What is a "Right-Sided, Onglette Graver?" => 22 photos

  All gravers come in a basic shape from your tool supplier. IT IS REQUIRED TO MODIFY  & ALTER THE SHAPE OF YOUR OWN GRAVER.

 In this tutorial essay, I will explore two routes: " modification and reshaping." I will also demonstrate what this graver can do to enhance your metal cutting.

 All photos of the displayed metal cuttings were not "Computer Aided Designed".

 This first photo shows how "Paper Polishing" removed all of the defects in the steel blade. The polished blade now looks like a mirror, which is what we are aiming for. 

 This plate of Genuine Emeralds was simply carved by an Onglette graver. When I attempted to set these precious stones, I had to set the stones into this plate 'very carefully' so as not to break any.

  Although the bottom blade is a "Flat graver", in this photo you can see how the above "Onglette" blade looks when it is untouched.

 This photo shows the preliminary stages of development from a roughly hewn blade to a semi-finished setting tool.

 This blade has been gently contoured to the shape that is needed for metal carving. It is not necessary to have the tip (large like a mountain) for metal cutting. The large size only makes any "Bright-Cutting" difficult to examine up close.

 It is easy to see that I've contoured the 'Graver Face' at a 45-degree angle. I'm aiming to have the right side of the blade to be used in metal carving.

 You can see the angle of the graver face starting to be seen. The 'left side' is not to be used, all of this angle-shaping is done on the oil-stone.

 Once the configuration of the blade has been achieved, now comes the 'paper polishing'. I'm using Polishing Paper with a 1,200-grit all of this shaping is on

the right side. 

 If you are 'left-handed', then all of these shaping techniques will altered for the left side of the graver.

 

 There are opportunities when engraving tools come already 'pre-shaped'. As seen in this photo, this is only 'half of the task'. You will see how thick these blades are. There is too much metal between the 'point and the curve'.

 The number "2/0" pertains to the actual 'cutting width', and the letters "HSS" refer to the designation of being "High-Speed Steel" which is the best there is.

 The only way that any bright cutting can be achieved is with an Onglette blade. This was not a CAD pattern, but originally just a 'Tube-Setting'.

 Please avoid using a Flat graver in cutting a circle, why is this? If I used a flat-shaped blade there would be facetting all around the 'Flush Setting'. 

 A 'Right-Sided' Onglette is truly the best manoeuvre in cutting circles.

 

 These are the 'best' length of gravers to buy as they can be modified to your own specifications, not someone else's. There is more room to do your own 'shaping'.

   These gravers were modified (to my needs) on my 'bench grinder'. The 'rough ends' are embedded into the adjustable graver handle and never used.

 This is my 'dream machine' aka bench grinder. Whenever I reshape my gravers, I ALWAYS have a little beaker of water within reach. If the graver gets too hot the steel softens and is not usable.

 I usually 'ink' the blade before the important shaping is to proceed. This is my guide in metal cutting as this is so very important. 

 When holding the steel blade I ALWAYS protect my skin with Laytex gloves and wear glasses. The metal shards can hit the eye Retina and cause severe visual havoc.

                  KEEP THE GRAVER BLADE 'COOL TO YOUR TOUCH'.

  The 'optimum' metal shaping length is an estimated 23.25mm or one inch in length.

 I personally use Polishing Paper of #1,200 grit on all of my 'ready to use' gravers. This will give me the 'next to perfect' results.

  I was taught to 'pre-cut' my stone-setting, as this will give me much freedom in metal cutting. All of the metal cutting that you see here is using only the "Right-Sided" graver. 

 'C.A.D.' was never intended to be used anywhere in these displays.

 When the opportunity arises when the graver needs to be enhanced again. I was taught to 'rub' a soft pencil into the pores of the paper. 

The granules from the pencil get embedded into the paper and actually make the paper softer than #1,200. This particular paper gets to be now #1,600 grit without buying newer paper. Good idea?

  All of these metal cutting was done with "Right-Sided" Gravers. Now you can appreciate the necessity of making these gravers, these will be a favourite new cutting tool always at your disposal.

