Bright-Cutting is not just cutting into your metal. "THIS IS PURELY AN ART FORM". It's not as easy as "4-Claw-Setting", "Gypsy-Setting" or even "Channel-Setting". These gravers will gicve you a chance in creating something so much-needed and loved. You'll wonder why you haven't thought of using them before.
Have you heard, or seen "Fish-Tail Cutting & Setting?" I'm not sure that it is anywhere in the C.A.D. library that you can create this. This design is a totally a mind-breaking pattern, but it's so darned beautiful, that it's mind boggling as I use only two gravers, (we will explain further).
Here are two variation on the same theme!
The only way these designs can be created is by using these new TWO GRAVERS, they are the Flat & Onglette gravers. It's the combination of these two gravers that will give you multiple designs. Plus many more patterns we don't have time for.
These patterns are detailed so very deeply that I only hope that you won't get bored with all of the reading.
Believe me, this writing is so very extensive, I might have gone overboard in the writing, and for this, I'm truly sorry.😞 But I had to explain every move in the series of cutting, if not, how can you learn what the two gravers to use when, where and of course, how?
It's how they are used, these can give you fantastic results of cuttings. These results are on my "Difficulty (off the scale) Scale 35, out of 10".
"CAD-Created" techniques (also known as) "Computer Aided Designs" are great to use. As I always state, using a Graver is a far better method of making the pattern that you're always looking for.
As I'm a great proponent of using gravers in Diamond Setting. These basic tools can give you an opportunity that no other gem-setting tools can offer you!
This is my largest collection of pictures in just one essay. Many of them have never been seen before. On my iPhone, there are in excess of 12,000 "jewellery pictures", that are all on 'Cloud' for easier access.
I'll be showing you just how these two shapes of gravers can offer you such a wide variety of metal cutting patterns & designs.
Here is the Onglette graver.
Here is the Flat graver.
It's not the shape of the graver that is really necessary, but how you use your new graver that is now so very important.
In the previous essays I've shown how this cutting is accomplished & now showing how all the rudimentary steps in getting each pattern formed. These are not easy techniques!! Believe me, these are a very difficult series of cuttings.
My 236 photographs were a challenge in iPhone creation, as I had to capture those many very detailed steps. Out of 325, I edited them down to 250, but reduced more of them as I wrote!
To start, these are my working tools: "Emery & Polishing Papers" on their (paint stirring sticks). I used as many of the graver handles as possible, I'm even buying more handles, as I use them all through the graver cutting processes, for a total now of 12 handles.
Hence, I use nail polish to stop any of the "bright-silvery shine" from the metal that continually hits my eyes. This can be very blinding at times, from all of the constant cutting.
I used a thick layer of (nail-polish) paint for this exercise, the nail-polish drying time is a cup of "HOT, English cup of (Earl Grey) tea"!
In the beginning, I drilled and scribed four holes as shown here. They must be in the absolute centre of the triangle.
With my Onglette #0, and a #1 graver, I cut three little triangles. I started from the outside of the holes and recut these 2-3 times.
Each time a little deeper and at the 3rd time, I cut as deep as I could. This deep cutting was done with my very thin "Onglette #0 graver". The #1 graver is just fantastic for this very 'delicate series of cutting'.
The triangular cuttings are now 'joined' together. "Being careful" are your new words to remember and are a part of your growing vocabulary.
I scribed (not at random) lines in each of the four sections, as these are "my guides for further cuttings".
In each of the "four sections", I used my "Flat Graver, #40".
The 'corners' are a very delicate area, this is for not letting the graver slip off the corner is the most delicate area to cut.
Only using your FLAT graver, you can now start to carve out the Triangular shape that you started with your Onglette #0 and #1.
I would cut deep with these two gravers until you are satisfied that you've reached the optimum shape that you need for the FLAT graver. Your many years of "Experience" starts NOW!"
When the Triangle is nicely cut into shape, I'd now start to cut another line with my Onglette Graver #0, then followed with the #1 Graver.
Why is this? First of all, stop cutting your inner shape... NOW! Let's start with the outer shape at this point.
I HAVE MANY MORE FILES TO SHOW YOU, so please bear with me.
As these photos are only demonstration shots, you can see just why I chose to Milgrain the edges. I can see how I am able to distinguish where the lines finish. As well, the reflections can be seen on the bright walls, at the same time.
Do this very difficult line of cutting to "correct any of those sliding on the surface mistakes". TO REPEAT, repeating, please use the thinner Onglette #0, and then the wider & larger #1graver. 
Even the "three-bead setting" was created by hand..(mine!)
When I scribed (LIGHTLY) the outer lines, I would use this (again) as a guide in creating a double triangle. You should cut along that 'scribed line' I would use the Onglette #0 graver, each time digging deeper, then using the Onglette #1.
I inserted this photograph just to show you how fine these FLAT gravers can get and what size that they come in. I use every one of them continually, with no hesitation.
Here is my FLAT graver minus the handle. (The handle was covering most of the blade) Now you can see the 'name & size' on the blade.
I'm hoping that you can see this picture, I apologize if the "left ring" is slightly blurred. I hadn't noticed this iPhone error until many months later...😰
I always make and create my gravers to come to a point. This will allow very fine cutting either Rough or Bright-cutting at all times. This process was taught to me, well into the first year of my 9-year apprenticeship.
PLEASE BE EXTRA CAREFUL as each time you cut deeper, don't let your graver 'skip out of the pattern', but do not let your graver slide along the metal. EACH LINE MUST BE CUT, and "not just tickling the surface".
This is my favourite"Right-Sided, Onglette #1, or #2 graver". This will and can give me the EXACT RANGE OF CUTTING that I so desperately need in making a delicate series of cuts.
