How would YOU set this 5.13 Carat. Genuine, Pear-Shaped Emerald?

 A client asked me if I would set his Genuine Emerald, Pear-shaped stone? He asked 3 other setters, and all of them declined. He also requested that I completely recut the Diamond Pave sections that were a part of the necklace. I accepted his offer, as I always had my camera in my bench, I captured the gemstone being in production.

 This stone weighed 5.13 carats and had a wholesale cost of approximately $12,500.00 CDN. The Mohs Scale was 7.5 - 8.0.

 The necklace chain section was separated from the Emerald Bezel frame. I preferred not to have the long necklace chain interfere with my fingers, bench peg and shellac stick.

To have an expensive Emerald in my possesion and go through the gemsetting process was very challenging. 

                  IMPORTANT SETTING FACTS FOR YOU!

1) I decided to "Bright-Cut" the inside of the Bezel as I am Diamond Setter, (not just a stone setter in the jewellery trade).

2) I thinned the thick bezel as I preferred to "gently move the metal" against & over the Girdle and Girdle Facets.

3) I was constantly aware of the Pavilion Facet edges touching the inside of the bezel frame. What did I do?

4) I decided to examine just where these 'contact spots' would be. I used a felt pen and inked the stone Pavilion and the underneath inking marked the bezel and showed me just where these spots would be. (Good idea, eh?)

5) I decided to use #2 & #3 bud burs to make grooves into the bezel frame where the facets would touch the metal. (This simple action prevented any chance of damaging the Pavilion Facet edges.)

 This lead me to confirm that this expensive stone would endure the TENDER gemsetting processes without breaking.

                  

                           MORE DETAILED TECHNIQUES

  6) To prepare the bezel 'moving process', I trimmed at a 45 degree angle to the top of the frame. I (very gently) pressed the metal over the girdle of this delicate soft stone. This is where many setters would be very worried in case of breakage, the stone is ultra-soft.

7) When the metal is pressed on to the Crown Facets, I'd use my Flat edge, Pumice Wheels of #180 Grit, to smooth the surface, evenly. (AS SHOWN)

8) At this point, I'd now use my highly polished Onglet graver #2 to literally remove away any rough metal around the inner bezel wall.

9) I removed the front point of the graver to prevent any scratches caused by the 'sharp blade'. This is not a casual cutting process as I was very careful not to touch the stone.

10) To remove the pendant from the shellac, I warmed the bezel and let the heat radiate around the frame. I just let the whole (cooled) pendant lay in "Methyl Hydrate"alcohol for as long as needed to remove any remnants of shellac.

=>There were no shortcuts anywhere in this whole gemsetting process.<= NO WHERE!
           THIS WHOLE PROCESS TOOK ME 3 HOURS!

How to 'repair' the damaged Bead Burnisher tool? => #1, of 2 essays. => 9 photos

 Supposing that you've used your Pave, 'Bead Burnisher' for many weeks 'nonstop'. You now see that the tip of this tool looks worn. What now? We can easily fix it (with some training).

 This burnisher that was bought at your tool supply office is made into "High Speed Steel" also known as 'hardened steel'.

 Just to soften it again for getting it repaired, would have been be a difficlt process. All that is required now is to heat the tip until it gets absolutely 'RED HOT'.

 The next step is to let it rest until it gets cool enouph to hold in your fingers. We only need to apply heat to the forward tip of the burnisher, not the full length. (As shown in this photo) 

 

    This is the distance from the tool to the tip of the flame. I use a pair of pliers to hold the steel tip.

   There are two flame jets, the INNER (Blue) FLAME IS THE HOTTEST, further away will give a cooler heat.

 I'm only using this type of portable, mini-torch. It has an adjustable 'on & off' flame tip, which is great for this project.

  This is the optimum distance from the 'flame tip, to the bead burnisher'.

 Here you can see the tip of the flame doing the extreme heating. We need a RED HOT BURNISHER TIP. The rest of the length does not need to be heated.

 DON'T DROP THE BURNISHER INTO COLD WATER. The steel is sufficiently softened for the next step of repairing the damaged burnisher tip.

      

                     IMPORTANT NOTES FOR YOU!

1) Water cooling will quickly reharden the steel again, we don't want that right now. 

2) Just let the hot burnisher AIR COOL BY ITSELF, agree?

