Lion Pendant = 'Diamonds in the Body & Wings'. => 31 photos

 These "Lion Wings & Body Pendant" were a multiple-section project for my diamond setting. I planned ahead of time where every diamond and hole was to be eventually drilled before stone setting.                  

 I placed an assortment of diamonds on my workbench just to see which stones to use and where.

                                    

 As there were many areas that had porosity in the gold. This was due to the poor mixture of the gold with the metal alloy. We both decided to cover up the holes by using an 'emery rotating wheel' to apply a textured surface to the rear of the pendant. No more porosity!

 These 'areas' were literally throughout the pendant, and using solder was not an option worth considering.   

 I 'inked' where diamonds would be eventually placed. If a group of diamonds were not placed according to my client's wishes, I'd redo that area.

 As the wings were not soldered to the body, I placed them on a shellac stick for stone setting.

                                                        

 I casually placed the diamonds according to size at specific areas on the wings.

 Once we decided just where diamonds would look best on the wing, I laid out the stones and proceeded to drill the metal. This was not an overnight procedure.

  I graduated from the placement of the diamonds on the gold pendant. I positioned each stone and 'marked' where each stone should be set. THIS TOOK MUCH TIME AND CONCENTRATION.

 My routine was. 1) Lay out the stones on the metal. 2) Mark (ink) the gold. 3) Scribe the metal. 4) Drill the spots that were scribed.

5) Drill through the metal. START THE SETTING, ONE STONE AT A TIME.

You can see the 'spots' for each stone on the tail and neck areas.

 I had to create a definite pattern even while the beads were holding the stones.

 Some diamond holes were not where they should be because of size. I had to reposition them immediately prior to drilling and opening up the holes.

 My client gave me coloured gemstones, I used them in the mouth, ears and face. I had a few extra-large diamonds, and they were put into the feet. I had to find 20 stones all of the same size for the tail.

 Would you believe that there are 3 sizes of stones in this one wing?

 Thankfully, there are only 2 sizes of stones for this one wing. WHEW!

 You can now see the Ruby set into the mouth, and a Blue Sapphire in the ear.

There is porosity everywhere, but we overcame that problem!

Just on this one wing, I set the largest diamonds that I could find.

  I secured the array of diamonds and created a pattern with the beads.

The spacing of the beads was well thought out during this whole setting process.

 Where one bead was created, another bead was joined at its base. The pattern that I created was planned many days before.

 While there were tips of feathers for the wings, they too had to be further enhanced by beads & diamonds. Four sizes of diamonds were used in this wingtip.

 I couldn't have even one bead created out of alignment. There was a definite plan of beading throughout the whole pendant.

              METAL CARVING TO IMITATE FEATHERS!

 This imitation of feather tips is named "Fishtail Setting".

I inked these two holes before I set extremely large diamonds. Even the beads had to be well planned ahead of time. The placement of each bead and its size had a definite purpose.

This shows the 'before photo' of the stones going into the wing.

 This is the metal cutting and Fishtail Pattern. You can see a shiny spot; this is the reflection on some of the facets of the gold.

                             DRILLING PROBLEMS

  There were some partially drilled holes. I wasn't pleased with the 'tail holes', and I had to find more suitable diamond sizes, as the 'tail and foot' had a marginally acceptable width to work with.

 'Uniformity in all of the diamond sizes' was an ongoing stone setting problem.

  After three weeks of planning, the stone placement, drilling holes, and finally setting of this pendant, it was completed. WHEW, eh!

3 Beaded Stones in a row => 19 photos

 "Three beaded stones in a row". This is quite complicated. The only tools that are needed are the Onglette and Flat gravers. Plus loads of patience and being careful in reading this photographic essay. The Scale of Difficulty is only 8+ out of 10.

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 Either you want the 3 stones to be straight across, or on an angle, the decision is up to you. 

 The first thing is to keep your stones in a straight line. The two gravers that will be used in this tutorial essay are the Onglet gravers #1 and #2. Not to forget our Flat graver #40.

 Using your Onglet graver #1, please cut a preliminary line along the edge of the 3 holes, as shown.

 Remove any extra metal around the holes; this is 100% important.

 In between the 3 holes, cut with your Bud Bur of #2, or #3. Then, at the outside edge, cut a "V" for this must be Bright-Cut.

Make sure that the ends of these two lines are cut STRAIGHT to the ends of the ring. There will be a natural tendency to curve these 2 lines. AVOID THIS FROM HAPPENING.

