JUST BEADS & RUBIES. => 12 photos

  This tutorial essay is just that: it explains the rudimentary steps before Bright Cutting. The very first thing that must be done is to select the same size and colour of the gemstones. There must be no deviation anywhere.

In using your Onglet graver of #1 width, cut out a preliminary pattern in the metal of your choice.

 This exercise is using only a '2-3 bead' configuration.

If you are totally satisfied with the initial layout, proceed further.

 In using your Onglet graver #2, proceed to recut the pattern. But this time, cutting deeper once again.

 If you are well-versed in using a Flat graver, I'd suggest a narrow Flat graver #39. The angled metal, as shown, is actually a small area; a #40 graver seems to be a tad too wide.

Always keep an inventory of required burs and other tools in close proximity to your working area.

A selection of beads that you are going to be using should be close at hand. These burs are your 'friends', keep them near you.

Recut this pattern often and recut DEEPER. You need this to facilitate all of your metal cutting. A 'shallow pattern' will give you many problems in trying to get your Bright-Cutting done.

I suggest recutting this pattern, each time deeper with your Onglet graver #1.

 At this point, use your Flat graver and cut at an angle of 45degrees. These angled cuts should be done before any stone is set. 

This will give you a satisfying result in your ring.

 If you have any larger stones, keep them together and place them away from the smaller stones. 

 DO NOT USE ANY 'BRIGHT-CUTTING' (to enhance the metal) ONCE THE STONES HAVE BEEN SET.

 I would enhance any area that is difficult to polish by simply "Bright-Cutting" where you think it would look appropriate.

 In closing, this pattern needs very deep engraving. Don't be shy in not cutting your pattern often. You need strong beads that will secure your Ruby stones.

 

Results in using a FLAT GRAVER => 9 photos

One of the most desirable cutting blades, in my estimation, is the "Flat Graver". Why is this? It sculpts, but never just cuts lines.

In the hands of a sculptor, a myriad of designs can be created.

                            

 The only drawback is that a Flat Graver is best for cutting long, straight lines. It is not advisable to cut in curved areas.

 Flat gravers have limitations in their uses. Exercise caution when doing your metal sculpting.

  I used an Onglet graver to initiate the metal carving. The next step is to use the Flat graver where needed.

 The front of this Flat graver needs to be repaired to avoid the 'rough texture' seen here.

 This particular section is where the metal carving is done. If the blade is defective, then the cutting will be greatly affected.

 I use these sculpting tools of #39 and or #40 width, as I must have a variety of cutting blades at my immediate disposal.

   In this photo, there are 3 sections where the cutting is nicely progressing. 

  The following photo has a curved area that won't require a Flat Graver to be used.

                           

 

How to use an oilstone efficiently => 4 photos

 Any oilstone can be used easily to sharpen your gravers. The main problem is to KEEP THE OILSTONE CLEAN from minute metal shavings from your gravers.

 The metal shavings can be so very small that they can be almost microscopic at times. BUT THEY ARE THERE TO CAUSE MUCH HAVOC, when you won't suspect it. 

  I liberally apply a layer of oil onto the stone. This is not to lubricate the stone, but to keep those minute shavings in suspension while the blade is being sharpened.  

 At many times during the graver sharpening, STOP and wipe the oilstone clean from those little 'graver shavings'. Then liberally re-apply your choice of oil.

  If you wish to use another thick oil-based solution of a higher (thinker) viscosity, try using "motor oil". It works just as same as the "3 in 1" (as seen in the background).  

DICE (with coloured gemstones) => 21 photos

                           

 I used an Onglet graver of #1 to secure each stone with a 'little wire bead' beside the Girdle of every stone. This ensured that no stones would get loose.

 These gemstones were not computer-designed. The round holes for each stone were hand-cut by me.

 For easier handling during the gemstone process. I prefer to keep the dice secured on a shellac stick.

 The Scale of Difficulty is measured by the experience of having many decades of diamond setting. For me, this project is still difficult and fraught with unseen problems.

 What is the answer to cutting a near-perfect circle? The answer is 'a steady hand'!

 Here is my inventory of Bud Burs of all sizes, large Round burs, and extremely large round burs. All of these 72 burs greatly assist me in this 'Circle Cutting' essay.

For the dice that had 5 stones, I prepared the colours ahead of time. The colour shades and slight variety of size were selected before one dice was cut.

  I prepared the Flat graver #40 and #42 by watching how they appeared to me. Not one cut was allowed if there were errors in the preparation of the cutting edge or face.

            The separation of the three circles had to be EXACT.

 I never used any device to measure the spacing. Was this difficult? YES!

 Here was the beginning of a dice; I used it to get the size and final weight for metal casting. I needed to know just how much metal was needed to give to my off-site caster.

 After the cutting of the circle and before stone-setting, I used this hand-held polishing buff to make it look nice and clean.

 This buffing was done to every hole. It was my method of giving my hopeful client a reason to buy these dice.

What are these pieces of metal? They came from the just-cut metal circle.

 Here is my Flat graver #42 cutting into the metal.

 Just another view of the same dice. A steady hand is essential in this metal cutting.

 WOOPS! The spacing got lost somewhere, and this is what happens. But I might salvage this dice by picking larger stones to overcome this error.

 I was so darned happy with the results of this stone being placed in the metal.

 These 5 stones turned out 'almost acceptable', but not good enough. Now you know that 'spacing' can be so critical and very demanding.

 GOOD GRIEF! This whole dice got returned to the refiner for recasting. Goodbye!

The spacing on this dice was what was required.

 Remember, there was no CAD involved in any of these metal cuttings.

Already I can see that this dice will succeed to make any client happy.

 

Half-Round, Round bur for Cabochon Settings => 10 photos

These 'half-round' shaped burs were designed just for one purpose and that was to create a seat within a tube setting.

 In this photo you can see that the bur teeth are still so very sharp. Still so sharp that the teeth can easily cut your skin. 

 I place the bur against a rotating Emery wheel on your bench grinder. This bur should be held the Emery wheel and keep it water cooled at all times. 

  As you can see that there has been some overheating of the rotating bur and a mild discoloration ensued.

 If the bur hasn't been kept water cool, the bur could become useless for long term cutting.

 

  In my bur inventory, I keep a full set of round burs for future Cabochon Setting needs.

 It is easy to see that all of these burs still retain the toothed edge just for Tube Settings.                                                            

 When, and if the need arises that I need a specific size, I have a sharp 1/2 round bur without any guessing at the last moment, "Do I have one?"

 This is the reason for these odd-looking round burs. The shape of the 1/2 round bur will the same as a Cabochon stone. All that is needed is to decide how deep the bur will be in the Tube Setting.

 

 The gentle angle of this bur is held to help create a seat inside the Tube Setting. 

 When the finished seat for the Cabochon has been completed, it appears apparent that the depth of the bur will still have enough metal to hold the stone.

 

 I will always have a supply of 'half-round burs' sitting near my bench-peg for continuous Tube Cutting. 

  This is exactly how the half-round bur looks prior to any bench-grinder shaping. You will notice how sharp the teeth are at this point.

 If they get worn, the teeth will lose their sharp edges and function as a gemstone setting tool.