 Here are the two Bead Burnishers that I intend to repair.

 I let this burnisher cool against my metal bench tray.

  My next essay will demonstrate how to 'reharden the steel' tip.

 This is my version of "METALLURGY" at the basic level.

What does a "FLAT, graver" actually look like? => 10 photos

 Here are my well used Flat gravers. Each of them are HSS (High Speed Steel) which will last me for over one YEAR+ each, or more.

 During the past many months, I've discussed the many shapes of "FLAT" gravers. I will write about Onglette in future essays.                  

                                 =============================

 In this first photo, you can see an assortment of fine lines with a slightly pitted hole in the bottom of the blade. This is where all of the metal cutting will now originate. THIS IS TRULY NOT ACCEPTABLE!!                   

 The front area of the blade is too thick and needs to be reshaped further for the many tight setting areas.

  When I selected this specific blade, I did so with the sole purpose of showing what errors there are in shaping this Flat graver.

  For this Flat graver I kept it in this'wine coloured' handle, just for easier identification. This blade is a #41, or otherwuse known as a 'wide graver', I won't change it for any other width in this handle.

 You can see just how thin the front of the graver will be for the tight metal cutting areas.

 I will use this thin blade for when I will cut "Fish Tail" or assisting me in similar delicate  projects.

  What blade would I use? The next sentence would be "length does not matter!" With my "Adjustable, Graver Handle", I can very easily exchange any graver that can be used.

  You can see two sizes of Flat gravers that I will use to set and tighten gemstones in a 21 stone, Cluster Ring. 

 All Flat gravers are created in HSS metal, namely 'High Speed Steel'. This extreme srength & quality will give much endurance to all kinds of setting projects.

 No matter the life-span of the graver, even a well worn graver can still be used in this "Adjustable, Graver Handle", as shown in this and previous photos.

  Here are three gravers that I commonly use with equal dexterity.

 The lower blade is a #39 along with the middle blade being the commonly used #40, and the above blade is a #41. 

This wider blade #41, has certain features that even a wide Onglete graver lacks. There will be times that a wide cutting blade will suite my purposes.

What is wrong with this design? => 1 photo

  I saw this ring online and have now posted it to OUR blog. 

WHAT ARE THE MAJOR STRUCTURAL PROBLEMS WITH THIS DESIGN? (It is my estimation that many problems are waiting to happen.)

  I prefer to display the major problems instead of just writing about them.

==============================================

#1) The four claw tips are too high in the Yellow ring. The rule is that the claw tips MUST NEVER BE HIGHER THAN THE 'TABLE FACET' OF THE STONE.

#2) There is no overall stone security, because the joining of the 4 claws was not thought of. If one claw gets moved by accident, the Oval gemstone will get loose and possibly fall out.

#3 Because of the Culet depth of the gemstone, the stone in general must be positioned at a higher level. This will result in the stone getting too much wear and eventually starting to move.

#4 The multi-stone claws on the side might catch the clothing of the wearer.

 If I were the salesperson, I wouldn't promote this pattern. If you tend to differ from my thoughts, this is your prerogative.

Gerry Lewy (gerrylewy18@gmail.com)

 

What is a "BEAD BURNISHER" and WHERE can it be used? => 13 photos

 I have three sets of "Bead Burnishers". I intend to show you and will display them using my 400x power Digital Microscope. 

 In this great photo, you can see the large burnisher against the smallest size in the 'set'.

                     

 Why is there an angle cut into these two tools? The answer is important to you!

 When you are burnishing diamond-set beads, you don't want the tool to touch the diamond.

 THAT IS WHY THE METAL IS CARVED AT AN ANGLE FROM MAKING GEMSTONE CONTACT. 

          => This will prevent you from breaking a diamond. <=

 This is an up-close photo of a regular burnisher. The edge is clean and ready for use.

Now compare this badly worn tip. It is ready to be thrown away.

This burnisher is a small tool at number #10; it is best to re-order the same size by knowing the number engraved on the side.

 The 'burnisher tool' is never to be placed in a vertical position. It should be held at a slight angle, as the circular tip will then not make contact with the stone.

I was making 'decorative beads', and these too must be burnished. 

 I was preparing a display of tools for this photo; you will notice my bead burnisher next to my loupe.