 RE-CUT DEEPLY THE TWO LINES AND THE "V". Recut DEEPLY, where the Bud Bur was used, as this will made into beads.

 There MUST BE AN ADDITIONAL LINE TO BE CUT. This must be a space in between these two lines, and you will see the reason in a few minutes.

Start the Second Line of cutting where you scribed (in ink). This ink line is similar to a GPS as it acts as a guide for you.

                                         

 That space in between the 2 lines will now be "Bright Cut". See the reasons why they were marked with a space?

 Accuracy in the Bright Cutting is 100% warranted and demanded.

 This line of Bright Cutting MUST BE CREATED WITH A FLAT GRAVER, WITH SHARP EDGES.

 The Flat graver is being shown cutting at 45degree angles. The bright mirror finish is so important. Don't use any Onglet graver for this process, PLEASE!

Both sides of these two lines are Bright Cut, as they verge together as a tapered metal wall.

  WOOPS! Here you can see a gentle curvature of the Bright Cutting at the end of the top line. THIS MUST NOT OCCUR.

 When the gemstones are set, you can use your 'bead-raiser' and move (not push) the metal over the Girdle of the stones.

 If there is a 'space' on the inside metal row, there is only ONE SOLUTION. That is to cut the metal deeply with the side of the highly polished graver until there is no more flat top of metal remaining.

  You may, if you wish, roll your Milgrain tool over the tip of the wall; this will be purely a decorative finish.

                                         

 I used a display ring to create these 3-Beaded Stones. With the never ending price of metal. I used every bit of silver I could find.

  Here are two other options for preparing in-between beads.

 This ring has 4 new beads for the middle stone, PLUS ONE BEAD AT THE END.

 You can now use a thin Bud Bur for the separation of the new beads, but cut deeply with your bur.

Diamond Setting & Metal Cutting. #2, of 2 examples. =>11 photos

 This next (ultra difficult) example of metal cutting was this insanely technical pattern.   These two examples of metal cutting were done in plain wedding bands. The possibilities for errors in cutting are about 90%. 

 We, the group of 6 diamond setters in one private room, were then made an elite group of individuals. Let me first tell you that the stress level was quite high. If one setter made an error in gemstone setting, the rest of us knew about it in seconds. (Profanity was kept to an absolute minimum.)

 This particular 'Scale of Difficulty' is estimated at about '15 out of 10'.

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 After drilling the initial hole, I inked where the 5-pointed star would be placed & cut.

  

 As shown in my previous essay, my Onglet graver used my 'inked pattern' as a guide for my design. My graver will DEEPLY cut the pattern, while leaving the '5 inked spots' for making new Beads.

 I start my metal cutting from the hole. If I start any place else, I could have lines in the metal made from the Onglet base of the blade. 'Cleanliness is paramount.

 I scribed in the metal, 5 more spots, why MORE? These 5 spots are where the 'outer star' pattern will be situated & then cut.

With great care, I started the final STAR pattern. This outer design must be EXACTLY positioned, allowing the design to be made.

 All of these cuts should start at the hole. If the base of the graver touches the metal, a faint line will then appear. This faint line will cause many problems in cleaning.

 These two 'STAR points' should be in line with each other. The outer STAR is more important than the inner cutting. It is THE FINAL PATTERN REMAINING TO BE CONTINUALLY SEEN. 

BRIGHT CUTTING

 We've finished with the outline, or 'rough cutting'. Now comes the intricate metal carving.

 YES, I will use all of the edges & corners of the Flat #40 graver. I make sure that all of the points of the 2 star-points coincide with each other. I will use my Onglet #2 points to help me in this procedure.

 I'm using both the Onglet #1 & #2 gravers to execute all of the deep & straight lines in the metal. My graver cutting starts just beside the new beads. I don't want any gravers to make any faint lines in the metal. Cleaning them could be a major problem.

 If you are exceeding in using your Flat #40 graver, then by all means do a few 'touch-ups' where necessary.

 

 I'd suggest doing any fanciful touches (Milgrain) prior to any stone setting.

 REMEMBER, start your cutting where the hole is. This will avoid any problems in ruining the new beads.

 

                                                BIG MAJOR WOOPS! Why?

 The 'two points of the stars' are not joining each other. This will cause you many problems, but how can this be repaired?

 The only solution is to recut the metal...GENTLY, where the points should be. Carefully, lean your graver to one side and then gently recut where necessary. Don't use your Flat graver to fix it. I won't.