The "Do's & Don'ts" for gemstone settings. (37 photos)

   I opened up my extensive library of photos. I selected many interesting pictures all in the realm of Diamond Setting. These photos are all a definite "WOW", agree? 

 As many of these photos are from my USB archives, I tried to keep them in sequential order.

 If these photos are to your liking, please contact me @ gerrylewy18 @ gmail.com.

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  This 'double-star pattern' wasn't created by CAD, but the fun won't be there in using your gravers.

 When I cut the inside of the "Gypsy Setting", you can see the sliver of metal slowly being extruded.

 When you are setting a series of stones, always attempt to keep them at the same level.

 When your Gypsy Setting is being prepared, I suggest that your 'stone-bearing' be prepared with a 77B undercutting bur, why? This is an easy answer, first, your stone will be at the desired depth and not be crooked. 

Secondly, you will have the same amount of metal that will hold the stone during much wear. 

   

  These burs are named "Cabochon Cutting Burs" I use this name for these 1/2-round burs. I invert (FLAT SIDE DOWN) this bur will give these the opportunity in preparing a seat for the stones.

 Of all of the many burs I'll be using, these are the best burs in creating a seat for your 4, or 6-claw Engagement ring. My reasoning is that the angles of the teeth are the same as the diamond.

  All of my inside Bezels are "Bright-Cut", all of the Gemstone Bezels must be 'Bright-Cut' on the inside circle. I've seen many setters avoid this procedure, why is this? (Maybe they don't appreciate the finishing touches that are necessary.)

 When you are creating a seat for your engagement ring, there will be a sliver of metal on one side of EACH claw. This is due to the direction of the rotating bur. DON'T USE A FILE. The reasoning is that there will be stirations from the multiple file teeth. I use a Flat graver to remove this sliver.

  In this chart, are the ranges of bur sizes that are usually used from the smallest to the largest. Of course, they are come in different sizes from your tool supplier, I'm just giving you my own working selection. In Canada, we use the Metric System, therefore all numbers are shown in Metric. 

Here are the thicknesses of my Onglette gravers.

 This is an inferior finishing for a Marquise Setting. My reasoning is that the claws are too wide and they are literally covering much of the gemstone.

 I suggest that a Triangular file with a #4 grit and trim these claws immediately. For the tip of the claws, a #77b Cup bur could be used in the finishing.

 This photograph displays the 'before & after' Bench-Grinding process. Only the very tip of the Onglette gravers that come into use are being used. So why should there be a 'mountain of metal' to do the cutting? 

 Here are two Full Bezel settings showing the 45-degree angles on the outside of both frames.

 After the trimming processes, it is advisable to use your Pumice Wheel of #180 grits.

 After setting the Channel Set stones, I ALWAYS Bright-Cut the inside of the Channel walls, why not you? This gives a clean finish to the ring, and the customer will appreciate your labour.

 This is the cleaning process 'after' the HSS bur cutting that has just taken place. Here I am using a wide #40 Flat graver to remove the sliver of metal. DON'T USE A FILE, please.

  Here is a close-up of a "Full Bezel", you can see the outside 45-degree angle AND the Bright-Cutting that has just taken place. BTW, I purposely set the stone somewhat lower to accommodate extra metal thickness for the Bright-Cutting process to take place.

  I use a soft-core drafting pencil to fill in the pores of the polishing paper. This will make the paper softer to polish the gravers' edge, from a #600 grit to an #800. No more buying extra polishing papers when you can make the changes yourself. Good idea? I learned this method about 60+ years ago.

  Instead of ruining the mini-bezel frames by hammering everywhere. I chose to set each somewhat lower and secure each of them with little 'wire hooks', or 4 slivers of metal. There is (now) no chance of losing any stones, trust me!

 This is the beginning of the Emerald Bezel Setting. I used a simple 'shellac stick' to hold this necklace. In this photograph, I had to greatly improve on the previous diamond setters attempt to set the diamonds.

