On a "Scale of Difficulty of 10" setting Baguette stones is very high on the list. I'd place this 9.5 out of 10. There are too many opportunities of failing to set these 'tapered, or rectangular' stones. But even so, they MUST be explained.
YES, I've written the original blog essay some time ago, these techniques haven't changed, nor will they. "Computer Designing" is so very helpful in the setting, but the basic knowledge of setting these difficult stones is 100% necessary. As I keep mentioning "SHORT-CUTS" are not permitted, nor shown here. The videos are nice to watch, but I explain the 'Baguette process' in a text version.
I just 'found' this essay from the "Bench" magazine. I wrote this essay and these diagrams were drawn with my permission.
The hole being seen is where the '4 claw head' will be eventually soldered to the main ring.
The Bud bur will carve out an opening for the Pavillion of the stone depending on if it's a Tapered or a straight Cut/Pattern.
The Bud bur will carve out an opening for the Pavillion of the stone depending on if it's a Tapered or a straight Cut/Pattern.
Always clean out any remnants from the casting processes.
The Bud bur as shown here is starting to cut out the corners of the Pavillion. Is this necessary, if you want broken corners of any stone, then don't bother. The cleaned-out corners are really 100% required.
I'm showing that every ring needs to be cleaned from any casting cement prior to any setting. ALWAYS WORK ON A CLEANED RING. My "Magnetic Tumbler" is what is used continually.
A Cloth Wheel polishing is used to smooth out any file marks. Even using a lapping wheel will give you sharp edges for those two bezels. Get the metal highly polished before you solder the head to the main ring. Again, drop the ring into your Magnetic Tumbler again!!!
This ring MUST BE IN PRISTINE CONDITION prior to any soldering.
What do those arrows signify? It is used when you are using your "Reciprocating Hammer" is being used. The next few photos explain 'how & where' the hammering Anvil will make contact.
(My photos are not in sequence, my sincerest apologies).
Rotate the anvil as I want the widest part of the anvil to make more contact. Never have any part of the anvil get too close to the stone.
I always have the metal 'pushed towards the stone', but NEVER on top.
Rotate again, as the thinnest section of the anvil will move the metal.
To reiterate this last sentence, never let the metal get squeezed thin. It's best to keep the metal with some thickness for 'metal trimming'.
I prefer to do ALL of the hammering on a steel anvil, why is this? On a wooden ring clamp, the 'hitting power' will get absorbed and not be transferred to the ring.
As you can see that there is much space between the stone and the bezel. This is not a good setting practice!
There again are more spaces around the ends of the stone. This is still not acceptable!!!
How can these' spaces' be avoided? My suggestion is to drill 3 little spots INTO the end bezel. You judge where each of the end facets is located. Some setters just cut a long line and hope for the best. We don't set stones by 'guessing', but by planning, agree?
There must be planning in every aspect of setting Baguettes, 'guessing' is not in our vocabulary.
A small round bur of #004 or the exact thickness of the 'girdle' is required to do the 'bearing' cuts. Place the stone inside of the opening as a guide for the bearing cuts. Having a Tapered stone requires much planning before any cutting is to be started.
The width of each round bur cutting, plus the positioning of the bearing needs patience and skills. Hence a 9.5+ on the 10 Difficulty Scale is a normal rating.
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