I just found some used & never-before-seen photos of Bezel settings. Many of them are very relevant to this topic, it would be a shame if I didn't show them.
This is the preliminary shape of the "Emerald Pendant" after I did the diamond setting.
This is the 'after' photo with the pendant chain along with an assortment of other diamond areas.
Three other 'setters' refused to touch the 5.5 Carat, Pear-shaped Emerald. This Emerald was an ultra-delicate stone to work with, the breakage was estimated at ONLY 100%.
The Level of Difficulty was about 75 out of 10. Twenty-five years ago the Emerald replacement cost was $15,000.00. In today's market... pick a number.
When I had my office, I was confronted with a myriad of projects to work on. Here are many of them. My camera was an integral tool in my bench, without it, you wouldn't be seeing any of my projects.
I purposely drilled holes into the two ends of the Bezel as this is where the points of the stone will lay.
This Amethyst stone had a Difficulty Level of 10 out of 10, this was due to the two sharp corners. Not to mention the very thin Bezel walls, OUCH!
Here is the reverse photo of this insanely challenging necklace to work with.
Just to set this Emerald this was done on a Sunday when I turned off the telephone, and radio and had no visiting clients. Three hours of total quiet.
You can observe the few mm's of separation between the Culet of the stone to the base of the Bezel. I even measured the clearance remaining to me.
When all of the Laser soldering was done, I started the Emerald Setting.
To avoid any of the 'pendant chain' interfering with my fingers and tools I requested that I have a secure base on my shellac stick for the Emerald frame.
"JOE" was a three-piece construction unit, there were multiple diamonds set into white gold. Then as everything was assembled, I set the large diamond inside of the "O".
Just as a finishing note; here is this pendant necklace after the "Rhodium Plating" was applied.
Bezel Settings come in many shapes and sizes. Some of them have 'shared, side bezels' to contend with. The interesting feature of this ring is that ALL OF THE CORNERS HAD TO BE WELL CLEANED.
I used basically bud-shaped burs to clean the corners & edges of the Princess-Cut stones.
I kept the plastic envelope for the appraiser to evaluate Ruby. You can see how thick the claws are and not the 'spear claw' styles now seen these days.
In this pendant, I set the diamonds first and prepared the under-bezel for this irregularly shaped stone. After my little diamonds were set I polished the frame and prepared the "V" claw settings. All that remained was to insert the large stone.
I had the four Princess-Cut set into the ring and polished the Tube setting. To set the large diamond into the Tube setting I GENTLY folded the Tube around the diamond.
Many times these Bezel settings required much thinking beforehand. "what to do first, second or even next.
I ALWAYS 'BRIGHT-CUT' AROUND ANY TUBE-LIKE SETTING. To have thick walls around the stone is not appealing to the wearer.
I approximated the dimensions of the diamond to the Bezel frame.
Again, you can see the "Bright-Cutting" around the centre diamond. All of my Round stones have this quality feature.
One setter that I knew just 'filed and trimmed' the round frame. I never went back to him for any stone-setting assistance again.
I wasn't pleased with the 'short-cut' of quick finishing.
Two square-shaped Bezels and a larger bezels, which came first? All three of the Bezels were carefully prepared for eventual setting. The 2 smaller stones were set LAST, and the centre stone was set FIRST. I have another display for this pendant further in this essay.
Even with this Semi-Bezel, I did my "Bright-Cutting", but the thickness of the overall frame required a moderately wide shape. Of course, all Channel Setting was done beforehand.
All of (my) Tube settings were Bright-Cut, even a simple Tube-setting received this special attention.
"Oh my Gosh" do I ever stop my Bright-Cutting? My 'teacher & subsequent training' taught me to take extra care in my work.
In this photo, I hadn't started the inside cutting yet.
The "Semi-Bezels" are ready for the 'Tripoly' polishing as I have to 'file and trim' all of the 'End-Bezels' No two bezels must inadvertently touch each other.
When all of the cutting and filing is done THEN I'll Rouge polish the whole bracelet. I kept the metal thick just for the cutting processes.
I don't use my "156C" Carbide, Undercutting bur, (I only use the HSS (High Speed Steel) bur instead). The reason is that those 156C teeth are too close together and don't cut deep enough.
In preparing the Tube Bezel the metal carving is so very important.
Just for "Tube Setting" earrings, I chose to use the "Tube Collet" holder as this will give it more strength and security while setting one stone.
I examined these two Opals and admired their Bezel frames, another gemstone setter got the project.
These 'Straight Baguettes' need to be carefully 'hammered & tightened'. This is still 'Mini-Bezel Setting', or even 'End-Bezel' whatever the name, it still needs complete care. "Bright-cutting" is always the finishing aspect of the Bezel Setting.
