Heart-Shaped pendant, "Fish Tail" pattern. (no computer was involved) => 85 photos.

  One of the most beautiful and very difficult graver cutting patterns ever, is named the "Fish Tail" setting. It has a difficulty level that truly exceeds the "10" scores. I would place it at a '18, out of 10', maybe even higher yet.

 I have 85 photographs for this extensive tutorial essay. This, my jewellery friends, could be my most intricate collection of photos for just one essay!

 The simplest number of gravers will create the pattern that you will see being formed. This will be using an occasional bud-bur that's going to be used for (an occasional) metal carving & creating new beads.

 I must also inform you, that as I was downloading these many photos from my iPhone from 4 years ago many of the pictures were 'out of sequence'. My humblest apologies for this unfortunate error. 

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 What tools are required for this "Wearable Piece of Art?

 I'm using only the Onglette #1 and #2 gravers, including a Flat graver #40, I will use a bud-shaped bur extensively in this essay. These will be used to create beads and to improve on the overall design patterns, if and where necessary.

 In this photo are the 'after casting' and as well the 'finished' item.

                                        

  I'm showing in this essay two kinds of intricate cutting designs. The first will be this curved "Bright-Cutting" pattern, and the next will be with more intricate & ornamental cutting. 

 This curved design is quite easy to master in the cutting process. The intricate "Fish-Tail" itself is the more difficult pattern to work on. I have many photos of both that you will easily understand.

 Both of these patterns allow either Diamonds or soft Gemstones. But in either case, all of the metal cutting should be done prior to the actual stone setting. 

 

 If the gemstones or Emeralds are set prior to metal cutting, the chances of breakage will be phenomenally high. Please don't take the risk of metal cutting after the stones are in the metal, I wouldn't do this, so why should YOU?

 After your metal cutting, I ask you to polish this metal with your Rouge, Polishing Wheels. Once you set the stones, all it needs then is a 'gentle & delicate polishing'. 

 You can see where the Bead-Burnisher is being placed to 'round' the beads. This tool pushes down the bead tightly onto the stone.

 Here you can see with no effort, how clean the curvature of the metal cutting has taken place. I even Bright-Cut inside of the Heart shaped pattern. 

 I'm only securing the stones with only two beads, not anything more to ruin the pattern.

 On the curved pattern, I used a Triangular file with a #4 grit, (fine texture). Following this process, I'd use my Tapered Pumice Wheels @ #180 grit.

 I'd like to "Bright-Cut" everywhere possible. My Onglette #2 graver will do all of the metal cutting.

  I prefer to have only one side of the graver highly polished, then all of my efforts in cutting will be only one side. The graver itself will be highly polished, just on one side. Don't use any Flat Graver in this process.

 Since this Heart-Shaped design is full of curves, a Flat graver is just not required. I'm using my Onglette #1, to do all of the 'Rough-Cutting'.

 

 I'll be doing this "Rough-Cutting" 2 or 3 times, each time digging in a bit deeper as I go around the whole pattern.

 This extra cutting, or as I call it "digging in" helps & accelerates the ongoing "Bright-Cutting" processes. 

 In this photo, you can see the beginning of the actual Bright-Cutting being initiated. This cutting is akin to having a mirror along the edge of each stone.

 There is absolutely no possibility that any cutting can be initiated once the stones have been set.

 With the Onglette #1 graver, the beginning of the "Rough-Cutting" is slowly taking place. Those little triangles are the beginning of 'beads' in the making. This will be a 'three-bead setting', it might look weird, but that's what we will achieve.

 This is an out-of-sequence photo. Those black-ink lines are meant for a purpose, let's explore these in the next few photos.

  This 'rough-cutting' is shown all around this design. There isn't any other graver to use than the Onglette #1 at this point in construction.

  Don't take 'long cuts' with your graver, I use only little cuts, one at a time. These little cuts will give you much control while doing your work.

 Oh, now this is starting to show some success in the cutting. This is where the FLAT graver will shine in its usage.

  

 Those little triangles that you saw just now, will now be 'BEADS in the making'.

   I'd like you to explore other design features in between the gemstones.