DON'T LEAN YOUR GRAVER ON ITS SIDE, keeping the graver at a near-vertical position, as shown in these two photos, this photo being shown is nearly in a flat position...:>(
This graver photo is now in the CORRECT position to do your cutting!
This was created with my two gravers, NO CAD was introduced in any of the cutting. All of this was done by hand, nice to see, agree?
As this was created from a flat plate, all I had was just one hole and nothing else!
This is the same pendant but without the fancy triangular cutting. All of this intricate cutting was originally a flat plate, all it took was about 5 YEARS OF PRACTICING!
I cut the first line (from inside the hole) then alongside where the "rough-Cutting" will be.
I joined all of the 'short lines', into one long line to finish off the "rough-cutting".
On my Fish-Tail pendant, you can see another version of "Bright-Cutting", I'm using Three Beads!
Can you actually believe that this was a Flat, "Dome-Shaped" wedding ring! When I was in my 9-year apprenticeship, I had to create this very same pattern or design.
If 'we' didn't succeed in this delicate cutting, we had to literally scrap the ring and try it again.
I joined all of the 'short lines', into one long line to finish off the "rough-cutting".
After finishing the Bright-Cutting, the line is now ready for gemstone settings. Of course, I lightly polished the metal prior to the set processes.
When I Milgrain the sides of the edges, I found that I could see the lines so much better! I suggest that you do the same 'outlining'. Try this as an experiment, you'll find it so very useful.
The metal is so bright and clean, the "image of the beads" is even reflected against the walls of the pendant.
I'm attempting with (great success) to "Rough-Cutting" a distinctive pattern. Much work is waiting for me. This is only the first stage in using my Onglette gravers. Nothing is left to my imagination. Either I know ahead of time what has to be done, or I have to research what other patterns have been done. But 99.5% of the time, I do know what must be done.!
On this heart-shaped pendant, you can see how the "Bright-Cutting" was executed. On a Difficulty Scale of 10, I'd rate this at a 15.
There are so many rules to follow, even for me, this was a real challenge when I started to learn this very mind-boggling & detailed technique!
THIS IS THE BEST PHOTOGRAPH that I could show you. It shows you just about every series of cuttings.
=> ONE PICTURE IS WORTH 1,000'S OF WORDS! <=
BTW, "this exercise is not for the faint of heart", this metal cutting is a great opportunity for you to be able to learn what Bright-Cutting is!
(This is not a 3-day learning exercise, as this can be very tiring at times.
This delicate metal cutting took me many years to understand what engraving is all about.
When you are satisfied with your results, you can use your Milgrain (wheel) on the edges of the walls around the triangle...You can now STOP what you are now doing!!!
Apply your painted surface completely, this will let you know that you've finished the first section.
This is "Bright-Cutting" and you can see just how clean this cutting looks. I have so many more photographs lined up at the end of this library, that I have prepared for you.
Now my second, of four sections is completed, so many more to work on.
Please observe the smooth graver Bright-Cutting, this is so very difficult to master.
Now that all four sections have been cleaned and with the many Milgrained edges. This plate has been completed, put it aside and put it into your collection of silver plates.
I have 15 plates to keep as "my collection and inventory of silver (Resume') plates", this is so much better than saying "I do diamond setting, now here is my (visual) proof".
This completed silver, demo-plate can speak thousands of words.
I've created and altered this very unusual, but very artistic pattern.
I feel that this Heart-Shaped pattern is a gift and is easy to keep clean. This has many smooth surfaces and will be such a wonderful gift to the new owner.
Your Flat graver is now in a fantastic pristine condition, there are just no defects along the cutting row. This is all that you & I are aiming for, nothing else!
If you see that there are rough sections along the lines of cutting. It's the REFLECTION from the other side that is being reflected.
I look at this pattern and wonder what am I going to do next? I let my mind wander, "grab a cuppa tea" and think of the next pattern. An hour or two later...I get another idea.
I place my graver edge on the painted surface, The graver just makes a light depression in the paint, and then I'll cut the surface where the graver knife edge made that deep mark.
Here are some "Unfinished Works of Art"!
Keep practicing your hand-carving, this is the most delicate aspect of Bright-Cutting.
If you make a mistake, don't worry, "consider this as a step in the process of learning".
Sometimes mistakes can happen, these are steps in learning and I look forward to them.
I can go over each of these sections multiple times, each time I paint that section in case I lose where I was cutting. My graver MUST BE IN THE BEST CONDITION possible. Long before I start any cutting, I observe my graver cutting edges.
I might have 8-9 silver plates ready to be cut again. I'm practicing my "hand carving" many times, If I get tired, I'll stop and take a rest.
I call this a "mini-holiday" that my hands, fingers and mind, all need a rest. Sometimes I'll stop and (physically) walk away from my bench. At the worst of times, I'll close up my bench and come back the next day.
Keep practicing your delicate hand-cutting, each step is necessary, no matter how mundane it appears to be.
I will examine each and every cut that I make, I'll study that cutting just to make sure that there are no defects on each graver cut that's being made.
I am very meticulous, I will examine the cutting edge with my 10x power loupe. If my graver edge has a defect, that error will be reflected in the metal.
Even the Onglette #0, or a #1 graver edge is important to what I'm doing. I can't allow myself to be interrupted with minor interruptions, even a telephone call can make me 'lose my train of thought'.
Would you believe I turn off any music & turn off my iPhone? I can't be bothered by any outside noise. I usually find that this is an interruption in what I'm doing.
Look at the Onglette #0 cutting, you can see just how thin the cutting is. I focused my iPhone on the little piece of metal.
