"Making Beads"...the easier way!

   I estimate (some) jewellers do not know of this much easier and simpler method of "creating and forming" Beads used in Diamond Setting.

 The word "Beads" is synonymous to holding a gemstone in place after the Pave' or Bright-Cutting have been completed. The word "Beads" does not mean beads as in fashion jewellery, these are two very different meanings. 

Level of Difficulty: 6-7, out of 10!

 What tools are needed?

Round bur #004, #005! (#006 is too large for this small particular area) 

Onglette graver that is greatly modified to be 0.26 mm's in width. (A new graver is 1.25 mm's)

Flat Graver #40, if and where necessary, to be used at your discretion.

Onglette Graver #1 that must be highly polished & shaped for cutting only on the 'Right Side'!

Bead Burnisher: #12, #13 & #14. (depending on the size of the new Beads).

Let's now start with this new & easier process!!

 In this first photograph, you can see the wide difference between the two gravers. Each new graver is an estimated 1.25 mm's in width.

 Under an intense series of modifications, I reshaped the sides to approximately 0.26 mm's. Why did I do this? I needed a graver tool to create newer beads in the metal via rough-cutting stages.

 You will see in the next few pictures where this specialized graver will come into use.

 This newer graver is almost paper-thin as compared to the original graver on the left. Imagine all of the reshapings from 1.25 mm's and it's now 0.27 mm's...whew!

 This fantastic new graver actually cut a fine line around the curvature of the silver item. You can see just where the cuts were made. I wanted to 'graver-cut' just at the very rim of each hole. The many reasons are to follow shortly!

 In the rectangular space in between each hole needs to be given a fine line-cutting. NOW do you see why I reshaped my graver, just for this singular purpose? 

 I cut once..then twice..and again three times...just to get a nice DEEP cut!

 Once the horizontal line was cut, I then so very carefully cut a vertical line at the top to the bottom position. This appears to be like a 'cross-shaped' formation. Can you see something starting to appear?

 When some of the spaces were too far apart, I graver-cut two lines instead of the one! All these cuts were done with my new 0.27 mm graver.

 I used my ultra-thin Round bur of #005 or #006 and widened that horizontal cut just to make it more even and uniform. The new graver gave the round bur a place to cut.

 This couldn't have ever happened without the graver cut. It's a symbiotic relationship. "No graver cuts => no round bur cuts!"

 I then used that same round bur and reshaped the 'cross-cuts' again.
Get those cuts either by your graver or even the round bur...DEEP AS YOU CAN!!! Why? These little squares will be reshaped into individual 'posts'.

 Is this a repetitive move? NO, not in the slightest. This round bur cuts the metal right after the graver-cut guide and this is so very much needed!!!

  These three photographs are the same but just showing different close-ups and angles. Here you can see an unusual "eight-beaded" design. No other setting tool can replicate this pattern, there is the reason for your very thin Onglette graver...!!!

 In this view, you can see how and where the bead-burnisher is forming the new beads! I used a #14 burnisher as the square shape was quite large and the tool-face had to cover the tip.

 This is just another view of another new-beaded area. Remember to get the round bur and drill deeper into the metal. We need the posts to eventually 'move' over to the facets of that stone.

 Can you now see the total difference, from a rough-looking mound of metal to a great looking new round bead?

  As you can see this picture the many 'cuts' are NOT DEEP ENOUGH. these are not well defined and need to be cut much deeper. I would use either my graver again, or maybe my #004 round bur.

 Whatever used, the cuts MUST be made much deeper!!! They are just little "pegs", but not posts!!!

 I'm now ready to start the Bright-Cutting process. The new beads are now so very secure and not to get 'ripped away' by the "Right-Sided, Onglette graver, #1". 

 This description is a real mouthful of words, but it describes the correct name of this graver.

 This is the start of the Bright-Cutting procedure and you can see the flare of metal starting to be formed. I really like the Onglette, as it gives me a slightly curved cutting. This curved angle reflects more light than a flat cutting surface.

 I sometimes need either the Onglette or the Flat Graver to do the cutting. This is all depending upon where the cutting is required.

 With my under-cutting bur that is 75% of the size of the stone, I'll cut a bearing into 4 of the new bead-posts!

 Here is a close-up of the new bearing that will hold the stone level and not crooked! NOW do you see how deep the linear cuts that were made?

 This is now showing just how deep into the metal post, or not so deep the bearings are being made! I always use my 10x power loup to examine each bearing cut. I never depend upon my #5 lens Optivisor, as I need to know just how these important bearings are being made..at all times!!!!

 This photograph just emphasizes why the beads must be nicely fashioned prior to the all-important Onglette cutting.

