To be.....or not to be?

Actually the question is..... raise the stone or lower the bezel?

In a recent post (Romancing the Stone) I mentioned a couple of books I bought at the PMC conference and my struggles with creating an acceptable bezel.

Today I returned to working on a bezel piece that was giving me problems.  As I've said before this isn't the first time I've worked with making bezels and combining them with metal clay.  (Although to watch me work these past few times you wouldn't know it.)

In 2009 I took a pre-conference class on bezel setting with Linda Kline.  If the bezel was too high for the stone, Linda had us raise the stone to the right height with sawdust.  She said it was the traditional method.  I posted about that piece under the title "Only three years."

Before I took that class I created a bezel with the clay itself (mentioned in a post titled "Just Beachy.")  I leveled that piece with polymer clay figuring that it had some give to it and wouldn't dry out.  

During the conference this year I was talking to Lisa Barth and she seemed mortified that I would raise the stone.  Instead, she suggested that I file the bezel down.  That way the bezel can be adjusted to the varying height of the stone.  This method is also good because it allows the artist the option of cutting an opening behind the stone.  An opening can be used as a decorative element on the back of the piece and allows the artist to use less clay (therefore saving money.)

Here in lies my problem.  The amount of time I'm spending on filing my bezel down to fit the stone is probably worth more than just leaving the backing whole.  Filing and sanding metal clay is easier in the clay state.  That is why the artist should do as much as he can to finish a piece before firing.  Bezel wire is already in the metal state and let me tell you..... even though bezel wire is fine silver and therefore soft....... it is not that soft.  Darn, filing that stuff is time consuming work.

I think I've made up my mind......... I'm raising my stone.

Check your behind!

As an art teacher, I always tried to impress on my students to not neglect the back of their art work.  Even though it may not be seen, it was important to follow through on the back with their craftsmanship.

This is something I've tried to attend to in my jewelry making.   Now I'm not talking about making a piece reversible so that there is no back or front.  This in my opinion is getting a "twofer"  (two for the price of one, thus making the piece worth more.  An example of this is "Big Frog in a little Pond."

The original "front"

On the "back" a Koi fish

What I am talking about it taking great care with the back to make it just as interesting as the front, (even if it doesn't get seen.)   I try to keep my backs clean and smooth.  But, after being at the conference, I realized that just isn't enough.   How the back is treated separates the men from the boys (as they say.)

I sat behind a girl at one of the sessions and noticed how nice the back of her earrings looked.  I couldn't see the front of the earrings but the interesting texture on the back intrigued me.

At the "Show and Sell",  Vickie Hallmark's cloud pin http://www.flickr.com/photos/vickiehallmark/ not only had great detail on the front but she also included two cz's at the points where the pin attached to the backing.  (I just couldn't get over how nice it was to see such attention to detail...... even on the back.)

Lisa Barth's book (that I mentioned in a previous post) shows how much time and detail she puts into the backs of her stone settings.  These are not reversible, but the backs are just a lovely as the fronts.

http://www.cooltools.us/Lisa-Barth-Jewelry-Design-Gallery-s/1344.htm

Good art  requires careful designing not only from the front, but from the back also.   

Romancing the Stone

As was mentioned a couple of posts ago, I have several very nice stones (actually I've had them for years.)  So when I saw all the beautiful choices at the vendors hall at the conference...... I steered clear.  (I really, really wanted to go take a look but I did resist.  I didn't resist the desserts though.)

Instead, on the second day of the conference I discovered Lisa Barth's beautiful stone pendants.  Each one different and each one equally well executed.  And the really nice thing is..... she's written a book about her design process and bezel setting techniques.  So..... of course I had to buy it.

I haven't had much time to get too deeply into it yet, but what I have seen I really like.  Some questions are popping up as I read it, (may have to email her a couple of times) but I do think it is exactly what I need.  The triangular burgundy stone in the lower right hand corner was the stone in the piece that didn't turn out.  I did use the stone to help design the setting but just screwed up on the bezel.  

Not only did I buy Lisa's book at the conference, but I also saw Jeanette Landenwitch's book at the Rio Grande display.  (So of course I bought it too..... when will I quit?)  It is a completely different approach from the other book and I already see some good tips in it too.

I will probably approach the first couple of tries just like I did when starting to work with metal clay.  I'll pretty much take the project approach and once I feel comfortable I'll be off and running.  Stay tuned for future posts on how it's going.

 It will be a several days before my next post as I'm camping with the grandchildren.  (I've got lots of ideas for posts.  The conference was inspiring that way too.)