Spacing prior to setting of ANY gemstones.

  There are many rules involved in the 'spacing of gemstones' prior to drilling into the metal. These rules MUST BE FOLLOWED EXACTLY AS SHOWN.

 I read a question on Ganoksin a few days ago. "How do I prepare the spacing of holes?"  Here are important rules to follow and how to create mini-claws.

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1) For any reason that you are anticipating setting a fairly large centre diamond DO THAT GEMSTONE SETTING BEFORE YOU ATTEMPT ANY DRILLING OF THE (Smaller) DIAMOND HOLES.

2) The next step is to have that stone set lower than the usual depth, why? You don't want any interference from your 'twist drills' and other round burs interfering with that setting of the large diamond.

3) You need 'complete access' to the placing of the small diamonds.

4) Furthermore if you decide to Milgrain the complete strip of where these smaller diamonds will be situated. THAT IS WHY THE LARGE DIAMOND MUST BE SET LOW.

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 The original writing is still so very important even after I wrote these notes many (15) years ago.

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 Just to reiterate my writings, I'd drop a 'small amount of oil' on the surface of the designated area. I used to use beeswax, but removing the wax was a time-consuming and labour-wasting idea. Our methods do change, agree?

5) Place your stone "Table-side" down onto the metal. Remove one stone, scribe the metal for drilling, and then go to the next stone, until you have all of the 'diamond spots' marked.

6) To repeat, have the distance of each stone be 1/2 the width of each stone. When the holes are finally drilled, that amount of space will be greatly reduced.

7) Please do yourself a great favour and Rouge-Wheel polish all areas before you attempt any gemstone setting. Then afterwards, all you do is a very light buffing...Just enjoy your finished results.

 If you have any questions on this, or any previous essays, contact me at

gerrylewy18@gmail.com

Diamond Setting Techniques taken from my archives. 55 photos

  I avoid using the often-used word, "tricks". I prefer to use the correct terminology "techniques", which they really are. 

 While exploring my often used archives, I found 19 very interesting topics for you to explore (again). They might have been seen previously in my blog-topics, they just never seem to get outdated.

 BTW, since the writing of my essays, I've cancelled my posted "1-855" telephone number. I would prefer if you could use my email address, "gerrylewy18@gmail.com"

 The text of these essays are in small form of printing, why is this? These were all reprints, if they were any larger, the printing would have been blurred.  

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 Here is a "Half-Bezel Setting" it might appear to be thin, but under extreme scrutiny, there is ample amount of metal holding the precious diamond.

 The lower photo of the heart-shaped pendant was held into place on a Shellac stick. All of the graver cutting was done prior to the stone-setting.

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 You can see in this photo that I'm only using the edge of the hammer-anvil. The anvil is literally 'pushing' the metal 'towards' the fragile diamond, but NOT DOWN ON IT. If it was hammered,  the metal would be flattened & be totally compressed, this is the time to Bright-Cut around the rim of the stone.

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 This is the view of mostly all of my "half-round burs". In the inverted position (flat side down) you can easily create a seat, or a bearing for any of your Cabochon stones. Great idea?

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  When I am wax-setting any diamonds, I made a concerted effort to leave a space in between the stones, why is this?

 Here is my answer, any intense vibration due to the casting. The vibrations will easily shatter the gemstones on either side and of course, cause costly damage to the diamonds.

"Lion of Judah". How I spaced & set 325 diamonds for this necklace.

 This is one of those items where a setter wants to capture as many 51 photos as possible before giving this pendant back to the client. I was extremely privileged in having the opportunity in working on this fantastic item.

 BTW, there were over 325 diamonds that had to be set into this pendant. And yes, I had this pendant secured on my shellac stick for stone setting. For display photo purposes only, I had it sitting on my "GRS" vice clamp.

Do you want to start counting all of the diamonds?

The gold weight for this item was not light, without the bail was 43.50 grams. 

  All of the intricate gold carvings were done WITHOUT the use of CAD.

The two Emeralds were the colour of grass, the two Rubies were the eyes. and Blue Sapphires stood for the colours on the flag. I set a Ruby on the Lions hat. 

 I was asked to put gemstones 'everywhere' and of course, I did.

 

For size reference, I placed this necklace on the GRS clamp.  

I had to show you just how large this was on my hand, here it is! Unbelievably large.

 

 Here is my (best friend) and wi-fi computer expert. Even he couldn't visualize the size & complexity until he held it against his chest.

 After the Rhodium Plating process from my off-site Plating Jeweller. I couldn't fathom the beauty of it, in just the yellow-gold colour.

 This was the original colour after my Diamond Setting was finished. I'd call this 'bland' and literally unattractive.

 My client gave me this basic pattern and my mind went working on how to create something that will last for many decades.

 The pen point is to show where future gemstone additions will be made.

  On every section of the necklace, there would be diamonds or genuine stones.

 I removed the centre section with the "Lion", as I had no intention of touching anything else.

 Here you can see how I created 'claws' from a flat circle. There is 'one spot' with no drilling, that is how I created mini-claws all around this circle.

 You now can see what the previous setter attempted to make this look decent, but he totally failed. His 'bead setting' is a testament to not being creative.

 Do you want to count how many diamonds there are on this tray? I used every one of them in this exercise...1-2-3-4- (ad infinitum).

  I was wanting to segregate the sizes of the many stones for the different sections of this ornament.

 

  I put little dabs of oil on the circle and positioned the diamonds before drilling with my 'twist drill'. The oiled surface prevented any loss of stones during the intricate positioning.

 I removed ONE STONE, then inked that spot and continued all around the circle. BTW, I turned off all of my "YouTube, Classical Opera" music and hoped that no phone calls would interrupt my intense 'train of thought'.

  All of the drilling of the stone holes were now completed, thankfully!

 I positioned this disk on my 'shellac stick' with no intention of using any clamping device. I needed 'underneath support' on this very thin disk at all times.

 You can see how I positioned extra shellac behind and as well underneath. I wanted to have this disk RIGID all through the Pave-Bead Raising process.

 I still can't believe the size and enormity of this "Piece of Wearable Art". Just a mind-boggling necklace.

 This is the actual weight of this item, (without the bail).

 My idea at first was to file down all of the indentations, but alas, I thought of just turning it over and using the flat surface. The reasoning would make the disk even thinner than before...Bad move, agree?

 I separated the inner section of the "Lion" and the large round disk & VOILA.

I carefully inked and if I chose not to accept any inked spots, I just wiped that spot clean and made sure those spots were acceptable to my 'creative' eyes.

 I used a round bur to make an indentation for the 'twist drill'. Even then, I had to 'double-check' for the final spacing.

 Each and every area had different sizes of diamonds to use. At the far left of my bench peg were 16 larger stones. In the centre of my bench peg were another 16 more stones, the remainder was for anywhere that I could use them.

 Here is the client wearing his item before anything was started.

 The reverse side showed what I was going to do with this piece of gold. I requested to let him know what my plans were at each step along this long process.

 I had no idea what the original setter was thinking by drilling the round holes? Probably for decoration. OUCH?

 My question is to you, the reader, what would you do differently?

 

 Here is my pen marking any of the spots for twist drilling of the many holes.

 As I don't have any experience with soldering, I gave my off-site jeweller the task of assisting me, in this delicate project. This process even included the Rhodium Plating.

 I had to create in my mind a picture of where to set the genuine stones. What size, what colour and of course WHERE?

 Each step had to be approved by my client, there couldn't be any arguments after the setting has been completed.

 Being a Diamond Setter is not a mechanical operation, but this setter has to be a creative designer as well.