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Here is another series of photographs that are interesting and as well, worth reading and studying.
Even in the earlier stages of production, the wax form is so important. I do this "forming" all the time. It gives me an advantage in modifying the patterns long before the casting is done.
As the spacing in between the stones is critical, I will create a multitude of beads to fill in the spaces.
I saw this photograph in a major jewellery magazine, do you see how poor the setting is? The diamonds are not in line with each other, plus the beads were not 'burnished'.
In this photo, you can see the rudimentary stages of rough-cutting. Much care is given to this casting of a pendant. I put these items on a shellac-stick, for more security in holding this casting.
You can see the actual graver starting its preparation in cutting.
The many holes are almost in line with each other. Much care is needed at this point, The holes must be in one straight line, at all times. The two largest stones are put into the point of the "Heart" and the section where the pendant bail is situated!
Here is my range of burnishers that will be needed to round the beads.
In this photograph, these gravers were used in a previous essay some time ago. Only two gravers were used, the Onglette and Flat gravers. Not only can these two gravers be used in Diamond Setting, but also in Ornamental Engraving.
This one line of cutting is 100% important, I will use this as a guide for newer lines of cutting.
Your fingers just can't extend that far on that long plate, (or whatever you are working on). I really prefer shortcuts! Here you can see where the two shortcuts have joined each other!
To remove any of the (painting) nail polish, I'll use this "Methyl Hydrate" and put it in a little jar and again into my Ultra-Sonic cleaning machine and in only 3-4 minutes...all of the nail polish can be easily removed. This is now clean and with no remaining residue, anywhere!
This is my container of "Methyl Hydrate". I've been using this for well over 60YEARS, and not for a moment has this method caused me any problems.
I will, on occasion, put this silver demo plate on my shellac stick. I want to have absolute trust in the knowledge that there will be no movement of that plate or ring. This is while I'm doing my delicate cutting.
This Bright-Cutting line must be "nice and clean", agree? NO! THERE ARE STILL a few lines or defects on the edge of the Flate graver.
Look carefully and you can see a few light lines in the metal...STOP what you're doing, use your oilstone, and redo the cutting edge until these lines are not seen with your 10x loupe.
The width of the graver face must be as thin as possible, here it is measured on my digital calipers at 0.25 mm. I cannot have a thick-faced Flat graver to interfere with my cutting.
I will, at many times, grind away the thickness of the face of that graver. I need this to give me extra access to the narrow areas being used. The "thickness and width" are the most important areas on the graver.
I'm here reshaping the "Flat Graver" face as my Bench-Grinder is too aggressive to use, plus I cannot modify the graver-face to my specifications. I'm using just the tools that I saw at a major hardware store.
Because of this fine modification, I can get inside the lines and cut the metal with high precision. Now if I had a thick and wide Flat graver face, many of these cuts could not be achieved.
I would use my bench-grinder, only if I had to decide to remove much of the 'graver body'.
My Onglette graver #0, or #1 needs to be kept in an optimum condition, as this will allow me to cut straight lines and not allow them to "cut to the left", (as seen in this photograph).
This is a disaster in the making!
Always keep your drilled lines in a straight line and do not allow the twist-drill to be out of alignment with the rest of the holes.
Under close 10x power examination, I can see many of the holes are 'out of alignment'.
When the holes are starting to get drilled for setting, these holes will be ruled as "no darned good"!
Let's suppose that all of the lines and drilled holes are in a row, and your new graver-cutting is not evenly cut. This is where many problems will occur!
To even correct this badly cut line, will be a difficult problem, how can this be corrected?
What would I do? This is a simple process by recutting in a straight line and cutting more DEEPER.
You must just ignore the "curved" cut line. Please allow your graver to cut as if the curved line wasn't there.
This is somewhat difficult, your new lines will be corrected by itself, with your new cuttings.
Hopefully, this new line will correct any "cutting problems".
Once the stones are set, the final step is to clean up the sides of the hole with your three cleaning wheels. The Emery with a "Medium" cut, this will remove all remaining marks everywhere!
Next, is to use your "Flat, Pumice Wheel" of #180 grit, this will remove any marks from the "Snap-on, Emery wheels" using a "Medium" grit.
The final step is to use your PINK-coloured, "Polishing Pumice Wheel of #1,000 grit. This will be the final finishing & cleaning wheel.
For your information, this must be noted that YOUR FIRST LINE CUTTING must be a lightly cut line. This line only acts as a guide for the 'second deeper' cutting.
Does this sound repetitious? Yes, but this information must be repeated often, as it is so important.
Keep your graver in an upright position! If you don't, you will have numerous problems in line-cutting. How would you overcome any problems?
I take short and precise line-cuttings at all times. "Each short and precise line-cut" should be one hole in length. DO NOT TAKE LONG GRAVER CUTS, even I wouldn't do this.
Don't be anxious about taking shortcuts, as "Shortcuts" are not permitted in Diamond Setting.
You can see here that the graver was taking very short "controlled" strokes.
Keep your "graver cutting" at the edge of each hole.
You can see what I meant by "cutting at the very edge of each hole".
If there is any metal at the very edge, GET RID OF IT, but how is that accomplished?
Use your BUD BUR of #005, or #006 to be held at an angle of 45 degrees and remove that little edge of metal.
After all of the "edges are cleaned" from the bud-bur cleaning, you are now ready for the next step. This is such a nice demo and has a very clean series of cuts. There is nothing wrong with anything in this 'demo-plate'.
"This is a picture-perfect demo plate!"
I would now cut deeper, this is to get rid of any remaining metal from each side of the holes.
I now have a good opportunity to start cutting the inside pattern. You can see that one section has been cut and the other has little scratch markings.
