Creating Claws from Flat metal, for Stone Setting. Difficulty at 35 out of 10!

 There will be times you will be needing to use this new setting technique. I can't write this in a few words, or draw a few diagrams as I have done so many times before.

 I have to explain every step along the way, just how each step is covered. Please understand that this technique will be well explained.

 The first thing I must explain is the drilling of holes, or I might explain "the drilling and the delicate spacing of the holes, for setting of stones".

With my tray of twist-drills, I will have an assortment of twist-drills, I will select the appropriate size. I will choose a drill that is at least 1/2 the size of the "Table-Facet".

 I prefer to use a colouring-pen or ink, to mark where a "suggested spot" where the stone should be set. In the center of the plate is very important and from this pot, I will make an indentation in the metal. Thefore, twist-drill will not slide around while rotating.

THIS IS VERY IMPORTANT ... PLEASE READ ... AND READ THIS AGAIN, MANY TIMES!!!

 I want YOU to keep the twist-drill in a upright position, at all times, and must be well oiled at all times. If not ...YOUR drill will easily break, as it is rotating. To remove a broken drill is an absolute night-mare. 

PREVENTING A BROKEN DRILL!!

 Keep your drill rotating at a slow speed, you must remove your drill from the metal and prevent it from over-heating. Just for one hole that is to be drilled, insert the drill, remove, oil & insert, oil & remove. This is so darned scary in this stage of drilling just one hole!!!

  An overheated drill that's resulting in a broken drill, which is worse? 

   Here is the picture of holes that I need to have drilled. "One broken hole in this plate and  many problems will occur". Keep your drill well-oiled.

One touch of your oil, to one touch of your drill...simple as that...done!

I prefer a light viscous oil base. For example, I like the "3 in 1" oil, but you might like any other brand name, its your choice.

I like to keep all of the holes in one continuous line, my answer will come to you in a few minutes. BTW, use "Snap-On" Emery wheel to remove all of the shardes of metal.

Slowly drill these holes and keep these them well oiled. THIS IS A GENUINE MUST DO!!!

I prefer to keep my burs lined up, for easy selection, while being in constant use. I don't want my burs laying (everywhere) in my bench. 

 For easy access, use your #005 or a #006 bud shaped bur (as seen below) you should "cut with a bur to join all of the holes" ... so that they can be easily joined together.

 

 DO NOT USE ANY BUR LARGER THAN A #007.

Here are the selection of burs that I use. Don't be concerned about the size as the handle is long enough to grab and hold the graver.

The Onglette graver of #1 is fine (thin) enough to cut into the metal as shown. Cut the metal right to the edge of the hole

Here is my wide selection of burs of all shapes & size. Don't use any size larger of bur than what's been shown here.

Here are more Onglette gravers from #1, #2 and a #3. The #4 ONGLETTE is too wide for any sort of cutting in Diamond Setting, excluding any 'Ornamental Engraving'.

                                               

  After you cut your lines with an Onglette #1, this will be an outline for all future lines of holes.

My Flat Gravers are kept in my "Wine-Coloured" handle. This will be as a guide for my easy selection of gravers. This is my choice but your choice can be any other handle that you wish.

In using a thin (#1 Graver) I can navigate along the row of holes, I just can't do this execution of cutting if I used a thicker graver. BTW, I think ahead of time when I'm selecting which graver to use

Just for your information, I showed you different sizes of burs. We are using the smallest size of 0.51 and 0.55mm's burs, of course not the large burs being shown...:>) 

After you initially cut with the outline Onglette #1, again I will cut the center line...(this is so very important) as we will see in a moment.

NOTICE:

 At the ends of the lines of cutting, STOP! I see that the lines might be curving inward, this is not good to see. What I do, is to cut towards the ends of the lines and cut straight outwards. This is quite a normal occurance, so please don't worry about this problem starting to occur.

