(Dis)Ability-(MY OWN) Dyslexia

 At the very early age of my school years, I couldn't manage to write, do basic arithmetic, or learn new problem solving techniques. At an age of 40, I discovered that I was Dyslexic. Even at an early age of 5, a family member said to our cousin that "Oh, Gerald, he is a dummy".

 I learned that this was the reason of taking so long to learn Diamond Setting, this skill took me 9 years. Today I am one of the leaders in "Bright-Cutting and Graver usage" skills, these are the words from our very own "Alan Revere".

  This gem-setting blog is the testament to the fact that anyone can achieve anything that they put their mind to. I don't say that I have a (dis)ability, but an Ability. 

(You can Google "Dyslexia" for more interesting facts.)

 When I write an essay about gemstone setting, it is I who is reliving the many techniques in my mind. Some essays will take me 3-4 days of editing, rewriting, photo taking and further photo-editing to an extra 4-5 days. Then checking again for any errors in stone setting techniques or discrepancies. Every long essay could take me at least 7-8 days on average.

 Each blog essay is a new challenge with this fantastic 'ability'. I for one, wouldn't change a thing. Even with this wonderful 'ability', this blog has exceeded my wildest expectations of being seen in 94 countries and being seen by 66,675 jewellers. 

 I am also a "GUINNESS WORLD RECORD" holder for creating the worlds most valuable Poker-Chip, May 31, 2013. Not bad for a guy who is Dyslexic.

 Here is a list of some people who share this fantastic and great 'Ability'.

 Alexander Graham Bell, Whoopi Goldberg, Thomas Edison, Henry Winkler, Pablo Picasso, Harry Belafonte, Muhammad Ali, Cher, Harry Potter-(Dan Radcliffe), Albert Einstein, Anderson Cooper, Michael Faraday, Stephen Spielberg, Henry Ford, Pierre Curie, Winston Churchill, Carl Jung, Richard Branson, Jay Leno. Leonardo Da Vinci.

 These people are/were 'very creative' even with these 'learning abilities'. I learned how to operate an iPhone, exploring the problems of using a computer and not to forget 'designing' this blog.

 "There are no 'disabilities' in our lives, just a few 'bumps' on the long road of life".

gerrylewy18@gmail.com

"SKELETON" watches. (4 photos)

  These 'Skeleton' watches are just a wonderful sight to behold. These four watches have no dial on the cases but they easily show their inner movements, I just had to capture their 'inner workings'.

 As I was taking photos through a store window, there is a reduction of the clarity and light reflection on the watch crystals.

 

 I really tried to minimize the 'store lighting' on the watch cases, at least you can see the numerous gears and mainsprings. Hoping that you enjoy the viewing.

gerrylewy18@gmail.com

Why use gravers in your "Bright-Cutting"? (47 photos)

 As I was taught 65 YEARS ago to "Bright-Cut", I found this process as fascinating today as it was then, (circa 1965). 

 In my vast collection of silver designs in my iPhone library, I will use one item that enables me to demonstrate the many details of BRIGHT-CUTTING. I enjoy using my 'Heart-Shaped" Fish-Tail pattern pendant as my blog display.

 I will not be using any form of "Computer Aided Designing", aka CAD.

 The Scale of Difficulty is a 9.5 on the "10 scale". This is a testament to the enormous complexity of using two gravers, they are the Onglette & Flat gravers. Shall we now start?

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 Here are my collection of gravers; I always keep a full range of the gravers at arms reach, if one graver is not up to immediate standards. I'll pick another at a moments notice. There are Onglette, Flat and Bead-Raisers in this collection.

 They are all "HSS" aka "High Speed Steel" these are not Carbide (soft steel) as these will have a higher tensile strength for extra long usage.

  From a simple wax form, I will create a silver "Piece of Art" for this demonstration.

 There are two examples of metal cutting. One is to Bright-Cut around the edges. The other is the more intricate actual "Fish-Tail" pattern.

 This is the 'three-bead' Fish-Tail, this is the more delicate and very ornate pattern. NO "C.A.D." IS USED HERE, all I used were just two shapes of gravers; Onglette & Flat, nothing else.

 In this photograph you can observe the preliminary metal cutting for the "Three-Bead" pattern. I used only a FINE (0.33mm wide) Onglette graver to start my cutting.

 For this angled metal cutting I used only my Onglette graver #2, this graver is will be used to cut ONLY  on one side. (The actual shape is seen in the next few pictures)

  I purposely avoided in setting many gemstones, I wanted you to see that I used only TWO BEADS in the gemstone setting. 

 Here is the shape of my graver that I used for this design. You can see the angled that were modified expressly for this essay. Only the right-side is meticulously polished for this metal cutting.

The left side of this graver is not to be used, therefore it isn't cleaned for ANY METAL CUTTING.

