Problems in Channel Setting (with very small c.z. stones)

 Channel Setting is a relatively quite a simple task! But if the stones are (sometimes) too large for the required length & width of the channel opening, problems 'sometimes' arise. I encountered a few of them and here is what I did a few minutes ago to rectify this problem.

 The Difficulty Rating on this project is an easy 6, out of 10.

 The size of these stones in this one ring range from 1.70mm's down to 1.41mm's. I could have set or used smaller cz's, but you wouldn't have been able to see how these stones would be set.

 Tools that are needed here are; a Round bur @ #007, Bud bur @ #008 and a 156C #010 (undercutting) bur.

 This is including a riveting hammer BUT (Please) NO Reciprocating Hammer!

  I need to 'tap' on the metal, but not to smash the metal down over the stone!

  I use a Flat Graver #40, or Glardon #12, this is only used after the setting.

 Pumice wheel of #180 grit & #1,000 Pink wheel (this is a mini 'at the bench' Polishing wheel)

 What do these #'s really represent? "#007" is the name for a 0.07mm bur, "#010" is actually a 1.00 mm bur.

Just how can a bur 'slice through the metal' without running in different directions?
Just by accident, I found a way to avoid this ongoing problem. I 'rested' the "rotating & cutting" bur against the edge of the channel hole and it promotes stability with the rotating bur...a great idea? Indeed! 
 This keeps the "bearing & carving process" bur where it's needed, it really steadies the bur!

   After fitting & setting the 'main & center grouping' of stones into the channel, I took some photographs from different angles. I then noticed something quite odd!!!

 I had to select smaller CZ's, as I went along 'fitting & securing' process of the stones. The stones here are just being 'held into place' and ready for the hammering next to follow.

 These 'main stones' are only 2.50mm's, but the 'end' stones are only 2.25 => 2.35mm's. I needed just a little smaller size of stone as to have them fit in! The difference in size is almost negligible.

 The end stones are 2.35mm's (measured prior to setting). But after some radical burring and attempting to fit in the smaller stones, these 'end stones' finally fit in. I initially tapped (lightly) the metal just for stone stability & security.

 Once the hammering was started, I easily maneuvered the hammer directly over the 'table' of the stones, as I hit the metal. These stones are now lower than the metal and subsequently, the 'table' of the stones won't be touched or even damaged.

How do I know just where the hammer is touching? I don't like guessing at this point..(look below!)

 I like to have a 'visual' on where the hammer will now be touching or making direct contact. I'll now lightly 'tap' all around the channel layout. BUT, I'll hammer at a 15degrees (or less) angle, that is hammering away from the stones that were just set.

 I can now observe just where the hammer is making direct contact or just touching. As the coloured ink will be removed from the ring and now be fixed to the hammer face. Interesting idea?

 You can here understand why I use the 'coloured-ink' marking. BTW, you will notice that all of the stones are 'almost, girdle-to-girdle' in their new resting place!

 I'm not too concerned if there is a little space in between some stones, why so? Read further!!!

 In the process of hammering, there will be some vibration going on with the stones. Some of the stones might be moving due to some hammering.

 This simple hammering action can cause damage to the two stone-girdles. Therefore two stones could be totally ruined and have to be removed. I try to simply avoid direct stone contact, I like to see some 'little spaces' in between the stones, that can be only seen with a 10 power loupe.

 Problems can and do arise in this hammering process. Great care in preparation will avoid any stone damage that can cause you to remove stones & ruin the ring or setting. 'Light tapping' is the only way to hammer, not heavy pounding on the metal, as the results can be literally horrific!

Why must the ring be put on the ring-mandrel? If you hammer on your 'regular' ring clamp, the hitting-power will be absorbed by the leather. The results are 'little movement' of the metal over the nicely set stone waiting to be finished.

A steel mandrel is the 'best' holding device for channel-hammering, there is no other way!!!

  I used here at this point a Flat Graver of #40, or Glardon #12. I Bright-Cut the inside metal!  Remember, don't use a Triangular file to clean up the inside channel wall as there will be a rough-texture, you need a 'smooth & shiny' surface. ONLY A FLAT GRAVER CAN PRODUCE THIS CLEAN EFFECT.

