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.

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#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.

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 (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. 

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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.

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 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.

 

What is a "77B-Cup Bur" used for? =>22 photos

 In my previous essays, I wrote about how and why claws should be made round. This essay seems repetitive, as there are many aspects of this 'series on mini-claw settings' that I didn't want to miss any of them.

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 This "77B" cup-bur is all that you really need to 'round' your claws (of any size). Inside of this bur are teeth just like a file that you use. They won't scrape the metal as it is rotating (but NEVER use it at a high speed).

 In this photo, ALL OF THE CENTER STONE CLAWS WILL NOW BE UNIFORM IN SHAPE.

 At a high speed, the bur teeth slide along and doesn't get a chance to do its 'metal shaping'. At the higher speed, it will just ruin the metal and damage the delicate claws.

Why are the burs finely shaped on the rim, this is so the teeth will get more contact to the 'claw tip'.

 Don't be alarmed that there could be two different sizes of "77B" burs in finishing these tips. The center stone usually has a larger size claw that is solely used for security.

 The cup-bur needs to be held at an angle 'away from the stone'. 

 You just don't want the rotating bur edge to cut into the (soft) faceted stone.

 Here is a great example of the different sizes of claws for this pendant. Always keep a wide supply of 77B burs near you at all times for this finishing process. 

  As many of these cup-burs in this photo have 'smooth & rounded edges', this is not good. These burs which I had in my collection were only acting as a display of what can happen to these smaller sized burs. They are now on their way to be discarded. 

  If some of the claw tips are not well formed, I suggest in filing them to a correct shape, then the 'rounding' action can easily commence.

  Always hold your #77B cup bur at an angle 'away' a vertical position. If you are setting delicate and soft stones, the rotating bur teeth could destroy the stone in seconds.

Always select a larger bur for all of the large claws on the center stone.

  Another idea, or option is to 'pre-cup' your claws. If many of your selected stones are absolutely too soft, such as an Opal, Emerald or even Amethyst. 'Being safe', is better than damaging the stones.

  The angle of the bur is also essential as the rotating bur won't damage the soft and delicate stone. It is advisable to tilt the bur away from a vertical position.

 Uniform sized claw tips are very essential, and this cup-bur will this create a nicer appearance.

 

  This is the method that I use to reshape the 77B bur on an oilstone. The teeth of the bur are now more exposed and closer to the edge of the rotating bur. When you see the teeth being exposed, then you've accomplished your task.

 The cost of these 77B burs is not cheap as they are among the most expensive in any setters' inventory, but what they can do in stone setting is just remarkable. 

KEEP THEM WELL LUBRICATED WHEN IN USE. 

 This is the 'best shaped' bur that will do the rounding of your claws. There is no need to use any sized file. Your claw tips will now remain uniform, as this is very important. 

  If you are setting a large expensive Emerald, I would use my Cup-Bur on the flaw tips FIRST!!!

 

 On this pendant there could be three sizes of burs that will be put to use.

 Here is another view of the Emerald and White stone ring.

Don't place your bur on your bench-peg like this. It needs to be placed solid on your ring clamp.

 Here is a wonderful photo of the 'bur teeth' of the 77B being exposed.

 Some of the packets of 77B burs come in 6 sizes, this will give you greater knowledge to know what burs to use in the future.

Detailed Steps of a Cluster Ring. (FINAL ASSEMBLY) =>19 photos

BEWARE, mistakes might happen. This is why I prefer to make this topic informative and explaining what could happen.

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 Here are the only graver tools that are needed to start and complete this project. I use basically the regular sized graver #40, as it is useful in creating the wire beads in securing a stone.

 I have two Flat gravers that tighten gemstones; they are a #39 (narrow) and a #40 that I use continually.

 In the dark red coloured handle is the pointed tool that I use to widen the claw opening.

 With a soft brush, I'll make sure that all pieces of metal dust have been removed from the claw settings.

 Here I am using my 'bent nosed' plier jaws to tighten the gemstones. I will insert one jaw into an empty space and lever the other jaw against one claw. 

This technique will prevent any need to start 'pushing fragile claws'.

  Here is a close-up on how this technique works. It works great!

Is there enough space in between these claws to set a stone?

  I'm going to use my 156C bur and prepare a seat for a few of the stones. (Not all, but only a few) I want to make sure the stones will be sitting at the correct depth and not crooked.

 When that stone is sitting correctly use your Flat graver and skim the surface of the claw.

 Your Flat blade will now create a 'wire bead' will hold & tighten the stone.

 You can now see how that wire bead is holding the stone tightly.

  At this opportunity, check all of the other stones for security and not being crooked. Then carry on further around the cluster.

 Here is a close-up of this ultra-delicate technique. There are no second chances!!!

 If you find that your Flat graver is not digging in to the metal, go to your oilstone and sharpen the front of the blade. Then polish the underneath of the Flat graver and re-polish the graver again.

 DO NOT and NEVER 'HAND-PUSH' THE OUTSIDE CLAWS OF THE CLUSTER.

 This will cause much distortion of the claws in general. We don't want any claws to get ruined at this stage of delicate setting.

 Please tighten one 'outside claw' at a time. Don't rush yourself; you want this ring to last for years. What is the point of a few minutes more being spent on setting this ring?

 Another thing is that I use my pliers and hit the clamp (not the ring) to see if any stones start to move. I did this even during this setting process. (I found that one stone was slightly loose)

 When the setting was completed, it was time to 'start the finishing'.

 You should NOT USE A MINI-FILE ON THE CLAWS. Why not?   The file might easily loosen some of the tightened claws. I suggest using your 'Snap-On' Emery wheel of a "MEDIUM GRIT" as shown here.

 To 'round' all of the claw tops, I'd use a "77B", Cup Bur that will make every claw top looking like a little ball.

 Always have an ample supply of burs on hand to assist in the finishing process. I erred in this, and I didn't get the exact finish as I wanted; neither should you!

 These 77B burs were too large, but I managed to round the claws as best as I could.