"BEHIND THE SCENES" => Tapered Baguettes setting (26 photos)

 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.

 I find that bending back the longer 'end bezels' is more suitable for getting the burs into smaller areas.

 Using a fine-shaped #004 'Bud' bur essential in tapering the inside opening for a Baguette stone. I want the stone to be sitting 'lower into' the bezel, but not sitting 'on the bezel'. The bezel as well protects the Pavillion.

 Get rid of any rubber mold-cutting remnants, these lines were made during the removal process. Those 'lines' are undesirable for the casting of future rings. Aka UGLY!

 

  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.

 

  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.

MORE details of "PRINCESS-CUT, Diamond Setting", these MUST be read again. (18 photos)

 This topic has been covered numerous times in previous tutorial essays. Once again, I see many questions on our own Orchid-Ganoksin on "How to set Princess-Cut, Square Diamonds".

  With the utmost detail, I will again explain 'what to do & not to do and why'?

 In each corner, at 1/3rd from the tip of the claw is where the corners of the 4-Princess stone will permanently sit.

 For easier access to the drilling of the four corners, I ALWAYS 'open up' the claws as this allows my burs to get to the areas where they are needed.

  As I attempt to close the corners again, the stone will rise up and find it's new resting spot.

    Always be careful that the stone is well placed into the frame where the stone will be forever seated.

 Bring together all of the 4 claws. These 4 claws MUST BE SYMMETRICAL in all of the 4 views. Please be so very gentle, as this stone could be worth thousands of dollars.

 

 At this point in the setting, be weary of the spaces between the stone and the inside of the claws. The Princess stone must sit flush with these claws..NO SPACES MUST BE SEEN.

  Please observe the alignment of the "Girdles" in relation to the Bezel of the settings. A 'crooked stone' just never looks nice, agree?

  The size of hole in the 4 corners, is totally dependant upon the thickness of the Girdle.

 Just for appearance, I put the ring on my steel mandrel. At this point, I suggest that all "finger sizing" should be attended to NOW! 

  Keep the overall widths all of 4 claws nicely trimmed. You just don't need large amounts of metal holding onto the stone, if you have that amount, WHY?

 BTW, I used my FLAT graver #40, to Bright-Cut the inside of the 'VEE' shaped claws. How many Diamond Setters do this 'finishing touch' on the inside of their claws?

 => REVIEW ON SOME VERY IMPORTANT 'PRINCES-CUT' SETTING FACTS <=

 As you can see, I've carved a 'downward cut' from the round bur drilling spot down to the (near) base of each claw. 

 This is where the 'corners of the Princess Pavilion' will be resting. No parts of the stone  should be in contact with any of the rough metal. 

 

 I made a mistake, in not photographing where the Pavillion of the stone will be resting against the inside of the bezel frame. This can be cleaned with a FLAT graver or a large Bud-shaped bur of (at least) #007 in size.

          => REVIEW & OBSERVE <= 

  Again, realign the sides of the stone to the inside of the 'bezel, four walls'. This is the only opportunity that you have in doing this procedure, as this is so important.

 

  With your Pumice wheels of #180 grit  using either Tapered & or Flat clean off any remaining marks from any plier marks remaining on the ring. DO NOT RELY UPON your Cloth Polishing wheels, why?

 These aggressive polishing wheels will only ruin any sharp corners that are needed. PLEASE DON'T USE ANY FILES. They will again, leave stirations 'in & on' the metal.

 You can use your "SNAP-ON" Medium grit, fine textured Emery wheels to clean the ring where required.

    Here is the final photo of the finished "Princess-Cut" Diamond ring. 

Just for some fun, I took a photo of some metal shavings that my FLAT graver used in the metal cutting.

 

(REVIEW) Half-Round burs for Cabochon setting. (15 photos)

   "Cabochon Setting" is easy (only) when you have the correctly shaped burs. 

  As you can see the half-round shape making its appearance, then you know that you've made a new gem setting tool. The number of burs is limited only by the sizes that you need, I usually (always) make more than is required.

  These '1/2 round' burs cannot be bought from any tool supply company as you see here. These were all 'after market' shaped with the aid of my office bench grinder.

  Once you have selected the correct size of round bur, then the 'joy of grinding them to shape' truly starts.

 As you are grinding against a rotating course grinding wheel immerse it into a beaker of cool water every few moments. If the bur gets hot, then the steel gets soft and is nearly useless. If you see the colour turn brown, it too is losing its monetary value and will be unable to cut your desired bezel.

 Please 'feel' the temperature rising at your fingertips. That is a greater method of keeping your burs from getting too hot.

 Once the bur has been used, remove it and place our stone into the new receptacle. The Cabochon stone should sit nicely.

 

 As you saw in the photo above, this diagram explains this process clearly.

    The outside bezel fame is curved to the formation and angles of the stone.

  This is the action that is slowly taking place. The size of the bur is almost the size of the stone.

The outside bezel frame must not have any flat surfaces. The frame MUST CONTOUR to the shape of the stone.

 This is the shape that is required, only curved surfaces must be seen.

REVIEWING AGAIN!

 Any 'smoothing' should be created carefully as the stone could be soft and any metal filing could damage the surface.

 When you are moving any claws closer to the stone please keep the claw tips no higher than the Cabochon stone.

There must never be any spaces around the Cabochon stone.

 If there needs to be any filing to be made, then let it be at a 45-degree angle.

  REVIEW. Keep your claw tips lower than the top of the stone, why is this important? If you snag or catch the claw then the stone will get loose. Does this happen often? Let me count the times.