 I'm now using my burnisher to round the new beads, by pressing down on each bead, you are giving strength to each during the (aggressive) Bright-Cutting process. Plus, I can visually see where each bead is now located!

 I'm using a #13 Bead-Burnisher to round off the "Bead-Posts" and press down the metal onto the stone. If the 'posts' are too small in height, or with a shallow cut, the metal will...just...not...move!

  You can now see how deep the metal is, therefore making the "posts" taller. Great idea?..>:)

  The final angle or positioning of the burnisher is 'nearly' vertical. If the position IS VERTICAL, you might have the tool touch the stone and have it break! I lean the burnisher 15-20 degrees away from the facets of the stone.

 This photograph was taken while this 'pendant' was still on my shellac stick. I had a large space at the bottom, then I placed a pink stone of 2.50 mm's to fill in that wider spaced area!

 What do you see with the beads? 

"I see many things!"

All of the beads are all in a row, there are larger stones at the top areas of the two 'curves'.
The beads are all the same size & height.
Where there are larger spaces in between the stones, I created "multiple beads" as this will give harmony to the overall appearance.

 Previously in my earlier years of learning to 'raise beads' with an Onglette graver, the process was a mind-boggling process just to learn. This newer technique is a real eye-opener, in its simplicity.

 Finally, here is the original rough casting (still with the casting sprues) and now the finished item. Is this a "WOW" effect? I use the sprues to keep the item 'in & on' the shellac stick and not moving!

 In this photograph, you can see all of the "multiple beads" everywhere and all hard at work making this pendant an enjoyable sight! 

Any contact with this author, just email: "gerrylewy18(at)gmail.com".

"Made in Europe" (with) Fish-Tail Setting. Circa 1975!

 I had to have this ring re-sized as it was given to the owners' grand-daughter yesterday. The grandmother recently passed away and this was a gift to the 'next generation'.

 I noted some unusual gold stampings on the 'outside' of the ring. Under closer examination, I discovered the country of origin and this is what I found.

 The Diamond Setting was done using the 'Fish-Tail' method. Interesting, as I just recently finished posting an essay just on this topic. 

 From what I heard, this ring was made in 1975 in a little town in Russia and was all hand made. This was long before (CAD) aka 'Computer Aided Designing' came into being.

 When I saw this ring after being cleaned, I just had to capture it for the readers on my 'blog'...:>)
The craftsmanship is just superb!

 Remembering, that this ring was hand-made, (it also appears not to have been worn too often!)

 The manufacturer never stamps his own trademarks or even the karat stamp. He has to give that ring to a "Government Assay Office", (off-site) for them to do the correct determination of the quality of the ring. This practice is quite common even in England/UK.

 On this series of stampings are the actual "750" (18kt), the year it was made, (this logo changes every year for the assays office), country of origin, plus the inspectors' / officer's code number.

 You'll notice that these notifications are stamped on the outside of the shank, I believe this was for easier identification. The "Hammer and Cythe" is the country logo of Russia.

  Here are some more "identification" stampings!

   Here you can see that the Diamond Setter used a "Fish-Tail" style of setting..(this is my favourite setting style).

  I'm glad you learned to appreciate this high quality of workmanship from another country. In fact, this printed essay will now be given to the new owner of this delightful looking ring.

Preparation for a Multi-Diamond Gent's ring!

 This ring has ONLY 128 diamonds! I decided to write this essay explaining how this ring came to being set. There are many rules to follow! I feel that the following photographs are easy to follow and I will guide you through this detailed "preparation for diamond setting" process!

 I initially estimated what the best effect will be, the decision is to use the largest in the center! Then using different sizes and work towards the smallest at the end of the 'allowed cutting space'.

 Never use even numbers, the unwritten law is to use "odd numbers", why? I have no idea,

but it looks nicer with seven..:>) 

  I am not going to discuss the graver cutting process. This essay is only explaining how the preparation of the setting of the stones actually starts.

                          "Scale of Difficulty" on this setting is rated at a definite 8+ of 10!

  What tools did I use;

Twist drill of 1.0 mm & .80 mm. This was depending on the size of the stones!
Onglette graver #1 that was shaped to Bright-Cut on one side only!
Bead Raiser that was originally an Onglette #1, but greatly modified!
Flat Graver #40. I used this basically for all of the Bright-Cutting that was needed!
Bead Burnisher I used only size #11. 
Round Burs: As I had about 7-8 different sizes of diamonds to contend with, I was constantly changing from one size of 'round' bur to another!

 Experience needed for this preparation is about 3 YEARS,  plus learning how to use a graver.

 I just carefully estimated where all of the drilling of the holes will be, using an ink marker!

