Setting Engagement Stones (be careful) => 3 photos

  This instructional essay was 'posted in this blog' many months ago, and here it is again.

  These three diagrams are the basic instructions that you need to follow. I also supplied some of my own text to make this essay more 'personal' and easy to understand.

 I learned these very same techniques while I was learning how to set engagement rings, circa 1960's.

"Gerry's Instructions!"                     

Rule #1. Keep the tip of the claw at or below the Table Facet of the gemstone.

Rule #2. The metal under the seat of the claw MUST be flush with the Pavilion of the stone.

Rule #3. There must NEVER be any sharp edges around the claw after the stone has been set. NEVER!!!

Rule #4. The claw must conform to the angles of the stone. This means that there must NEVER be any spaces between the stone and the claw.

Rule #5. There must be enough thickness of the metal to hold and be able to withstand many years of constant use.

Rule # 6. The bur must be held at the same angle so that it will eventually cut into the metal exactly where the stone will sit. 

Rule #7. When the claw has closed against the stone, there will never be any spaces =>ANYWHERE.

Rule #8.  The teeth of the rotating bur must follow the same angles as the stone. (I've repeated this in Rule #6) This diagram will be a guide for you.

        

 In closing, I sincerely hope that this instructional essay will answer some of your questions about setting Engagement rings.

Engagement rings (trimming) #2, of 2 pages => 10 photos

        This essay displays 'multiple claw' rings.

 These eight claws seem to vanish among the Facets of the stone. I chose this ring top for it's esthetic appearance. Good choice of design.

 For durability, these 6 claws are best to use. The claws help to protect the stone during the many years of wear.

These two end-claws protect the points of this Marquise stone.

                                      

I like the highly polished disk where the Pavilion is located. This enhances the brilliance of the stone. 

                                      

 I'm not in favour of these five 'spear-shaped' claws as these will, over time, catch the wearer's clothing. When this happens, the stone will eventually get loose.

 I personally like this design as it allows the wearer to view the Culet Facet.

 These six claws blend into the facets of the stone and still giving it much support.

 

Multi-Claw trimming & more - (#1, of 2 pages) => 8 photos

These claw settings demonstrate the different techniques in trimming claw tips. The most important aspect of trimming is to secure the diamond. 

 These claws on the Princess-Cut stone are designed to prevent breakage at the 4 delicate corners. That is why these claw tips are slightly thicker than those usually seen in other settings.

 

 This photo displays a 1.5 Carat diamond. The designer chose security & 'double-claws' just for the expensive gem.

 When the designer chose 'double claws' for this stone, it was made to protect the fragile eight multiple corners.

 You can see that each of the eight claws covers the sharp points of the Emerald-Cut gem.

                                           

1) I selected this photo for the sole purpose of showing that 6 pointed claws are actually covering much of the gemstone. I would have chosen a more delicate claw setting.

2) The yellow gold will reflect much of the 'yellow' into the diamond. When the diamond is appraised, the appraiser will have difficulty with the stone's colour coding.

3) The claws are basically displaying large, pointed tips. These will catch the wearer's clothing over time.

These six claws are the better choice than those shown above.

 My own preference would be to use white metal instead of yellow claws.

What are the techniques in stone setting? => 7 photos

 Supposing that you've just finished putting your exquisite diamond into a multi-claw setting.

 What is next on your agenda? Let me guide you in this delicate process. I will be showing you diagrams, photos & burs.

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If you need to set a genuine Emerald worth thousands of dollars, I suggest rounding the claw tips first.

 This rounding is done with a Cup Bur, aka "77B". As this bur won't cause any setting problems, namely, damaging the Crown Facets of the very soft stone.

 Before any large stone is permanently set into a 4-claw head, the seat of the claw must be carved out carefully. Then you should 'pre-polish' and make sure the claws are clean.

 If the stone has a wide girdle, as some gemstones have that design, I'd suggest drilling the claws before the stone setting commences.

  

 Always select the HSS (High Speed Steel) that is approximately 50% the size of the stone. This bur size will give you the desired angles into the claws.

  Kindly spread the claws, as you need ample space to insert your bur into the claw setting.

   As I've written on many occasions, "77B" Cup burs can create rounded tips to your claws.

 When you are using these specially designed burs, always keep the inside teeth well lubricated.

 DON'T APPLY DOWNWARD PRESSURE WHEN CUTTING INTO THE CLAW.

Which gemstone would YOU SET FIRST? => 5 photos

  This seems like a tough question of which stone to set first. But to make the answer easier to understand, I've marked the stone(s) with ink.

 The first stone to set is the one in the middle of the 'line of gems'.

  The biggest stone is and should be the one where the 'wearer's eye will focus on. The remaining group will follow towards the end of the setting.

 For the topic of 'spacing', I will always place the equal-sized stones in the middle of the long line. If there are any smaller stones, it is imperative to place them at the end of the row.

 Even if there are four rows of stones, as seen here, the largest stones will be placed initially in the middle of the plate. The smaller group of stones will be set at the 'top' and 'bottom' of the plate.

 Channel Setting is not as easy as it seems. The first rule of any stone setting is still that size is very important.