You should start the cutting at the line cutting, but not at the hole openings. I call this a "pyramid-shaped design".
When all of the patterns have been cut, all is left now is to cut a straight line...everywhere!
This is a great opportunity to use your Flat graver #40 to cut the pattern as shown here. You can see that there are "little triangles". After all the cutting is done, these will be 'Beads' to hold your stones.
Next, is to use your "Flat, Pumice Wheel" of #180 grit, this will remove any marks from the "Snap-on, Emery wheels" using a "Medium" grit.
I'm using another demonstration for you, it is here these three wheels are being used.
I'm using a "Tapered, Pumice #180 grit, wheel" to get into the little areas that no smooth triangular file can not get into.
Don't use any files as they will leave lines in the metal.
Here again, I'm using the "Pink, Polishing wheel of #1,000 grit". Because of this softer cutting wheel, there will be less of a chance of ruining any delicate cuttings from your Onglette or Flat-shaped graver.
NO SHORT CUTS ARE PERMITTED, or as I stated before, anywhere.
After all of your Bright-Cutting has been completed, you can resume setting your stones.
This is another up-close photo of how the bright cuts are created. The removal of the metal with the aid of the graver is so very delicate.
This is my "RIGHT-SIDED, ONGLETTE #1, (or #2) only the right side of this graver will be doing the important "Bright-Cutting".
You can see here at this stage of cutting, there is a reflection in the walls of the metal. This shows you how bright the cutting is, nothing is wrong here, and the walls are shining like a mirror.
At each hole, I cut with my graver, and at each hole, I joined these cuts as shown on the left.
I am using my Onglette #0 and which is 'finely' ground down to a point. I want my graver to carefully cut into the metal.
Only with this graver, can I exercise this fine cutting along the holes one at a time... afterwards I will join each of the holes together.
Please observe how thin and fine the face of this graver is. "This is a must" when you are attempting to cut your lines.
YOU JUST CAN'T CUT A LINE; if the face of that graver head is a piece of thick metal.
Remember one thing, We are ENGRAVING, not pushing a piece of steel into the demo plate. My revised and modified measurements of the thin graver face are delicate.
In this photo, you can see just how this cutting is done. Try and keep the cuts right against the drilled hole.
After I make a lengthwise cut into the metal, I will use my Flat Graver of #40 to make a delicate and precise cut into the metal, as shown.
What happens if just one stone is out of alignment? The question is simple, but things can go terribly wrong right from the beginning. Look at the arrow showing the end stone, how can 'we' avoid, or correct it?
The answer is so very easy: Pick a stone that is larger than the others and set it where the hole is out of alignment.
When you start your drilling of the hole, moving your bur towards the edge of the stone will be in line with the others, how easy is that?
You will find that the "hole line" is now in a straight line along with all of the others, how easy is this?
You can see here in this photo, that many of the stones are not in a straight line. The answer is just like the previous photo, either drill again and select one or a few more stones. The alternative answer is to pick larger stones where necessary, when you are finished, you will have a nice and straight line.
You must be very careful in the selection of your new and larger stones, how can you do this? I would select and set one stone at a time.
The result will be that all of your stones will be now in a straight line. THIS IS SO IMPORTANT. This will avoid all kinds of future problems.
In this photo, you will find that all of the stones are in a straight row!
You will see that my graver has a thin modified point. This is quite a different shape from the original (as shown above). Why is it created so thin?
The answer is very simple. How can you, me or anyone cut grooves in metal so "fine and delicate". "Miracles are not made here!" Miracles are left to the 'higher being'. My graver point is only 0.25 - 0.45 mm in thickness, nothing is made thicker.
With this fine cutting point, I can now create a fantastic cutting design. There wouldn't be any opportunity for me to cut like this if my graver point wasn't that thin.
"TOTAL Graver Modification" is the only answer in this tutorial-essay".
Again, if my gravers were not so nicely contoured as shown from any of my previous shapings, I just wouldn't have any sort of opportunity to create this "delicate & exacting cutting pattern".
This is an unbelievably delicate (and difficult) design. If I hadn't modified my gravers as shown in this essay, this pattern would not be able to get done.
The Difficulty Level is "10+, out of 10". In this square-cutting project, there would be too many possible chances to foul up anywhere. You are here to learn and not make any mistakes. The spots to make any mistakes are plenty, But making mistakes is indeed a learning process!
These spots are many; I would like you to understand where these problems could easily arise!
Just a little story; In my apprenticeship years, I too, had my share of problems. I am a "Dyslexic, Diamond Setter". What usually takes a setter about 5 years to fully learn to be a setter, this took me about 9 years to fully fathom all of the subtle nuances of setting stones.
Here are just a few areas that need to be watched while creating any "Piece of Art".
Drilling holes in a row, Rough-Cutting your Pyramid shaped design, and then Bright-Cutting that square pattern. Rough-cutting lines everywhere prior to your Bright-Cutting. Accurately cutting your corners on the inside square. Cutting a second outside line. Cutting a second corner. Milgraining on both lines. Bright-Cutting BOTH lines. Creating and bending your beads over to the stone. Bead-Burnishing your beads.
All through the cutting process, you should return to your polishing papers. Your gravers must be in a pristine condition...at all times!
Go to your oilstone constantly and of course, your polishing papers. "Remember one thing, these tools are your friends". Use them constantly and you will be able to create wonderful designs.
This beading pattern is called a "Two, Bead-Setting". There are so many opportunities in shaping your Bright-Cutting metal. I find this design so darned easy to do, loads easier than any previous patterns that we've been showing & using.