What I'm looking at are a little "crosses" or O+O+O+O. These little 'markings' wil now occur inbetween all of the holes in this diamond setting exercises.

With your bud bur of #006, or a #007 (maximum width) removes any of the triangle corners of the mini-claws. What you should be aiming for is a mini-claw at all times. This is where you need to practice. Consider this corner-trimming with your 'bud & round bur' cutting, after some practicing, you should be able to see some exceptional (and beautiful) results. 

 NOTE TO PONDER: keep your burs held at a 45 degree angle position...if you don't.

LOOK AT WHAT IS NOW HAPPENING? DO YOU SEE THOSE LITTLE KNICKS ON THE SIDES OF THE LINES? (yuk!) How can you can rid of them?

 Don't worry, use your "Snap-on, Medium grit @ 7/8" inch, Emery disk" and use that disk held near flat and carefully remove each of those small spots. Each of them will be slowly removed. 
 Carefully trim those mini-claws and then each will slowly disappear.

"Always keep your working and practicing-plate, laying flat". Attempt to have your "working-area' close to your finger tips. Your Opti-Visor should be at a #5 lens, anything stronger such as a #7, is too strong for your eyes as this might tend to put a strain on your optic-nerves.

 BTW, I never use any microscopes while I'm doing any of my Diamond Setting. My (both eyes) Cataract surgery has done me very well in my close-up setting.

When you are cutting as well as digging deeper, attempt to keep your graver in an upright position at all times. When I was an apprentice, about 63 years ago, my teacher always told me to "keep your graver upright and never lean it over on the side!"

Now today, I'm telling you with those same instructions."THOU SHALT NOT LEAN THY GRAVER ON THE SIDE" (Stanley A. Levine, circa 1961)

When you are cutting deeper, you are slowly removing those little "knicks" seen along those lines. Please don't worry when you see these in these photographs.

After using my Onglette #1, please use a Round bur #006. These are made with the mini-claws, also from the Onglette cuts. (This is a real challenge, to say the least!) 

 I'm using an Onglette #1 that has a very thin graver, in fact, a very ultra-thin point that has been even sharpened on the two sides, on the 8" oilstone.

 

If I was using an oilstone that was left thicker as in the Onglette #2, or even a #3. I just couldn't get inbetween these two mini & new claws.

YES, I needed a very thin graver to achieve the minute cutting. How much practice? Just don't ask! 

I used "practice & patience" in everything that I was trying here to achive. The resulting look was what I wanted to see!

HENCE, the high rate of score of "35, out of 10", I could have gone higher!

These three rows were not 'essay planned', but it turned out just what I wanted for you to see. On each line I would cut deeper on each following cut, then a cut I would use my #40 Flat Graver.

With my Flat graver I would cut in a near vertical position.

 This is the most difficult area of all of the cutting. This alone would give me a rate at a near 50, out of 10. Diamond Setting is not an easy task!

 Diamond Setting is not easy as it appears, it is not pushing claws over stones make you a Setter, agree?

 By appearance "with & without" any stone! These two photo's show nicely how the claws now looks!

I use a bud-bur of #005, or #006 (maximum) cut and trim those little triangle mini-claws to make them look like little claws, these will now be those claws you need to push over.

With the stone now in the metal, can you see the difference?

What I do in this case is to Bead-Burnish all of the "little pins" to make then look like mini-claws.

 These are those "little triangles' I was writing about a few minutes ago! Even I use my burs and trim extensively and "cut-to-shape" everywhere, where is necessary. I want every triangle to be made into a round claw. This is now where your 'practice & patience' starts to come into play. 

 You can start to use wider 'bud & round burs' just for this 'one reason'. That is to remove much of the metal that is not needed anymore, simple as that!  

NOTE: 

Certain aspects of 'graver shaping' will give you much delight in the years ahead.

 Just remember one thing, in this setting blog, you are learning many techniques that have never been seen before. I only wish I had this training when I was learning my profession.