ONGLETTE & FLAT GRAVERS, what these tools can do for YOU?

 As shown in this extensive blog, I know that some of our simplest gem-setting tools can create many unbelievable results. Here are another "79 photo examples of graver cutting".

 This essay is a prime example of what this FLAT graver can do for you. I might be repeating many of my previous essay instructions, but suffice it to say, much of this does bear repeating.

 I'm using my well-used "Heart-Shaped" pattern, why? This FLAT graver is essential in achieving "flat & curved" patterns.

"Onglette gravers are good, but FLAT gravers are so much better". Enough with this preamble, let's (again) start the 'learning' process.

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In this Heart-Shaped item, any size of the stone can be used with equal chances of successful cutting.

 I prefer to use my Flat graver initially, as this will give me a better chance of seeing where the cutting will be focused.

 I don't put too much emphasis on this first stage of cutting.        

  My "curved cutting" at this point, is so very important. There is no chance to ruin any of the cutting, the Flat graver is my only opportunity in succeeding in this distinctive design.

 The edge, or corner of the blade, starts where the two beads are located. From that point, I just make my cuts towards the outside edge of the stone-setting areas.

  Please don't use any Onglette Gravers anywhere in this pattern, it just doesn't belong here. You can do so much more with this remarkable Flat Graver. 

 The face of this graver MUST BE CREATED THIN ON YOUR BENCH-GRINDER. You need to do this to have greater access to your metal-shaping.

 There isn't anywhere in this pattern where an Onglette graver is being used extensively. Except for doing some initial pre-cutting prior to the Flat graver cutting outline.

 I know this for a fact, all of this cutting is done with only one "highly-modified", Flat graver. This is a "WOW" creation.

 

 It makes no difference if the heart is marked with surface indentations, all of them will be eventually removed.

 These are my "Extended Graver" handles, this is the correct name.

 I prefer the handle with two screws, if the 'one screw' handle gets ruined, you will have an additional 'tightening screw' still to work with.

 I make it an 'unwritten' rule to place the largest stones at the centre of the two curves. The reason is that there is much more space to be occupied, so why not use a larger stone there?

 The remaining large stone will be at the bottom of the heart.

 I always 'pick & choose' my variety of coloured stones. In any one heart-shaped item, I could have 3-4 sizes. Each colour could have numerous shades.

 Please keep your item accessible at all times. You need your fingers free from getting tired. Don't have this item relegated to a large clamping device.

 From a basic heart with small holes, you should enlarge the holes to the sizes needed. Do this now, but never after you start your engraving.

 Now that you have drilled the holes to accommodate the various stone sizes. Now you can start your intricate metal carving & shaping.

  Your very first step is to cut an outline with the Ongletter #0 graver. It's not physically possible to go into using your Flat graver, it just can't be done!

  I suggest in all honesty, 'cutting a few times and each time going a bit deeper'. After the third time around then start with your Flat graver.

  Something is totally wrong here, where and why? The lower section heart-shaped holes are too close to the edge of the frame. 

  (I'd scrap this and not proceed further). You are preventing any space to initiate your curved cutting.

 Always have a 'backup' in case of inherent problems due to the preliminary wax pattern making.

   Using your Onglette #1 (size #0 is too thin, or narrow). Your 'cutting & metal' designing can now start.

          

 

 Reposition your item on the 'shellac stick' at all times, why? You MUST HAVE FULL ACCESS TO YOUR CUTTING AREAS.

  As mentioned in my previous tutorial essays, get the 'first cut' right to the edge of each hole.

  How important is this 'bur separation'? From here, you can easily start your 'Flat graver, carving' with little effort.

   This bud-shaped bur must be deep cutting, if not, your gravers won't be able to have their desired effect.

 With your Onglette graver #2, extend your pattern-making as shown. At this point, you shouldn't have any ideas of using any saw blade or Triangular file, it's just a bad decision. 

 Leave all of the cuttings to your Flat gravers from now on!