I like to cut INTO THE EDGE OF THE HOLE. This will enable me to avoid any extra pieces of metal that need to be cut away by using your bud-shaped bur.
After any of these cuttings, I will use my polishing papers after many graver cuts. If I don't, there will be a rough edge in the walls of the metal,
As discussed in our previous essays, I'm showing my vast assortment of polishing papers. They might be a large assortment, but I actually use every one of them, why so many?
If one polishing paper section gets worn while I'm setting, I will quickly change and use another stick this is without wasting my time preparing that paper for another. The actual changing of paper can be a distraction for me!
"Any form of distraction can be a serious interruption at the most critical time in a gemstone setting".
To repeat, my instruction in this cutting is what separates from "time wasted into repairing and removing metal" and not having to keep fixing the metal around the edge of that hole.
Just let your graver cut INTO THE EDGE OF THAT HOLE.
When you are looking at all of these photographs, just remember one thing, is that all of these cuttings came from a plain piece of silver.
YOU TOO CAN DO THE SAME SERIES OF CUTTINGS. ALL IT TAKES IS TIME AND PATIENCE. After a while, all of this can be reflected in your Bright-Cutting.
What a joy this will be to you when you reach this level of experience.
On these two rings are the "before and after" cuttings in metal. Much care has gone into this setting. It will take some time to get to this level.
Don't be annoyed if you are having difficulty. This was very frustrating for me too, when I was learning my profession. My Dad (z"l) told me the following, "I don't want to hear anything, just get back to work tomorrow".
As I previously posted this photograph, this is how I start the 'cutting process'. Observe where the graver point is starting to cut. This is the most important 'first step in Rough-Cutting'.
Remember, as I stated before, keep your Flat graver in at a 45-degree angle position. Again, this is shown below, in this photograph.
But what tool would I use? You have two choices, (please bear with me). You can use a Right-Sided Onglette #1 or #2 graver.
Onglette gravers WILL GIVE YOU AN EASY 30-degree ANGLE. IF YOU USE A FLAT GRAVER, you might not yet be accustomed to the angle in Bright-Cutting. To make your life easier, try using your Onglette gravers for now!
This square design is used underneath almost all of the "fine quality" jewellery.
A STORY FOR YOU TO REMEMBER & HOW THIS "AZURE" GOT ITS NAME.
This pattern is named "Azure" when a hole for a diamond setting is drilled through, it isn't just left as a hole in the metal.
The jeweller makes a pattern or design, and this person (male or female) creates a nice design with his or her Onglette and Flat gravers combined..and VOILA this pattern is sculptured in Platinum or Gold as shown.
This isn't an easy skill or technique to get made. I'd put this Difficulty Scale at 20 out of 10. So much high detail is applied to the four corners and side cuttings. Even I found it to be quite a challenge at times.
This isn't for the beginner, but after a while, it will become an easy skill to have forever.
Please remember that all of this was done by hand and not by C.A.D. (aka Computer Aided Design) This cutting was done "freehand" and not using any scriber, or measuring device.
I really want to make your time at the bench as easy as possible, If I tell you to use a difficult graver, you might not be a happy engraver/setter.
You can now see the line of cutting, the graver points are in a nice straight line. This will now give much pleasure in knowing that all of the Bright-Cutting will be exactly what you want and need!!!
All of the beads were cut from a flat plate, everything you see here was done for practising for me and demonstrating "Bright-Cutting" for you!
With all of the bright and shiny metal, your eyes will be tired too fast, that is why I painted the top of the metal. I now can see exactly where my gravers are cutting and I can now focus on where the graver points are located.
With my fine graver point, I can very easily cut lines in between the holes. This is the main reason why I decided to make my graver point as thin as possible, namely 0.25 mm.
With my Flat graver, I can very easily bright-cut a thin wall along the edge of the holes...(as shown here)
I am with no little effort able to bright-cut a line and the "results are now like a mirror." The reflection is what we are aiming for, with no faceting along those lines.
When you or I are bright-cutting a pyramid shape in the metal at 45degree I will, with no effort, have "a four-sided pattern".
In my eyes is what makes this bright-cutting so great to look at, agree with me?
In between these two bright-cut sections, I separated each of them with an Onglette #1 graver, BUT, here is something even more interesting. I (removed) and rounded off the sharp edge on the bottom of my graver on Emery paper of #180, or #240 grit paper then with #600 grit paper.
I can now, and only now, will have another great graver. that will separate these two lines with 'finely set stones'.
You can see that the center line is poorly cut, it looks crooked, how can this be corrected? I will recut this crooked line deeper, deeper and again deeper still.
This is done many times to correct that crooked appearance, YES, it will become straight after a few cuttings with your Onglette #0 or #1 graver.
What just happened here? This is almost a regular occurrence, but don't get angry, or you might want to throw this "practice demo plate" away, these are your learning steps.
Your modified graver edge will give you just the smooth edge that's needed in cutting in the metal. The result is seen in this long line of shiny metal being removed.
Keep your eyes on the bright-cut metal on each side and along where the stones will be set. Get all of the lines finely cut..NOW!
Don't even think of doing anything else once the stones are set. You might have broken, or damaged stones.
I DON'T TEACH HOW TO BREAK STONES. I only "teach & explain" how to do all of your fine cutting long before any stone is set.
The cutting edge is as I mentioned before, at a "45-degree angle".
Your graver face MUST HIGHLY POLISHED ON YOUR #800 or #1,000 POLISHING PAPER.
This fine polishing will be reflected in your metal cutting.
Be wary of the "end of each line", as there will as seen many times before, a little change of angle in your cutting.
This is quite a normal occurrence, get used to this. This happens to me with some regularity, JUST RECUT A FEW MORE TIMES to straighten out of that crooked line.