 In an up-close picture you can see how the graver is being positioned on the #4/0 Polishing Paper. I don't call it an "Emery Paper", as it isn't used as such. 

 

 The 'shiny' area is where the Soft-Core pencil 'rubbing' will take place and will fill in the pores of the paper plus it will make the paper be from #600 grit up to #800 - #900. 

 I also use my Flat graver on this same polishing paper.

 Here is my Soft-Core pencil starting to fill in the pores of the paper, transforming to an estimated #1,500+ grit.

  On this polishing stick, I will use this rubbing everywhere, as my graver must have access to the 'pencil application'.

From a basic wax, to a silver pattern will take many 'steps' in production.

 Although there are only TWO BEADS being shown, the 'securing, third bead' is almost invisible. That bead is created with an Onglette #1, when the stone is set.

 I'll make a 'mini-bead' which is located just at the 'curved' section.

  I used a FLAT graver to create a 'corner' where the two sides virtually 'meet'. Here is where many years of experience and constant experimentation are needed.

 On many samples, I draw lines where my future metal-cutting 'might & could' be used. If I don't approve, all I do is to wipe off the ink-lines and start again!!!

 On the curved sections you see a reflection of beads. This shows me that the gravers are doing their spectacular work in metal-cutting.

 I will be using my Bead-Burnisher to round the new Beads. When all of my metal-cutting has been completed, then and only then, will I set the many gemstones.

 My FLAT graver can be used only on a 'straight' section, but never on a 'curved' areas.

   As I near the point, I will aim my Flat graver where the two sides converge.

 I won't go onto any detail of 'setting any stones', but I'm aiming to show that the gravers are a splendid addition to my tools that I constantly use.

 My 0.33mm's wide graver is essential in my initial metal cutting.

 I used a small bud-shaped bur at first, that is shown on the left, but for this demonstration, I chose not to continue further, as it would not be a wise decision. A finely pointed and thin graver is 100% supreme.

 Some areas of this 'Heart-Shape' had extra metal, I just added new metal cuttings to be used as "decorations".

 

 I added extra decorated patterns in between the gemstones in the Heart pattern. This was my last minute decision, only gravers can give me what is needed.

 

 Here are my two gravers that I constantly used in this demonstration. These were modified extensively with the aid of my 'Bench-Grinder'. I avoided any other instrument in the shaping processes.

 With this ultra-thin graver of 0.33mm's I can very easily cut a line without removing too much metal.

  I wanted 'depth in my cutting' that is why my thin graver was my chosen tool.

 

   The thin graver allows me to cut as deep as I can, but it won't remove any 'width'.

  What you see is a 'shaving of metal' being extruded with the aid of my highly modified "Right-Sided, Onglette" graver. 

No Flat gravers are used anywhere near a curve in a pattern, why? It will simply destroy the whole design as a YUK pattern!

 This photo shows the action of the graver in regards to the cutting processes at work.

 On the far 'left' cutting you can see the preliminary cutting that was initiated many minutes ago. Now compare that to the Bright-Cutting that has just taken place.

 There is no possible reason to use a Flat graver in these 'tight curves'. DON'T EVEN THINK OF DOING IT. I wouldn't, then neither should you!

 The markings in the line-cutting are the results of having a graver coming into contact with the metal. These are not defects, but only reflections in the pattern.

  

 I used a Flat and Onglette gravers extensively. I had to make 100% sure the cutting face of the gravers were ready for cutting all the time. That is why I had many gravers at my disposal just in case one graver got worn down.

   

 Was this hard to create? YES! It took me about 9 years to learn and another 5 years to perfect the remaining minutia of graver sharpening & Paper-Polishing, plus keeping the gravers in constant pristine condition.

 Again, remember that NO CAD was involved anywhere in this demonstration. I used no microscope in my gemstone setting either. 

After Cataract surgeries on both eyes, I have been given an excellent bill of health of 30/20, instead of 20/20.

 I could write MORE paragraphs on the many levels of Bead-Setting. I was only interested in the uses of the "GRAVER".  

In this photo, I would be using a Flat graver to emphasize another level of metal cutting.

 

  Just what does the Flat graver look like?

 The lower graver is the Flat  shape before being modified on the Bench-Grinder. The upper three are Onglette. All four gravers are 'HSS'.

  The Flat graver is now in the process of being shaped and has to be kept cool with water.

 

  I'm not too concerned with the length of the, why? I can place any graver into my 'adjustable' graver handle.

  Any length of graver is still a good graver to use.

 Here are my full range of "Polishing Papers" that were used in this essay.

 I was pleased in 'saving' these photographs for this blog and keeping my 18,650 photos in my iPhone library. What would happen if these were not saved in the "Cloud"? No essays for anyone.

gerrylewy18@gmail.com