 The engraver also used a 'FLAT' graver for those extra wide cuttings.

Before you buy a 'Micromotor' (read this essay) - 23 photos

  I saw the question "Which is the best micro-motor to buy" on our "Orchid community questionnaire". I would like to comment on some of these (gem-setting) motors, and their attachments. 

 I'm not promoting one brand name over another in this essay, but the names are quite visible in the many photos. I like being 'neutral', you the reader can make the 'buying choice' yourself.

 I have this same micromotor on my bench and it comes with a foot (speed control) pedal. When the motor handle is not being used, it is resting in the handle slot-tube on the side. 

 Just where is the dual speed control? This means manually altering the speed at all times and wasting your time in doing so.

    WHY IS THIS A GREAT MICROMOTOR?

1) Easy-to-read display of speed reference numbers.

2) It has a foot pedal.

3) The handle is easy to hold and work with.

4) There is no need for a pole to hold the motor. It rests easily on your bench.

   

   What are the negative aspects of this 'handpiece'?

1) These hand-pieces are very wide for the hand to grasp.

2) There is no 'flex attachment'.

3) There has to be a key to 'tighten and release' every bur.

4) This is not good for a delicate gemstone-setting action.

 This assortment of features and burs is lacking one item. It is lacking the 'flex' on both handpieces, why is that?

I (almost) approved of this duo of hand-pieces. With the desktop, there is no foot pedal to control the quick changing of the speed.

 With this combination of speed controls, there is both the foot pedal AND desktop. I thoroughly approve of this arrangement!

The micromotor handle has its own resting pad. Good idea as it gives a place for the motor handle to rest, instead of being loose in and on the bench top.

                        

                          There are three problems here!

1) There is no 'flexible bending' during the setting processes.

2) The 'quick-release locking switch' can interfere with the operator's grasp on the handle.

3) Sometimes the 'quick-release switch' can pinch the skin & hand.

 With this motor assembly, there MUST BE A POLE to hold the heavy motor.

 There are few, if any advantages to purchasing these two handpieces. In my estimation, these are not good for gemsetting purposes.

 STUDY IF THESE HANDLES ARE GOOD FOR YOU?

 

 At the very tip of the hammer anvil is a 'diamond crystal' that when used (carefully) can create a 'textured surface' in the metal. This could be a real advantage to your specialized creative patterns.

 This is an anvil before it is hand-shaped to become a Reciprocating Anvil hammer tip.

 This style of motor assembly needs a pole to hold it to your bench.

 This is a very worthwhile micro-motor to purchase, why is this? It comes with foot-pedal & easy-to-read speed numbers on a digital display.

 This is the most common style of pole that is required to hold the heavy motor. It also comes with an added feature of extending the height, if required.

If the pole isn't tightened securely, it will easily fall over. WOOPS!

 This is the epitome of a great Reciprocating Hammer to buy, why?

1) It has a flex shaft in the handle.

2) The handle comes with its own key for minor adjustments.

 I have the same hammer at my bench, why not one for you?

 NO COMMENTS on this hammer is that it lacks many good features for the gemstone setting. I've discussed them above.

 The quick-release locking device might cut into the hand when activated. PLEASE BE CAREFUL! (or just don't buy it!)

 I bought one of these on a trial basis and returned it a few days later.

 This is the key to the basic style of handpiece. There are no other means of tightening or releasing your bur, except using this key.

 I would prefer a 'foot control' when making your purchase.

 Here are a few things to remember when thinking about buying this motor.

 1) A strong pole is required to hold the motor.

2) There is no 'flex shaft' on the handpiece.

3) There is no foot 'speed control' pedal being shown.

 In conclusion, I attempted to give you my preferences & opinions on the various styles of handpieces and micromotors. 

 I avoided any names of equipment but just listing the 'good' and 'best' choices.

 Beware of equipment that is manufactured in 'overseas' countries. "Just because the price is cheap does not mean that it's better".

 Buy with caution at all times.

How was this 'Diamond & Gold' studded brooch created? => 16 photos

 I've been thinking 'Why should I wait for days to answer my question 'How was this beautiful brooch made?" I had only one photo to describe this process, but after spending 65 years in Diamond Setting, I did find this quite 'easy' to explain.

