Thursday, 24 July 2025

Easy steps in setting a "Square Ruby" stone => 12 photos

 I could display many more steps in setting this Ruby. But for now, this is the easiest & quickest process.
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1) Firstly, make sure that all 4 claws are all of the same height. If there is any discrepancy, the stone will be set crooked.


 2) With a round bur, that is equal to the diameter of the corner of the square stone. Let that round bur start the drilling process horizontally, why is this? The stone needs to be laying flat!

3) In using a large-sized, Bud-shaped bur, cut the upper edge of the 'basket'. This will prevent any part of the Pavilion from touching the metal.



4) The next similar step is to again cut the corner of the 'basket' further into the opening.

5) With a small shaped Bud bur, cut from where the round bur went in. Why is this done here? This will be just where the corner of the Pavilion will be resting.

 6) In this close-up, you can now see where these little bur cuttings have been touching the upper section of the 'basket'.

7) With a pair of pliers, 'gingerly' move the 4 claws outward to allow the stone to sit into the ring. Keeping these 4claws in a vertical position at all times.

8)  When you are ready to move the 4 claws together. Please do so in an orderly fashion so as not to squeeze the corners together. This alone could very well damage the delicate corners of the stone.

9) DO NOT MOVE THE CORNERS IN AN 'OPPOSING' POSITION. I make a suggestion to move the claws sideways. The whole idea is to prevent any sort of stress from being placed on the stone.

10) On a 'clock format', the idea is not to apply any pressure on the 12:00 and 6:00 layout. 
 For safety reasons, move the claws to the 3:00 and 6:00 layout. Understand what is going on here? NO STRESS ON THE STONE will enter this picture.

11) DO NOT USE ANY LARGE or COARSE HAND FILE. As these large files could very easily move a claw, and the stone could get loose.
For safety reasons, I prefer that you would use a "MEDIUM" grade Emery wheel (as shown here).

 12) To avoid any time-consuming labour in the finishing process, I would suggest using '77B' cup bur. In a very short time, all of the 4 claw tips are nicely 'rounded'.

13) Please hold the tip of the cupbur at a 45-degree angle. As this will prevent any of the bur teeth from touching and damaging the soft stone.

14) If you wish, or need to use a triangular #4 grit file to gently smooth the claw tips, you can do so now!

 

Tuesday, 22 July 2025

Techniques on setting gemstones. => 19 photos

 On this #681st tutorial essay, I felt that it was imperative to review some of these stone setting techniques, again.

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 The main problem with these stones is that there are many gaps between the Girdle Facets and the metal. In all actuality, the amount of metal holding the stone is too severe. The amount of metal should only be minuscule.

 In the "correct" diagram, the metal is covering all areas of the Pavilion, the Girdle and Crown Facets so very tightly! 

You will notice that there are no gaps or spaces anywhere, as seen in the diagram labelled as "incorrect". The stones are buried too far into the channel setting and hide much of the stone.


1) Using a bur of this design does not help in creating a seat for a gemstone. The result is that there is too much 'pushing' of the metal to hold the stone. DON'T USE THIS SHAPE OF BUR!!!
2) The best-shaped bur is the one being shown below in this 'double diagram'. As this bur is cutting into the metal, it is also creating a seat for the stone. The bur needed is the #156C-shaped bur. This shape creates and greatly assists in gemstone setting.

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  In this series of mini diagrams from an 'outside source'. Here are 5 steps in creating a "Gypsy=>Flush" stone setting project. It's my honour to educate you, as the reader, to understand the many techniques being seen here.

In my library of photographs, I've inserted many pertinent photos where needed.

1) The 'twist drill' should not be too wide, but enough to create a hole just for the Culet Facet.

2) The 'vertical' cutting bur should be as wide as the diameter of the stone. The underneath section of the hole must be carefully 'countersunk'.

3) When the stone is secured into the metal, the depth of the "Table Facet" should never remain higher than the surface of the metal.

4) With your "Reciprocating Hammer", tap gently vertically' the edge of the metal rim. The result is to lower the rim of metal onto the Crown Facets of the stone.

5) With the same hammer tip, tap at an angle of 45degrees. Once the hammering has been completed. The next and final step is to "Bright Cut" the inner edge as shown.

  

 This is the close-up of the Bright Cutting process in using an Onglette graver.


When I was using my Onglette graver, I carved all around the bezel. This process isn't used too often with some setters, pity!

  In the finishing process, I used a Pumice wheel of #240 grit. This wheel cleaned the surface of any deep hammering marks.


  At an angle of 45degrees, I finished the cleaning, after setting, but with a Higher Polish Pumice wheel of #1,000 grit. This wheel prevents any cloth polishing wheel from ruining the finished surface. I truly think that these pumice wheels are just superb!!!

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The HSS bur, also known as "High Speed Steel" bur, cuts a seat for any gemstone. This 'seat' envelopes the Crown and Pavilion Facets at the correct angles at all times.

  
 All Cabochon stones MUST LAY FLAT, regardless of whether the stone has a curved surface.

 In diagram #8 

The top of the claws MUST NEVER BE HIGHER THAN THE STONE. DON'T FILE THE CLAW TIPS FLAT. The reason why is explained in diagrams # 9 & #10.