THE "RECIPROCATING HAMMER, ANVIL" MUST NEVER TOUCH THE DIAMOND. This is still Bezel Setting and much care needs to be used.
REVIEW on this Semi-Bezel.
Always keep the ends of the Bezel wall 'well-trimmed' and razor sharp.
Any preparation for setting a square stone takes many months of training. This can lead to a very productive income. But in the Bezel setting square stones are at '15 out of 10' on the Difficulty Level.
The first thing to do is to clear the corners of the Bezel, and then the Pavilion Facets need attention.
I chose to set the outside diamonds first, then prepare the inside of the Square Bezel. (The Square Bezel needs a fully detailed essay on how this was accomplished.)
Here is the completed item, I gently Bright-Cut the inner Bezel frame.
My client didn't want any 'extra' cut & bead work to be done. less costs to him. I just spent more time setting the three Bezels. These Bezels had to have the corners cleared of any remaining metal.
This Level of Difficulty is 7 out of 10. Keep the thickness of the two walls uniform. Don't ignore any 'pre-polishing' before the stone goes in.
The two walls MUST BE 100% WELL POLISHED & CLEAN.
In setting any Genuine Emerald, the chances of chipping or total breakage are mind-boggling. I always keep my 10x or 15x power loupe near my fingers.
Even to refuse to that stone, why? If there are too many inclusions present, I don't want to pay for those inclusions. The setting looks great, in an End-Bezel there is much planning to be done.
DON'T HAMMER ANYWHERE NEAR THE STONE. I'd use a metal 'pushing tool' instead.
This photo could display either a 'Gypsy-Flush Setting', but this pattern falls under the topic of the Tube setting. I could name this process either 'Flush or Tube Setting', either of these names are correct.
When the large round diamond has been set in the Bezel, the next step is to Bright-Cut the thick wall of metal. If the filing is done first, the amount of metal for 'Bright-Cutting' will be greatly reduced.
In setting this square stone, there are so many chances of breakage, it was almost unbelievable.
What did I do first? I drilled the three holes on either side and then started to 'pre-bead-set' the 6 diamonds. Once this was completed, I started setting the square stone.
I gently hammered the sides of the Bezel, followed by "Bright-Cutting" the two walls as seen here. After the Bezel was completed in the trimming and 'Pre-polishing' then I finished the Pave' setting.
In this often-seen Semi-Bezel ring, every section of the Bezel needs to be drilled just to make a 'seat' for the diamond. Every section of the frame needs to be prepared for the Pavilion of the stone.
NO SHORT CUTS ARE PERMITTED even if the labour costs are getting high. What are a few dollars now if the stone isn't sitting well? You can answer that question.
Let's examine the depth of this stone, it protrudes through the bottom of the Bezel. I would never apply any heat to the stone, in removing the pendant from the shellac. This OVAL Bezel needs 'gentle care' at all times.
As this is a very expensive Princess-Cut stone everywhere in this ring is to be Tripoly and then Rouge polished. It is after these two steps, shall we prepare for the actual stone setting?
As always "Bright-Cutting" on both ends of the stone is much needed.
Keep the anvil at 45 degrees while in use, you must not 'pound the metal' but only be tightening the stone. These little Tube Settings are quite delicate, treat them with care.
For this signet ring, the bottom of the ring should be drilled open to allow light to penetrate the inside of the ring.
The hammer anvil must never touch the stone or the stone might be endangered.
In this (repeated) photo you can see the teeth of the bur preparing the seat for the stone.
The Diamond is sitting flat in the Tube Setting, this the correct position to have & see.
When the Bezel seat is contoured correctly, there is no possibility in having ever a crooked stone.
Before any preparation for the stone settings. I always 'clear out' any unwanted pieces of metal inside the round Bezel & Culet..
This is so paramount before any setting is about to start.
On a rare occasion I would not 'Bright-Cut' why is this? The frame was very, very thin and my graver could damage any of the Girdle Facets, my client wouldn't be too happy.
In this wonderful '3 stone Princess setting', which of these stones gets set first?
Always the 'top stone' nearest to the chain-loop will get first choice. As always, the Bright-Cutting is done after the trimming.
I showed this photo earlier today, but here is a close-up!
The first thing to do is to set the larger diamond, all that is remaining is to prepare the two Princess-cut diamonds. The Bright-Cutting of the centre stone should be done first, then afterwards do the same for the smaller stones.
But with these two stones, there are only three sides to each bezel. I will still "Bright-Cut" each of the three Bezels. That is a 'normal finishing' technique for me.
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