HSS "Reshaping" burs (Review) =>12 photos

 This is one of the helpful lessons that I can show you. How can you recut your HSS metal cutting bur?

 The initials HSS refers to "High Speed Steel" metal", this specialized cutting bur is not like the "Carbide" (softer steel) that you often see here.

 These edges of the teeth are badly worn and need of repair.

 

 You can see are the many HSS burs that I've been recutting. The size of them don't make any difference in the refurbishing process.

 These burs are commonly known as 'bearing cutters' or "156C", but they can't be repaired.

These are ALL 'CARBIDE BUR' CUTTERS.

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 No matter the metal strength, burs will tend to get worn down after being in contact with numerous alloys. The burs tend to be dollar expensive, the only technique in saving the cost is to RECUT them yourself.

 What I do is to mark each tooth, this simple action lets me know which tooth has being 'touched'.

 I ONLY TOUCH THE CUTTING AREAS, not the whole bur.

  In this close-up photo,  these teeth are again ready to do some interesting bezel cutting.

  THESE BUR TEETH ARE ROUNDED and not good anymore!!!

 These 'inked teeth' have been repaired too far away from the actual cutting areas. This is exactly why I colour the teeth.

  The Corundum repairing wheel is touching EXACTLY where it should be. Be careful that your hand doesn't shake, lest these teeth get ruined in this delicate reshaping process.

 

Finished BEZELS => 5 Bezels

 It's not too often that I find it necessary not to write anything. But here it is, all of these rings are with completed Bezels.

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Oval Bezels => 5 photos

THERE IS ONLY ONE STYLE OF BUR TO USE and that is a "HIGH SPEED BUR". Why?

The cutting teeth are spaced further apart, than the '156C' teeth.

The HSS teeth cut deeper and allows for excellent cutting action.

 It is best to select a round bur that is the same 'girdle width' and run that bur where the stone will sit.

 When the stone is finally sitting as planned, then the process of stone setting will commence. If you find that the stone is NOT SITTING WELL, what is then happening?

1) The Girdle is thicker than drilled.

2) The Pavillion is deeper and it won't sit into the Bezel.

3) The Metal that allows the stone to sit in between the Half-Bezel        should be carved further.

4) The length of the stone is preventing access to the Bezel.

5) The Table-Facet should be no higher than the Bezel wall.

 

This photo explains what we are looking for!

With an Onglete graver it's best to Bright-Cut the inner Bezel-Wall.

                                                               

                                          "FINISHED"

 

4, Wedding Band NEW Claws => 3 photos

 I fashioned four claws to each of these 'cubic zircon' stones. But  how was this achieved in this wedding band?

These are the instructions:

1) The very first step was to cut a horizontal line into the metal.

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2) This line was widened by using a 'bud bur'.

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3) The third step is to file a vertical line I I I I.

4) Intersecting these lines will be where the holes will be drilled.

                                   I o I o I o I.

5) All of the claws will be polished prior for stone setting.

The engraved word on this stone signifies that it is indeed a "SWAROVSKI". 

6) Once that the stone has been set, I carefully polished all of the rough spots. (Even underneath where the holes were drilled.

7) Where the trimming of the claws, the metal is now very smooth.

 Not one spot on this wedding band has been overlooked. It is now ready for many years of wear.

 

What are the 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, these 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 ring 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? => using 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.)