It's an age old question: How do I find my girlfriend's ring size without ruining a surprise engagement?
There are many tricks and tips out there for how to do this, but many simply won't cut it when you need to be as exact as you can! Don't go sticking rings in soap, trying on her rings to see where they 'fit you,' or tying a string around her finger. We have three methods that we, as jewelers, recommend that will give you the best results (and a perfect fit)!
1. The Paper Trick
- This trick works if there is a ring that your girlfriend wears already on her ring finger (left hand), or we can usually get within a half size if you measure a ring she wears on her right hand ring finger.
- Simply print out this page and cut the cone out in heavy card stock. You will insert the cone into the ring and measure where the ring hits at the widest part of the paper, make a mark right where the ring hits. You can then send that piece of paper to us and we will be able to tell from your mark her ring size!
2. Borrow a Ring
- Another great option is to borrow a ring from her, although beware, if it is one she wears everyday you might get yourself into some hot water if she finds it missing! If this can easily be done, bring the ring right to us and it can be sized in a matter of minutes, although make sure to notice what finger she wears it on!
3. Friends and Family
- As a last resort you can always find out more information from friends and family. They may have bought her rings in the past and can help you get close to the ring size you will need. As always, they may have bought her rings for different fingers. Even if they do have sizes of other fingers, write them down, the more information we have the better!
Example of the varying sizes on a woman's hand, please note everyone will be different!
Things to remember when buying the engagement ring:
- Not all rings can be sized easily: many of our custom rings can only be sized up or down a size or two, so it's important to be as close as you can when finding out her ring size.
- Not all fingers are the same size, in fact, they vary quite a lot and there tends to be around a half size difference between a dominant and non-dominant hand.
So what can I do if I can't figure out her size and want a custom ring or one that can't be easily sized? Give us a call or e-mail us! We have many staff members and craftsmen you can talk to to find out what your best option will be for getting your perfect engagement ring. 1-800-488-6347 or email@example.com
When I was a youth learning to play the Highland bagpipe, I copied a chart from one of my tutors that showed who studied with who, from the living masters that my teachers learned from, back to Angus MacKay, the piper to Queen Victoria and through him back to the MacCrimmons, the hereditary pipers to the chiefs of the MacLeods. From Finlay MacCrimmon in the 16th century down to myself I recorded nineteen generations of tuition. In the not so distant past the only way to hear and to learn music was to hear it live and this is still the best way. Recordings and broadcasting have transcended time and space somewhat, but the rare earliest recordings are now barely over a century old. Written music is of course older, but the fact remains that most traditional musicians learn their art from others on a face-to-face basis. Tunes and influences from recordings are still for the most part learned directly from other living musicians.
Our heritage of traditional music is dependent on an unbroken chain. Until the present era of recordings, only real time human contact has been the way that tunes, lyrics and musical technique have been passed from one generation to the next. In the visual arts of graphics and sculpture this limitation is not the case. While we can only hear the music of ancient times as it survives in a living tradition, we can see surviving examples of artwork hundreds or thousands of years old and the observant student of art can acquire images, influences and techniques directly from the distant past. Unlike musicians, most Celtic artists and designers working today are self-taught and only a few have had the benefit of a one-on-one teacher. Yet every day thousands of people are exposed to monuments of Celtic design that have stood on the same spots for a thousand years. The survival of monumental stone carvings in the form of the High Crosses and other monuments has meant that Celtic design has been a constant part of the visual world in the Celtic lands even when sometimes for generations the art was not practiced.