My Teacher & ME (40 years ago)

 The photo of my fantastic teacher is on the left, and the picture of me is on the right, this photograph was taken many decades ago. Stanley Levine (z"l), translated from the Hebrew for 'of Blessed Memory') gave me all of his knowledge of Diamond Setting. 

 He was taught his craft in Ireland & England long before I was born. I had the greatest pleasure to learn everything from him.

 We spent 14 years together under the auspices of "Siffari Jewellery" in Toronto where he was the foreman. He and I were two of the five-setters working together.

 Many (80%) of the setting topics in this blog were from his teaching. I learned by making mistakes, repetition & experimenting with 'newer techniques of the day'. This was decades before CAD was even put to daily use.

( YOU MUST READ THIS) "Princess-Cut" claw preparation => 18 photos

 Although this is a (repeated) tutorial essay, it bears repeating as this is so very crucial in our jewellery profession.

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 The ring that I'm displaying for this tutorial essay seems rather basic with a Rate of Difficulty of 7, out of 10.

 There are many unfinished features on these rings. These rings were not intended to be used for any sales, as I'm only dealing with the 'stone mounting' techniques.

 There are three stone sizes for this ring, your decision is to decide which size of stone works 'best' for you!

  It is advisable to 'spread out the claws' for one reason, my handpiece needed greater access to the 4 claws.

  Select a stone that will give you much 'satisfaction & ease' during the 'drilling of the claws' process. 

  With this photo, the correct size of the round bur will be easily determined by the size of the Girdle.

 I could use a "HSS, 45-degree" Under-Cutting bur. With these thin claws, I decided that this aggressive bur could very well destroy some of the claws in the process.

 With this preparation process, I MUST USE TWO ROUND BURS, NOT JUST ONE. One bur for the corner facet and the smaller bur for the placement of the Pavilion facets.

  

  Now is the time to 'spread out' the 4 claws, this is easier when the handpiece & bur won't prevent any collision with them.

  It is best that you keep the selection of burs in your bench to an absolute minimum. 

 This is because you should avoid any unnecessary 'visual distraction' when concentrating on your claw drilling. 

 The first claw drilling MUST not be any higher than 25% from the tip of the claw. If you are not sure of the correct & equal depth, I would ask you to use a pair of dividers to make the initial drilling equal on all of the claws. 

 These mini-claws can get very 'difficult on the eyes' to keep judging where to drill each claw.

  When working with your bur, it must drill into the claw horizontally and not at an angle. 

  This is the time to use a bur that will measure the same size as the Girdle Facet.

 

  Again, switch your bur that will create a seat for the four "Pavilion Corners".

 The length of these corner cuts does not need to be the full length of the claw. The 'stone corners' don't need to extend that far down the claw in all actuality.

                                    THE STONE AT REST!

 1) When viewing 'the placing of the stone', are you satisfied with the depth of the stone?

2) Are all of the 4 claws equally spaced?

3) Are the four corners of the stone equally aligned with the bearings?

   Before the claws are GENTLY brought together, please examine where the stone is resting in relationship to the claw. 

  

  GENTLY, (and I'll repeat )GENTLY BRING TOGETHER 2 CLAWS AT A TIME.

 Don't squeeze them together, but monitor that one claw ONLY is moving at a time. As one is being forward, the opposing claw is not allowing the stone to move. This is quite a delicate process.

  If too much pressure is put on one claw, then that claw might get bent out of alignment. All of the claws MUST BE VERTICAL and not appear curved, as seen in this photo.

 To reduce the height of the claw before 'filing and trimming', it is best to use your rotating "MEDIUM" grit, EMERY WHEEL. 

 If you decide to use your file, the 'pushing of the file' might and could make the claw lose contact with the stone.

 

"Flush-Gypsy" setting a Princess-Cut stone! => 30 photos

  In my ongoing series of "Princess-Cut" square-shaped stones, I need to explore the many styles of rings. Each of these ring styles can be so very challenging.

 There should be extreme care when working with these 'square-shaped' stones.

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The Rate of Difficulty just for this essay is 15, on a scale of 10. There are just too many chances of breakage and creating a litany of errors.

 I suggest etching a line to locate the centre of the band to set the 4 cornered stone. Once that the line is drawn, you can drill a hole into the band with a twist drill. Then with a large bud-shaped bur, but why a bud-shaped bur? This bur needs to make access to the Pavilion of the stone. 

 The next bur will be with a large Bud-shaped head. This bur will then prepare an opening for the square stone.

 There are so many steps involved, that I will guide you step-by-step. There are no short-cuts in this project, not even a little one.

   I prefer to lay my stone on the metal. I need to know where the square shape will be situated on the flat surface and how much space will be needed for the stone.

 I like to mention that the 4 'lines' being shown here are my GPS in preparing for the drilling of the opening. For this, also where the corners of the stone will be situated.

 I chose a large round bur that will be at least 75% of the size of the stone. This large bur will be for the Pavilion of the stone that will sit in the metal.

  Don't drill the hole too deep as this will only open a hole for the upper section of the stone.

 The next step is to initiate the cutting of the 4 corners of the stone. Once the 4 corners are made, kindly use a mini-bud bur, but drill at an angle of 45 degrees into the opening.

