The jewelry industry has a centuries-old history. During this time, craftsmen have invented a huge number of methods for setting stones in settings. As technology developed, they became more and more complicated. Today there are more than 50 methods of setting by types of settings. Let’s try to understand this variety.

There are 4 main groups of stone setting types: bezel setting, prong setting, corner setting and special setting.

Bezel setting

The group of nesting settings includes two subgroups: bezel settings and bezel settings.

Blind frames

In a blind setting, the stone lies in a blind nest and has no access to light from below. It is held in place by vertical walls whose edges are pressed against the stone. Most often, blind setting is used to fix opaque stones and inserts. The advantages of this type of fixing: the stone looks larger, also this method of fixing helps to camouflage cracks on the girdle of the stone. Transparent stones in this setting look brighter due to the reflection of metal in the inner part of the stone. If it is necessary to add light, often use a cut or openwork setting: in this case, vertical walls are cut for more illumination of the stone.

Varieties of blind frames:

  • Justified setting. Deaf frame-cup, made of metal with a thickness of less than 1 mm. The base has a reduced diameter. After fitting, the stone is inserted into the frame and fixed on the support girdle by a particularly precise alignment.

Figure 1. Preparation of the aligned setting for stone insertion

Fig. 1. Preparation of an aligned setting for inserting a stone
  • Cut setting. A type of a blind setting, on the surface of which a through ornament is applied.

Fig 2. Split frame

Fig. 2. Cut setting
  • Openwork setting. A blind frame divided by an openwork insert and connected by soldering.

Fig 3. Openwork frame

Fig. 3. Openwork frame
  • “Gypsy” tack. A variant of the blind setting, in which the stone is “sunk” in the metal almost completely. Fixation is realized by rolling an additional layer of metal on the edge of the stone.

Fig 4. Rings with gypsy setting

Fig 4. Rings with gypsy setting
  • Flush setting or lapped setting. This is another method of setting a stone deep in the metal. A thin metal band around the perimeter of the stone holds the stone in place. The flush setting is often used for setting diamonds.

Fig 5. Stone inlay with flash bonding

Fig 5. Inlaying a stone in a flash setting

Rim settings

Rim settings are more often used for mounting transparent and translucent inlays. The stone in it rests on a support band, which is located on the inner side of the setting and is fixed by pressing the metal (rim) around the perimeter. Due to the fact that the light penetrates from above and below, transparent and translucent stones play especially brightly in the bezel setting.

Varieties of rimmed frames:

  • Prefabricated rim setting. A setting for several stones.

Figure 6. Prefabricated rim frame

Fig 6. Prefabricated bezel setting
  • Mirror setting. A dumb setting in which the stone is set in a polished rim that acts as a mirror. Such a setting helps to give the stone luster and sparkle.

Fig. 7. Design and varieties of mirror frames

Figure 7. Device and varieties of mirror frames
  • A “corolla” setting. A setting in which the bezel is pressed to the stone in such a way that arcs are formed between the points of pressing.

Figure 8. Frame-valve

Fig. 8. Corolla frame
  • Stone setting. A type of setting whose bezel is closed on the upper side by a frame soldered inside. The stone is inserted from below.

Figure 9. Stone setting

Fig. 9. Stone frame
  • Sectional setting. A frame for fixing several stones of rectangular shape next to each other.

Figure 10. Sectional frame

Fig. 10. Sectional setting
  • Creton setting. A rim setting in which the stone is fixed with krapans in the form of strips protruding from the metal.

Figure 11. Creton frame

Fig. 11. A cretonne setting
  • Vaulted setting. A rim setting in which the stone is fixed by pressing at equal distances at certain points of the contour.

Figure 12. Vaulted frame

Figure 12. Vaulted setting
  • Semi-blind setting. A variant of the setting where the stone is fixed only on two opposite sides by “pieces” of the rim.

Fig. 13. Ring with semi-hollow setting

Fig. 13. Ring with half-blind setting
  • Open rim setting. It is considered to be “transitional” from rim to corners, as it has both a rim and mortise corners.

Fig. 14. open bezel frame

Fig. 14. open rimmed frame

Krapan tack

Krapan settings are by far one of the most popular ways to secure a stone. The inlay is held in place by krapan feet. They encircle the stone along the edges, allowing sunlight to penetrate the stone from all sides. Depending on the type of setting, the number and shape of krapans can be different.

The following types of krapan frames are distinguished:

  • Tiffany Setting tack. Classic setting in the form of a crown. The stone is raised above the ring and is fixed by 6 legs-craps. The Tiffany setting was patented in 1886 by Charles Lewis Tiffany and is still one of the most popular settings for diamond rings.

