How to repair your defective "Onglette graver" => 23 photos

 The "Onglette" gravers are one of the most well-used metal cutting blades any Engraver or Diamond Setter has in their inventory. 

 The "Rate of Difficulty" in this program is 7 on the 10 Scale.

This Onglette graver is looking like it hasn't been cleaned in years. 

 This is an Onglette grinding process that is now taking place. We will now turn the graver on its side and we will then see a 'magnitude of defects'.

 

 Here is a collection of various shapes of gravers. Each of them has seen many months of metal-cutting. Basically, each of them needs to be totally refurbished (again) before being used in Diamond Setting, or Engraving.

  These polished gravers seem to be well-cleaned under 'normal' viewing at 10x power Optivisor magnification. The keywords are "seem to be", and the high polishing is adequate, but not fully acceptable for any metal cutting in Gold, or Platinum.

 These Onglette gravers look bright, but in some instances, we ponder the fact that some of them need to be 'polished' further.

  From a distance, the graver brightness is really great, but let's look closer. Just because each of them is shiny doesn't mean that they are good to use! 

 We are "dedicated to perfection" and this includes our tools of every kind.

 The following 7 photographs were taken with my 500x power digital microscope. Those 'little lines' will cause any setter to ponder "What has just happened with my graver cutting?"  

  Why would anyone want to use this graver for their Gold-cutting? For sure I wouldn't.

  No matter how clean it looked, even I was amazed at the rough textured results. YUK!

 

 This graver looks great, but under closer scrutiny and magnification we see many aspects of poor cleaning that has just taken place. The graver operator hasn't seen this 'engraving tool' up close as we are doing right now. HELLO!

 With my 500x power digital microscope, I can see how difficult it would be in 'Bright-Cutting'. Those rough spot lines should not be there. The final 'Bright-Cutting' could be quite a mess, the rough texture ceases to amaze me how any 'fine cutting' be established?

  This particular graver was used primarily for moving 'beads' over the stone, hence the "uplifted" point.

  Can you believe that this graver was used in specific areas in specialized metal carving? 

 How many of us who use this blog have seen their Onglette blades look like these in the beginning? 

     The question now is 'How to polish the defective graver' (again)?

 These are the actual 'polishing papers' that I use on a regular basis. They are used in sequential order, and these will give you a very highly polished surface.

 The side of the Onglette graver must LAY FLAT at all times. 

 To have a smoother surface, gently apply a layer of soft-core lead pencil rubbing to fill in the pores of the paper.

 This simple act will increase the 'grit' substantially from #600 to #1,000 grit without buying extra papers.

  If there is a slight bevel created for the side of the graver, then gently rock the blade to match the surface.

 If you have a high-powered loupe, please examine continually how the progress of polishing is coming along.

  I would place the blade on the two surfaces of the same paper. One section of the paper will be without any 'rubbing' and the other section will be with the 'rubbing'.

 If the paper has #1,200 grit, we can increase the grit to approximately #1,600, or more with the pencil rubbing.

How to 'clean & repair' your "FLAT graver"? => 15 photos

  One of the most often and well-used engraving tools is the FLAT graver. 

 It produces such an array of cutting that it's a pity that very few of my peers write about them. But what happens if this graver needs to be repaired at a moment's notice?

 As I'm a frequent writer about our 'engraving tools', this cutting blade needs to be mentioned in the greatest detail.

 To recut the 'face' of the graver, the blade must be held at a 45-degree angle all through this 'resurfacing' process. 

 For taking these photos, my blade was held on the oil stone also at a 45-degree angle.

 This resurfacing process is very important in getting the most accurate angle to the 'face' of the FLAT graver. If this is not controlled, the metal cutting will be endangered. Don't take any unnecessary shortcuts.

 The bottom of the FLAT graver needs to be again, recut, but so very carefully. This section of the blade leads to the cutting area of the modified graver. Accuracy is paramount, ALWAYS EXAMINE THE BLADE, EVEN WITH A 10x power loupe, your "Optivisor" doesn't have the required magnification.

 

 I find it necessary to use my DREMEL coarse grinding wheels instead of my bench grinder. I need to examine very closely every grinding step as this is a 'highly controlled maintenance program'.

 This particular well-used blade is my "#40 FLAT" engraving tool.

 

 Under careful scrutiny, I saw that the defects in my metal cutting were attributed to the defective cutting face of this graver. 

  Under no circumstances could I continue doing any further Diamond Setting. With this damaged blade, my work had come to a "COMPLETE STOP".

  The underneath cutting section, as seen with my Digital Microscope proved that a complete repair was warranted.

 The most delicate area of this blade was the bottom of the graver and had to be redesigned as soon as possible. It had to be carefully placed flat upon the #400 grit polishing paper.

 I could use the oil stone, but when the blade was not giving me any adequate viewing, I scrapped that idea.

 I kept resurfacing the underneath section of the blade. You can see the little rubbing that was now taking place.

 I decided not to leave any section of this blade untouched. The sides of the graver blade also needed a "Spring Cleaning". If I'm doing a full repair, I might as well go the full route, agree?

  I used different grits of paper to have my FLAT graver sparkling again. The sequence of papers used is #400 => #600 => #800 => finally #1,200 grit.

 

  In this photo, you can see the highly polished surfaces of the blade..WOW, eh!