 When this gemstone repair was completed, my client (jeweller) gave it back to me and had me set the large Emerald by itself. This seemed a very convoluted process, but we both suggested in doing it this way as I needed to have little extra metal to keep hitting my hands and fingers.

 When any setter is contemplating using a hammer in a gemstone setting, it is advisable to refurbish the 'hammer face' clean from any previous bezel hitting. You need a smooth and clean surface at all times.

 I use an "Snap-On, Emery Disk" of 'Medium' grit, followed by a #240 texture polishing paper. (GET THOSE LITTLE MARKS REMOVED)

  This is exactly what I've been writing about, (please read this carefully).

  Before any filing or metal timing of the Bezel, use your FLAT graver #40 and Bright-Cut all around the inner circle of the Bezel.

 It is best to have an extra thick metal that's over the stone, then you can cut a great looking inside cutting edge. If you file first, your chances of Bright-Cutting are greatly diminished.

 I was requested by my client to set diamonds of many sizes and colours into a "Miami Dolphin" pin. My blog detailed the long process that took place, in many areas the setting surfaces were either flat or as well vertical. The 'vertical' areas were near the lower abdomen of the Dolphin. Was this a challenge?

All I was given was a roughly hewn CAD-created outer frame, I then started to drill the holes and then the intricate Diamond Setting.

 This mini-clamp was found in my tool supplier but I had it fashioned into a better and more useful mini-clamp. The little pins were adjusted to grip any item that I had. I believe in changing or modifying any new tool that I find.

 With this ultra-expensive 5.5 Carat Emerald, I Bezel Set it in using a "Reciprocating Hammer" to carefully move the metal over the girdle of this $12,000.00 stone. I was so glad that I kept my camera in my bench to record this challenging project.

  I "Bright-Cut" the inner Bezel, The actual time to set this one stone took almost two hours. I drilled & created lines into the inner bezel wall, as I didn't want the 'stone facets' to 'touch' any of the lower inside sections of the metal. There were inclusions inside the point of the Pavillion. 

 My client told me then that two other setters 'refused' to even touch the stone. This is not for the beginner or intermediate-level gemstone setter. The chances of breakage or chipping of the stone-facets was rated at 95%.

Once you have your 'Bright-Cutting' completed, only THEN you can smooth the outside surface of the area. Try not to remove too much metal. 

 

On this disk I'm showing the preliminary Pave' setting prior to any inserting of any stones. When the drilling of the stones much of those little beads will be made especially created to the round stones. I can easily Bright-Cut without endangering any stones after being set. This process is named as "Pre-Cutting".

 These two Onglette gravers are so handy to have in my graver collection as they are my 'working tools'.

From raw unfinished metal castings, this 'tube setting' ring will be transformed into a 'Wearable Piece of Art'.

My Reciprocating Hammer is a wonderful 'piece of machinery'. From Bezel Setting genuine Emeralds to an ever so soft 'Princess-Cut', Blue Sapphire.

You can see these two little modified 'pins' at the base of the earring stud. This item will never get loose, when the clamps is tightened.

 The handle was bought in a furniture store and the clamping device was seen initially as an extra setting tool. Together, they work well together, agree?

 In my blog, you will find my 'Guinness World Record' being displayed. What tools were used? I used only my soft-metal (Brass, or Copper) 'stone pusher' and Bead-Burnisher that were used ONLY on the smaller stones.

The Bead-Burnishers that were used were not the same size as the stone. I needed a Beading Tool that encompassed the whole pin. If there were the same size, there would be a little 'lip' around the tip of the claw. 

 I gently modified the Brass holding pins, being modified, they prevented any problems from being squeezed tight.

 I'm in a long process of gathering MORE useful photographs in days and weeks ahead. My iPhone 13, has a large inventory of literally 18,250 pictures. When I am satisfied with this 'newer selection', I will then proceed to gradually post them into newer essays.

"gerrylewy18@gmail.com"