Fig. 15: Ring with classic Tiffany setting

Fig. 15: A ring with a classic Tiffany setting
  • Carmesina setting. Designed for a large number of stones. The center stone is secured with a krappan or blind setting, while smaller stones from the surrounding crown are lapped and secured with additional setting corners.

Figure 16. Varieties of carmesine frames

Figure 16. Varieties of carmesinae frames
  • The “bracket” tack. A modified Tiffany tack. It is distinguished by a smaller number of brackets – there are only 4 of them.

Fig. 17: Ring with bracket fastener

Fig. 17: A ring with a bracket fastener
  • The “chaton” or “arcade” tack. A setting that combines the bezel and the crapan setting. It has a base in the form of a crown.

Fig. 18. The scheme of Fig. 18. The scheme of

Fig. 18: A diagram of the chaton tack and a pendant made with this technique.

Corner tack

Corner setting is a method of fixing stones directly in the metal. In this case, the insert is fixed with the help of small posts (corners), which are formed from the main metal of the setting with a special tool. The jeweler selects a part of the metal in the form of a chip and presses it to the facets of the stone. At the same time, the upper part of the chip is rolled into a hemisphere by a corneur.

The following types of corning frames are distinguished:

  • Classic corning setting. The stone is fixed with corners, with no additional treatment around the stone or only a cut gloss.

Fig. 19. Scheme of stone setting for corning setting

Fig. 19: Schematic diagram of stone setting with corning setting
  • Faden setting. The stone is fixed with two or four corners, with an undercut around the insert to form a rib. Separately, the faden track is a variant of the setting in which the band of stones is smoothly tapered.

Fig. 20: Inlay of a stone in a fadeno setting

Fig. 20: Inlay of a stone in a faden setting
  • Faden-grizzled setting. The stone is fixed with two or four corners, with an undercut around the inlay, forming a rib, on which a grisant (a granular notch) is applied.
  • Kare fixing. A 4 or 12-piece cornicing, with faden or faden grisantes running between the stones to form squares. It is also possible that a square forms the construction of the stones. On the reverse side of the base there are holes for through light penetration.

Fig. 21. Bracelet made in the kare technique

Fig. 21. Bracelet made in the kare technique.
  • Star tack. A type of corning setting where the stone is held by 4 corners and the inner contours of the cut are trimmed in the form of a four- or eight-pointed star or a square with concave sides.

Fig. 22. Varieties of star frames

Fig. 22: Varieties of star frames
  • The “pavé” tack. A type of corning setting for fixing a placer of a large number of stones of small size. The inserts are planted close to each other and are fixed with corners. In a classic pave, the stones are placed strictly horizontally and vertically. If there is an offset by half a phase – it is a “tictus” variety of pave.

Fig. 23. Scheme of stones placement at classical and tictus pavementFig. 23. Scheme of stones placement at classical and tictus pavement

Fig. 23: Scheme of stones placement in classic and tictus pavement

“Micro pave” implies the placement of a very large number of small inserts of the same size: the influx of metal holds three nearby stones at once, thanks to which it seems that the product consists of one large stone. A printed setting is a variation of the “tictus” pave. In it, the corners are soldered as pins rather than cut from metal.

Figure 24. Finished products in the pave technique

Fig. 24. Finished pieces in the pave technique

Special tacking

This group of fasteners unites quite a variety of types of frames that have also found their place in the jewelry industry.

  • Rail (channel) setting. Stones of the same size are placed close to each other in a rail bezel. There are no metal partitions between the stones. The stone is protected from the edges and light can pass through freely. The rail setting is used for transparent stones and is especially popular for creating diamond jewelry.

Fig. 25: Diagram and finished products in the channel tacking technique

Fig. 25: Diagram and finished pieces using the channel setting technique.
  • Bar setting. A variation of the rail setting, only in this case each stone is in its own channel. The metal plates protrude above the inlay and are clearly visible.

Fig. 26: Diagram and finished products in the

Fig. 26. Scheme and finished products in the “bar channel” setting technique
  • Glue tack. A tack used mainly for semi-precious stones, pearls and other inserts. The insert is mounted in a small recess using a threaded pin and glue.

Figure 27. Scheme and ring in the glue tack technique

Fig. 27. Scheme and ring in glue-setting technique
  • Snap fastening (spring fastening). A method of fastening a stone to two anchor points inserted in grooves. The insert is open on all sides.

Figure 28. Rings in the spring tacking technique

Figure 28. Rings in the spring setting technique
  • Invisible setting. A rare and labor-intensive method of fixing stones, when the inserts are arranged in a grid-rim on the principle of stained glass. The facets are fitted tightly together, making them virtually invisible.

Fig. 29. Jewelry made in the invisible setting technique

Fig. 29. Jewelry made in the technique of invisible setting.

Despite the variety of setting types, it is safe to say that the most popular are the krappan ones. They provide a good view of the stone and a secure hold, as well as being easy to maintain.

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