How to set a Marquise Stone into a Bezel => 12 photos

 In this essay, I will attempt to explain the basics of setting a Marquise stone into a Full Bezel ring.

1) The very first step is to clean the inside of the bezel. As you can see that there are remnants of casting metals preventing the stone to be sitting with ease.

2)  A 'bearing cut' is immediately required to ascertain where the stone will sit in the bezel.

3)  The (long) bearing cut will start at the two ends of the bezel.

4)  Place the stone into the bezel and notice just where to points of the stone will be touching.

 

5) Look into your selection of round burs and pick a bur that has the same diameter (thickness) as the girdle of the stone.

6) Use your High Speed Steel (HSS) bur and cut a seat into the bezel at the same depth of the stone. =>This is extremely important.

7) Fit the stone exactly into the bezel!!! With a loupe, check that the stone is sitting level.

8) GENTLY, (I repeat) GENTLY tap the top of the bezel as it must now come in direct contact to the facets of the stone.

9) Tap the Bezel as now the tip must come in immediate contact with all of the contours of the stone.

 =>AVOID ANY SPACES (AS SEEN HERE). DIRT & REFUSE WILL COLLECT IF THERE ARE SPACES NEAR THE ENDS OF THE STONE.

10) Bright-Cut the inside edge of the bezel wall. 

 

   11) Attempt to keep the bezel top flat at all times, as this will aid in the polishing aspect of stone setting.

 

How did I build my "Award Winng, DOLPHIN"? => 16 photos

 On this spectacular award winning pattern, circa 1985, I had the extreme opportunity in creating a diamond setting project, one stone at a time. (whew!) Every hole was counter-sunk using a round or bud-shaped bur.                                                        

 What is "counter-sinking" a drilled hole. The drilled holes were made larger and as well made circular with round burs. My (out of city) client requested that all 'finishing' to be done in his office.

 All drilling of holes for 'counter-sinking' was done before any stone was inserted.

  In this photo there are 5 sizes of white stones, this is not including the coloured diamonds. The rigorous spacing was always my challenge all through the 225 diamonds that were set.

 Each diamond (no matter the colour) had 4 beads, sometimes there were 6 beads to aid additional security.

There were a multitude of various elevations and angles all through this 4.5 week project. The amount of intense concentration was measured not in days, or weeks, but sometimes in hours.

 Planning for each hole to be drilled, and then counter-sunk, this was before setting every stone. Many times I put my 'office phone' on hold.

 How would I hold this large item (without using shellac) this was my constant and ongoing question? I decided to use my ring and metal pin-clamps. (see below)

 I initially set 7 diamonds, then my client said there were too many spaces. It was back to my bench and set 3 more stones.

 Believe me, there are 4 sizes of white diamonds in this one photo. 

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This large disk was secured on my pin-vice.

There were many instances where holes had to be plugged up. As I was given the incorrect stone sizes for many areas of the Dolphin. 

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 Just in the tail, there were 3 additional stones that had to be set. Spacing, drilling, counter-sinking, setting, this occured many times.

 

How to create the 'beginning' of a WAX RING => 6 photos

From a roughly shaped circle of wax with no purpose (yet). We will create the basics of a ring (I hope)???

 

  With the large wax, it's now best to make both surfaces even and smooth from the saw-blade cutting.

 

 Next with a pair of pointed jaws, I will scribe with much care, 2 lines along the edge of this piece of wax.

 

 

  The next step is to use your saw-blade and with more absolute care and precision---->GENTLY cut along that scribed line.

 How deep should you cut? I'd ask you to cut just deep enough so that the saw-blade vanishes into the line of cutting.

Repeat your rotating wax until the unwanted wax is removed.

DON'T RUSH YOUR CUTTING !!!

 CUT THE WAX, ROTATE, CUT THE WAX, ROTATE, UNTIL THE UNWANTED WAX HAS BEEN REMOVED =>>>

  This slow cutting is very deliberate as this is so important. Don't hold the wax in your fingers as when you are holding any thin sliver of wax, it could very bend it out of shape. I suggest that you keep the ring on your steel mandrel.

 Run this piece of wax over a smoother file of a #2 grit. It's better to have this roughly hewn wax made smooth for other cutting.

  If you think that this sounds repetitive & boring. Let me just say that this tutorial essay explains the beginning of a serious creation of any wax ring.

=> Gerry Lewy! gerrylewy18@gmail.com

AZURE filigre' (under a ring) => 9 photos

As you can see that this intricate wax pattern is very delicate. Be aware that all of the wax-filigre spots be made clean of any residue.

 There is a defect that came out of the rubber mold. It should not be repaired in the wax, but it could be joined to the metal. Be careful with the thin wax.

This wax form is 'almost' clean of any plugged holes. In the third row from the tapered-top, there is one hole, always look for any defects. Even the wax-sprue must be gently removed before casting.

 

The Azure 'wax insert' should join the ring-base with no spaces.

This 'wax injection' is a total loss, why? There are just too many holes plugged. 

 When you are dealing a curved wax, there is a great tendency to bend the wax to fit the main ring. DON'T DO ANY BENDING AT THIS STEP. Join the two pieces in the metal.

 I prefer to supply a temporary & thicker NEW sprue, why? This is the best way to hold this delicate curved wax.

 The thicker wax sprue is like a 'handle' and you can avoid any sudden breaking.

 Cast these two waxes and then do any delicate repairing, if needed.

 

How to create a "Florentine Finish", and more! => 12 photos

This kind of finishing is sometimes named as "cross-cut", hence the appearance of the 'liners'.

 How is this created? The answer is relatively easy to explain.

1) The initial cutting with your 'liner' should be full of straight cuts. The next phase of cutting should be at a 90degree angle.

2) The second series of cutting should be more of a lighter finishing, but NOT TOO DEEP.

  This photo displays the basic pattern of Florentine cutting.

This photo displays my very own Florentine engraving tool.

These 'liners' come in various widths =>6, 8 or even 10 lines.

 I feel more comfortable with a thinner graver tip than having a thick front.

I have a Flat graver along side of my 'liner'.

 

The "Florentine" finish is actually a cross-cutting pattern of the previously shown 'Liner graver'. Some hand-engraving designers just use one set of lines, but the cross-cutting is more attractive.

 =>Here is what an engraver did with his 'liner', it looks like the veins of a plant eminating from the center of the flower.<=

 My client gave me her bracelet adorned with numerous "line patterns". BEAUTIFUL!

  All I did here was just scribe the surface, without digging into the metal. Here are four sets of line cutting, touching side-by-side.

 I kept the silver shavings just for this photo. It's not the depth of the graver cutting...but how it was created.

This photo shows just how the metal cutting appears from above.

Here is the full surface of the engraved bracelet.