 There must not be any spaces between the claws and the stone. The claw and the stone should not have any spaces. The maximum weight of the hammer must be very delicate and not exceed 85.0 grams. The hammer should be a 'light' tapping, but never hitting hard. If this occurs, there could be breakage to the stone.

 These 'bent' nosed pliers are just what the stone setter needed. When the jaws of the pliers are closed & brought together, they both work as a team. It's best to serrate the jaws, as this manoeuvre will grip the bezel without slipping.


  When the bezel metal joins the stone, then you can use your "Reciprocating Hammer" and tighten the bezel jaws close together.

 When you are trimming the 'centre stone claws', important finishing starts next. The outside of each claw could be filed at a 45-degree angle.
 What I do is to file a clean 'square cut' on the front of each of the 4 claws. The next step is to use the tapered (Pink) Pumice Wheel of #1,000 grit. This pumice wheel will intensify the cleaning process.

1) This diagram was made by an off-site company, but I found it so very worthwhile for this essay.
2) The bur that is being used here is a "156C" (undercutting bur). 3) Why would I use this kind of unorthodox bur? This bur creates a seat just for the girdle of the stone.
4) What size of bur depends on the size of the stone? This is an easy answer.
5) Select a bur that is 75% of the size of the stone; then the stone will sit in tightly and not be loose, causing much concern to the setter who is trying to tighten the stone.
 
  My observations on this photo have a few problems. 
1) There is a break on the base of the claw. (on the far left). 
2) Many claws need to be repaired. These claws were stretched out too far to have the bur fit inside the tight-fitting claws.
 A solution is required before stone setting, but where? Use a #2/0 saw-blade and separate these claws again before stone setting.



 I'm hoping that you, as a reader, appreciate all of my 65 years of experience as a diamond setter in helping you.




Monday, 21 July 2025

Multiple (Mirrored) images => 8 photos

In this tutorial essay, I offer new and interesting perspectives on my own creations.

   From a single coin display, there are now four views to enjoy.


 This poker disk won me a 'GUINNESS WORLD RECORD'. This was a complete CAD, computer-aided design project.

 This disk has two sides to view. By the way, this 130-gram piece of jewellery took me almost 2 years to create.

 Please forgive the 'double-vision'; it was that my iPhone was focused on the front view.
 With the mirrored views, you can see the front and reverse in one photo.

 Although this was taken at my bench, the 'available lighting' gave me some colouring distortion.

 This is the technique I used to create the 'mirrored' views.

Saturday, 19 July 2025

Views of a silver bracelet. => 7 photos

 Can you imagine that this engraving was solely done 'by hand' and not by any computer program?
 What tools were used? The engraving tools were the fantastic 'Florentine, straight liner', Onglette, Flat graver and many sizes of each.
 
  

  Here are a few strange and wonderful views. The Florentine gravers come in different widths for specific patterns.


 These photos were taken at my diamond setting bench, and nothing has been plagiarised. There are many Flat gravers that my own inventory wouldn't be able to cut these patterns & designs.

 The underneath display of the 'Straight Liner' or Florentine graver comes in different widths. You can see the two different widths along with two combinations of cutting lines. Together, these two blades can create a wonderful patterns.

 These intricate patterns are not for the beginner to attempt. After many years of drawing designs on the surface, the engraver will succeed in becoming what others might achieve with some difficulty.
            This silver drawing is almost like painting on canvas.


 When I use my Onglette gravers, I too find relaxation in my metal carving.

  Here is the photo below of a FLAT graver that will eventually create wonderful patterns. This digital microscope will prove to be beneficial in examining the cutting blade.



10 Diamond setting errors => 10 photos

 In these photos, there are many problems being displayed. I will offer my best solution to circumvent any future problems to each of them. Here are the many errors that need to be discussed & displayed.
 In December 2018, I wrote an essay in Ganoksin on 'the topic of diamond setting errors'
 I had the misfortune of giving this diamond ring to another 'setter' to help me get my 'end-of-the-season' work completed. I gave my diamond setting twice to this setter, 'FIRST & LAST TIME'.
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1) Why were the claw tips so high on the Crown Facets?


2) Why wasn't the ring 'pre-polished' before any stone setting was to commence? Another point was that the small holes were not drilled through; why was this avoided or just neglected?

3) There was no effort in cleaning the underside section of the ring?

4) There was no indication of any Bright-Cutting done to the 'diamond basket'. This should have been attended to before any small stone setting.

5) The Rhodium Plating was not applied in any orderly fashion. Many areas were just roughly 'painted' with little care given. There are still many tool marks on sections of the 'diamond basket'.

 6) Why wasn't the 'ring-cleaning' process given more care? 

 7) The sides of the claws were not even touched before setting of the main diamond. WHY WAS THIS NEGLECTED?

8) The claw tips are so unbelievably high. This is very dangerous,  if the client moves one or two of the claws...GOODBYE, diamond!


9) It appears to me that there was no care given while setting the large centre diamond

10) In attempting to insert the large diamond into the 4 claws, there was a major problem. The problem was that the Girdle of the stone was very wide in its thickness.
 That setter didn't allow for this problem. I would have used a bud bur with the same thickness as the Girdle and created a special seat for this wide 'Faceted Girdle'.

 In closing, there was no care given anywhere in the stone setting.