What is 'Channel Setting'? => 4 photos

  Channel Setting is a technique of aligning a row of similar sized gemstones into a ring. There are NO grouping of beads, nor are there any claws involved.
 These four examples have one thing in common, the gemstones are beside each other with no spaces in between.

 The stones are literally touching each other, as this can be a problem for constant breakage.

 Breakage can easily happen, as with the centre diamond literally covering the girdle of next stone. The most obvious problem of Channel Setting is having two stones touch each other. The only solution is to select a (slightly) smaller stone or have a millimeter of space in between.

 This illustration shows how the stones are sitting. The girdle of each stone are nicely sitting in a trough (groove) with the Culet-facet not touching any metal.

Here are a few challenges of diamond setting. 7 (insanely difficult) photos of jewellery.

  This is the most important page for the 'novice' stone-setter AND YOURSELF. It's easier to learn with photos than reams of texts.
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This is my replica of my "Guinness World Record". 2013 I have the story of it in my blog.

This was a little pendant for the "Miami-Dolphin" footbal team. Two weeks of diamond setting got it finished.

This is the genuine GWR certificate

Three weeks of stone setting

My are my initials (no CAD) "G L"

Again, no CAD was involved here.

1) Gypsy, aka "Flush Setting"

2) Channel Setting!

3)  4-Claw Setting!

4) Bead & Pave' Setting!

5) Bezel Setting!

6) Cabochon Setting!

 

7) Cluster Claws!

8) "Princess" Stone Setting!
 

9) How are Beads Created?

10) Errors in Stone Setting!

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 This essay is a compendium of the most interesting and useful essays in this blog. 

 When I was starting to learn my trade, circa 1961. I spent 9 years gathering all of the required aspects of Diamond Setting. Now we have everything prepared for us, in a tutorial blog such as this.

 

"Flush Setting" aka 'Gypsy Setting' => 6 photos

  I saw this diagram of a Flush Mounted stone-ring, it had three huge errors in it's designing.

1) The first problem was that gemstone was set too high.

2) The second problem was that there was no connecting ring around the Pavillion of the gemstone. The chances of the stone getting loose are extremely high.

3) The third, this ring has a weak area at the bottom of the shank. No matter how thick the overall setting is, the weakest point is at the bottom. This is poor designing on behalf of the jeweller.

 If I was to construct and build this ring, I'd be darn sure I wouldn't sell it to anyone until these defects were repaired.

 These diamonds were set not in a 'Cut &Bead', or Pave' technique but in a Gypsy-Flush setting.

 The stones are "flush to the metal" configuration, the stones are now 'very smooth to the touch'.

 

 No matter how large, or small any of these stones are, it's the technique that is needed.

 For the "Reciprocating Hammer-Gypsy setting" there are rules to follow for the sequence of setting the 4 points of the stones.

 I drew this diagram for the jeweller or setter to accurately determine where the teeth of the "156C Bur" should align into the metal. 

 Any shortcut would not give you such confidence, trust me!

 

 Be careful, that the 'Table' of the stones should not be higher than the surrounding metal of the ring.

 Hence the name, "Flush Setting".

 

What is 'Metal Finishing'? => 6 photos

  This interesting essay has nothing to do with stone setting. On the contrary, it touches on the finishing aspect of stone setting. 

 Once that the stone has been placed inside the "flush" setting, then the 'work' starts.

 The inside of the metal rim now needs to be cleaned without any 'faceting'.

The 'faceting' is caused by the edge of the FLAT GRAVER skimming along the edge of the stone facets.

Here is another photo of the inside bezel being cleaned.

 In this last of the metal cutting, you can now see how smooth the rim is starting to look. 

 I purposely left a piece of metal around the bezel rim. The cutting must look very smooth and shiny.

  The cleaning is the next process, the Pumice wheel edge should remain flat at all times. This flat Pumice wheel edge must adhere to the shape of the curved surface. 

 The texture of this wheel is #180 grit.

 The FINAL Pumice Wheel is of #1,000 grit. This will save much labour and avoiding extensive cloth-wheel polishing.

 Here is another metal cutting design and having a smooth curved surface.

 

Names of Gem-Stone 'FACETS' => 5 photos *

 These names are not used just for this blog, but are official names for the industry and are authenticated by "GIA".

 All of the facets are shaped to allow the 'light' bounce back to the viewer.

 

Two-Bead setting - => 7 photos

 This wedding ring was extremely popular circa 1965 A.D. as in those earlier years, I was given the chance of perfecting my Diamond Setting skill.

 The popular use of an Onglete graver is shown in this essay. THERE ARE NO 'SHORT CUTS' IN THIS DESIGN.

 I would only use an Onglette #1 graver to 'cut and remove' any metal around the new beads.

 For the cuts on the sides, these will be essential in creating the desired 4 angled cuts. Don't be too concerned right now with the 'rough cutting'.

 

  Onglette cutting is so extrememly essential in the 'preliminary cuts', I can't over-emphasize this initial process.

 With the Onglette graver #1, cut an outline around the initial pattern (as shown).

 Cut DEEP with your Onglette graver. The sides of your graver will nicely join all of the 'ends of the patterns'.

  With a FLAT graver #40 (width) carefully join all of the four sides together. Keep the side angles to end up with a 40degree angle on all of the cuts.

 This particular cutting takes much 'experience and determination'. The cutting is very important for all of the sides of the graver.

