The anatomy of a stone cuff.

This is going to be a long one.

You have been warned…

I thought I’d show you how I made one of my cuffs. So if you want to make one yourself, and if you’ve the patience to get through this post, here are step by step instructions.

Before we start you should know that a lot of times I tend to make things up as I go along and only afterward realize that, had I a plan in the first place, things could have been done more efficiently. So if some of the steps here seem just plain wrong it’s just the way my brain works.

Not my fault…

Also there’s going to be a lot in here that seasoned jewelry makers already know and so many of you, who I know can recreate a piece just by looking at it, might want to skip this post entirely unless you’ve been having trouble sleeping.

Here’s what I’m working with, you can pick any cabochon that you think is worth the amount of silver in this cuff.

It’s a lot.

As always links are in the photographs and dotted around the text for the suppliers and tools I’ve used.

These are just what I use and are not necessarily what you need to create this bracelet.

Dendritic Landscape Opals from HELGASHOP

First off choose your stone and make the bezel collar.

Here I’m making a collar for the earrings, not the cuff, but the process is the same.

Find the right height bezel wire. You’ll want it to be at least a couple of millimeters, if not more, proud of the stone.

I find I mostly use this one – HERE

For thicker stones this one – HERE

And very thin ones – HERE

Overlap the bezel wire as you fit it snug around the stone and then mark off with a pen or pencil where the join is going to be.

Be careful when you wrap the wire around the stone, especially if the stone has a domed edge, that you don’t push the top of the wire over the stone as this will distort your line.

Cut the bezel wire a millimeter or so away from the line so that the collar will be slightly larger than needed.

It’s better to keep snipping away thin slithers until the size is right than cutting off too much to begin with.

Once you have snipped away enough for the collar to fit perfectly around the cabochon, (ideally so that the stone will slip easily in and out of it without it being too loose), push the two ends into and beyond each other so they overlap slightly then you can pull them gently apart until they meet under a slight tension.

The two ends should be flush together as should the top and bottom of the collar.

Once they are in place I like to squeeze the edges together with a pair of pliers. This takes care of any distortions on the flat sides of the collar.

You can just about see the join here at about 2:10 o’clock.

Or is that 2:11?


This is how I solder my collars.

I like to hold them in a Third Hand – HERE – and solder them with hard solder on the inside of the collar.

You can’t see them clearly here, but the joins are on the bottom waiting to be soldered.

I prefer to use Contenti solder – HERE.

It seems nicer to me.

Just sayin’.

I also like to use their chips for soldering links and small parts – HERE.

And I use Wolverine Flux which you can find on Amazon.

Because someone recommended it to me and I believed him.

Don’t judge me.

As with everything here, you can use whichever products you prefer.

Now they’ve all got their collars on.


Hopefully, if they behave they will become a pair of earrings, two rings and a cuff.

Next I cut a piece of silver sheet leaving about a centimeter around the stone.

Here I’m using 23 gauge because I didn’t have any 22 left.

You can then saw or cut it out.

If you use snippers, as I do, it can distort the sheet. In this case take a raw hide hammer, I prefer one of those rubber hammers – HERE – and tap the sheet gently as you pull the hammer out away from the center rotating the sheet as you go.

This will flatten the sheet.

Alternatively you can place it in-between two bench blocks and hammer the top.

Whichever way is good for you.

I then take the sheet and hold it in-between a pair of long tweezers – HERE – and begin to run the heat slowly along the edges of the sheet until it begins to melt.

This can be a little frustrating.

I use an acetylene/air torch so I’m not sure how this will work with the smaller hand-held torches, but the key here is to use a torch head that will heat the edges sufficiently to keep the molten silver moving.

I’ve found that on smaller pieces a #0 torch head is sufficient, but on longer or larger pieces you may need to use a #1 torch head.

Ideally I needed a torch head in-between these two numbers for this piece as the #0 wouldn’t touch it and the #1 took itself way too seriously and wanted to control the whole show.

But, if you’re careful you should be able to melt the edges into a nice crinkly blob effect.

Note, however, that if you haven’t done this before and decide to practice with the torch you have that different metals will melt at different temperatures. So using copper, for instance, which would be great to practice on, may give you a different feel for what you’ll experience with silver.

One thing I’ve found is that it seems to work best if you keep the flame moving at a slight angle along the edge of the silver and then once it starts to melt you can ‘push’ the melting silver along.

(That’s not strictly true as you’re not actually ‘pushing’ the melting silver, but rather new bits are melting as you move along the edge.

Just wanted a visual is all.)

Anyway, watch it carefully as one lapse in concentration can result in the whole thing going to pot and you’ll have to swear mightily and roll around in a tantrum across the room.

