8 Errors in this '4-Claw Setting'. => 1 photo.

 As a Diamond Setter for over 6 decades, I've seen some very mediocre stone setting. 

For example in this one photo, I've counted 8 areas on this one 4-claw head that need to be repaired before setting...NOW!

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1) One claw is (curved badly) out of shape. 

2) On both sides of the 4 claws, they need to be cleaned. 

3) Not one of the claws show any signs of Emery wheel cleaning.

4) The claw tips are too high.

5) Next to the claws have also not been touched nor cleaned.

6) The top of the ring next to the 4-claws haven't been touched.

7) There are numerous plier marks everywhere.

8) The decorative design at the base appears untouched. 

I could write another essay just on the absence of cleaning.

 

Silver Engraving => 3 photos

 This is in my estimation the epitome of a most beautiful hand-engraved bracelet.  A client gave it to me as a gift and I treasure it for all of the labour that went into it. Words escape me in wondering how it was crafted. Just enjoy this artwork!

 

Do you want to see a "BIG ROUND PENDANT" and how it was created? => 16 BIG ROUND photos.

 I am sure that many of you have seen pendants, but this one is off the charts because of its enormous size.

 This originally was a '4-piece pendant' & my shellac sticks were specifically designed to accomodate these unusually large pieces.

 For working on such large metal pices, I decided to use my "Adjustable Graver Handle". My gem-setting hand has to be relaxed at all times.

 I fashioned all of my gravers to be be made thin at the point.

  After warming (not heating) this circular disk, I prepared many sections of the shellac stick.

 I maintained that every section of the disk have full support underneath.

Here is the rim with freshly drilled holes and they are all at equal distance.

 This same rim is now ready for stone setting.

  I marked exactly where every diamond was to be set. There were spots where other sections of the pattern would then overlap.

 The amount of time involved including drilling of holes and accomodating where each stone would be set, took an unbelievable amount of time.  

    NO MISTAKES or ERRORS IN SETTING ARE ALLOWED. 

 The twist-drill hole must be drilled at a 45degree angle.

 The overall weight of this pendant weighed 43.5 grams, of 14karat gold. This is excluding the chain-hoop, that is seen overlapping the portable scale.

 Instead of overheating the gemstones inside the LION, I was careful in inserting the stones with this clamp.

 Many times I selected a group of stones, then we both changed our minds at the last moment, as the size was the critical problem.

I sellected the best size and quality of stones for the rim. 

 I carefully hand-picked which stones I would use. There was no deviation on which I would use.

 ( If anyone thinks that this is easy, wow...are they mistaken!) 

 The smallest group of diamonds were used around the Lion. The mid-range of diamonds were used in the =>I I I I I I <= section, the largest choice of stones were set into the large rim of gold.

 These "4 areas of diamonds" were set many years ago. My client asked me to enhance & improve the overall layout of gemstones. 

 The layout & planning was a real challenge! We both worked together as a team in deciding how the stones would look when set.

 In specific sections of the Lion & staff had genuine gemstones set as an improvent. We both decided that these stones added colours.

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My client is now wearing his finished pendant. WOW, eh!

 

IMPORTANT RULES of "Wax & Metal Casting" => 24 photos

Many of these photos have been used in months passed. But reviewing them is essential in learning our profession.  

 In this reverse side, you can now see that many of the holes are partially plugged with wax. This is the best time to repair any defective areas.

 Where there are oval holes from pulling out the wax from the mold, I'd insert a larger stone into these 'stretched settings'.

 After inspecting these new waxes, it is essential to do a thorough cleaning (and adding claws) of the surrounding areas.

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 These two burs are not for drilling , but rotary knives that with their side claws will 'cut & trim' the wax pattern.

 These blades are so very sharp and can easily cut into your skin if you aren't careful.

  Even gently rotating the bur with your fingers, will be enough to clean the holes, try this!

 It is best to clean from BEHIND, as if you do this in front, you might just hit a few delicate claws and get ruined..WOOPS!

 These two photos show the rubber mold that produced these 'mini-claw' pendants.

 You notice the three sprues that allow the liquid wax to 'flow into all of the numerous holes'.

   This is the 'before & after' views of this wax & metal castings.

 This is an enlargement photo of the metal casting (pre-magnetic tumbling & cleaning).

 I showed two options in stone setting, one in metal and the other in wax. Make sure that any stone is not crooked, as seen here!