  I chose to create something interesting with my Onglette #2 and a FLAT graver.

The spacing was too extreme, but I solved that problem by adding more decorative designing.

 

 The FLAT graver cuts look like there are additional stones being set.

   Here is the up-close view of the "2-bead setting".

 This is the same pattern before the stones went in, nice? I agree!

 "Another variation is based on the same theme". The stone setting was the last thing to be done, I carved the mini-beads with the help of bud-burs #1 or #2 "No Onglette gravers" were used in between the diamonds.

 When the bud-bur carving was completed, I just burnished every one of the the tips.

   FLAT gravers were used extensively (everywhere). From the "Rough-Cutting" to "Bright-Cutting" now you can see those NEW BEADS taking shape.

  Remember those rough lines from a few photos back? I used a bud-bur to cut deeper into the metal, then I used my FLAT graver to make the cutting GREAT LOOKING.

   Everything that has been done until now, had a purpose.

  The bright surface from using the FLAT graver is now like a mirror.

 This photo shows what a little polishing can do to the metal, what next? The stone setting is the answer!

 You can easily set Diamonds, Blue Sapphires or Emeralds with no danger of breakage. In the next few photos, you will see the bead-setting tools that I used.

 How and where would I hold this fragile item? I'd put it on a shellac stick, but not on a mini-vice clamp as this method will leave deep metal indentations everywhere.

 Here are my assortment of "Glardon" FLAT gravers, #39 & #10 are too narrow or thin, I suggest HSS "Glardon" #12, or #40 (not shown).

  These are my Bud-Burs at work, I use these Bud-burs only at these spots.

  DON'T USE ANY ROUND BURS in this long duration cutting process, you need a 'long pointed' shaping cutting bur.

    After much work, the 'end result' speaks for itself.

 

   Here is another view of the "decorative designing" being added.

  I created this 'before & after' view purposely, as an example.

  Dig deeper at the outside edge, and let the wide area of the bur cut at a shallow angle.

 After all of the Bright-Cutting has been completed, all that is remaining is to set the multitude of gemstones.

 This is my very up-close view of my "Bead Raising" graver. The 'rounded point' prevents any breakage during any 'bead-raising' process.

  NOTICE: When you are starting to "rough-cut", have your graver to get right into the hole. Don't let any 'metal residue' remain on the edge, this is so very important at this stage of initial graver cutting.

 

 This is where you need to take short 'jabs' while cutting on a curved section of metal.

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 My teacher taught me one important feature in 'rough-cutting', "NEVER  TILT YOUR GRAVER ON AN ANGLE WHILE CUTTING".

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 The graver blade must be held vertical to the metal. Get the graver point to start cutting 'from one hole to the next'.

  I just relish the idea of seeing the curvature of the Onglette #1 doing what has to be done. 

 I always cut, cut and again cut, each time going a little DEEPER.

 Once around, is not enough before you start the "Bright-Cutting" processes. This is where the "Difficulty Scale" numbers starts to increase, this not an easy task in metal cutting. 

 With a very small Bud-shaped bur of #2 let it get in between the two new beads.

 Use your FLAT graver cutting into a semi-circle, clean it so it 'sparkles'. The next step is to use your Triangular file of a #4 cut to shape the outside of that semi-circle. 

 Use your preferred Bud-bur to start the 'outside of the curve'. Then you can use your Triangular file to finish off the new curve.

     You can nicely see a mirror-like reflective shine on the FLAT graver cutting.

 "Before and After!" Is this a "WOW" effect? This where the "18, on my Difficulty Scale, out of 10" comes into play.

 

  If you want to learn how to do this same pattern-design, allow many MONTHS. ✌😄

 Just a little technique (not a trick) into the "2-bead setting", is to lower the Girdle well into the setting hole. This will prevent any eventual loosening of the stone, then the bead can be moved over that stone with little effort.

 

  If there is a possibility of having too much inside metal, make good use of it, how? Be creative and make more bright-cuts to the 'extra metal'. You don't have to cut it away, explore different patterns. 

 "Play & improvise, be excited at your bench, get your mind out of the box".

 Mostly all of my gravers have the same length of shaped-metal. Keep this number (23.19 mm's) as a reference.