 Upon the finishing with my Pumice wheel of #180 and Pink Pumice of 1,000 grit, I noticed a few pin-holes. I went over again with my Pumice wheel of #180 grit to remove any slightest mark that I can find.

 Then afterwards, I repeated the previous Pumice wheel cleaning! I don't want any pin-holes remaining and again showing for the final "Tripoly & Rouge" polishing.

 I want every mark on this ring to be carefully removed. Can you notice just how clean the"Bright-Cutting" is now appearing?

 At the 'ends' of the Channel, I decided to cut a 'semi-circular' curve as to give a clean 'finished' effect to this stone-setting project! 

  There are still some very small marks that are only visible with my close-up "iPhone" lens and it's magnifying-attachment. My 10x power loupe even missed these little 'defects & indentations' that are just left of the end stone.

 These marks are so very slight, but sometimes the polishing wheel might just make them more visible during the polishing process, as the cloth-wheel might just bring them to the surface!

  If you have any questions, don't hesitate in contacting me "gerrylewy18 (at) gmail.com".

"Half-Bezel" gemstone setting

  There are many interesting names to this kind of stone setting, "Half-Bezel', "Double-Curve Bezels" and lastly, "End Bezels"! Whatever name you wish to identify this setting with, it still sets nicely.

 Why do I like this setting? It has & gives you 'more exposure' to the stone than the Full-Bezel. The "Full Bezels" literally cover up about 33% of the stone in the setting, I want the client to see more of the stone, but not the metal.

 This kind of setting warrants Bright-Cutting during the 'finishing stages'. In the following many photographs is the 2nd stage of setting! As I don't want to burden you with how the stone is actually set, but the finishing is 75% of the setting process.

 This is so much more reading and here again, as always, the 'Onglette Graver' cutting is what will separate you from the other designers. Bright-Cutting can be so 'creative' when you achieve the skill required in gemstone setting. This will make all of your jewellery so much more beautiful..:>)

 On this opening photograph, you can see a two (blue & red) rings waiting to be Bright-Cut in the background. These are now my next 'setting essay' also waiting to be written about Bright-Cutting!

  I am now using only my 45-degree angle 'High-Speed Bur'. Although it's very aggressive in its cutting, it's the 'best bur-in-town' for excavating any Bezel metal. This bur automatically gives you the correct angle as of the Pavillion of the large gemstone.

 To prepare for the 'hammering process' I want my hammer to hit only on the outside edge of the frame at exactly a 45-degree angle. Please be very gentle in this sort of rough-filing!

 In this photograph, you can see just how the appearance of inside the bezel is 'after' the HSS bur carving. I'm working from the bearing cut, then down towards the bottom of the bezel-wall.

 Don't worry if the appearance of the tip of the bezel and how it looks. You must see a 'flat top' area, this area will gently be formed & moulded 'over' the stone by the numerous hammer hits!!!

 I know that this seems awfully rough method of tightening, but it works great for me! I'm literally 'crimping the metal' at the 4 ends of the wall, this is just to secure the stone from moving! I'm only 'tightening' the four corners as these 4 corners will gently hold the stone in place during the heavy hammering hits.

 Please be darned careful in this process as the stone must be level and never slanted/crooked!

 Please always hammer on your mandrel! As if you use your ring clamp, the powerful hitting forces will be immediately absorbed as it hits your metal ring. Hence, this will be a poor and an inaccurate method of moving the metal over the stone.

 You don't want a serious amount of metal to be moved over the girdle of the stone, what you see here is sufficient. Do you notice the height of the metal holding the stone? This is so important in the next stage of setting.

 Just a quick note, here is the actual 'hitting 45-degree angle' of the hammer. The hammer must be so very smooth on the 'face', as there must never be any indentation on the hammer face, why so? The hammer marks will be quickly transferred to the bezel tip and be very difficult to be removed.

 Cleaning with a 20cm. or an 8-inch file but with a safety-sided feature (as shown) again filing at 45-degree angle.

 I'm using a 'Medium' (texture) grade paper sanding disk as this is now a part of the 'cleaning process'.

 I'll be now using a Pumice wheel of #180 grit, following the sanding-disk operation. This will be almost the completion of this setting process.

