and shape may be exactly the same (the pear-shaped gemstone will also have a pear cut), others have more flexibility. All standard shapes are represented within gemstones – round, square, rectangle, oval, etc. – and how firmly they stay affixed to these shapes will vary as they are cut. Gemstone Cuts are broadly classified into two categories - Faceted stones and Cabochons. Faceted stones have flat polished cuts called ‘facets’ in varying angles so as to reflect light whereas Cabochons have a flat base and a domed, smooth polished surface. Faceted stones are further classified into Brilliant Cuts, Step Cuts and Mixed Cut. Brilliant Cuts - comprises of triangular and kite-shaped facets Round Brilliant Cut Oval Brilliant Cut Pear Brilliant Cut Marquise Brilliant Cut Princess Brilliant Cut  Heart Brilliant Cut Trillion Brilliant Cut Step Cuts - comprises of parallel running facets in steps Square Baguette Rectangular Baguette Triangular Baguette Tapered Baguette Square Emerald Cut Rectangular Emerald Cut Mixed Cut - comprises both brilliant cut facet and step cut facet BRILLIANT CUTS Round Brilliant Cut: This is the reigning most popular cut. The facets are cut in a way to optimise the dispersion of light in a stone, this cut was once exclusively for diamonds. Oval Brilliant Cut: Created in the late 1950s, the oval cut offers the brilliance and fire of round cut gemstones but in a more unique shape. The elongated silhouette also helps to create the illusion of a larger gemstone. Pear Brilliant Cut: Resembling a teardrop, the pear cut reflects light beautifully and allows colour to showcase dramatically. As with the marquise cut, symmetry is extremely important for the integrity of the gemstone, and they require a 6-prong setting to offer the correct support. Marquise Brilliant Cut: Also known as the navette cut, the marquise is cut to reflect the most light and offer maximum sparkle and depth of colour. Perfect symmetry for the two end points is essential to ensure the stone sits properly in the setting to minimise chipping or breakage. Princess Brilliant Cut: This is the second most popular cut behind the round brilliant. A range of facets is acceptable in this cut, but no matter how many, it creates excellent sparkle. The square attributes of a princess cut also mean the gem retains more of it’s rough in the cutting process.  Trillion Brilliant Cut: Triangular in shape, this cut maximises brilliance and gemstone colour. Symmetry, angles, and proportions are crucial for dispersing light in this unique shape. Because they are cut shallow, they also tend to appear larger than their weight implies. Heart Brilliant Cut: Intrinsically linked to love and romance, the heart shaped diamond naturally lends itself to sentimental pieces of jewellery, the most popular of these, of course, being an engagement ring. This rare and complex cut is all about balance; when it is done well, a heart shaped diamond stands out from the crowd with a symbolic beauty and soft symmetry. Like any other cut of diamond, the performance of a heart shape is dependent upon the cut, colour and clarity of the stone. STEP CUTS Baguette Cut: Long and rectangular in shape, the baguette cut is popular for accent stones. This cut maximises clarity with long step-cuts to create a modern, geometric look. Emerald Cut: Originally designed to cut emeralds, the effect achieved with this cut is to emphasise the cut and colour as colour tends to show vividly with this cut. In this one, the shape is like a rectangle from the top with trimmed corners and light bounces brightly between the step-cuts. Asscher Cut: A hybrid of the princess and emerald cut, the Asscher cut is characterised by a distinct X in the gemstone’s table, cropped corners, and step-cuts to maximise a gem’s clarity. This cut was developed by the Asscher Brothers in 1902. MIXED CUT Radiant Cut: Used mainly for diamonds, radiant cut stone is impressively radiant & brilliant. Henry Grossbard designed the radiant cut in 1977 in pursuit of combining the finest elements of the round brilliant cut and the emerald cut. The radiant cut diamond owes its brilliance to the 70 facets found in its pavilion and crown. The precision of each facet offers immense brilliance and fire. The radiant cut’s brilliance is surpassed only by the round brilliant cut.This makes the radiant cut an excellent choice for an engagement ring that sparkles with brilliance and fire. With carefully bevelled corners, Radiants have substantial durability against chips and breakage, making it an excellent choice for those with an active lifestyle. This feature also allows the Radiant to be paired alongside both square and rounded diamonds.  GEMSTONE SETTINGS Gemstone setting is the mounting or the framework created in metal where gems are set in a jewellery piece. Gem settings have been around since ancient times, with different styles for different gems. The stones are meant to stay in or on a piece of jewellery, and each setting is meant to both enhance the gemstone’s beauty and keep it safely nestled into the jewellery.The type of setting to be used depends on the type of the jewellery piece, shape,size and finish of the gemstones etc,. 