Hi all! I’m making a silver bezel ring with resin and flowers, but the silver background makes my flowers turn dark or blend in. I want to make a solid white bottom layer over the base sheet so the flowers pop.

I'm thinking of using a thin layer of Padico La Doll Premier White air-dry clay, letting it dry, and then building the resin on top. Or even mixing white Earth & Mineral Pigment powder into resin, and curing that as a bottom layer, but I worry it will still be opaque.

Has anyone tried this? Will air-dry clay crack under UV light, or should I try a UV clay instead? Open to any other tips or better approaches!

At least it was broken by a silversmith! lol
The piece holding the hinge connector was an eyelash thick piece of silver, so ideally I will want to strengthen it.

I have some 20g wire I can use to repair the broken bit, but I usually use graphite powder as a solder resist on moving parts and I’m not sure it would be a good idea since its such tiny components and I don’t want to get the seam dirty too.

Much less worried about the stones, they’re just white sapphire so can be worked on.

Tips, tricks, advice, and anything that might help would be appreciated before I go torching my roommates bracelet!

A little while ago I answered a question from a beginner in this group.  She was asking advice on which solder grades to get.  I responded in a very 'text book' way - use hard for the first join, then medium and then easy/extra easy so the solder join doesn't reflow and open up. When another experienced silversmith replied using lived experience, it made me question why I went to a text book answer instead of using my own 15 years of experience to reply. What I took from that exchange is the fuller three-tier system is more of a safety net for beginners than what working silversmiths actually rely on.

That's worth sitting with, because this was true to my own experience over the years. I’d just not noticed I'd defaulted to the textbook version without really thinking about it.

So when a bezel reopens while attaching it to a backplate the question isn’t really “which grade of solder did I use”. It’s “did I get a genuinely strong join in the first place”, or “did it only look soldered”.

Most beginners are still learning to read the metal itself and the process. What takes longer to notice is:-

• What evenly heated actually looks like
• What overheating actually looks like - colour changing too fast, metal starting to move or pit versus normal heat colour
• What underheating looks like -  solder sitting on the surface rather than being pulled through the joint by capillary action
• What a properly flowed join looks like when it's done, versus one that's merely stuck together with surface tension and flux residue

A join that never fully flowed wasn't structurally solid to begin with. So when it "reopens" at the next soldering step, that's not really the second heat application undoing a good join, it's revealing one that was already weak. The grade was never really the variable that mattered.

My own practice is hard solder for the initial join, hard again for the backplate, easy or extra-easy only for the last, non-structural steps like a bail, ear posts, embellishments. That's not a rule so much as where I've landed after 15 years of learning to actually read flow, rather than trusting a grade to do the reading for me.

If you're newer to this, medium is a completely reasonable place to be working from. It buys you a margin while you're still building that eye. I'm curious what you notice, next time a join comes apart. Was it really the grade, or was there a moment during that first join where you weren't fully sure it had flowed?

My mom bought me this sword at an antique store. The lady working said it has been there for about 20ish years and doesn’t remember where she got it. I tried reverse imaging it but nothing came up. Anyone have an idea on what company could have made this?

So i just do silversmithing as a hobby but i want to start selling stuff, as well as being able to write off my expenses like silver and tools as a business expense, and maybe get wholesale pricing from refiners and stuff. BUT whenever i look up how to get licensed or start a jewelry business online in WA i dont get a solid answer. Does anyone know how to go about that?

I made this necklace and earrings set last month using traditional Turkish filigree techniques.

The outer frames and the lobster clasp are made from 925 sterling silver, while the fine filigree filling is made from 1000/1000 fine silver wire. Each piece was shaped, soldered and filled entirely by hand. No casting was used.

The set consists of a three-piece floral necklace and a matching pair of earrings. I have also included a few photos from the making process.

It was a detailed and time-consuming piece, and I would be happy to hear your thoughts and criticism.

Using a textured hammer. Seems like every time I try and get rid of it, it doesn’t go away because of the divots. Any tips or suggestions?

Ive tried polishing and cleaning it with my silver cloth twice, and even did a round of silver cleaner in between to no avail, this is a daily worn one that Ive had for about 2 years but havent cleaned in about 4 months

Its not even in spots that would typically wear out first like by the clasp

Edit: It says 925 Italy on the clasp and MJI on the back and looks the same as my others

As the title says, this is my first stone setting.
The base of the ring was made using the lost wax technique and I’ve set the stone using pliers (yes I know.. I do what I can with what I can afford for know). Any advice is welcomed, suggestions for tool investments too !

Hello, I’ve been collecting sea glass for years and have drilled holes in them to make jewelry but I can across a reel (pictured) and I really want to make something like this.

I just have no clue all the supplies I need or best place to get them. I know I need fine silver strips for the bezeling, but what other tools would be needed? Soldering wise?

I do not want to do back plate because I feel it reduces the clarity of the glass.

Any advice is welcomed as I am new to this.

I handcrafted these prayer beads using the traditional Trabzon Kazaziye technique.

