Trade-Level Jewellery Training Tips, Tutorials & Insights from the JTS Bench.
By Peter Keep – Jewellery Training Solutions
Gemstone setting is one of the most exciting stages in jewellery making — and for many students, it’s the moment they’ve been waiting for. But before you dive into pave or grain setting, it’s essential to master the fundamentals.
That foundation begins with claw setting. It’s the skill that every professional setter builds upon — the core technique that teaches precision, control, and confidence at the bench.
In this tutorial, we’ll walk through a step-by-step process for setting a 6 mm CZ into an SB1 setting blank (available through Jewellery Training Solutions). These specially made blanks are perfect for practice — allowing you to develop real trade skills without the pressure of working on a customer’s piece.
Always begin by examining your stone and setting. Check the stone’s profile and proportions, and look for any weak areas. Make sure your claws are positioned at North, South, East, and West and that they’re level. The stone should sit halfway down the claws. Clean and polish the setting before starting.
Every setting style aims to achieve two things:
Measure from the top of the claw to the stone’s girdle using dividers — this marks the ideal seat depth. Each claw should be marked individually to maintain precision.
Using a fine 4/0 saw blade, carefully cut into your markings — no deeper than one-third of the claw’s thickness. While a setting bur can be used, I prefer a hart bur, which gives better control and preserves more metal for shaping.
Start with a bur that cannot pass between the claws — this prevents “bur rip” (when the bur catches and damages the claw). Keep the bur square and steady, cutting halfway into the claw’s thickness. Always make sure the bur is spinning before it contacts the metal.
Tilt the bur slightly inward to create the undercut that matches your stone’s pavilion. Work with the setting in your fingers rather than a clamp — this gives you greater tactile feedback and control while cutting.
Check that the seat matches the stone’s profile. If the girdle is thick, refine the seat with a fine tapered bur. Remove any metal “swarf” before placing the stone to ensure a clean fit.
Before setting, prepare the metal for final polish. Gently bend back two adjacent claws using chain-nose pliers (with smoothed tips). Test-fit the stone using a fingernail or wooden dowel to avoid damage. Adjust as needed until the stone sits neatly into position.
Push the claws gradually and evenly onto the stone’s crown facets, alternating sides to keep the stone level. For thicker claws, use setting pliers — the resting jaw stabilises one claw while you gently lever down the opposite one.
Check the symmetry and ensure the claws rest on the crown break facets. Once you’re happy, apply gentle downward pressure until the stone is fully secured. With experience, you’ll achieve tight, gap-free seats every time.
Trim the claw tips with a fine needle file (use one with a safety edge to avoid chipping). For practice, leave the tips square; for commissions, discuss the preferred shape with your client. Smooth any sharp edges that might catch on clothing.
Use a custom-made V-tip steel pusher to close and burnish the claw tips. This technique both seals the tip and work-hardens the metal. Be careful with polishing tools — buff sticks or abrasive disks can easily scratch the stone if they touch.
Examine your finished setting like a customer would. Your checklist for professional results:
Claw setting is the foundation of every professional setter’s journey — and once mastered, it opens the door to advanced techniques like grain, pave, and channel setting.
Explore the JTS Stone Setting Courses at Jewellery Training Solutions.
Jewellery World Magazine — September 2025
By Alistair Snook
When you think of jewellery making, you might picture a private studio or trade workshop — but at Churchlands Senior High School in Western Australia, the jeweller’s bench has found its way into mainstream education.
It’s a place where design, craftsmanship, and learning come together — and where students discover the satisfaction of shaping metal, setting stones, and creating something of lasting value.
In 2015, Alistair Snook’s life took a new turn. After a career in woodwork programs and design technology, he began teaching at Churchlands Senior High School.
When the school introduced a Jewellery Program, led by colleague Robyn Hutchinson, Alistair saw a chance to combine his love for design with hands-on making.
Over the last six years, he’s guided students through every step of jewellery creation — from design and casting to setting and finishing.
He says:
“The idea of inspiring students and seeing them find confidence through making things by hand really appealed to me. Watching them learn to shape metal, problem-solve, and see their ideas come to life is incredibly rewarding.”
The Churchlands program introduces students to a wide range of tools, techniques, and design principles — while also exploring sustainability and materials innovation.
Students learn practical skills like soldering, stone setting, and metal forming, while also developing creative design ideas.
They even tackle modern design challenges, such as using recycled materials and exploring environmental responsibility in jewellery manufacturing.
Bringing jewellery into the school curriculum can be challenging — especially when specialist trade resources are limited.
That’s where Jewellery Training Solutions (JTS) has become an invaluable teaching partner.
“Peter Keep’s website has been a game-changer,” Alistair explains.
“It’s not just an incredible library of lessons — it’s a ready-made resource for classroom projects, manufacturing techniques, and even assessment ideas.
It’s like having a virtual mentor in the workshop.”
JTS tutorials have helped teachers bring trade-level training into the classroom — giving students access to real-world techniques normally reserved for apprentices and professional jewellers.
Alistair says the results speak for themselves.
“After three years, the students’ work has reached a standard I never imagined possible in a school setting. Watching them produce rings, pendants, and settings that rival commercial work is amazing.”
The Churchlands jewellery program has inspired other educators to explore how hands-on design and trade-based learning can boost creativity, confidence, and problem-solving skills in students.
Whether it’s designing a pendant, soldering a ring, or setting their first stone, these young makers are learning more than just technique — they’re developing patience, focus, and pride in what they create.
“When students realise they can make something by hand that’s beautiful and lasting, it changes their confidence completely,” says Alistair.
“That’s the power of combining education with craftsmanship.”
To explore the same professional training resources used by Churchlands Senior High School, visit:
👉 JTS Schools Program
Professional trade-level training for jewellers and educators worldwide.