  I drilled a few holes in the cross-bars, but changed my mind due to the cost of stones & labour. You can see that I set three stones.  How did I set the stones without damaging the extremely soft wax claws? I just warmed each stone & lowered it into the opening.

   Every 'corner stone' occupies space for a larger stone.

Here is the seat for the corner stone created by the "156C" bur.

KEEP THOSE STONES SITTING FLAT AND NOT CROOKED.

 I use a modified Onglete graver and moved (not pushed) the metal over the Crown Facets of the stones. I then used my #77B cup bur to round off all of the claw tips (where necessary).

 There are a total of 152 stones for EACH of 8 circular disks giving me 1,216 gem stones in total to make a long knecklace. 

 There were one disk of Rubies (with white stones), Blue Sapphires (with white stones) and Emeralds in this large gemstone knecklace.

 

  This is showing you partially assembled silver pieces.

 When I need to hold any delicate gemstone cluster, I'll place it on a bar of wax. This prevents any distortion of the claw setting while being set.

 I'm using only a 156C 'undercutting bur' to create seats against each of the claws. This is used to give every stone a chance to be placed into the setting.

 To keep each stone from getting crooked, always hold the rotating bur handle perpendicular.

 Before any stone is to be set into the wax...ALWAYS EXAMINE THE CLAWS, none of them should be missing or cooked.

 Did you have an enjoyable time reading this tutorial essay?

 (None of these photos have been plagurized from other pictorial sources.)

"Cut - Down" (Complete Process) 18 photos

 From a simple wedding band this is 'where the magic starts'. Sit back for the next few hours, study my text and examine these photos.

    "In the beginning, there was a plain narrow wedding bang and it was good". (But not good enough).

All of this metal cutting was 50 years before CAD appeared.

 This is where the interesting aspect of metal cutting is starting to happen....With your Flat graver that has a sharp edge, let this graver cut into the surface of the metal..only that the blade cuts half-way.

 You can see where the deep cutting initially starts with this photo. Then you should let the blade TWIST a thick sliver of metal OVER THE EDGE OF THE HOLE.

 The 'twisting' is almost like rotating on the corner of the blade.

 One corner of the Flat graver remains IN THE METAL while the remaining half of the exposed blade actually slides across the surface of the metal. This 'sliding of metal' will be a BEAD or CLAW.

 READ THIS CAREFULLY => THIS IS THE BEGINNING OF OUR....CLAW.

 While the FLAT graver is highly polished, you can see a shiny surface being created. The front of the Flat graver is sharp enough to cut INTO THE METAL leaving a bright cut. INTERESTING?

 

 The width of the FLAT graver should be a #40 or a #41. Another important note is that the depth of stone determines the thickness of the new bead. 

 If the stone is shallow, as seen in this photo, the bead will be almost useless.

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 REMOVE THIS STONE AND LOWER IT DEEPER INTO THE METAL. This is because the claw is not strong enough.

  Where the metal is 'resting over the hole' will determine the thickness of the new claw.

 On the left side of the Ruby is exactly where the Onglette graver will separate the bead to the surface of the ring. (look at my photo)

 What you are seeing for the first time is the initial creation of four strong claws. What is next?

 Even if the stone is a bit small, it still can be easily used, but how is this possible? With the FLAT graver, we can easily twist the metal of the 4 corners over the stone.

WHAT ARE THESE DEEP  'BUR CUT' LINES FOR?

 =>The 'deep metal cuts' serves just one purpose, and that is to remove the extra metal remaining in between the two stones.

  You can as well prepolish the spaces before any stone setting. When the stones go in....forget the metal polishing aspect of setting.

 With a FLAT GRAVER against the deep and smaller stone the setter can MOVE the metal into creating 4 new claws. DON'T FORGET TO KEEP THE GRAVER TIP SHARP.

  Now you can see why there is a deep groove in the metal. The reason to have the graver sit in the groove and be able to easily twist the metal...NICE? Eh?

                                                  

 If there were no deep bur-cut lines, the grooves would look full of awful looking unnecesary cuts.

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 Here is something so very nice, use your "Extra Sharp" FLAT graver and Bright-Cut the metal that is in between the two stones.

 This is where the two words are created "CUT DOWN" as we are cutting down to the edge of the ring.

 Just "Cut & Remove" any remaining metal. We need a shiny graver-smooth surface, use a narrow Flat graver #40 for this delicate manouvre.

 This text-writing took me exactly 4 cups of tea. I abstain from drinking coffee. 

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