4.1 PRONG SETTING Also called claw setting, prong setting has a basket (called collet) and number of claws or prongs (usually at least 4) holding the gemstone onto the jewellery. The collet can be solid or simply wire baskets that hold one or more stones in place. However, gem settings with more metal are stronger, especially for daily wear pieces like pendants and rings. Prong setting relies on the hardness of the gemstone as it provides little protection. Diamonds, rubies, sapphires etc are best suited for prong settings. Gemstones such as opal, topaz, peridot are relatively soft and will easily chip, crack or splinter in this type of setting. Prong setting is the most common type of setting for engagement rings and Solitaire rings (where a single diamond of 1 carat and above is set). With its simplicity and elegance it leaves room for further addition if necessary. For rings sometimes the jewel is raised on top of the band, leaving a gap so air and light can be around the diamond. This is called a Tiffany setting, popularised by Tiffany and Co. Jewellers typically use them with faceted gemstones, since the prongs will allow light in and hold the gems securely. Although prong settings can hold pearls, these typically round organic gems can spin in the settings, causing surface damage. To prevent this, jewellers often glue pearls in prong settings to keep them in place. Prong  4.2 BEZEL SETTING One of the oldest gemstone settings, A bezel setting is the most protective of all the setting styles. Any type of gemstone can be set in this type of setting and it will not crack or chip. The gemstone will not shine as brightly, as the back of the stone is completely covered by the rest of the jewellery. A strip of metal – gold, silver, platinum – surrounds the outer edge of the gemstone, forming a snug fit. Sometimes the edge is raised a little over the gemstone to make sure it’s kept safely. Bezel settings are typically used with cabochons, which are polished but not faceted stones. Sometimes jewellers also use bezel settings with smaller, less perfect stones to make their imperfections less noticeable. The majority of bezel settings are handmade to fit specific stones. Jewellers can make bezel setting plain or fancy. 4.3 CHANNEL SETTING A channel setting can be one of the most beautifully designed gem settings for rings. This style aligns several gems in a row. Jewellery makers place stones inside channels cut lengthwise into a ring. The channel edges overlap the gems. Unfortunately, channel settings are not as secure as other settings and are prone to losing gems. For example, lifting a heavy suitcase can cause enough bend in a ring for the stones to pop out. If you choose a channel setting, make sure it has substantial metal both in the band and around the stones to make it as secure as possible.  4.4 PAVE SETTING Pavé means to pave, as in laying cobblestones close together. A pavé piece is one of the most difficult gem settings to create. Only the best jewellery makers can do it well. In this setting, the jewellery maker drills holes slightly smaller than the diameters of the gems' girdles into the metal and then places the stones inside these holes. Next, small prongs of gold are raised and pressed over the girdles of the gems using a V-shaped chisel. When done properly, this setting creates a stunning effect. Light will reflect off all the tables in a row simultaneously.  4.5 CLUSTER SETTING Cluster settings are meant to utilise very small stones and make them resemble a very large stone, or they can be put together to create a colourful piece of jewellery. It is a type of prong setting, wherein the collets are soldered together at one or different levels​. ​ 4.6 FLUSH SETTING The stones are set on the surface of the metal. Maximum up to 0.40ct, stone can be set in this kind of setting. It is generally used to set round stones. A flush setting means that the stones are placed within the band so that only the tops of the gems are visible. Although the sparkle and shine is more subtle than a solitaire, these settings can be breathtakingly beautiful. Unlike the channel setting, flush-set stones do not have to form a single line and may be sprinkled across the surface of a wider band.  4.7 TENSION SETTING Tension setting is generally done on solitaire rings. There are no prongs to hold the stone. The stone is held by the pressure of the shank. A small groove is made on the inside part of the shank on either side, and girdle of the stone fits into the groove and is held together by the pressure. Generally, rounds & Princess are the shape of stones used in this kind of setting. This setting uses specially treated metals that have an inherent “springiness” to hold the ring in place. Rather than prongs, the entire band of the ring acts as two large prongs to hold the stone in place, the stone is held securely in place with a unique floating appearance 4.8 PRESSURE SETTING The stones surrounding the centre are resting on the girdle of the centre stone. The centre stone has to be marginally bigger than the rest of the stones by at least 0.015cts or 0.02cts. Prong is in between the 2 stones and cannot be used in bigger stones. Such a kind of setting is used to create the illusion of a single large stone using smaller diamonds.  