 With the same bud-bur, cut deep, but still keeping the initial shape of the stone. Again, with the large shaped bud-bur start now to create a new opening towards making a seat for the stone.

INSPECTION TIME!

Inspect where the stone will be lying on the ring. If you need to etch a line on the metal for yourself, this will greatly help you.

  Are the 4 corners of the stone in the correct position on the surface of the ring top?

 If any extra pieces of metal carvings require to be removed, do it NOW!

 With your FLAT graver of #40 'trim the top of the walls of the hole' to be the exact shape of the stone.

Drilling corners!

 The 'corner round bur cutting' has one purpose and that is to protect the 4 corners of this delicate stone.

 REVIEW!

  Are the four sides of the hole well measured against the stone? If not, please administer the correct trimming => NOW! This is because the next few steps are so very important.

 This small round bur has one purpose and that is to create a bearing of the Girdle of the stone. 

 I prefer to have the round bur just a shade larger than the actual Girdle of the stone. If the bearing is the same width as the stone, there could be breakage occuring.

 In making the 4 bearings inside of the hole I usually make a series of 'dots' where they are cut. These 'dots' will be a new bearing when they are joined together.

   SECURING AND HAMMERING THE STONE

Now that the stone is sitting in the new opening, we can further our plans in stone setting.

 This is a very precarious chance of breaking the Culet of the stone.
The stone is protruding below the metal, why did this happen? The thickness of the ring was not correctly measured against the depth of the stone. What can be done here?

 My experience is this was an error and maybe a new ring could be made or soldering a little jump-ring circling the exposed Culet.

 The Reciprocating Hammer can be used here with no problems. The utmost care is needed in selecting the correct spots to hammer.

 The hammering is shown where the black ink was rubbed off. Good idea? Here are 2 spots just to hold the stone in place.

 The next step is: 4 spots to keep the stone from getting crooked.

 

  Gently tightening the 4 corners, but not hard 'hits'.

  We are now getting close to finishing the stone-setting process

REVIEW!

  This is a close-up of the protruding Culet as seen in the above photo.

  Even with the black ink, you can see the flat surface where the hammer was hitting the metal.

 With a FLAT graver of #40 size Bright-Cut the inner opening where the stone is now resting.

 I know for a fact that very few stone setters Bright-Cut the inner Flush Setting. Please do not be like them, give your jewellery a sign of quality.

 This is now the FINISHED FLUSH SETTING RING with a Princess-Cut stone.

 

"Princess-setting" in an 'End-Bezel' ring => 20 photos

 "Princess-cut" or 'square stone' gemstone settings can be very intriguing in the realm of stone settings. This gem-setting process is not meant for the beginner, there must be many weeks (or months) of practice needed. I Rate this Level of Difficulty at 9, out of 10.

 These large 'bud burs' shown here are for one purpose and that is to open the hole for the Pavilion Facet to rest against.

 You can vaguely see the 'etched lines' as WHERE THE BUR OPENING MUST NOT EXTEND BEYOND THESE LINES.

  These 'openings' mean that when the drilling is being done, the hole will not be drilled larger than the stone. THIS IS 100% IMPORTANT.

 These small 'drilling indentations' will be created especially for the four corners of the stone. These corners will be drilled just where the stone will be permanently set.

 The depth of the holes will be just for the Girdle of the stone. With a small round bur, these 'corner' holes will be joined together for the rest of the stone to sit.

 With a FLAT graver of #40 width, the square opening is now being created.

 Instead of laying all of your unnecessary and not needed burs in your bench pan keep only the most important few within fingers reach.

  I'd use a moderately sized bud-bur to open the hole further for the Culet of the stone. The size of this bud-bur depends upon the depth of the Culet that is needed.

 This square opening is primarily for the sides of the Girdle. Accuracy in these Girdle carvings requires much practice in using your selected 'bud and round' burs.

 REVIEW: 

1)Does the square stone finally fit into the opening?

2) The etched line correctly corresponds to the layout of the hole.

2)  Are the four corners correctly carved in relationship to those 'etched lines' that is, are the corners not crooked in the ring?

=>This photo shows that the opening is slightly off-centred.<=

 

 You can faintly see that the stone is sitting within the 'bearings' made with the round bur.

  EXAMINATION OF THE LOOSE STONE:

1) Is the stone (finally) sitting flat in the opening?

2) Are the 4 corners correctly aligned against the 4 holes of the ring?

  In using a Reciprocating Hammer no pressure must be placed upon the corners of the stone. The hammer anvil hitting will be ONLY BE MOVING THE METAL around the 4 corners.

  Here is another view of the same action being taken.

 To avoid the 'direct hitting' on the corner for the stone, I might suggest a gentle hitting on the metal. This is primarily to smooth the metal around the stone.

 With a FLAT graver with a width of #40 proceed to Bright-Cut the metal that is covering the edge of the stone. The metal cutting must keep the 4 sides of the hole parallel to the stone.

  The final step in this gemstone setting is to use your pumice wheels of initially #180 grit followed by the Pink pumice wheel of #1,200 grit. 

  Avoid any 'cloth wheel' to polish the ring top. You may use your 'lapping wheel' as a flat surface is very important in finishing the polishing process.