My instructor many decades ago, showed me this method of cutting, because of his training and giving me his setting knowledge.
He and I, are now giving YOU all of his great interesting facts in Diamond Setting!
The bright wall reflection (below) is been shown against the wall, in actuality, this is like a mirror, reflecting the many beads.
This is just another photo showing the same mirrored effects. The wall has no faceting in the bright-cutting, but "those dots" are just a reflection of the actual bead, interesting views aren't they?
With my modified graver with a rounded shape underneath, you can see just how I managed to create a new effect in creating a line.
This now has no sharp edges anymore, but just a little rounded shape, but now it has a highly polished surface.
By painting this surface, I again, managed to make the surface easier to view, while I'm cutting the surface.
I painted the setting areas not just for a nice appearance, but you can see why I did this yellow painting. I can see how the final bright cutting looks.
It was an idea as I was walking through a Toronto "Dollar Store". Even my friend, who owns this store, thought it would look nice and we both approved of this new approach in finishing the "Silver Demo".
The Dollar Store" owner and I liked the clean effects. Under a 20-power magnification, you can see that most of the "Yellow-Paint" has been removed. (YES, I missed some spots!)
I used my Pink, #1,000 grit Pumice wheel as much as I could.
To achieve a great-looking finish is to set all of your stones, and polish them at your light pressure 'buffing machine'. Make darned sure that no residue is remaining on your stones..(as seen on the Ruby-CZ stone)
Then afterward, put this item into your "Ultra-Sonic" cleaner and then you can yellow paint your items.
All of the beads were cut from a flat plate, everything you see here was done for practising for me and demonstrating "Bright-Cutting" for you!
I Milgrained every line for the sole purpose of having you see how the lines look after all of the cutting has been completed.
On the bright-cut line it looks nice and clean, agree? NO! It has scratches or lines and how did they get there? The graver-cutting face was not completely polished on the Polishing Paper. Simple as that!
I will many times, examine every cutting edge. I hate to see errors, anywhere & anytime.
I will use my #180 & #1,000 grit Pumice Wheels to remove all of these remaining defects.
Do the metal cleaning immediately, before any stones get set and the metal gets polished. Afterwards, this process is too late.
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This very wide graver has little or no defects to it. This will give you a very clean cutting surface.
Just another view showing how clean it is.
Getting a clean cutting surface is not easy, especially when it comes to a 1.96 mm wide graver.
This is my collection of "Flat Gravers".
The 'wine-coloured' handle is kept only for the very wide graver, all the rest are of different widths. I call this my "colour-coded" handle, which is used for easy identification.
This is my "sample, demo plate".
From this, I will experiment with different patterns and see how each graver APPEARS to be cutting...YOU SHOULD TRY THIS FOR YOURSELF, each graver is very important,
This demo plate is very important, I use it prior to any gemstone setting.
If I approve of this trial cutting, I will "go ahead" with my Diamond Setting.
WOOPS! This graver is not to my high standards. I just won't start any stone setting.
"I'll redo my reshaping on my oilstone and then use my Polishing Paper".
Imagine if I had started my stone setting and then did my setting without any demo testing. This would have been a very poor move. See why I had my "demo plate in my bench" at all times???
On the side of the Onglette graver that does the cutting, that too, MUST BE POLISHED!!!
Please examine the different "before and after" pictures. There is quite a difference in the gravers.
Here is my new equation => "OILSTONE + POLISHING PAPER => FANTASTIC RESULTS".
These marks on the graver must never be seen, lest a defect be noticed in the final setting-cutting.
You can see the curl in the metal, this shows just how the metal was carefully cut. Actually, this was not an easy task for this demonstration. I had to be rather careful not to let the curl break off!...Whew!
Many times I WILL EXAMINE THE FACES OF EACH GRAVER. I'm not satisfied, as there are a few little lines in this cut, that are showing me defects. These are not acceptable!
Those few lines will quickly get transferred to the metal.
"Right-Sided, Onglette #5"
This graver is just not acceptable, just look at those many darned 'lines'.
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"Right-Sided, Onglette #5"
If you are 'left-handed' you can still alter that graver cutting shape.
Even oilstone re-shaping is done to that one side. 
In this simple picture, you can easily see how the angle of the graver is sharpened. On the right side, is the fine cutting angle. The left side is not needed and can be ignored if wanted.
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"Star-Setting", techniques!
Just another view, it's the same as the one above.
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This "Fish-Tail" is from "another galaxy of difficulty", there is nothing easy about this pattern.
Even setting an Emerald can be set easily when you are in this heart-shaped pattern.
Here is a close-up of some graver cuttings. It has only 2 beads and a "Wire-Beading", which is a fine wire hook, as I call it.
The stones were the very last thing that was done in this pendant setting.
This is the initial cutting to show how the very first cut is to be done. The cutting will go right into the hole prior to any further cutting.
The Antique setting is done long before any of you were born...(circa 1930!) or even earlier. These diamonds were either Rose-cut or Mein-cut. A "Rose-Cut" is a diamond that has no Pavillion put to it. A Mein-Cut diamond is a stone that has no 57 Facets made into it.
This is the official name of my oilstone that I use non-stop. It's named "India Oilstone, FB6" and it's made by NORTON Industries in the U.S.A. It's taken me literally years to get worn down. 
Just to repeat, I prefer to have my Onglette #1 cut a line on the outside of the edge of the hole. This will prevent any remnant of metal from sitting on the edge of the hole, Then if there is any, it will be rather difficult to remove, trust me!!! 
In this simple picture, you can easily see how the angle of the graver is sharpened. On the right side, is the fine cutting angle. The left side is not needed and can be ignored if wanted.