 Oh my gosh!! There are some pin-holes and one that deep one is 1.5 mm's in depth. These holes must be soldered before any setting can start. (I cleaned any unwanted casting remains.)

  I "guess-estimated" where the stones will be set on the shank-side. I used the largest two diamonds for the corners, as this will give a good "visual effect". Largest at the top and smallest at the bottom row.

 This will give a "tapered effect" as the ring is tapering towards the bottom.

 I used a small round bur to not only mark where the twist drill will be used but also making an indentation in the metal, so the drill won't slide around and then ruining the surface!!!!

 Need I say how important it is to "lay out your diamonds" ahead of time? BTW, I used a little oil to keep the stones stationary on this pallet. The diamonds were all 'Table' down!

 This "oiling" was my idea as I can now move the pallet then not worry if the 'selected stones' won't move around if I touched it by accident..

 On the left, are the 7 diamonds that we just discussed. The next (from the left) are the two shank-sides, I even selected another "group of 13" larger set of stones, if it was needed!

 On the far right are for the "four, side-corner" stones. I'm dealing now with 7-8 different sizes of diamonds to use in this ring.

"Picking & Choosing" was a great challenge, many times I'd replace one size for the other. This quite a common occurrence, don't be frustrated if this happens to you!!!

 But I'm not finished in the selection, as I found I needed even smaller stones to fill up the spaces on the metal for the "shank-side". 

 When finished, there will be having 25 diamonds, these little stones are about 1.25 mm's in size

 I'm using a very large twist drill just for this demonstration. You can see how to make this drill sharp, if not, many problems will definitely occur for you!!!

 Now the drilling is about to commence. I must be very careful in many ways, not to let the twist drill run all over the metal and make sure the twist drill is actually cutting the metal. If not, I'd use an "Emery, Snap-on Wheel", using a "Medium" grit to resharpen the twist-drill. 

 When you are drilling you mustn't let the steel drill overheat or the drill will bind and break.
Keep lubricating the twist-drill constantly! (I can't overstate this, as this is so darned important).

 You can see here where I marked the surface of the shank-side. You can barely see where the end of the corner-cutting will finish at the same spot.

 Many times you are thinking is 'three steps' ahead of the setting process. I find this so important as each time I just sit back and get my thoughts together and then ponder how this ring will finally look!

 I drilled at the corner with two of the largest diamonds. I marked on the metal exactly where the beads will be formed & created. How important is this? It's just so unbelievably important!!

 Here you can see the three beads holding the diamond. This is giving the setter ample opportunity for the next step...That is for the graver-cutting for the corners.
 You can now see how much space I now have. In each available space I inserted one of the very smallest diamond, these stones are about  0.005 points in size.

 This photograph was taken prior to any Rhodium plating, hence the yellow colour of the 10 karat gold. (Yes, one 1.0 mm stone fell out, but it got put back in after the photograph was taken.) Can you find that empty space?..:>)

 On the side of the 'raised plate', I decided not to leave any metal untouched. I even placed the ring on an angle and Bright-Cut the vertical (raised) sides. This wasn't easy, as I didn't want to ruin any beads on the lower level.

 None of these diamonds were 100% clean in colour why? Everyone of them were 'breakouts", that is buying old rings and removing all of the diamonds. My customer paid a very cheap price for all.  

 In holding the ring on its side wasn't at all easy, it was almost difficult. My Bright-Cutting was not an easy process, but it finally got done!

 How many hours in the actual setting process? I estimated at least 10+ hours in total. This was not including the 'stone layout' prior to any drilling of the holes and placement of the big to smallest diamonds. I enjoy this delicate process, while not having any interruptions; no radio or phone calls.

 You can contact me anytime; "gerrylewy18(at)gmail.com"  

Compilation of Manufacturing Diamond Setting techniques, YOU MUST SEE THESE!

  I  recently found some very interesting books that will help to inspire you to create your own interesting creations. These books are to remain without names! I've selected the very best photographs that I could find from these selections of books.

 As a Diamond Setter, I will attempt to explain some of the techniques that went into these great creations. As well as giving you some of the reasons why some of them that could be improved upon and the reasons why. Many of them are a definite "10, out of 10".

      Here are some of my comments on the first (lower) photograph!

 Just wonderful "Precision Diamond Setting"! A definite 10 out of 10, or more!

 Once he finished the drilling, he put each on a wax and set that wax aside. Thus not loosing where each stone will be eventually be set. 

 Remembering that this plate initially just had holes and nothing else. All of this was accomplished by many years of experience in using Onglette & Flat gravers.

