What I Look for When Buying Stones (and What I Skip)

Walking into a gem show can feel like sensory overload—in the best and worst ways. Trays upon trays of stones, every color imaginable, all competing for your attention. Early on, I felt like I should want everything. Over time, I’ve learned that buying stones well has a lot less to do with what’s available and a lot more to do with knowing myself as a maker.

Here’s what I pay attention to when I’m buying stones—and just as importantly, what I walk right past.

I Look for Stones I Can Picture Finished

If I can’t immediately imagine a stone as a finished piece of jewelry, I pause. That doesn’t mean I need a fully formed design in my head, but I do need to feel a clear direction. Some stones are beautiful on their own but don’t translate into wearable, durable pieces—or into the kind of work I like to make.

If a stone feels like it would sit in a drawer “until I figure it out,” I usually skip it. (I already have plenty of those stones lol)

I Pay Attention to Profile and Height

I’m prefer stones with a low profile, especially for rings—stones that sit comfortably on the hand and feel wearable for everyday life. That said, I don’t want them too thin. If a stone looks like it might crack, chip, or feel stressful to set, it’s not for me.

There’s a sweet spot where a stone feels substantial and secure without being bulky. I’m always thinking about how it will behave during setting just as much as how it will look once it’s finished.

I Pay Attention to Shape and Cut

I tend to gravitate toward stones that feel intentional but not overly perfect. Soft edges, organic shapes, slightly irregular cuts—stones that already have a bit of personality.

I also think a lot about how evenly a stone is cut and how it will sit in a bezel. Stones that feel awkward, overly sharp, or are not flat enough on the bottom don’t make the cut for my work.

When I’m Buying Stones for Students

When I’m sourcing stones specifically for teaching, my criteria gets even more practical. I look for cabochons that:

  • Have a consistent height all the way around

  • Between the size of my pinky finger nail and a quarter

  • Don’t have sharp corners (rounded corners are totally fine)

  • Feel sturdy and forgiving during the setting process

I also intentionally look for stones in the $2–$10 price range. When you’re just starting out, there’s no need to break the bank on your stone choice. There are so many beautiful stones available for under $10, and they’re perfect for learning.

I always encourage students to practice a bunch with less expensive stones. That repetition is where the real learning happens. By the time you move on to a more expensive stone, you’re not just technically ready—you’re confident, calm, and trusting your hands. And that makes all the difference.

I Look for Consistency, Not Quantity

I don’t buy stones just to have options. I’d rather buy fewer stones that clearly belong together than a wide mix that doesn’t make sense as a collection. I’m thinking about future pieces, how they’ll sit next to each other, and whether they feel cohesive.

Buying with intention keeps my studio—and my brain—calmer.

I Bring a Scale (and Track Every Stone)

One tool I always bring with me to gem shows is a small digital scale. Many vendors price stones by weight, and having my own scale lets me quickly calculate the price without needing to ask how much each individual stone is. It keeps things efficient, especially when I’m sorting through trays and narrowing down options.

Once I’m home, I take it a step further. I keep a dedicated photo album on my phone with all my gemstones. Each stone has its own photo, alongside its price, which makes it incredibly easy to find later. Whether I’m planning a new piece, teaching a class, or pricing jewelry, I can quickly reference the album instead of digging through trays or notes. It’s a simple habit that saves time and keeps everything organized.

That information makes pricing my work so much easier and more accurate. It keeps my pricing consistent, supports the value of my work, and takes a lot of the mental load out of the process.

What I Skip

I skip stones I feel pressured to buy.
I skip trends that don’t resonate with me.
I skip stones that feel exciting in the moment but don’t align with my work long-term.

Just because a stone is rare, popular, or a “good deal” doesn’t mean it’s right for me.

Over time, I’ve learned that good buying decisions come from trust—trusting my taste, my experience, and the kind of work I want to put into the world. Not every beautiful stone is meant for my bench, and that’s okay.

Every stone in my studio is individually chosen—whether it’s a stone for my personal collection or one I’ve sourced specifically for my classes. Each one is picked with intention, care, and a clear purpose in mind. The right ones always make themselves known. 

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