MORE "Creative metal cutting" using ONLY your Onglette graver - 14 photos

 In this additional essay on graver cutting, I think that more notes are needed. 

I wanted to put these 'extra notes' into one long essay. After thinking that so much is required in describing Onglette Cutting, I proceeded in using more photos, BUT WITH MORE (DIAMOND SETTING) INFORMATION.

 ------------------------------------------------------------------------

 I'm showing how the bottom of the Onglette graver #2 that has been 'rounded' to create the new Beads.

  

 This new tool only has one purpose and that is to create Beads and no longer is it for metal cutting. Beads are made to cover the edge (Girdle) of the stone, but never just against it.

 Once the Beads are moved over the stone, all that is then required is to make them rounded or Burnished. This singular process gives them additional strength for holding the stone in place.

How do you round off the bottom of the Onglette graver?

 You should place your graver on an Emery board  #240 grit, as shown here. This will remove the fine cutting point and transform this into a Bead-Raising.

 When you are attempting to initially cut the lines along the metal, make sure that the graver cuts ALONG THE EDGE OF THE HOLE. What you are aiming for is a deep line of clean cutting.

    These triangles (which will be future Beads) must be created with equal width and size.

  

  I used an "Under-Cutting, 156C" (measuring at half the stone size) bur to create a seat for the stone. If I didn't have this 'seat', I could could very easily break the soft stone with too much applied pressure from the Onglette graver.

 All three new beads MUST BE OF THE SAME SIZE, WIDTH & OVERALL SHAPE. If not, remove the stone and recut accordingly.

As you can see that there is a clean trough just behind the three new beads. This is where the Beading Tool was moving the metal.

      What "graver shapes" are needed in this exercise? From my point of view, I always use a fine point Onglette #1 or #0 for the 'preliminary metal cutting'.

 For the very first thing I would do is to draw an outline on the metal with the desired shape and its location on the band.

 As without this "initial drawing", the final shape will be made with many cutting & designing errors.

 These three triangles at the corners, are the 'beginning of  our new beads'.

 The 'preliminary line cutting' should look like this, I suggest that the metal should be polished ahead of time. If the polishing is done after the cutting, the polishing wheel will quickly ruin the many fine graver-created edges.

 "Graver slippage" is a common feature in 'rough-cutting'. Don't be worried, as I wrote, 'after a while your techniques will improve with practice'.

  The 'stone selection' is very critical in finding the correct size and shape. All of these two requirements depend upon the thickness of the ring, if the ring is too thin, the stone will protrude from underneath. 

 -----------------------------------------

 The stone on the right has a very wide & think girdle and it isn't conducive for a quick stone setting procedure.

 The stone on the left is much too deep and it isn't for 'bead-setting'.  Even I wouldn't attempt to try and set this stone. 

------------------------------------------

 If you think that these two stones are going to be set easy? I wouldn't attempt it, find newer replacement stones that have a 'diamond shape', WHY?

 The thickness of the face of the cutting blade is so very important in this delicate metal pattern.

 I've seen some setters make videos showing a cutting face so very thick, I wonder how can a delicate pattern like this be sculptured. (Plus, there aren't any spoken words in describing some of their delicate instructions).

 My Onglette graver is thin, how thin? I use a graver-face of 0.21mm's. I need this thin face to cut into every corner of the three sides of this Triangle. 

 I won't start the cutting at the corners, but the cutting has to be started in the middle of the corners and working out towards the ends of each line.

 The 'starting at the corners' will lead to extra cutting lines that leas to difficulty in stopping of the graver cutting. This leads to unnecessary lines that are difficult to repair.

 I know that this seems a like a convoluted process, but 'graver slipping' does often occur in and on the metal. DON'T BE TOO OVERLY CONCERNED.

 With this very fine graver-tip how can you, as a setter or a jeweller, execute this delicate cutting pattern?

  In using an Onglette #0 or #1, I will cut the lines starting at mid-point towards the corners, terminating your cutting at the corners.

  All together, these essays will educate and increase your knowledge of gemstone setting.

There are three things to learn in my essays, "PRACTISE, PRACTISE & PRACTICE".