Which actually might not be a bad thing as could be you’ll find all sorts of goodies that you thought were lost forever on the floor.

Not that I’ve done that.

So, all blabbing aside, this is what you should end up with.

Which I then clean up with one of these special things – HERE – that I bought a while back and didn’t know what to do with.

The melted edges can be very sharp and this bristle brush takes care of it almost immediately.

Love it when I finally figure out what to do with things.

Now solder the bezel collar to the melted sheet.

If you have trouble soldering the collar because of the rippled edges of the back plate and you find you are left with some gaps that you can’t fill, solder what you can and then quench the piece. Put the piece on your bench block and gently tap the collar with your rubber hammer to close any gaps. If you do this gently enough you won’t distort the collar too much as the silver will already be softened due to annealing during the first solder and it won’t take much to close it.

If it does distort you can place the stone back into the setting and re-form those parts affected. I use wax – HERE – which I have blobbed onto the end of a stick to lift my stone in and out of a setting if I haven’t drilled a hole in the bottom from which to poke the stone out.

Doing this isn’t ideal as you should try to get your bezel collar and back plate to sit as flush as possible, but in a pinch this works for me.

Now you can put a little more flux on the piece and heat it up again so that the solder flows nicely around the edges.

Next I put the stone back in the setting and textured the area in-between the wavy line of the melted silver and the bezel collar. I also textured slightly up the collar.

I then used a pair of pliers to turn up the edges.

You can’t use normal metal pliers as I have here if there is no texture on the back plate as they will mar the silver, but you can carefully use the pliers with the nylon tips, or I have also used my burnisher to push the sides up from underneath.

Again this step can distort the bezel collar so you have to take care not to trap the stone.

Once this is done I cut the inside silver away.

As a note, I have turned the sides of the setting up both with the back still in and with it cut out. Although it seems more logical to turn up the edges with the back already cut out so that the stone doesn’t get trapped I found that, for me, it distorted the setting more and it was harder to get the shape back so that the bottom lay flat.

You could try either.

You don’t have to cut out the inside of the setting, but I like my stone to sit further down into the design as it gives it a little more dimension. It also takes away some of the weight from the larger settings.

Use your pliers to reshape any distortions.

Try to saw away the inside as close to the edge as you can otherwise you’re going to have to do a lot of filing.


I rest the collar on the edge of my bench block and either use my file,

or an old, worn down grinding wheel – HERE – that is able to fit inside the setting.

This can be a bit vicious however so use with caution.

You want to end up with your stone being able to slip right through the setting.

Now cut out another piece of silver sheet just a fraction larger than the piece you’ve just finished.

Sand the silver sheet with a piece of rough sandpaper.

I like these foam backed pads from the local hardware store – HERE.

And use that special buffing thing on the bottom of the setting.

Or whatever you normally do to clean things up for soldering.

I like to lift the larger pieces I need to solder up off the block a little as it really helps to move the heat around.

I use one of those titanium strips – HERE – that I don’t know what else to do with.

I never can seem to bend them into the shape I want, but for this it’s perfect.

When I solder larger pieces I not only raise it up off the block a little, but once the flux has begun to gloss over I lift the whole of one side of the piece I’m soldering up with my pick. This really gets the heat moving around and the solder flowing.

For those new to soldering sometimes you will notice that the solder flows up onto the bezel collar. This is because the bezel wire is thinner and therefore heats up faster than the rest of the setting. The heat draws up the solder. Be patient. Keep an eye out not to melt the collar, but the solder will eventually begin to flow and you will have won the game.

It’s all about where you place the tip of the flame and getting it to heat all of the silver to the same temperature at the same time.

You don’t want to concentrate your flame on one spot, but rather move the flame continuously over the whole area you want to solder.

The very tip of the blue part of the flame is the coolest, so that can be a little closer to the top edge of the collar. The hotter part is about a centimeter out from the blue tip. This is the part that will melt things, so if you bring the blue tip down closer to the top edge of the collar the hotter part of the flame will go down beyond that to the area where you want the solder to flow and not melt the collar itself.

You still have to be careful, but it works.


I then saw away the base to mirror the top layer of the setting and sand it smooth.

And voila.

A little grubby but I’m not complaining.

Now I put it in the pickle and work on the cuff.

Here I have a 6″ x 1″, 20 gauge piece of fine silver.

I tend to use fine silver for all my pieces and only use sterling for some wire.

Anneal the silver.

Charles Lewton-Brain says that you know when the silver is annealed when the flame turns orange.

I always looked at the colour of the silver, but now I look at the flame.

It’s good to mix it up once in a while.


Once annealed I start to hammer it over the edge of my bench block to fold it in half.