 It is 'easy for me' but for the vast majority of the blog readers, this might be a real challenge, or literally impossible to say the least.

 When I was writing this essay I was thinking about what techniques would I use. It was like I was setting this brooch myself, the time in his essay was easily measured in DAYS.        

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1) There will be no large metal 'round-ball clamps' to hold the individual (estimated) 19 pieces. I would use my shellac stick as my first and only choice to hold each section. I want my 'hands and fingers' to have full access to the setting processes. 

2) What tools would I use? The answer is just the basic Onglette-shaped gravers #1 and #2. The right side of this graver is meant to be used to create a sheen in the cutting. This is the reason why I name this a "Right-Sided, Onglette Graver". You can't buy these, but they can be made only on your bench.

 On the sides of the graver should be well polished to a very high lustre. This will necessitate bright engraving all through the metal carvings.

 THERE SHOULD BE NO "FLAT-SHAPED" GRAVERS NEED TO BE USED ANYWHERE. 

3) How were the precious multitude of diamonds set into the metal? I would fashion the tip of an additional Onglette graver to be rounded. This rounding allows the graver to be fashioned into a "Bead-Raising tool". This prevents the tip from breaking when forming the gold over every diamond.

4) The jeweller and I will act as a 'TEAM' in the soldering together the many pieces. This discussion is about which section goes where and when.

5) The decision as to which size of diamond goes where is also very important. At each point, the 'leaf' will have one diamond. That one stone must be slightly larger than any others in every section.

6) The Baguettes are another (minor) problem. All of them are 'Straight Baguettes' which means that all of them are sitting in the main stem of the 'flower'. There will be very few 'tapered stones' except for 'the point of the stem'.

7) To avoid a wide stem of Baguettes, this setter chose to engrave a 'double line' along the full length of the brooch's branch. The diamond setter even (very carefully) Milgrained the long metal stem. 

This showed me that he had a very delicate hand in using his Onglette graver #1. It was a good choice for the setter's hand dexterity.

 In this exquisite metal cutting, accuracy is paramount in shaping and forming the graver blades.

8) There was a fair amount of time spent choosing which Baguette went where. 

9) The largest of the Baguettes went into the long stem. The largest of the stones were first set at the base of the long stem. Gradually the smaller stones were next placed into the metal.

10) The 'eye of the wearer' gravitates towards the larger of the 'leaves'. Then the largest of the small diamonds goes into these two leaves. NON-STOP PLANNING AND CONTEMPLATING. Which diamond goes where, when & why?

11) There would be no time spent to think of doing a fast setting. I, or another setter would contemplate spending two weeks or three on this project. 

12) Which of the diamonds would get set first? I, for one, would find the largest of the diamonds and place it at the 'tapering of the leaf'.

13) Have each diamond lowered gently into the metal. The 'girdle' of every diamond MUST NEVER BE AT THE SAME LEVEL AS THE METAL. The deeper each diamond is set in the 'Beading Raising' process, the more metal will hold each stone.

This is my Bead Raiser, which shows the slightly rounded shape of the graver's front, or point.

 The well-prepared Bead can now be seen as it is well over the edge of the Girdle of the gemstone. The bead MUST BE PERFECTLY CREATED, if it isn't then the stone is not secured.

14) 'Burnish each bead' after every stone is set! This is what a 'Bead Burnisher' looks like.

 DO NOT ATTEMPT TO LEAVE ANY FLAT SPACES IN BETWEEN EACH DIAMOND.

15) If there are any spaces, I found that "nature doesn't like to see flat spaces in ornamental flowers". I used a simple method of 'raising decorative beads' and just then 'brushing, or rubbing' all of those beads smoother. The results are just fantastic!!!

 There are times when too many beads are used & created. The next alternate step is to use a mini-round bur and make 'little shallow recesses' into the metal. (as shown)

 

 All of the intricate metal cutting was done with using only the Onglette gravers #1 and #2. This is one of the most intricate setting projects that I have come across.