  If you avoid these few basic steps in using your gravers, you can't achieve these results.

 Now you can see 'what & where' these gravers can do for you!

 

  If you have too much metal to contend with, then cut another line with your (new friend) Onglette #1, as shown. 

 This is my Onglette graver that ONLY CUTS ON THE RIGHT SIDE. It's named for its purpose "Right-Sided, Graver".

 

 These are named if you are left-handed, they can be designed on your bench-grinder "Left-Sided, Graver".

 Before you start the 'curved pattern making' you can use your Flat graver.

   Can imagine if the front face of the Flat graver was double the size, how could you get into any of the small spaces?

 Remember, all of this cutting is done without CAD or a microscope.

 All of the necessary tools in this essay are shown in this one photo. Keep your tools to an absolute minimum and within your hand's reach.

 Always wear a rubber thumb guard for protection, when using your gravers. There is a great tendency to slide your thumb underneath your graver. YOU ONLY HAVE ONE THUMB, don't abuse it!

  As seen & shown before, there is enough space now to start your metal graver cutting.

 With any design or pattern, don't forget to use your nicely shaped Flat graver. It's there for you, so use it!

  

 I saw this on the internet a few days ago, I think that this explains 'us', do YOU agree? ✌😀

 In using your fine and narrow width Onglette graver #0, or #1, cut an outline where your intended Flat graver will be made.

The 'first cut' is so important, it paves the way for the next many steps.

 Regardless of how the inside (between the holes and the heart) looks,
 your 'available space' can give you much to work with. Your imagination will take over!

Don't be hesitant in using your Onglette #0 & #1 graver anywhere you can.

 Your bud-shaped bur should be used mostly in separating one setting and the next stone opening.

 Not to mention don't forget to get rid of any extra metal along the holes. Get this done, NOW!

Your bud bur must not reach the "Onglette-cutting" line.

  If the metal is too wide, then I implore you to make some revisions to the basic design. This is totally permissible and you will see why I suggest this.

 At this point, you can see what I'm attempting to do. The decision is to reduce the width of the cutting metal from the outside edge to where the Bright-Cutting will be.

 Already from a vast expanse of metal initially, this width appears to be narrowed. Those bud-bur cuts made the design so much more ornate, agree?

 With the great assistance of the "Flat graver" cutting, that line looks now like a mirror. You can see what the Flat graver is doing, it's making remarkable cutting effects.

 My OIL-STONE is another tool that must not be overlooked. It continually reshapes the sides of the gravers.

 Not always can you reshape your blade on your 'bench-grinder', the oil stone creates the desired effects.

 There are many companies that make graver blades for 'us'. I use both "Glardon" - "E.C. Muller"- "Vallorbe", each of them is of a "High-Speed Steel". This means that they are strong lasting and of a High-Tensile strength, not to mention that the points of these gravers won't break under normal use.

 Those rings in the background are not "staged props". They were placed there to let you know where these wonderful gravers can be used.

"Everywhere!"

 I use a soft-core 'drafting' pencil that fills in the pores of the polishing paper. This will in turn transform a #1,000 grit paper into #1,200+ grit without buying extra papers. (There, I just saved you money)

 I use this soft-leaded pencil rubbing just for my FLAT gravers. That shiny surface is where the pencil rubbing was applied to the paper.

  I want a 'lateral' surface and a FLAT graver can only give me that effect. An Onglette graver can't do this as it's meant only for a deep cutting line.

 The two 'small beads' that are used for additional security, will be placed just where the graver is now being shown.

 In my eyes, this is the ultimate in graver cutting & carving. This will take many months to perfect patterns like what I've been showing you in this essay.

 For your information, I WILL USE MY "ONGLETTE #0" graver these are solely used to secure each stone with a little "wire bead" opposing the originally made beads. They are so very small as they are hardly visible. That is the main reason.

 You will see two "big beads" and two "hardly visible" beads making 4 beads for each stone. You can't see them, but they are there, trust me!