How did the setter execute this style of setting? He drilled all of the holes to 90% size for EACH stone prior to any form of cutting in the metal.


 The setter started to initially "rough-cut" the metal, creating Beads at the same time! He positioned each bead and then using a thin Onglette #1 and separated each bead again and again!

This setter wanted each Bead to be like little 'posts' when finished. This execution of cutting could take as long as two days for this singular (larger) plate.

 This setter dug into the metal many times to separate that one bead from the surrounding metal. (This was not an easy task.)

 Once the Bright-Cutting was completed, the setter would make a bearing into EACH bead with his 156C (Under-cutting) bur. This would therefore making 'seats' for each stone.

 He's then use his Bead-Burnisher and very gently push over that bead/mini claw!


 Each bead had two purposes; one to hold the stone and the other was give a nice visual effect to the wearer. This style of setting was this setters own "signature"!

 The setter then Bright-Cut all around the edges as he wanted the stones to appear sitting high above the metal. 

 Bright-Cutting for the curve, is one of the most challenging, why so? There must a continuation or flowing of that one cut all around that curved area.

 The corners must be that, 'square corners' and not just where two lines meet! This shows me one thing..loads of experience!
 In my estimation, the cutting and shaping of the "corners" is one of the most difficult aspect of diamond setting.

  Just why are there "big blobs" of metal at the points of the Pear-shape diamonds???
 To my eyes there is no 'shape or harmony' to where the point is hidden. Not too mention no symmetry to the metal that is holding the stone.

  I truly believe that there should have been a "VEE" shape end claw and Bright-Cutting inside of those claws. During my apprenticeship 60 years ago, I was taught this simple finishing process. I always do that kind of finishing even today! 

 On the Blue Cabochon stone on the upper left, the pointed claws just don't seem to be touching the surface. The faceted-Ruby on the right, also has the same problem, the point of the claw is sitting in the air!! What could happen is the the wearer could catch her clothing or cut her finger, bad finishing!!

 I'm happy to see that the diamond setter actually "Bright-Cut" on the inside of the 1/2 Bezel on the rectangular shaped stones on the middle settings..good setting work!

  Just wonderful craftsmanship on this pendant! 
 The setter used  a combination of "four or five beads" to hold each diamond. This decision was determined by the amount of space that was allotted to him in the pattern.

 At some places a few beads were created as there was too much space in between some of the stones. I call this feature, just "floating beads" and simply filling in any extra space.

  I find that these "pointed" claw shapes not to appealing to me. You might approve, but this is MY TASTE. The danger is that after a while the points may lift up and catch the clothing.

 I see too much metal over each stone but some companies approve of this style just for 'security & design'. I beg to differ!

 Here is another diamond setter who left too much of 'open space' in between each diamond. He could at least should have created some 'independent or floating' beads in between each of the stones.

You can see what he did in the curvature of the designs. He also didn't cut prior to the setting of the stones. I'll show you in a next few photographs want happens when the stones are set first...:>(

 This is a very nice design, but looking closely you will now see why Onglette graver cutting is so-o important before setting of the stones.

  When I first saw this enlarged lower photograph, I wondered why the owner of the company just say to the setter; "what did you just do to this ring-set?"

 The beads were not "burnished down' or even attempted to be 'rounded'. In the center of the two beads, only rough looking metal is to be seen! I think he was using a kitchen-knife to do the 'pushing over the stones'...:>(

 The diamonds were not set in one continuous line, 'they seem to all over the place'...!!!

 The very important "Onglette, graver cutting" seems to be too far away from some of the stones. Theses shows me that the setter had a mediocre training on 'diamond setting'.

 There doesn't seem to be any correcting, or re-cutting in this whole area.

 Fantastic display of colours...(no other comments are needed!)

 Just a most beautiful diamond setting project! Simply SUPERB!!
 The setter used "2, 4 and even at one spot, a 5 bead" setting process! Just a brilliant setting exercise! The walls of the line-cutting are near vertical, nice to see this! 

 Lastly, I couldn't resist in showing this prime example of "Superior Diamond Setting".

I'd give this a 15, out the 10! The reasons are as follows; all of the beads are in a row! The beads are clean and round in shape! The beads are nicely separated from each other!

 No comments, just enjoy this item, as I am.

  Beautiful in the shape of the claws on all of the stones. You can see that there are no sharp pointed claws anywhere. Such a delight in seeing this kind of setting..:>)

  Please note that 'every stone including the diamonds' was custom-cut and as well shaped to each placement of that stone going into this metal setting! You will also notice that every long baguette diamond are set 'girdle to girdle', that is, with no spaces in between.

 If you have any comments please email me at "gerrylewy18 (at) gmail.com"