Where will all of the "Beads" be positioned? =>17 photos

 These techniques are not just random digging into metal to hold a stone. There are myriad rules to follow. 

 In this tutorial essay, I will display them in near sequential order.

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 I looked at the initial layout of the Garnets, Blue Sapphire and Diamonds. I first started to plan the entire ring in my mind.

 In this first layout of precious stones, we are looking for a uniformity of colours and sizes.

The second thing 'we' must examine is the 'spacing' of gemstones. This is not a 'guessing game', but a very serious 'plan of attack'.

The four diamonds must not be placed at the corners, but placed further in from the corners. Why is this? I need room for the 'corner beads' and room to cut around the metal. 

              

 I'm using only 3 beads as shown in this photo. These beads are placed that will ensure a good chance of cutting a pattern that will be visually appealing.

  I used my Onglet graver #2 with a rounded point to create these Beads. REMEMBER: THAT THESE BEADS MUST COVER THE GIRDLE OF THE STONE.

 The stone must be in the hole and with NO SPACES ALLOWED.

    WOOPS! Some of these beads are in correctly placed. This is an error on my behalf, but additional labour will cover up these errors. Thankfully! 

 I keep all of my setting tools in close proximity to my setting & working area.

 Always look and check for uniformity of the colour and sizes.                                This is so very critical right now.  

 The top left corner stone is 'too light', and on either side of it are two stones that are 'too dark'. => Always check for uniformity!!!

 The two bigger holes are not correctly placed, therefore the better placements are lightly drilled. These are the holes that will be used.

 In this photo shows EXACTLY WHAT THESE HOLES LOOK LIKE, interesting, eh?

 

  Always drill the hole extra deep & large for the Pavilion of the stone.

  I suggest NOW removing the 'sliver of metal' between any of the stones.

 

  I exchanged all of the stones that were not of equal colour. Now these eight stones look GREAT!

  As you can see why I place the beads just at the corners. That one bead makes the corners more exacting.

 I placed many little 'mini beads' in and around the center stone. 

 Instead of filing the outside of the metal frame, I thought of using my Onglet graver and cutting another thin line.

 Just to hide any misplaced beads, I camouflaged all of them with little round bur indentations.

 

What is "Angled, 2-Bead Metal Carving"? =>13 photos

 This pattern is seen between the gemstones; there will be ONLY TWO BEADS holding EACH gemstone.

 I will be using a Flat graver of #40 width extensively. All of this metal cutting is done long before any stones are set.

The metal cuttings are showing that the graver blade is not fully polished. There are lines along the edge, and this is not acceptable.

 The metal cutting is not 'black', but only a reflection of the light bouncing from the Bright-Cutting.

 This is the first photo showing the 'angled cutting'.

 To cut this particular pattern, it is best to use a Flat graver of #40 width. A number #42 is too wide to access any small area. Be careful. You can observe the start of the flat cutting.

 This is a great photo showing the 'in-between, angled cuts', where the stones will finally be set. There are no lines in the metal from a poorly polished Flat graver tip. 

The quality of graver polishing is 100% paramount, as there is no opportunity to repair any metal-cutting tool a second time.

 The preliminary 'rough cutting' is shown in this photo. Those little triangles will eventually be 'beads' to hold each stone. We are working now solely in the 'Bright-Cutting' process.

 The long line of carving needs to be created DEEP and must maintain a very DEEP cut.

 The reason is that the sharp graver must always be able to create this delicate pattern. 

 While the graver is cutting, the graver point should enter the hole.

 When the graver is cutting into the hole, it is basically preparing an exact space for the stone. Any remaining metal must be removed while the metal is being prepared for Bright-Cutting.

  ALWAYS CUT THE METAL AS DEEP AS YOU CAN. Shallow cuts are not needed here.

 If the in-between space is too wide, I'd easily cut double lines, as 'one extra line will serve as decoration'.

 

 The FLAT graver is only used for the angled cuts. I will use a highly-polished side on my Onglet graver to Bright-Cut the outside curved design.