Every bead, connector and tassel was individually woven by hand from 1000 fine silver wire. No casting or prefabricated metal beads were used.

The piece was finished with contrasting oxidized silver details, and I also made a wooden presentation box for it.

Kazaziye is a traditional Turkish metal-weaving craft that requires very fine silver wire, patience and many hours of handwork.

I would be happy to hear your thoughts and criticism.

Hello everybody,

I am a faceter and as a gift for my girlfriend I have cut a beautiful sapphire. Since I couldn't make the ring myself I have decided to buy a mounting ring which comes with the prong setting and it was very cheap at 35 dollars. So I have calibrated my gem and cut it to fit the ring. The ring is sterling with rhodium plating and the prongs are a bit thin and do not have any notches in them. I have gone to my local jewelers but they quoted me from 80 to all the way to 300 dollars. I don't have a pendant motor nor polish and rhodium solution. Is there any way I can set the stone my own using my files? If I don't open a notch and just bend the prongs then cut their tips with my jewelers saw would that work? Or is there anybody here located in minnesota who can help me with this?

A customer needed this pendant urgently, so I started working on it today.

I shaped the bezel by hand from silver strip, soldered it onto the back plate, and prepared the setting for the natural stone.

Still a work in progress — the bail, final stone setting, filing and polishing will follow.

No casting. Completely handcrafted from silver sheet and strip.

Hello! I’m a self taught metalsmith who is interested in being able to imprint my own designs into wire. I see a lot of wire dies with already made prints for sale, but I’m coming up empty handed on anything custom. Do any of you know of where I can get a custom die? Thank you all so much 🥰!!

Inspired by antique watch chain clasps, I fabricated this little hook. I made a pattern then cut it out of thick sterling silver sheet. Once cleaned up I drilled the holes and hammered some rivets for tight but functional movement. It can be used as an extender, charm holder or just as a pendant itself!

Some of the latest projects from the forge. And a couple of works in progress shots for fun. I know some of you really love my art : )

Hi I’m 20 and thinking of getting into jewellery making with metal. I’m currently taking a short break from uni and don’t have the funds to purchase any expensive machinery but I’m really interested in getting hands on experience with metal. I was wondering how everyone else got into the business or if there’s any advice on places I can go to do some metal work? I don’t know anything about jewellery making at all but I really want to get started.

I’m making a bezel and the join came apart as I was attaching it to the back plate. Is there any way to save it?

New to the hobby but already obsessed. The first chain I made used 16ga sterling silver wire. I love the chain but it’s a little thick and id like to try making something more delicate. I want to try both smaller loops of same gauge and also smaller gauges. Out of curiosity, hat is the smallest gauge you’ve used to make a functional chain? 20? 24?

I was adding a jump ring to a vintage charm and the bail melted right off instantly! I’m thinking that the bail was possibly pewter, tin or lead (great)? The charm is intact but I’m now scared to mess with it until properly tested. The marking looks like an incomplete “sterling” stamp or could it be something else?

Riogrande has some pretty high premiums still for sheet metal, and i just found a way around that thats really easy for me as someone whos not a master silversmith. I just go to my local coin shop down the road and get generic silver rounds or bars, 999 fine, and then got an amazon rolling mill for like $150 and ive made SO MUCH silver sheet for myself for right around spot price. And i avoid shipping and tax this way. At the coin shop near me i can get generic rounds and bars for like $2-$3 over spot. And this way i can just get it by the oz whenever i need and dont have to wait for shipping. And you dont even have to melt the coins, just anneal it and very quickly it flattens it out completely. Super easy.

If you want sterling then idk that would be more complicated but i work with 999 fine anyways so this made my life so much easier.

Okay, so I'm making a custom sterling silver keepsake ring for a 5-year-old that I want her to be able to wear into adulthood (or at least as long as she can). It'll have a 6x8mm (or possibly 7x9mm) bezel with resin and pressed flowers, and I'm planning to use 10-gauge half-round sterling silver for the band, 22-gauge backsheet, and either 24 or 26-gauge bezel (im leaning 24 for longevity).

I'm trying to decide between two adjustable designs:

1. A simple open band with the ends rounded and polished smooth.
2. An interlocking/notched adjustable band, where one end sits into a notch on the other.

My biggest concern is long-term durability. This ring will hopefully be adjusted gradually over many years as she grows, so I'm looking for the design that will best withstand repeated resizing without becoming weak or fatiguing. My thoughts are make it a base size 5 or 6, that way I can overlap it either way and have it reduce to a size 3 or 4 now, and as she grows up can adjust it more open to a 7-8.

I'm not worried about which one is easier to make, I just want the design that's mechanically the best for a keepsake piece.

So my questions:

• Which design would you trust more for long-term use?
• Does the interlocking notch create a stress point over time, or does it actually improve durability?
• Would you choose one over the other for a ring that's intended to go from a child's finger to an adult's?

I'd love to hear from anyone who's made or repaired adjustable rings. Thanks!