 With the DREMEL grinding wheel, I've reduced the front face of the cutting blade. In many designs and patterns, the face blade must be kept rather thin at all times. (These coarse wheels are my answer to trimming the blade.)

 When all of the work in refurbishing has been completed, this is like a new engraving blade. This process has taken me approximately 30 minutes.

How do you prepare for future metal cuttings? => 42 photos

 As I am writing my 555th tutorial essay, I would like to celebrate this occasion by introducing the skill involved in metal engraving. You might have seen the displayed large 'bangle bracelet' in my previous essays, these engraving techniques are worth repeating.

 A lady wanted me to scrap her collection of old jewellery, this bracelet was among the many items. I told her "Here are a few dollars for the silver, as I'm keeping this bangle bracelet for my students to learn engraving and what tools were used".

 The line of Bright-Cutting was finished with a FLAT graver. You can observe how reflective the metal is after the cutting with this graver. This bright cutting is even before any 'cloth-wheel' Rouge polishing was used.

 What are the gravers that were used in this essay?

A) Onglette #1,

B) Onglette #2,

C) Flat graver #40.

 Why have a large & thick blade to do all of your metal-cutting when a greatly modified Onglette will do the same cutting? There is much more control over the cutting of designs.

 Imagine what the metal-cutting aspect of our profession would be like if 'we' didn't have these basic 3 tools?

There was no "CAD" aka 'COMPUTER AIDED DESIGNS' used in these patterns.

 I have greater access to the metal and subsequent new designs with an Onglette graver that has been shaped to these specifications.

 When the Pave' area is greatly reduced, the 'modified' Onglette #2 or #1 blade has to fit into a smaller space.

 I'm showing the graver that I use on many occasions. The initials "HSS" signifies that the metal is of a higher quality of metal "High Speed Steel". The "0" refers to the width or thickness of the blade.

 This is a close-up of the front 'face' of the blade before any grinding that is to take place.

 Now compare these two blades 'before' and modification is to take place.

 With the preliminary fancy cutting, the only blade to use is the Onglette #1 or even a thinner Onglette #0.

All of those "0:-:0:-:0" cuttings were started with using the Onglette #1 blade. These cuttings are a multiple 3-4 step process.

 There is no other blade to start your cutting than to use an Onglette #0, or Onglette #1. The need is to make a cut using only the thinnest blade possible.

 I call this blade "a spear", as it looks just what it is, it won't cut any new patterns, but it must prepare for new designs.

This ultra-thin blade is also used specifically in preparing for the new 'in-between beads'.

 Here you can see just how thin the first cutting is being prepared. WE NEED A STRAIGHT DEEP LINE.

 This is a photo of a blade that is shaped to only cut on the right side. I name this blade a "RIGHT-SIDED, BRIGHT-CUTTING ONGLETTE GRAVER ". You can see just how highly paper-polished the blade is.

  The left 'unused' side of the same blade is not necessary to be so highly polished.

 Another feature of the same blade is to reshape the blade to be modified on your oil-stone. The new shape is to eventually cut at a 45degree angle.

I used a FLAT #40 graver to cut at an angle. These little cuttings were done BEFORE THE STONES WERE SET.

 The wider graver was only used to 'move the new beads' over the stones. Now compare the narrower blade to the 'bead-pusher'.

 I use a ROUND bur of #001 - #002 to excavate the 'in between' metal. This done AFTER cutting with the thin Onglette graver #0, the emphasis is to do this "round-burring" as deep as possible.

 I keep a large inventory of burs always in my bench, if one bur gets worn, I have another at moments notice.

 

The need is to cut as deep as possible, as to make future beads to firmly fit over & against each stone. "The deeper you cut with the round bur, the higher each new claw will be".

 All of these 'mini-claws' were originally...just flat metal. "My gravers are my tools of the trade". I used a thin round bur to dig deeper, thus giving me a wider straight line of cutting. 

 A rounded 'inside trough' is better for polishing, than a deep line of cutting in between these two lines of claw setting.

 If the beads are not high enough to move over each stone. I'd use the same process of cutting deeper into the metal. Isn't this a simpler idea? As you can see that CAD was never thought of, or used.

             (This is an out of sequence photo)

 With a thin round bur of #001, I would make a deeper burring into the metal, thus making the new claws higher for setting.

 With a thicker Onglette blade #002, I would move each bead, well over each stone.

There is no possible way any thick Onglette graver can cut this intricate pattern. I always stay within the boundaries of cutting with the hope of having a great finish. "I always think & plan ahead".

 Here is my 'Bead-Raiser" that has been greatly modified with a 'rounded point' just for moving beads.

 Just a repeat of using a round bur-carving a line into the metal.

Again, as I stated that this is not a CAD pattern, but a well executed series of graver cuttings. The Difficulty Level just on this STAR pattern is 20, out of 10.

I used only Onglette #0, #1, #002 and FLAT gravers. It served no purpose, except an exercise in metal cutting.

 Here is a greater image of the above "Star" taken with my 400x power microscope

  This "Triangular" section was initially a flat plate, again NO CAD was used.

 This is my 'FLAT graver of #40 width' after many times it's been used, it needs a full 'touch-up'. The underneath section needs to refurbished again, and again.

 I will use this 'refurbishing technique' as a 'new tutorial essay' in a few days from now.

  This is just a collection of some of my patterns all done with "ONGLETTE GRAVERS".