 To enhance and polish the two gravers, I suggest using a 'Polishing Paper of #800 grit', as this will keep your gravers in pristine condition at all times. I'm placing my Flat graver carefully on the polishing paper.

 The background displays the heart pendant just after the casting.

 Many essays that I'm displaying are not always about stone setting. I prefer to emphasize tool maintenance as well.

Wax repairing => 7 photos

 Here is a wax-injected pattern, but here are a few problems that MUST BE ADDRESSED immediately.

 It is much easier to repair these problems now as the labour is fast and precise. There is no soldering at this stage of production.

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In this photo, we can see that the main sprue, where the metal will eventually flow. It isn't thick enough to support continuous metal flow I purposely made this sprue 'extra wide and thick'.

  Only in wax can such a repair be done successfully.

  Upon closer inspection, I found a break in the wax. I decided not to leave this until the metal casting to have it repaired.

 This 'break' was located directly at the injection site in the main area where the metal was to be cast.

 I inverted this wax and discovered that this 'break' was all around the underneath of the bezel.

 I cleaned out the 'break' with my '3-tooth' wax cleaning bur. These wax-cleaning burs can be purchased at any tool supplier online or in person. Any break must be absolutely free of any residue.

 Examine and explore this 'break' thoroughly, as there could be additional 'breaks' not easily seen to you.

  The wax heating pen should not be HOT, but only WARM. If the 'pen' is hot, it could easily melt your delicate wax, rendering it useless.

 This is my wax pen, along with the desired temperatures inked on the dial.

 After any filing of the wax form, there could be a build-up of wax in this coarse file. Get rid of the remnants with this wire brush.

 

"Computer Aided Designs" => 22 photos

 Computer designing comes in many forms, and I'm displaying many of them in this essay. Just sit back and enjoy them, above all, learn.

 There is no opportunity for any jeweller to create these bracelet links by hand. This is where 'CAD' has made the most difficult project look easy.

 

                                                         

 There are 90 available spots for gemstones to be inserted. Pay attention to the uniformity of the claws. There isn't one claw out of alignment from the other 180 mini-claws.

 

 There are 22 spaces for stones to be set in EACH LINK. Every link has only 2 claws for each STONE.

   The diameter of these claws is sufficient to hold any stone securely.

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                 This is my "GUINNESS WORLD RECORD"

  

 Although the date on this certificate is from 13 years ago, it shows the creativity that made it through all of these years.

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  Every item in this photographic display essay was achieved by using C.A.D. (Computer-Aided Design).

   Everyone needs a keychain, but to have one created like this is a 'real gem', (pardon the pun)!

   I'm using my hand as a reference for the diameter of this disk.

  This is the reverse side of the disk. The numbers #8 & #7 were set as individual units and then soldered together afterwards.

  The equivalent diameter of these larger gemstones had the size of a 1.25-carat gemstone, and there were 17 of them on the edge.

 This is the epitome of mini-claw setting; there is no jeweller who can make these claws uniform in size and width. "CAD" creation was the only solution.

 One of the many features of Computer Designing is that you won't need to cast anything.

 You can create any design on paper, then show it to your client for their approval. 

 For American clients, I had my off-site computer designer make a pattern using the American flag.

The metal weight was 137.45 grams; it wasn't a lightweight disk.

 This necklace was originally created with the great assistance of CAD, and it was crafted in multiple sections. This Emerald had a gem weight of 5.13 Carats.

   I designed this gentleman's ring by using only a CAD program.

 With this pattern, I used white stones to demonstrate diamonds using the same CAD program.

 Why buy multiple gemstones of uniform colour and stone size when you can do all of the selecting via CAD and get uniform stones?

  For this storefront pattern, the owner used a CAD program to create all of the intricate wood carvings. I saw this storefront again and was still in awe at the intricate carving.

  As you can now see, CAD has entered the many realms of metal and now carvings in wood. 

  I'm hoping that this tutorial essay explored the many opportunities for you to entertain using CAD in the future.