 

  This is the extremely front point of a Bead-Raising graver. You can barely see the rounded point, it is there to prevent any breakage during the bead-raising techniques. 

  You can see the 'uplifting' at the point of the graver.

 This is the up-close view of the 'rounded point' of the graver. I use this only for moving the new beads over the stones. The 'Rounding effect' is accomplished on my Emery paper of  #240 grit.

 

 The HSS, Onglette #2 graver has the 'metal strength & width' that is needed in the bead-moving processes.

  In the shaping of the graver, I use only a #240 grit, "Emery" polishing paper. Don't use your 'Oilstone' for this reshaping.

    Everything in this photo is showing that the setting of the stones is ready to start NOW!

  Bright-Cutting is now well on it's way to make this Heart-Shaped item looking GREAT. You must start your FLAT graver cutting where the new beads are located and travel towards the hole. 

  Where the Bud-Bur was used in between each setting, this too MUST BE "graver cleaned".

  Every spot MUST BE 100% "SHINY, like a little mirror". Only your FLAT graver can achieve this metal carving.

 

 I've been lowering each stone into the hole, then the 'bead-moving' will not have any stones to get loose.

How do you actually set a gemstone in a "Fish-Tail" design?

 You may use a "156C" (Carbide steel) "under-cutting" or 'bearing-cutter" bur. With any beaded area, this bur will make a 'seat' for the gemstone with no effort for you! 

This bur will also make a bearing-cut in the angled Bright-Cut areas as well. Once you get the rhythm of using this bur, many aspects of setting stones will be common place for you.

 

All that you need is to visually show that only two beads are holding the stone.

 In all actuality, there are two more angled 'unseen metal claws' holding the stone as well.

 

  This intricate setting pattern will retain it's shape during the long process of setting.

   I can easily set soft Emeralds with no difficulty of breakage.

  This is the original wax form. I decided to fill in the center of the two curved sides, these two sections 'left much to be desired'.

  I spent much time in repairing this wax before casting. Many times when I see and like a wax form, I can visualize where I can repair any defects. 

This (barely acceptable wax) was deleted form my 'usable wax' inventory.

 If one wax is deemed defective, I have many more, as a backup! Just because a wax looks 'passable', doesn't mean it's good to be used. 

 Always consider the weight from wax to metal casting. If the wax is 0.90 grams then multiply that number by 14 to get a 14kt metal weight.

 

 If you prefer to use a Triangular file with a #4 grit, please use a Pumice wheel of #180 grit.

 My FLAT #40 graver removes any remaining marks on the metal.

 When I found that the inner metal was too wide, I decided to cut another line on the inside. (just another way of  improving on the original design.).

 Same as the previous cutting lines, I used my bud-shaped bur to separate the two setting areas.

 After the initial 'separating', I started, as shown before, that my "Bright-Cutting" just got started. The Bud-bur is my 'work-horse' in separating the two holes. There is no need for a file, as a file leaves striations in the metal, which maybe difficult to remove.

 I preferred to dig deep into the metal, as I needed a chance to initialize my "Bright-Cutting", as I mentioned before.

 

 Just something interesting: I used only ONE BEAD to set the stone. The opposing side is where the stone is set lower and you can improvise as often as you can. 

 I use a bud-shaped bur to completely remove any remaining metal prior to setting ANY, or ALL of the stones.

  Here you can see the Bright-Cutting being worked upon. No stone setting should be entertained 'anywhere' at this point.

 I like to say that the Graver-Cutting is like a "Hubble" telescope mirror or now the "James Webb Telescope" mirror. It's so bright and this area still hasn't been polished.

 To achieve this level of Bright-Cutting is not an easy task to learn in one day. It took me literally many months to grasp all of the subtle nuances of metal cutting.

 This tutorial-essay has taken me many days & hours of writing, text-editing and photo-editing.

 Maybe one or two people will eventually learn some of these techniques and apply them to their own gemstone setting library of displays.

  I enjoy writing, as making a video can be rather a difficult task for me, as I am Dyslexic.

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 If you have any questions, you can contact me at "gerrylewy18@gmail.com"