Bit fiddly.

Eventually I decided it was easier to wedge the silver in-between the block and my bench, push down on the block and whack the thing upward.

Once it folded over as much as it wanted to, I annealed it again.

I then hammered along the very edge on the fold.

Which opened the ends up slightly.

Enabling me to get one of my jump ring mandrels inside and pry it apart by tapping gently on the mandrel with my rubber hammer.

I put the hammered part of the fold, about 5mm or so, into my bench vise and then hammered one side down to make it a 90 degree angle.

After which I was able to fold it back over itself.

And flatten it down.

It doesn’t look tremendously great at this point.

Going to have to work on my folding skills.

Remember to keep on annealing during this process. As soon as the silver seems harder to work with put it back under the flame.

Now you’re ready to stamp.

I hate stamping, and I hate wire wrapping.

Fortunately I only had to deal with one evil here.

You are going to have to level up the underside of the cuff with a piece of metal so that the stamp will mark evenly on the top.

Here I’m using another piece of silver because I was too impatient to find something else.

Not really one of my better ideas although it didn’t spoil the smaller piece as much as I thought it might.

You can use card or something else to pad it with.

Here is the front of the piece ready to continue stamping.

You can gently hammer on the edges of the strip if you find it has distorted during stamping, but the reason it’s distorted here is because I have stamped more on one side than the other which has, in essence, stretched the silver out unevenly.

You can correct this by stamping more on the other side to compensate for this.

Here I have leveled it up and snipped away part of the ends to help with shaping.

And now it’s ready for the edge melting process.

At this point I shape it on a bracelet mandrel.

And take the setting out of the pickle to cut down the collar to the correct height for the stone.

I run a pencil around the inside, snip as much as I can away with some snippers, and then file the rest down.

For this setting I wasn’t as precise as I usually am as I wanted a more uneven look to go with the setting.

I propped up the cuff and used far too much solder on it to join the two together.

But that setting ain’t going nowhere…

I forgot to mention that at some point I also added some balls and whatnots to the setting.


I pickled it once again then painted it with Black Max – HERE – which is not the least toxic of products out there, but is my favourite patina.

Just be very careful with it and always wear a dust mask when buffing it.

Always wear a dust mask anyway.

I give it an initial buff which I forgot to show you, with both a radial wheel – HERE – I like to use these 1″ yellow ones for the tight places and then with my dinky buffing machine – HERE – with this very fine buffing wheel – HERE.

After I’ve got it almost finished with the first buff I set the stone and place masking tape over the top.

Which I then cut away leaving enough to protect the stone.

And then I buff it again.

Until I’m satisfied with the end result…



So I hope you made it through without my boring you to death.


If you make one, I’d love to see it.

32 thoughts on “The anatomy of a stone cuff.

  1. Wow!!! What an amazing post!! And thank you for sharing!! I don’t have enough silver right now to make a cuff, but I’m definitely going to try the setting w the melted edges. It goes with my new line using raw stones.
    I have gotten a fold started by putting the silver sideways into the clamp thing about halfway with a rag protecting it, closing it tight and then hammering the other half down. It at least gets the fold started with a clean edge. You do have to move it along to get it all done, but it helps. 🙂
    Thank you!!! You have been very generous with this. And your cuff is GORGEOUS!!!

    • coldfeetstudioblog

      I think I was a little rushed and need to go back through it to make sure it makes sense. Did the earring thing help?

  2. Very clear. And not boring in the least.
    Thank you for going to the time and effort to share this with us.
    I had thought that you had both bezel and prong set the stones when I saw one of these over on FB. – that seemed like genius to me, who is nowhere near as proficient at stone setting as you are, and worry hugely about them wiggling. I guess I just need to man up and practice more. My tutor told me to use dental floss or curling ribbon to aid getting stones in and out of the settings, because we didn’t have access to wax at evening class.
    I’ve tried a bit of fold forming with copper, but it seems rather harder work than I like – but now you have me thinking. I’m rubbish at stamping; but recently learned that it may have been because I’ve been too miserly with the metal width, using 0.4 (26g) instead of 0.7 or 0.8 (20/21g). That’ll teach me! So, thank you very much. I really love the double layer of the back and the wiggle of the frame/border to the settings, It’ll be a challenge to melt something deliberately and in a controlled manner; but I think I might give it a go. I’ll let you know if and when I do, so we can both have a giggle ! xx

    • coldfeetstudioblog

      Thanks Dawn. I’m no good at stamping, and wire wrapping drives me nuts 😉

  3. Sandy Robinson

    Your detailed, step by step instructions and easy links to materials and tools are so appreciated!