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"Star-Setting", techniques!
This is not CAD designing. Everything is 'done by hand' and there is no computer intervention.
Originally, this was a flat-topped gent's ring.
On a scale of: "1 out of 10"; This Difficulty Scale measures this about a 9.50.
There are only two results; either this engraving is acceptable or it isn't. Again to remember, all of this cutting was done by hand and without any computer (C.A.D.) intervention.
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This is my favourite "Fish-Tail" PATTERN.
I'll make every modification as possible even in the wax, as shown on the bottom row, on the right.
All of the holes for the setting have been prepared nicely, even in the wax shape.
I would call this one of the most challenging patterns I've ever had the opportunity to attempt to 'create & set'. Mistakes come in every area of this pattern. That is why even in the wax form, mistakes will and many times can happen.
I will correct everything, even the wax pattern. I take every opportunity to correct how the holes are positioned in the drilling stages.
To have Onglette or Flat Gravers that are not cutting well is not worthy of being used. Either I throw them away or attempt to recover every area of it before any setting is to start.
"I never start to use it, and then try to save it". Too many times, the word "trying" is not in my vocabulary.
These are just a 'few other patterns' of the "Fish-Tail" design.
Even setting an Emerald can be set easily when you are in this heart-shaped pattern.
When you do you are carving the metal of your choice, this "pre-cutting" can produce great-looking patterns. There is no chance of a stone breaking when all of your carvings are done prior.
I like to have these hearts ready for graver-cutting by putting them on a shellac stick. This gives me more security in the cutting processes.
Even if I set all soft Genuine Emeralds, not one stone can get broken. How easy is this?
You can see how the bud bur is starting to remove much of the metal around the hole. This is where the graver will make the hole free of any metal.
The bright finish shows how the graver is cutting nicely and with no noticeable defects.
This is a new casting long before any cuts were made. What is done first, is to drill open the hole to at least 90% of the size of the stone. I would let the drilling be aimed at the inside of the heart, but not at the outside, which is near the outside of the heart shape.
When all of the bright-cutting has been done, then and only then can any kind of precious stone get set. This is with no thought of any stone getting broken.
If you have a great and wonderful set of gravers, doing what is required, there is no possible way of not doing a fantastic job of Diamond Setting.
BTW, I prefer to use a graver that is so fine in width, I measured them both in millimetres, how thin these gravers are.
I knew you wouldn't believe me, then I decided to draw a sketch showing how thin these gravers really are. Pictures are just not good enough, as I couldn't focus on a thin graver, pity!
At some times I might actually use Onglette #3, but I shy away from the #3 and focus on #0, #1 and or #2. At some time in my setting needs, these other gravers will get to be used.
I also decided to draw how thin or large, these gravers really look. YES, I actually use both of them at one time or the other.
In my teaching periods, I will demonstrate the following "How, when & where these do get used". These are here for you, it is also up to you to decide those needs.
There are no laws saying which for you to use, the wording is "experience".
In my earlier days, I made my own laws and rules. Each setting job required different rules, "I'm just opening up the doors to new experiences for you to use".
At the bottom of the graver, the cutting is what we were looking for.
It has a fine and highly polished surface. When you are cutting your lines, "the cutting" will be just what you need. Maintain a highly smoothed surface at the bottom of the graver.
You will be such a fantastic-looking series of cutting. No other process can give you such a great look. Keep in mind that your graver is what you need to have.
Maintenance in keeping your graver highly polished at all times will prevent you from thinking about how to fix the rough edges inside each graver cut.
It's better to keep it smooth in each cut than to wonder how to fix it. Which you just can't.
To say that I'm happy with these fine-cutting results is an understatement. You should have seen my face after I took this photo..YES! 😄
On the left graver point has a rougher tip and it works to the right and is highly polished. The right side has a brighter finish, that is what I was looking for. So should you!!!
Keep the underside cleaned with your polishing papers, if not, it will be dreadful to get them cleaned.
You can see the very fine point at the tip of the graver, that is my cutting point.
It won't bend or break off, I even tried to see if it would bend, it didn't and it couldn't.
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40x power+ magnification!
These next few pictures were taken with my "200x power digital microscope". These might seem to be not powerful enough but trust me, these photos are at this scale on the microscope.
(Trying to focus this microscope at 40 power, or even at 50 power; was a challenge at the best of times).
Here is a group of gravers showing how they are polished in a series of finishing.
You can see how fine the cutting is, very little need for polishing afterward. Nice cutting isn't it?
This is named "2, Bead-Setting" as only 2 Beads are needed to hold each stone.
Here is another sample of graver cutting showing how the under-graver edge is being polished.
The stone setting was done after the stones went in. There were still some "edges of metal" around many of the stones.
In this picture, you can see the rough-looking graver cutting. This exemplifies why the gravers MUST BE CLEANED thoroughly if the graver is left in a rough-looking shape. so shall the final cutting get to be looking rough and not being able to get cleaned?
This is the reason why, I now in the last few decades, I chose to pre-cut all of the metal long before any stones were set.
There are still "some areas of metal" touching the stones. I would call this cutting, unacceptable.
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These are the last 33 photographs that I found in my 2017 that were sitting in my archives & library.
These are out of sequence, but for the most part, they are still very interesting and worthwhile to use. Now let's get started in looking at and reviewing them. Of the antique photos, were from "circa 1930", but they were in my own archives from 20 years ago!
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The Gypsy setting shows how the Onglette #2 graver cut a "clean finishing" around the inside of the setting.
All of these settings were "Pre-Cut" and the setting of the stone was at the very end of the process.
