Which bur would you use & why? => 16 photos

 I've covered many topics in this extensive blog. One topic I feel is important is the choice and description of BURS! These are literally the workhorses of our profession.

 The burs that I'm displaying are basically for Diamond Setting. Our jewellery manufacturers have different bur requirements. I feel that "MY BURS" are worth mentioning as well, but is fully detailed in the next essay of the same name.

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 This round bur photo is only used as a 'cover' for this essay.

 These 'setting burs' could be used in Tube Setting; whatever you need them for is your decision, but they are there for your own needs.

 This assortment of Round Burs can be used extensively in opening holes for Pave' stone setting.

 Whenever you see a gold band around the bur, rest assured, these are not Carbide steel but a long-life consisting of 'High Speed Steel'. These particular burs can be used in all applications, and they won't get worn too fast, unlike the Carbide, which usually wears out in a very short time.

 This strange-looking bur will cut a flat surface on the metal. This little knob is a guide where the rotating bur will be used. With the correct size of the Pearl, this bur will create a setting for the Half-Domed shape of the Flat surface of the Cabochon Pearl.

 This spear-shaped bur is where the centre stone will sit against the four or six-claw head. The 90-degree angle of the bur conforms to the correct angle of the centre stone.

 There is no other shape of bur that has the same dimensions.

 This 45-degree cutting bur is primarily used in creating a seat for the centre stone. You can see that the teeth of the 90 & 45 degree burs all have one thing in common. The teeth always cut into the metal with the greatest precision, but why not the Carbide steel?

Those teeth are closer together and won't have the capacity to cut DEEP. (The Carbide teeth only skim along the surface.) I know this for a fact.

 The shallow angled bur are not meant for centre stones. No gemstone or diamond have the same (shallow) dimensions.

 If you have a small 4-claw setting, then this bur is your answer in using these closely knit tooth bur. 

The correct name for this bur is "156C", where the letter "C" represents Carbide.

 These unusual-looking burs have one purpose, and that is to "round the tips of the claws". The correct name of this bur is a "77B". The bur is made of Carbide steel! But this steel does not remain sharp; it will quickly wear out.

 This is our 'twist drill' that is used mainly for creating holes in any metal. The width of the bur shaft makes this useful in any handpiece configuration; the dimensions are 3/32" of an inch.

 The very tip of this twist drill can be easily recut or repaired by using your "Snap-On" Emery wheel and re-shaping the angled tip.

 This is called my "Buddy Bur", one of my students gave this name to me, and it suits the purpose. It truly is my 'Buddy' bur! 

 Many of my diamond setting patterns use these burs, where a round bur just doesn't have the tapered point. 

This has a "Carbide" steel construction, and is made in Carbide steel, with the 'tapering design'. I prefer to use this bur as a metal cutting or shaping tool.  

  This complete set of "Bearing Cutters" has just one purpose, and that is to create 'Bearings' for the Girdle of a gemstone.

 These odd-shaped burs have only one use, and that is to create a 'seat' for Cabochon (flat-bottomed) Pearls.

 

 Can you imagine where this unusual '3-toothed' bur is used? If you are a wax carver, then your workbench cannot be without this tool. Instead of using the regular 'round bur' that has multiple teeth that will get clogged up quickly with wax, this bur cuts and discards the wax as the bur is rotating. 

 As the old saying goes, "Never leave home without it".

 If you need further assistance in selecting burs, you may email me at "gerrylewy18@gmail.com".

What is "CUT DOWN" Diamond Setting? => 20 photos

 This technique borders on an insanely mind-boggling gemstone setting. The 'difficulty rating' numbers that I give this technique are, in all honesty, 20 out of 10. I've reduced the number of photos from 46 to 20 tutorial pictures.  

 This level of Diamond Setting is not for the beginner or intermediate level. This technique is equivalent of getting a university education; the chances of ruining the 'bead forming' or 'metal carving' could very well change your need to attempt this rigorous challenge. Nowhere in this essay have I used any computer (CAD) program to assist me.

 The two words "Cut Down" simply refer to the technique that describes the method of using your Flat graver to literally 'cut down' towards the edge of the ring.

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 The very first process is to use your Flat graver and place your corner point of the tool and 'dig in' to the metal. Then twist the corner as the graver slides some metal over the stone. Be careful that the graver doesn't cut into the stone. I suggest doing the sliding of the metal 'one corner' at a time.

 

 When the four metal corners cover the corners, the next step is to use an Onglette #1 graver and extend this line to the end of the ring.

Here is the Flat graver positioning (twisting) the metal over the stone.

  You can now see the four corners of the metal holding the stone in place. Get that metal over the (Girdle) edge of the stone.

 This stone is now at the 'best depth' and further metal cutting is well on the way to a successful setting process.

 When you need to drill a row of stones, I always lightly scribe a line to keep the holes in a straight row.

  Some stone setters prefer to 'raise beads' and then use the 'cut down' technique. In my opinion, this is not suitable, as this is not a clean method, as there are 'holes' behind each bead...YUK!

 I use a Flat graver of #40 width and remove the metal, which will leave a smooth surface. This will be the famous "Cut Down" technique.

  There will be no Pave' cutting on any side of the stones. Place your Flat graver against the hole where the Girdle of the stone is and cut towards the edge of the metal.

 

 Always keep the Flat Graver sharp, as there mustn't be any rough edges. If there are any, this will make it difficult to clean the metal.