    • coldfeetstudioblog

      You’re welcome Sandy 🙂

  4. Thanks for being willing to share your steps and document the process! I love this recent collection! I’d really like to learn to cut my own stones, too-you do a fantastic job with them!

    • coldfeetstudioblog

      Well, they’re a work in progress. I must admit it hurts my wrists quite a bit. Need to strengthen them up a bit 😉

  5. Cathy gratz

    Thank you so much for sharing the journey! I have purchased some ready made metal cuffs with a melted edge and I love it. I wasn’t exactly sure how to achieve that effect but really wanted to learn so I could make a sell a product 100% fabricated by myself. I think I have information to do that now with your help!

    • coldfeetstudioblog

      🙂 You’re welcome Cathy. It can be a bit frustrating as I said, so if you have any questions I’m happy to help where I can.

  6. Cathy gratz

    Where did you get your stamps?

  7. Love, love, love this post!!

    • coldfeetstudioblog


  8. Inspiring! Love all your quirky ways to accomplish…I felt right at home! I love the double base on your bezel and liked the fold formed cuff base as I usually don’t use 20g but this solves the problem. Anyways, when I get freed up, I plan to try the edge melting and this entire concept. A terrific tutorial and even more terrific design. Thanks for sharing your talent!

    • coldfeetstudioblog


  9. shelley lewis

    Great tutorial. Thank you for all the detail. I hate it when the instructions are so vague you can’t understand. This was fabulous.

    • coldfeetstudioblog

      Thank you Shelley. Sometimes I think I ramble 😉

  10. Thanks so much for this. I learned a lot. I would like to show you what I made. Is there place to post them to you?

    • coldfeetstudioblog

      Hi Lise, So glad you found it useful. If you post it on your fb page and tag me I can see it there if that’s good for you. Deborah.

  11. Anonymous

    Hi I would love to make this cuff, does anyone know where I can buy the opals ?? I live in Perth Australia & cont get them any where

    • coldfeetstudioblog

      Have you tried the link in the post? Can you get stones from Etsy? That’s where I get most of mine, well all of mine from. The link (if you click on the photo where I have the stones in my hand) goes to a shop in Italy (I think). I also have one from Russia. I live in the U.S. and I’m not sure if it’s different to post here. Let me find a few more links for you.

      • coldfeetstudioblog

        I’ve been looking around and to be honest these two are my favourite shops for dendritic opal

        This is the one in the link

        And this one

        Be careful shopping here as some of the stones are huge and some are very thin.

        Also, in other shops the dendritic opals can sometimes be too thick ?

        You can use a different type of stone also.

        Let me know if you make one.

        Best wishes


  12. Cat

    AWESOME! The pix really helped understand your text. You mentioned something to Ms. Leedum… Earrings??? I am very nosey, because I think your work is amazing and I’d love to see what else you have developed with this technique. Thank you for sharing and I hope you’ll accept me as a friend on FB when I request it. >^..^<

  13. coldfeetstudioblog

    Thank you Cat 🙂 I have made a few other things with the melted silver that you might find around the blog, but which I can’t put my finger on now. I can’t even remember what the earring thing was though :/

  14. Dens

    Hi, thank you for the great tutorial , I have a question , it looks like there is a space between the backplate and the piece of silver you soldered on with the bezel,How did you get it to look like there is a space between the 2 pieces?

  15. Dena

    Thank you for the great tutorial,how do you make it look like there is a space between the bezel piece and the silver sheet You soldered on under the bezel piece

    • coldfeetstudioblog

      HI Dena, If you scroll down to the 14th photograph you’ll see that I lift the edges of the first layer up gently with a pair of pliers. I do this with the stone inside the bezel so that the lifting doesn’t distort the bezel too much. Once I’ve done this I cut out the inside of the setting then I can make sure that the stone can pass through easily for setting later. Then I solder this layer onto the back sheet of silver (photo 23). The solder only attaches a small area just around the outside of the bezel. About three or four millimeters which in the photograph is just about the area where the texturing is close to the bezel. Hope that makes sense.

  16. Debra Tomme

    Oh wow!!! Thank you! Such a wonderful, generous sharing of your process! I just discovered you and your work and love everything—from your beautiful work (both jewelry and paintings) to the name of your studio (and the concept behind it—so real and refreshing!). Lucky find for me. I will be visiting often! (So, when did you say you were coming to Las Vegas to teach a workshop? LOL!)

    • coldfeetstudioblog

      Hi Debra. Thank you ? I have a few video show and tells now in which you can find me rambling in real time ? You can find them in the menu bar. Deborah.

      • Debra Tomme

        Thank you so much! I will definitely be taking a look at those ramblings! 😉

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