I was asked to remove all of the diamonds in these rings, but before I did, I photographed every area on these rings. Aren't you glad (I'm also pleased) that I captured these scenes first?
Just another section of this diamond setting from over 100 years ago! WOW?
This is a diamond scale from 100 years ago. This was my Beloved Father (Z"L) diamond scale, I still have it on my Diamond Setting bench.
This is my version of a style named "6-bead setting". You can see those 6 beads, as 2 of them were only "used as decoration", only if there was too much space in between the stones.
Here you can see only 4 beads in this style of setting. Remember that all of this was done by hand.
This close-up of my Fish-Tail setting shows the initial cutting processes. The 2-beads were started, but there is still much to be done.
This is not easy to execute smooth cutting surfaces as shown here. The last thing I would do is to do the "Milgrain finish", I frown upon this, as it is not a good finish from the overall finishing.
The Bright-Cutting is nearing completion, but still more bright-cutting is necessary, agree?
All of the rough-cutting has been accomplished, now the next step is to initiate the wonderful Bright-Cutting.
As I said, at first here are some of the pictures being taken, but out of sequence.
My client also wanted all of these diamonds removed, that was a very poor decision, but I captured everything (that I had time permitting).
You can see the high "Table" in the center diamond. This is the showing of a Mein-Cut diamond, plus you can see the heavy Milgrain edging, to me this is too thick. This was very common in those earlier years.
I am halfway through doing the rough-cutting. This process is so very delicate, that no errors are allowed. I'm using only Onglette #0 and then a #1 graver. If it's necessary, Onglette #2 will come in handy.
This is the very early stages of the "2-bead setting". I'd be using an Onglette #0, and a #1 graver to get the first steps of the pattern on its way to getting started.
Here is a 5-Star pattern. From the inside cutting, I will then cut again the outside pattern. "Precision" is the 'main' word in our vocabulary.
You can barely see the "5 points of the star" as a reference, from here I will start the initial cutting of the star. I will then make a second cutting on the outside to be used as a border.
The outside corners are very important in keeping the Onglette graver cut in an orderly fashion. I won't let my corners look rounded, but they MUST HAVE A SHARP CORNER.
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A very good friend-client came to my office some years ago and was absolutely begging me to help him. He needed a good Diamond Setter to set this 5.5-carat Emerald into a Full Bezel pendant. He told me that three other setters declined on the spot!
As this was on a Friday, I told him without any hesitation that he could pick it up on the following Monday.
On Sunday, (I never work on the Jewish Sabbath) I came into my office, turned off any radio and took a few photos, and started to set this $18,000.00 stone. Three hours later it was completed.
By the way, I cut Bright-Cut around the inner Bezel frame. This must be done 100% of the time.
On Monday morning, he came to visit me and view his prized possession. He was pleased to pay me the setting fee and I told him that there was a deep inclusion in the Pavillion near the point. I also finished Bright-Cutting the many small diamonds that some other setters couldn't complete. To this day, (20 years later), we still see each other and remember this "little bauble".
To make this Onglette graver thinner used for "rough-cutting", I'll lay the graver on both sides and remove (on my Oilstone) any unnecessary steel from the graver blade.
This "removing" is done on both sides, as I want the blade made thinner.
"JUST DONE!"
Here are a few photos of the Bright-Cutting & engraving around the diamonds. Many setters that I know, wouldn't even think of cutting around the Oval Bezel, (maybe they just don't know how to do it).
Time permitting, I'll show you how it's done in other essays.
To polish any hammering marks I'll use my Pumice wheels of #180 grit and then (as shown here) my Pink-Coloured, "Polishing Pumice" wheel that has a #1,000 grit.
This is the only way that any "post-setting is completed" is by Bright-Cutting a Gypsy and Bezel setting. DON'T USE ANY FLAT GRAVER, please ONLY USE YOUR Onglette Gravers.
No other graver can, or should be used.
After a C.A.D. design had the diamonds set, one thing that was not completed, was the "Rough and Bright-Cuttings".
To view it is not a nice thing to see. Some setters think that this is enough, but to me and now in your eyes, this must be completed.
I found this to be quite a "normal" procedure with many setters, but not with me!
My Flat graver need not to be any thicker than what you see in this photo. Anything thicker is a waste of metal. There is no reasoning to leave it any thicker in your cutting.
This is the measurement done with my digital caliper.
My 2 diagrams speak for themselves.
Why would anyone work in engraving with a very wide graver? I used to, but not anymore.
This casting is missing just one thing, actually many things. "Rough and Bright-cutting" is missing, plus the drilling of the holes prior to the diamond settings.
This is the official name of my oilstone that I use non-stop. It's named "India Oilstone, FB6" and it's made by NORTON Industries in the U.S.A. It's taken me literally years to get worn down. 
Just to repeat, I prefer to have my Onglette #1 cut a line on the outside of the edge of the hole. This will prevent any remnant of metal from sitting on the edge of the hole, Then if there is any, it will be rather difficult to remove, trust me!!!
I sometimes will have my "77B" bur, aka "Under-Cutting" or a "Heart-Shaped" bur make a little seat inside the edge of the hole.
This will allow the stone to sit flat, not crooked, and as well to be set lower into the hole and then as well, giving enough metal to be pushed over the girdle of the stone. Of course, you & I must burnish each and every bead over every stone, no matter the size.
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This essay has now "thankfully and finally" come to an end, we've covered so many topics just on graver uses. It's been a great joy for me to assist you along with everyone, everywhere.
If you wish to contact me, please don't hesitate for a moment. You can do this by emailing me "Gerrylewy18 (at) gmail.com". I promise to answer every email within a 24-hour period.