 I'm now using my Onglette  #2 Right-Sided shaped graver to cut only on the Right Side. This will give a nice reflecting surface to the inside of the Bezel wall.

  I'll be using a fine Triangular file #4 cut to only clean the 'ends' of the Bezel wall.

 These are the finished views of the Bezel Ring. you now have a well-defined Bezel wall tip!

 This ring will shine then afterwards, you won't be seeing two massive amounts of curved metal holding the stone.

 I preferred to use a 'coloured gemstone' to give it more eye-appeal than a simple 'white' stone! Nice comparison from Pink to the White (silver) metal, agree?

 If you have any concerns or questions, kindly contact me "gerrylewy18 (at) gmail.com"

Recent, Diamond Setting errors!

  I gave this ring to another setter just to speed up the finishing process, I then noticed some 'irregularities' (using a kinder word) with his setting.

 I took some photographs of the finished ring for 'us' to examine and critique! Let's just say "I am not at all pleased with his setting results"..;>(

 He presented me the 'finished ring', but his setting of the 1.50-carat diamond was still 'loose' in the mounting....OUCH!

 The very first thing I would have done is to Bright-Cut the inside rim of the 'claw basket'. This area just can't be cut once the stones are in.

  

 There should have been some serious use of a "Triangular file, #4" to additionally round off the "overlapping" sections of the claw tips. (BTW, just what are those little lines on the inside of the

the right side of the claw??)

 Can you see the 'rough finish' of the yellow gold just below the mini-stone setting area? How is this going to be cleaned? I'd use a Bud bur of #006 or even a Bud #007 and carefully clean & remove the 'rough, casting texture'! 

  Can you still see the 'over-run' of the Rhodium plating right side and on top of the diamonds that are set?

 Why wasn't the 'cleaning process' more exacting? I'd never let this 'cleaning' reach this far, so very disturbing to see it 'finished' in this mediocre manner!

 Why are the claws/prongs so darned high and they appear to be above the 'table' of the stone? The "claw height" could eventually rip the clothing and loosen this stone...again!

 What are those little indentations in the metal on the outside of the settings? These are the telltale markings from the bead-burnisher touching the square area where the diamonds are.

 BTW, there was no effort in Bright-Cutting any area before the stones were set!!! This alone would make the stones shine much brighter. Bright-Cutting would have removed all CAD-carving marks.

 On the 'bottom row of diamonds', you can easily see a little 'dish' around some of those claws. Just how would have these marks be avoided?

 I would have used a "Pumice wheel of #180 grit" then followed by a "Pink Pumice wheel @ #1,000 grit" to carefully remove those little marks. 

 In this interesting photograph, you can just easily see how the claw 'stands like a pole' and as these are waiting to cause problems while being worn! Please don't set your expensive diamond in this manner!!!

 These claws will cause major problems in the short-term wearing. The bearing cut for the thick girdle was not taken into consideration. I would have used a #006 or a #007 Bud-bur with the 'same thickness as the diamond girdle' to carve out a wider bearing cut, thus allowing for the thicker & wider, "Girdle-edge".

 These 'burnisher markings are so easy to see! There was no effort in cleaning after the setter set his stones. You can still even see more Rhodium plating on the top of the setting areas! 

  I am very critical of my own setting labours. I use a great phrase, "I've used this setter twice...first and last time!"

 Am I the only person, or setter who is so very critical of these many (questionable) setting steps?

Contact me at "gerrylewy18 (at) gmail.com".

Practice & still more basic practicing!

  Before you sit down and attempt to copy some of my Bright-Cutting projects, there is one big problem. How many weeks, months or maybe years, have you been 'practicing' using a graver?

 In this interesting essay on 'practicing', you will surely find out what my formative years were on the bench and what it involved. I've prepared a list of mini-topics you should be very concerned with.

This 'Scale of Difficulty' is about a "7.5 out of 10!"

1) What metal should I practice on? For these basic learnings processes, I'd stay with silver, as this is an easy metal to work with and very forgiving if you make a little mistake. Brass is too darned hard to cut and navigate around the beads, not to mention trying to Bright-Cut. "OUCH!"

