Bead Setting (great amount of details) - 17 photos

This essay is basically about "Bead Setting", starting from 'plotting the stones' until this ring is thoroughly completed. 

 Again, this tutorial essay does not use "CAD" Computer Aided Designing in the methods used.

 The "Level of Difficulty, is 15-20 out of 10". This project is not for the beginner in Pave' stone setting.

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 This layout of genuine stones of Garnets, Diamonds and a huge Blue Sapphire is to be Bead-Set on the top of this Gents signet ring.

 At first glance, it looked complicated to the beginner,  it was a good challenge for me. All I did was 'prepare and plan' for the many steps that lay ahead.

  To avoid the constant metal glare, I just 'roughened' the surface by using Emery paper. 

 As Diamond Setter, I already knew of the Beading layout which guided me. The ruling was to put Beads one in each corner, then putting 2 Beads in opposite corners (as shown). 

 I 'inked' these spots as another guide. Once this was done, I started to drill holes for the placement of the 4 Diamonds. This was so critical as no mistakes were even thought of.    

  

           THERE WERE 'NO SHORT CUTS' IN THIS PROJECT.

 My 4 diamonds were positioned lower into the metal, why was this? I wanted to create 12 beads in total and each of them had to be strong and not just simply 'little hooks'.

 This photo is the epitome of s great looking Pave' style of Bead. Each Bead had to be strong in strength and looking like a 'mini-claw'. 

The front of the Bead had to overlap the Girdle of the Diamond. My teacher taught me that if a section of the stone is covered, then the Bead was created with absolute security.

 The large Blue Sapphire had to lowered still further into the metal, we shall see the reasons shortly. I bead-burnished the many beads after setting any groups of stones.

 These are my working inventory of setting tools and burs. I kept all remaining tools out of the limelight and not to confuse my eyes which tool was where. I kept my 'setting bench' so very orderly.

 As I had a rich supply of Garnets to sort through, I selected only the stones that had the 'same size and colour' shading. I was looking for 'perfection' and anything less is not warranted.

  

  On each of the four sides are to be 2 Garnets. I drilled 8 'little partial-holes' and decided where each of these 8 stones should be located. 

 I didn't drill through the metal, but just aligned the twist-drill to start the drilling of the 8 holes. You can see that this ring top is not square, this was a definite layout problem.

 

  To avoid dropping or misplacing any of these Garnets, I only Bead-Set 2 stones at a time. "Time in looking for dropped stones is time lost". That is why I set only 2 stones at a time.

  After a few stones were set, I then and only then Burnished these Beads as many of them as I found necessary. 

At the very corner of the Diamonds, I used my Onglette Graver #2 and extended that one deliberate cut right to the corner of the plate.

 You can see that the Garnets were lowered into the metal as low as possible. The lower than I made them, the results would be a stronger bead.

 On two sides there would a good distance between these Garnets. But on the opposing side the stones were almost 'touching'. We are dealing with a Rectangular shape and not a square, spacing was indeed a problem.

 I put little unseen 'wire-beads' inside the hole and against the Blue Sapphire. I again began to think two steps ahead in my stone setting design.

 I "Bright-Cut" around the outside of the plate, but not touching anywhere else.

 As this was a Rectangular shaped top, I had to accommodate the metal cutting for this problem continually.

 My client in his 'infinite wisdom' suggested that instead of cutting metal, I should fill in the inside of the plate with mini-holes. I saw his idea was acceptable and I liked it as well. It was done!

 After the plate was polished with Rouge, this was a great idea from the earliest beginnings. He & I were just so happy with the results, do you agree?