4.9 BAR SETTING Stones are actually placed in the channel with supporting bars on either side of each stone. Only two sides of the stones are covered by metal, the other two sides are left open. This style creates a beautiful display of uniformity in presentation. Since there is no additional metal between the stones, more light is allowed to pass through to the diamond. 4.10 INVISIBLE SETTING An invisible setting is just that – diamonds set into a stunning ring where the mounting is completely hidden and the gem appears to be held by nothing at all. Invisible settings are created by carving a slit into each diamond just beneath its girdle. The metal that secures the stone into the ring sits in that slit, but because the girdle is the stone’s widest point, it effectively covers the metal, making the actual setting invisible. Because of the precision necessary to create invisible settings, each ring must be fashioned for specific stones and cannot easily be adjusted for alterations or upgrades. The beauty and luxury of different invisible settings, however, make them such stunning pieces of jewellery that they rarely need to be upgraded at all.  UNIT 5 ACCENT ELEMENTS IN JEWELLERY An accent is a secondary design element that is meant to accentuate the primary design element, usually by providing contrast in colour, texture or both. Contrast does not have to be bright or dramatic - the accents are not what you notice first in a jewellery piece - but by being there they provide overall balance to the piece and make it work. In a design, accents can be given in multiple ways such as - The colour of the metal Through diamonds and gemstones Decorative findings Personalised charms Multifunctionality aspects Colour of the metal: Generally, the colour of metals used in precious jewellery will be yellow, white and copper (for gold, silver / platinum and rose gold respectively). Not all gemstones will go well with these metal colours. Therefore choosing the gemstones that complement the colour of the metal and vice versa will ultimately enhance the appearance of the jewellery piece. For example, platinum jewellery will be set only with diamonds and very rarely with any other coloured gemstone as diamonds and platinum complement each other very well. Sometimes, the diamonds look larger than their actual size when set in white metal as it tends to optimise the light reflection in diamonds. Also, the colour of the metal will help set the mood for the jewellery piece - gold and rose gold set a warm tone and silver and platinum set a cool tone. Through diamonds and gemstones: In a jewellery motif, diamonds and gemstones of small sizes can be placed around a larger stone to create nice patterns. This was a very popular trend in Victorian Era jewellery. Similarly, in diamond engagement rings, a halo of small diamonds is made around the center diamond. Here, the halo acts as the accent element. This style is quite popular. Designer collets for rings may be studded with small diamonds. Decorative Findings: Clasps and other findings studded with diamonds and gemstones in suitable settings will enhance even a simple design substantially. Personalised Charms: Tiny personalised charms that can be added to main pieces like necklaces, bracelets or watches give an extra edge to the jewellery piece. Multifunctionality aspect: Multifunctional jewellery means versatile pieces that can be worn in multiple ways with slight change in mechanism (by attaching or detaching). For example, a pendant that can also be worn as a brooch. In this case, the pendant will have a bail as well as a brooch pin at the back. These mechanisms can be made as decorative and functional as possible. They can also be used as accent elements. A few examples -  UNIT 6 CATEGORIES OF JEWELLERY Jewellery can be classified based on the type of materials used, the clients and the price point into three categories namely Fine Jewellery Bridge Jewellery Bespoke Jewellery 6.1 FINE JEWELLERY Fine Jewellery refers to any jewellery that is made from precious metals like gold, silver, platinum and genuine gemstones like diamonds, rubies, sapphires, emeralds etc. Fine jewellery is a representation of real value and class. With orthodox maintenance and protection, fine jewellery lasts long without corroding. And if they break, they can be soldered back and fixed as many times as possible. However, they cost more than their fashion counterparts, but their sustainability and utility make them a worthy outlay. Fashion trends and seasons come and go but some things are permanent. Fashion jewellery, also known as