2) How am I to hold the 'demo-sample'? You can hold this item at any angle you need, just remember your fingers must be able to move the graver of your choice. I prefer to have my graver as near as possible to the edge of the 'wooden stick' as I need 100% access to the metal for cutting.

3) What clamps should I use and why? I use a shellac stick that will hold 'securely' any item that I  need to be easy to hold for many hours and not to move.

3-a) The 'pin vise' is too cumbersome for long setting periods, as it is quite heavy @ 191.3gm's just
to keep lifting it against the bench-peg. My fingers & hand must not have any need to 'climb over the pin vise', just to gain access to the 'demo-piece'.

3-b) The screw on the side can be so very irritating just to navigate while doing some Bright-cutting. It just interferes (ouch!) with my right-hand when holding my gravers. The little (holding) pins can destroy or mark some on the side metal..:>(

  My fingers can wrap around the wooden stick with the greatest of ease, as I have now no other protruding piece of metal (tightening turning screw) hurting my fingers. The wooden shellac stick (my preference) weighs only 62.1 gm's.

 When the shellac is heated and the melted "Flake Shellac" semi-liquifies and it literally sticks and then hardens to your 'demo-practice' item. To remove the shellac, I drop the slightly heated item into 'Methyl Hydrate". After 1/2 hour, all of the shellac is dissolved into the solution. So easy to use!!!

4) What tools should I use & why? As shown below, I'd stay with the Onglette & Flat gravers! 

5) Ergonomics & why is this so important? Always sit in a chair that has armrests. During the long engraving & cutting sessions, your arms do get tired and your elbow can rest on that attached arm-rest even while continuing your Bright-Cutting.

6) What magnifying "Opti-Visor" lens should I wear? I use two lenses, #5 & a #7, depending on the intensity of your Bright-Cutting!!!

7) When should I do my practicing; morning or afternoon? I start my "setting" mornings off at 8:00 a.m.and slacken off by 2-3:00 p.m. The brain actually gets tired from the intense cutting & very 'creative' thinking.

 What are the basic selection of gravers to use; these can be very useful in other engraving situations. I prefer only 2, Onglette gravers; #1 & #2, plus my favourite Flat graver #40.

 The thickness of the cutting section of this graver is quite narrow, it's a mere 0.45mm's.

 Here are my two gravers that I used here, as you can see you have just one decision to make which graver to use? In my opinion, I'd stay with the thin graver, as it has a greater opportunity in carving very delicate areas.

 Now you can observe the greatly modified & extensively trimmed Onglette #1. I keep my "Bench-Grinder" and "Oil-Stone" working non-stop, as I'm refining the cutting edge of my gravers continually.

 I use my Burnishing Tool, but what size? My answer will be a burnishing tool that is just a size larger than the bead you are wanting for 'round off'!

  As I am now dealing with engraving in very tight spaces up close photo's show all kinds of some "unnecessary" cuts. The width of the engraving area shown here is 3.75mm's by 2.19mm's. 

 Inside of each square, I used my (very thin) Onglette #1! I cut two cross-lines...thus making each square now with 4 mini-squares! This #1 graver is only 0.31mm's in width as this allows the greatest of ease in the delicate cutting...Nice pattern? I leave no surface areas untouched by my flat graver!

 As you can now see there are no flat areas remaining that need to be faceted with your Flat graver. I even faceted the very tip of the mini-new squares. Every top of those new 'square tips' must have a reflecting surface.

 From a distance of only a few feet, the 'observer' cannot just tell how many gemstones there are in the silver circle. That alone is the main reason for all of this creative Bright-cutting. (You might need some sunglasses under the direct sunlight just to see the multitude of cuttings)...:>)

 If anyone says that this 'cutting session' is difficult this might be a little true. After a few intense cutting sessions, this exercise will become easy and be like 'second-nature' to you!

 In my next group of demo-essays, I'll be further discussing how to grind & further modify the graver to allow such easy cutting just like being shown above.

 BTW, in all of Toronto and the multitude of Diamond Setters, there are not too many who can execute this kind of creative Bright-Cutting, pity!

         Anyone who wishes to contact me, please do so: "gerrylewy18 (at) gmail.com"