 Recut all of the lines with an Onglette #2 graver that has a smooth cutting edge. Be careful not to break off the two beads, 

  Do not set the gemstone until all of the sides of the pattern have been "Bright-Cut".

 

How to make-create a new "Beading Raising" tool => 10 photos

 This graver-making tool has been written on many ocassions, but never explaining how they were created.

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 The short length has nothing to do with its uses, but how it is created, is the important aspect to remember.

 I'll use a #3, Onglette graver, as it gives me the width for creating "stronger & wider" beads. I avoid using a CAD designed beads in this situation.

 In this specific photo, you can understand why some blades are remaining wide & thick.

 These were created for specific reasons, such as having larger beads to have them cover a wider surface over the edge of the gemstone.

  This is the #3, Onglette graver that can be bought at your tool supplier. 

 The skill is to create this thick blade into a (surgical) setting tool.

For 'thinner' beads, I'll use a #2, Onglette blade (as shown).

The bottom of the blade, (at it's front) MUST BE ROUNDED. I   will use a '#240 grit, Emery Paper' to sculpture the steel blade.

To create the correct angle and to have the graver-face to be exact at all times...use your oil-stone, but never the emery paper.

 

 The new bead will be designed to tightly hold the stone in place.

 If you see a 'ball of metal' sitting over the edge of the stone, then you've created the correct shape & size of a bead....=>Hooray!

 The 'tail of the corner beads' on a square face of the ring are shown here. 

 For the remaining beads, I'll use a (thinner) Onglette #2 to tightly secure the remaining stones. On the smaller stones is where these tightly fitting beads will be used and delicately placed.

 => Remember, not all new beads will be the same overall size.
Always have multiple sized Bead-Raisers at your bench.

You've just set both large 4-claw, Square & Round stones, WHAT NEXT? => 2 photos.

In this interesting photo, I use 2 steps of filing into one ring!

=>On the upper & lower left claws: is filed into shape with a Triangular file of #4 grit (smooth).

=> The shape is with  (1)semi-circular end (2) flat-front (3) two sides shaped equally parallel. 

=> I always "Bright-Cut" the (2) flat-front claw just to give it a smooth & shiny surface. I will use a FLAT #40 graver for this very delicate cutting. A cloth Polishing Wheel just can't do this careful finishing

 =>The alternate step, on a '4-claw head' is the 'Finishing', as shown here using a #77B, "Cup Bur."

 I will let the extra large, Cup-Bur actually allow the 'bur teeth' to do the precision shaping. When the bur is rotating, make sure that the bur itself is touching all around the tip of the claw.

 

 These claw tips are too high, but just for these display purposes, I've allowed the claws to be left higher than the Table Facet.

And you thought that just setting a Princess-Cut stone was easy?

How to 'file & trim' your claws, plus more setting facts => 23 photos

  Let's suppose that you have just set an expensive diamond. The next process is to 'file and trim' these claws, what are the rules that should be followed?

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 When your diamond has been set, always be sure not to leave the claws higher than the 'Table Facet'.

 The main problem here is that the centre stone was set too low!

 If the claw tips are higher than the Table Facet, this will grip the claw tip and loosen the stone. Also known as "Woops"!!!

     These 4 claws need to be filed down a.s.a.p. Here is something that no one has ever mentioned in jewellery magazines. Why not?

When the centre stone has been set, ALWAYS MAKE SURE THAT THE 'CULET FACET' IS SITTING IN THE CENTER OF THE CLAWS.

How do you know at a moments notice what grit of the file is it? I mark each of my files with **** for a 4 grit, or ** for a 2 grit. If there is space...as shown, I'll use numbers.

 If the claws are long in length and angled, keep the claws as shown.

 Pre-Trim the casting and remove any extra unwanted metal. When the stone is in, it'll be difficult to fix then.

  I always gently spread apart the claws, why is this done...NOW? This will give me extra space to insert my handpiece and cutting burs.

 I never leave my bench tray with an assortment of unwanted tools. I will then have only the necessary tools at my disposal.

 When the claws are over the Girdle Facets, trim the claws to match the angles of the stone.

 It's best not to have big lumps of metal on a delicate stone.. BLEND THE ANGLES AS WITH THE STONE, AGREE?

  File and trim the claws as they should be a 'part of the stone'.

 

 Don't leave one claw 'curved' as seen here. Remove the stone and straighten the claws...EQUALLY. 

 If this doesn't work, select a smaller stone.

   Pre-Polish all of the claws prior to stone-setting.

 When you are polishing after stone-setting look what remained? There is a little 'magnetic tumbled steel pin' stuck under the stone.

 Here is another example of the 'need to pre-polish everywhere', before any stones need to be set.

 

 When the Emerald has been set, it will be too late to polish the claws. I can see that many of the claws were improperly 'moved over' the stones.

 The 'Pink stone ring' has been correctly 'filed & trimmed'. Now compare that ring to the new casting on the right. 

  Always use a pumice wheel prior to any 'cloth wheel' polishing.

 NO CLOTH WHEELS CAN CLEAN THESE CLAWS. Always use your Pumice Wheels FIRST.

 

 Don't leave any of the claws resting on the stone like these, FILE THEM DOWN.

 Here you can see that the right corner claw is incorrectly trimmed, REPAIR IT NOW.

 As shown above, spread out the claws, as you will be needing much room to get your handpiece and other tools inside the claws.

 After an intense pre-polishing process has been completed, then and only then can you set your expensive gemstones.