 Place the largest stone in the middle of the channel, then work to the end of the setting.

 The two 'end stones' will be the last to be set.

  => Always measure the stones to locate the largest gem. Then you will locate which stone will be set first.

High Speed Steel (HSS) drilling #4 =>12 diagrams

 In this tutorial essay, I prefer to cover as many areas of stone setting as possible.

 YES, I've repeated many diagrams as they are that important, and I didn't want to erase them from this blog.

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 I've been using 'pumice wheels' extensively in my creative diamond setting programs, being shown to you. They come in only two shapes, Tapered and now Flat.

 Here is where the FLAT shape will come in handy. When all of the filing and using an Emery disk are finished, the FLAT shape will now remove ALL OF THE MINUTE CUTS THAT WERE MADE. But please, for your safety, USE A SLOW ROTATING SPEED.

 In this diagram, you can use this as a guide for determining where the bur must be used. Where the teeth of the bur end will be EXACTLY WHERE THE STONE WILL EVENTUALLY SIT.

 In my previous essays, the rotating HSS (High Speed Steel) bur will eject a long sliver of metal on one of the four claws of the setting. 

You have two options here: I use a Flat graver #40 width to cut away the metal. DON'T USE A FILE, as this will leave more striations on that one side.

  This diagram is self-explanatory in the setting of little stones.

  This is another diagram that doesn't need any further explanation.

 Tightening a square (Princess-Cut stone) is a 'delicate (scary) stone tightening procedure'. If you tighten this shape at the corners, you should immediately look for a diamond polisher, as the stone will chip at the corners.

 I always told my students (and you) that from 4 'V' claws, you now have '8 places' to bend over the 4 corners. No shortcuts here!

 After you use an oilstone to sharpen your Flat graver, there will be minute pieces of metal lying at the point of the graver underneath that front end.

 This cannot be left untouched, but can be removed with your Polishing Paper of #800 grit.

 The location of your 'bur cutting' will determine exactly where your stone will sit. Please be accurate.

 When you are setting a stone in a 'Flush Setting', please be wary of the location of the Culet Facet. If it protrudes through the bottom, the metal is too thin. Plan for another smaller stone.

 

  NEVER PUSH YOUR STONE INTO THE METAL. Always slide it in on an angle, as shown.

 

  This is my separating disk. Here are the exact dimensions when ordering another group of them. 

   Here are my important "Rule of Thirds".

 1) One-third below the claw top.

2) One-third from the edge of the bearing to the claw.

3 (Lastly, one-third of the stone is the width of the metal. This will give you the exact proportions of the depth of the stone.

 The thickness, width and height of the metal over the Girdle Facet will give the wearer many years of pleasure.

Various bur drilling techniques #5 =>4 diagrams

Where would you place your HSS bur? The answer is in this essay. THERE COULD BE MANY ERRORS IF THE FOLLOWING STEPS ARE IGNORED.

  After you prepare the seat for your square stone, it obvious that you should remove the outside edge of the wall. This will allow you to hammer over the stone with much less metal. See my drawing!

                                       

  Allow the edge of the rotating bur to cut into the wall of the opening.

You are allowing both the 'upper and lower teeth' of the bur to cut into the metal. This will allow both the Crown and Pavilion facets to sit properly.

  When you are doing your burring for seats, do yourself a favour and make sure that the bearing is equal all around the opening. 

 The next important step is to taper the opening to accommodate the Pavilion of the stone; see my drawing for this important step.

 DO NOT (EVER) SPEED UP THE REVOLUTIONS OF YOUR BUR. If you do, you might lose control of the quickly rotating bur.

 

4-Claw, Bright-Cutting & other preparations #3 =>10 diagrams

 This third essay covers the many aspects of the stone setting principles.  

=>There are 2 MORE TUTORIAL ESSAYS STILL TO BE EDITED. <=

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The Pavilion of the stone MUST ALWAYS MATCH THE ANGLE OF THE SEAT IN THE CLAW. (There are no shortcuts permitted.) 

 Where the 'up and down cutting' also creates an angle for the Crown Facets of the new stone to sit.

 The 'reflection of light' is nicely explained in this diagram, along with which cutting blade produces each reflected light source.

 After the hammering over the Flush setting, comes the cleaning of the hammer hits. Initially, a #180 grit Pumice wheel will suffice. Every hammer mark MUST BE CLEANED UP.

   Every bead must be 'against and over' the Girdle of each stone.

  Around every Gypsy setting must be cleaned and made beautiful by Bright-Cutting around each of the stone settings.

 

 This diagram is not great, but it explains that every mark from hammering MUST BE REPAIRED.

 When the hammering is initiated, it is imperative that the Bezel Wall comes down directly upon the stone. 

 You will notice that the inner seat of the setting has no spaces around the Girdle of the stone. The stone sits completely against the metal frame.

 I wanted to REPEAT the hammering cycle on the Oval bezel.

                              

                                  Square stone setting in a V-claw setting.

  All 4 'V' claws MUST BE THE SAME size & thickness. 

 The 4 'V' claws must sit against the square stone on the 8 sides. NO SHORTCUTS.