costume jewellery, are made from Brass, Nickel, Copper, Aluminium and Bronze. These materials are prone to cracking and tarnishing,giving fashion jewellery a short life span. Plus, when they break, it is almost impossible to fix them and if you do, the end product won’t be as elegant. They are therefore only suitable for passing fashion trends. Some fashion jewellery can be coated with precious metals, but that doesn’t make them last any longer. However, they still look good and can be used to make bold fashion statements without costing much. But When it comes to durability, quality, higher sense of style, and bespoke beauty that stand the test of time, fine jewellery is the winner. Fine jewellery is appropriate for any and all occasions. Even if it goes out of style, fine jewellery will serve as classic fashion pieces. They make excellent gifts or heirloom pieces because of their long lasting nature. Just because it is expensive a jewellery piece does not mean it is fine jewellery. One should always watch out for the composition of the jewellery piece. Made of genuine gold, silver and platinum with genuine gemstones, fine jewellery is one of those investments that will serve you for a lifetime. They hold lifelong value, meaning, and confidence that uplifts or transforms any look marvellously. Fine jewellery has to be maintained and stored carefully. It can be stored in padded cases or boxes to avoid damaging or scratching them. They can also be taken to specific stores for a thorough and professional cleaning.  6.2 BESPOKE JEWELLERY Bespoke jewellery refers to jewellery that is made especially for a client or customer. In other words, any jewellery found lining the shelves of a retail store or on an e-commerce site is not called bespoke; instead if a customer is visiting a fine jewellery studio to develop a unique piece (such as an engagement ring, a necklace or a charm bracelet etc), that would be called bespoke jewellery. Bespoke jewellery can also be called customised jewellery. Bespoke jewellery is unique; it is a custom piece that no one else has owned or worn before the client. Even if the design is only slightly different than an already existing one, it still has the client’s own unique input and creative thought put into the design. Bespoke jewellery can also be romantic - even though bespoke jewellery is not bridal, custom pieces may include engagement rings and wedding rings. Customising jewellery for a special occasion such as a wedding or an engagement is in practice for quite some time. Creating bespoke jewellery is a completely different experience which goes beyond jewellery shopping. Sitting down to work with a jewellery designer gives unlimited options to the client to create their jewellery. It is a personal experience involving creativity and imagination. There are various stages in making Bespoke Jewellery: Stage 1 - Initial Conversation - This can take place via email or phone call. This is when the designer will gather the details about the customer’s idea. Details such as the estimated cost etc can be discussed. Stage 2 - Design Consultation - In this stage the designer will work through the process of designing the piece, working to create something personal and unique. The designer will be in touch with the customer throughout the process. Stage 3 - Gemstone Sourcing - Once the design is finalised, the designer will source several options for the perfect stone for the jewellery piece. In this stage, the designer will be able to provide accurate quotes for the finalised design with each proposed stone. Stage 4 - Confirmation, Scheduling and Production - Once the designs and stones are finalised, it is sent for production.The production process may take 6 - 12 weeks to complete.  6.3 BRIDGE JEWELLERY Bridge jewellery is defined as the jewellery pieces that bridge the gap between fine jewellery and costume jewellery often crafted using gold vermeil, gold filling or sterling silver with semi precious gemstones. Bridge Jewellery is defined as luxurious jewellery that is not heavy on the pocket. People who are passionate about gold and silver can easily afford this type of jewellery. From a business point of view, bridge jewellery offers a wider price range for the consumers to select from and try out trending designs. Even when the price of gold increases, people can still afford to buy this type of jewellery. Fine Jewellery is incredibly expensive and unaffordable to some people. In contrast, Costume Jewellery is less expensive and tends to be tacky. Bridge Jewellery is the perfect mid-point between the two consisting of gold or silver. Bridge Jewellery gives anyone the chance to establish their own collection of exquisite jewellery. In this way, the premium quality of fancy pieces along with the value of cheaper pieces can be obtained. Additionally, people nowadays don’t want to overspend on something that won't give them any extra satisfaction. They are looking for attainable luxury that looks nice and wont fall apart after a few uses.