I rounded my 'decorative' beads, and here are the results.

 This photo displays all the beads against the stones. You will notice

that every one of them is uniform in size, no matter the size of the stone.

  I used a smaller bunisher that was necessary for small beads. Avoid having the tool come into contact with the delicate stone.

REVIEW

 1) I put more emphasis on the beads that were against the stones. As I want 'security and safety' at all times. 

 2) Remember that it is best to select a slightly larger burnisher; if not, there might be remnants of metal around each of them.

3) Don't change the size of the burnisher during this beading process. ALL OF THE BEADS MUST BE OF THE SAME SIZE.

Was this introduction to using 'Bead Burnishers' useful for you?

(gerrylewy18@gmail.com)

What is the 'stone sequence' in setting this cluster ring? => 3 photos & 2 diagrams.

  I prefer to give you my reasons for which stones would be set first, and what tools would be used.

1)  From my perspective, there are 4 sizes of smaller diamonds in this ring. (This does not include the main larger diamond.)

2) The side stones are in two sizes; the centre of the '3 rows' seems to be slightly larger. 

3) The sequence of setting these stones is determined by their close proximity to each other. We should keep these claws in good condition while we are using our gem-setting tools. 

4) What tools should be used to tighten each stone? From my own experience, I'd use the finest pointed tools; the question is, why? The closeness of each claw prevents the use of wide-nosed pliers. 

5) I would use a 'bead burnisher' to move the claws toward each other. The tip of this tool would grasp the claw, allowing for clean movement. Any damage to the claws will be a major repair problem. (See the photo below showing how this tool is used.)

 

 You can see how these 'recess-tipped' burnishers come in different sizes. Each has its own purpose.

                        

6)  The 'bead burnisher' should have a recess at the tip, where the claw will temporarily fit against. DON'T PUSH THE CLAW, BUT ONLY MOVE IT.

                                    ------------------------------------------------------------------------             

 (These diagrams might not be what an artist would draw, I'm a gemstone setter, not an artist :>)

1) The middle (red coloured stones) row of stones should be set first! Be careful with your burnishers at this stage of setting.

2) The two outside rows (blue colour) should be set last. 

===============================

This next diagram is the 'visual extension' to the centre stone.

1) These mini-claws are really tight against each other. OUCH!

You should pick the most desirable-sized 'burnisher' you can find to fit each small claw.

2) I would 'pre-polish' all of the claws. NOW. When the stones go in, it will be too late!

3) The gemstones in this diagram at #4 are next.

                          

4) This 'group of tight-fitting stones' is last to be set. These stones should be well-fitting with limited space in between each of them.

5) After this stone setting process, a complete 'light rouge' will suffice.

6) After the large centre stone is set, I would use a "77B, Cup Bur" to round the claws. AVOID USING A FILE, AS THESE CLAWS ARE QUITE SMALL & EXTREMELY DELICATE.

                               =================

 WE'VE JUST COMPLETED THIS "CLUSTER RING". As always, there are no short-cuts in this 'Intermediate Level' of stone setting.

Hand-drawn renderings for 'cluster setting' => 6 drawings & photos

THIS IS MY HISTORY LESSON.

  In my earlier days of this blog, I drew diagrams of this 'cluster setting' display; these were (truly) very rudimentary.

 But suffice to say, I've now advanced in my method of explaining setting techniques. Photos are the best teaching methods.

If these basic diagrams are still useful to you, I'm happy.

=================================

 When the stones are sitting in and against the individual claws, a 'wire hook' is needed to tighten the stone. 

 Making these 'hooks' does take some levels of practice and finesse, not to mention a 'steady hand'. An intermediate-level knowledge of stone setting is required.

 When the stones are being prepared for setting, a '156C' 90-degree angle bur must create a seat in EACH CLAW for every stone. 

 Each seat must allow the stone to sit flat & not crooked. Avoid not drilling too deeply into the claws.

 All of the selected stones must be of the same size and colour. 

 This photo displays the finished group of 'cluster set' of stones.

 I had no intention to drill too deeply into each of the claws. If I did, it would weaken the structure and integrity of the claws.

 The only tool that I use in this delicate program, is a Flat graver of #40 width. There are many available shapes and thicknesses of blades, but this #40 tool is the 'best' for this stone setting program.