     REVIEW OF THIS "Cut Down"PROCEDURE.

 To keep any stone flat and at the correct depth, I always keep the Girdle of the stone lower than at a Pave' depth. If not, the 'four corners' will never be strong enough for this procedure, trust me on this!!! I suggest using a "156C, Under-Cutting" bur to create an appropriate seat for the stone.

  When you place your stone into a hole. Keep the hole CLEAN from any residual pieces of metal. 

   Four words can be used here! "DIG IN, AND TWIST". Any (soft) stone can be used in this stone setting procedure; this is the best part of this novel gem-setting process.

 THIS IS THE CORRECT DEPTH OF ANY OF YOUR STONES.

 Just use your Flat graver and dig in & turn. No other setting is needed to do the digging in & turning.

 This is the hole that is 'waiting' for the stone. From here, the whole process will very soon start.

 In using a 'bud-shaped' bur, cut lines into the metal as shown. Remember to cut these bud-bur lines... DEEP. Why so deep? 

 You are actually preparing for the 'four-cornered, mini-claws'. These deep lines will be where your Flat graver will be resting and turning.

 

  In this delicate setting process, you can set any 'soft stone', Emerald or even an Amethyst. Can you do this in your Pave' setting?

   I think that the four corners need to be separated from the ring, but how will this be done? I always use an Onglette graver #1 and cut from the stone towards the end of the surface (as shown). This will leave a prominent piece of metal holding the stone in place.

  WOOPS!. This Ruby stone wasn't drilled deep enough, and the stone won't be secure for any reasonable length of time.

 The "Table" of the stone must be kept far lower than the surface of the metal.

 This is an up-close photo showing how mediocre the setting is. There isn't enough metal holding the stone, especially after ring-polishing. "This is an accident waiting to happen". Get those stones set much deeper.

  This stone depth is 'barely passable', I would prefer at least 50% DEEPER STILL.  When the stone is basically at this height, there won't be enough metal to keep the stone from getting lost. In my opinion, this is poor planning.

  This is one of the most challenging gemstone setting procedures. The chances of not getting any of the stones correctly set are high on the list. PLEASE REMEMBER ONE THING! 

There are no shortcuts at any time.

 

"VERY Advanced Diamond Setting". => 5 photos

 Many of these photos have been copied from previously seen essays. Please enjoy them again.

 This topic will be greatly explained, as there are handmade mini-claws ready for gemstone setting. I name this "Pre-Cutting" as this is truly what it is, using only an Onglette graver to cut a design before any stones are set.

  On my "Level of Difficulty", I'd rate this at a 9 out of 10.

 YES, I even "Bright-Cut" inside of the Bezel using my 'Right-Sided' Onglette graver.

  This extremely challenging technique was taught to me about 65 years ago. My own teacher named it "Cut-Down Setting" it is one of the insanely difficult tasks that only a few Diamond Setters actually use.

 The only remaining option is to use the "Computer Aided Design" (but I prefer to use my own metal-cutting process instead).

 I'm going to (again) discuss this highly involved technique in another tutorial essay. There are no Pave Settings, only Flat-graver wires holding each stone in place.

 An 'out of the country' client asked me to drill and set all of his diamonds into an 18 karat gold pattern that was to be given to his football team. There were 'flat & nearly vertical' surfaces to contend with. There were also numerous sizes of diamonds in many specific areas of the Dolphin's body.

   This necklace was given to me in 4 pieces, then everything had to be Laser-soldered. 

 

What are these "Wax Sprues" used for? => 16 photos

 This ring is a two-piece construction, but look at the little round connecting rod in the centre photo of the '1/2 wax ring'. 

 Together, these two 1/2 items will be just one ring. This will make the ring easier to polish and the setting of the two stones.

These sprues are not just ornaments, but are seen as important features in jewellery assembly.

 I would hold the wax model with only the 'sprue', in case I might damage the important features of the pattern.

When any modification is required, or stone setting, it is advisable to hold the sprue with continued caution.

 The addition of the wax sprue is a two-fold process. It should be used for holding as well as a method of allowing the molten casting metal to flow with much ease.

 There is much care & thought involved in how and where the sprue is finally attached.

 I placed the sprue under the pendant, instead of directly to the outer surface.

 The wax sprue is an integral part of the new pattern then let it work 'as a team'.

  These photos are from a previous tutorial essay, but they are extremely useful. The sprue allows the hot metal to flow to areas that will ensure wonderful results.

 We can move the wax model anywhere on the wax stem, thus giving us the correct balance of what the designer or manufacturer wishes.

 We can adjust the spacing of wax models at any time, without damaging the main design.

 It is imperative that we hold the wax pattern with only the sprue. If not, the results would be catastrophic as ruining the delicate claw settings.

 

 The joining of the wax sprue to the main pattern must never be thought of as an afterthought. Always remember that if the sprue is not correctly joined, the flow of metal will be greatly endangered.

 

 The width of the wax sprue MUST ALWAYS BE UNIFORM and never deviate from the original.

 If any section of the wax line needs to be shortened, so be it. This must be done with the greatest of care.

 It is best not to, or never allow, the NEW wax pattern to be handled. Lay the wax flat on a table or your bench, and do any alterations where necessary.

   Make your 'joining of the waxes' deliberate and with exacting precision. I would (on occasion) increase the width of the wax around the wax sprue where it meets the wax holding stem.

 We are not looking at esthethics, but the eventual flowing of hot casting metal.