What size of bur to set a "THICK Girdle" stone? => 10 photos.

 What is the best claw setting for a thick-girdle stone? As an experienced Diamond Setter, I primarily look for security of the stone being set. 

 In this essay, I will give you 'my choices' of the head and what claw shapes to avoid and why?

 For a wide-Girdle, there are many limitations in selecting a stone with those dimensions.

                                  Claw settings to avoid:

 'Decorative' and 'Trellis', why? These claws are so very thin and security could be a problem.

 Below is one of the 'best shaped' claws for a thick-girdle gemstone, why? The 'multi-claw' head still gives you the 'decorative' design, but the claws give you the opportunity in utilizing a thicker stone.

 Try to avoid a thin claw pattern, as security is lacking and the tendancy for a claw to move is quite possible.

 If you need a double or triple claw pattern, I'd stay with them.

 I designed this page with text & photos to demonstrate the setting of various claw configerations.

  I drew this (above) page many years ago, I had no idea that it would be used extensively in this particular essay.

 This enlarged diagram explains how a THICK girdle is prepared for setting.

 What size of bud bur is the best size? My answer will be that the thick girdle will sit easily in the claw, as shown.

 Remember; DON'T USE A ROUND BUR. Only use a tapered (Flame-Tip) bud bur and lay it on it's side and CUT ACROSS the WIDTH of the claw.

  How far down from the tip should this carving be? The 'bearing' groove should be no deeper than 1/3rd of height of the claw (as shown here).

 Lastly, => the diameter of the Bud Bur MUST be equal to the thickness of the Girdle.

Show 'us' what "Center Stone" claws look like. => 16 photos.

 These are the most common shapes of "center stone claws". There are other configurations, but these are the best in my estimation.

 From the drawings, here are the almost life-like drawings for you to appreciate.

 In this photo, the setter cut into metal with little care, as seen on the 'left claw'. On the 'right claw', shows the correct cutting. The curvature of the Pavilion-facet will nicely fit against the claws.

 Here are 4 styles of 'claw-tip' patterns. It's best to have a variety, in your inventory than to pick just one pattern for all of your rings.

 On this ring there are 8 claws to give additional support, even the claws are gingerly shaped for this expensive Asscher-Cut gemstone.

 On this photo, you can see 4 shapes of claws, each design is worthy of being used.

 This yellow setting will put a shade of metal into the stone. In return, it will give a yellow tint into the diamond.

 This ring has a  collection of small sized diamonds on EACH claw. I, as a Diamond Setter would set these small stones long before the large stone went in.

 I would also 'pre-cut' the centre-stone claw tips, as all that remains is to carefully place the large diamond into those claws.

 To avoid claws that will cover much of the beautiful gemstones. The designer and jeweller worked together 'as a team' to give harmony to the claws.

       Good Grief, what happened here?

 The client saw that there were 4 claws in need of repairing. The jeweller 'gently' removed the large center stone and decided to do full restoration on this well-worn engagement ring.

 The jeweller would then supply a new set of 4 claws. Basically, GET RID OF THE OLD POSTS!

 Just doing a simple & basic retipping, wouldn't do justice to the expensive diamond, agree?

 In mounting, an "Asscher-Cut" diamond need two things => SECURITY & SECURITY.

 In this ring, you need to have security in the 'claw basket' and security in the claws themselves.

 In these diagrams are where the multiple claws would be situated. A 'grouping of claws' should be placed  in close proximity on the "Kite Facets" as being shown.

This "Halo Setting" will make the centre stone look larger. All of the diamonds are to be set closely set with little, or no spaces. Thus giving the client a sight of wearing a larger diamond.

 These 'pointed claws' blend into the gemstone, thus avoiding a round piece of metal covering the stone.

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 On this 4-claw setting, I wanted to show what delicate filing can achieve on a simple claw setting.

1) The sides of each claw are shaped with parallel walls.

2) The back of each claw are trimmed into a half-round shape.

3) Here is MORE delicate shaping, I filed a straight across the front, I even "BRIGHT-CUT" the metal with a Flat graver after the trimming has been completed. I used a Triangular file with a #4 grit on every aspect of shaping the claws.

 

 My main task is to show 'quality' along with keeping 'security' at all times.

 Any jeweller or setter can set a diamond, but to create a masterpiece is what we are aiming for here!

 

"Pictures that are seen in "OUR" blog". => 7 photos

 I was told that this design of cutting is named "French style". I name this just a '2-bead setting', we used to use this technique frequently in years past.

  This was originally just a flat plate of silver. But with my collection of gravers and stone setting experience, I avoided the necessity of creating mini-claws in using CAD.

 The results are the same, if not better. The claws here are uniform in height & diameter.

 I used only an Onglette 'rough-cutting' graver of #1 width to cut these narrow shapes & patterns. Following these narrow cuts, I used the Right-Sided graver of #2 width to continue the pattern.

 These mini-claws were all cut without any computer-based program. In between the deep claws, there was need of using bud shaped burs to give the appearance of tall claws.

 This is one of the most strangest looking stone setting projects, why is this? The name of this technique is "Cut Down", as we are 'cutting down' from each stone to the edge of the ring.

  I've been using this heart-shaped pendant display throughout my blog. You can see that I've used many graver shapes to achieve this display. On each stone there are only two beads being shown and used, 'this keeps the pattern alive'.

    There are three levels of cutting in this ring.

1) Pre-Cutting. (top row) The outline has been completed.

2) Post Stone Setting. (middle row) The gemstones have been set.

3) Pre-Setting. (bottom row) The required metal cutting is finished.

What can the "Right-Sided" graver do for YOU? => 14 photos

 Many times in Diamond Setting, a Flat graver is not always wanted in metal sculpturing. A 'modified Onglette graver' will give you just the right proportions, or angles as seen in MY initial ring.

   This process is 'metal sculpturing' at its finest, agree?

 If the side of the graver is not thin enough, I'd make it thinner by laying the graver on its side, as shown.

 

  In using a modified graver, I'll be cutting only on one side. I'll be 'rough-cutting' without removing the areas where new beads will be created.

  If I have to make this line of cutting much more deeper without shaving off more metal. 

 Then the graver will be thinned only on one side, thus leaving ample metal to make beads.

 In this "Fish Tail" pattern, extreme care is needed in the designing. Only a 'Right-Sided' Onglette blade is needed. This precision new blade is the only answer to make these new cuts.

 In this example, I am using 3 precision instruments to make this pattern. An Onglette, Flat and a Milgrain tool. Nowhere in these patterns have I used a "Computer Aided Design" (CAD).

 Instead of a 'Right-Sided' blade, you can re-shape the graver to make it a 'Left-sided' blade.

 All it takes is to make the graver thinner on the side that isn't needed to be used.

 Here you can see that the left side of the blade won't interfere with the metal that will eventually be beads. All that was needed was to shave off a layer of metal on the left side.

 Don't forget that during these basic cutting steps, there is always a need to repolish the graver.

 Here are my 'polishing papers', it is best to keep these papers laid in sequential order.

 No matter the design that is needed, a well-shaped graver will always give you the best results.

  There is no Flat graver that will allow you cut on a gentle curve. Therefore a modified "Right-Sided" Onglette tool will be best.

 I could use a Flat graver for this cutting, but I feel more comfortable in using my "Right-Sided" Onglette. 

 In shaping my curved pendant, any 'straight line cutting' in using the Flat graver, is not warranted.

 In closing, the best graver shape is the one that you choose to create the pattern that you need. 

 I've basically introduced to you a new shape of a graver, I've been using this graver shape for only 65 years. 

 

 

MORE information on a "Right-Sided, Graver" (2nd set of pictures) => 7 photos

  I haven't seen any jewellery magazines, or instructors mentioning this unusual "Bright Cutting" technique. 

 You have probably seen this similar essay many months ago, but it needs to be explained again.

This graver is modified to have an ultra shiny surface primarily on the right-side of the blade. The right side along the front, needs to be hand-polished extremely bright, as a mirror. This will give you the reflective mirror finish to the cutting surface.

 The left side of this blade will not be used as a cutting surface.

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 In this photo you can see the sparks of metal being thrown off the fast rotating, 'grinding wheel'. Always keep a container of cool water nearby, just to keep the blade cool to the touch. Your heat sensitive finger will let you know if the blade gets too warm.

    This 'left side' is going to be discarded, as it won't be used.

 Just gently move the blade to the rotating grinding wheel. A slight touch is all you need to skim off any unwanted metal. A '45degree angle' is a safe angle for metal cutting the on the right side.

 This all that is needed to give you the proper angled cutting surface. The beveled right side, now is your new cutting surface.

 In the next tutorial essay, I will locate photos that haven't been seen too often.