(REVIEW) => "Flush Setting" your large Square stone. => 30 photos

 The "Rate of Difficulty" easily exceeds '50, out of 10', plus this PATTERN IS NOT FOR THE BEGINNER. There are no short-cuts in this insanely 'challenging' exercise.

 Mistakes can easily occur, PLEASE READ THIS TUTORIAL-ESSAY MANY TIMES BEFORE STARTING YOUR PROJECT.

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 Select (carefully) which stone you wish to set, it all depends upon the amount of metal (space) that is now available.

 In theses two 'bur packets' are the set of round burs, these range from #003 all the way up to #026. Why so many burs? You just don't know which bur is required at a moments notice.

 My diagram should be of great importance to you, as it describes the 'depth & width in setting this rather difficult stone shape.

 This first step is to drill a hole in the center of the allocated space. Keep your drill held in a vertical position, the hole must not be drilled at any angle.

 Select a 'bud-shaped' bur that is smaller than the stone (as shown).

 Inspect the square stone that you want to set, I'd even have a few 'extra' stones in case one or two of the Girdles are too thick.

The stone MUST BE UNIFORM IN SHAPE AND WIDTH.

 On the flat surface, I'd scribe in ink four lines, these 'lines' will be where the corners of the stone will be positioned. I'd call this my "GPS" as I need these lines as a guide for my many metal cutting.

 With a 'round-shaped' bur I'll measure the overall size of the stone to this bur, but not larger.

 In using the pre-selected bud-burs, I must excavate the metal where Pavilion of the stone will be laying. As well as using the bud and round burs, I'll be creating a mini-shape of a square hole.

 I'll now use the four corners of the square stone and gently carve a distinct pattern and 'turn the round hole into a square hole'.

  With a larger Round bur, I need to cut more of the metal and have greater access for the square stone to sit. This is a very delicate process, there is no need to do anything of this metal carving quickly. "SPEED WILL QUICKLY RUIN A BEAUTIFUL MASTERPIECE".

 Frequently place your square stone on, or against the new hole. Keep cutting the opening until the stone is slowly fitting into the hole.

Carve out all of the corners of the stone to fit along the four (GPS) inked-lines.

 Now you see why I drew those 4 inked lines, if I didn't draw them I'd have a stone sitting out of place on the desired metal place, or just badly crooked. YUK!

 In using any of the small round & bud shaped burs, continue with the 'opening process'. As I mentioned before, frequently excavate more of the hole as the stone MUST BE LOWERED INTO THE HOLE and not touching the inside metal. 

 This is the most delicate stage of this setting, as everything is depending upon this bur shaping.

 With the smallest bud-bur that you now have, cut the 'four corners' inside the hole to accept the stone. 

 I would use my 10x loupe and examine where the 'corners and sides' of the stone are being positioned.

 BTW, I used an Onglette graver and cut out the corners of the hole. I need this new opening as the need to have a square hole made possible, as soon as possible.

 At the base of the Onglette cutting I will use a round bur and drill (as shown), why is this needed now?

These four holes will be used for the corners of the stone to be 'resting'.

 If there is a need to use a bud-bur to excavate the four holes to the facet shape of the four corners, do this now! 

 The four revamped holes MUST ADHERE TO THE FOUR CORNERS AND THE PAVILION FACETS, agree to this?

There is now much delicate work and checking to see if the stone will be fitting accurately.

 The size of the corner round hole MUST REFLECT TO THE SHAPE AND CONTOURS OF THE STONE. The round bur must be of the exact dimensions to that of the stone.

 From the inside 4 corners there now must be a bearing for the exact placement of the Pavilion to that of the stone.

 After many times that the stone is being placed into the square hole, we can now go further with this exercise. 

 The Table of the stone must be lowered further into the metal, basically the stone must be lower than the surface of the metal, the reason for this will be shown in a few minutes.

 If you see that the Culet of the stone is protruding below the inside surface of the ring CHANGE THE STONE. As this sharp point is not acceptable.                             

  HAMMERING 

  When the stone has been lowered successfully into the metal, the hammering can start. But where will the hammer touch the metal? I always want the answer to be easily seen at all times in this delicate process. KEEP THE STONE LEVEL AT ALL TIMES!

 These 'little spots' is where the hammer-face made contact to the metal. The metal is not being hammered flat, but it is being moved towards the stone.

 Don't let the hammer-face touch the stone, if you do ...GOOD-BYE STONE!

 Very lightly hammer the four corners around the corners of the stone. Remember, that this is the most delicate areas in the whole hammering process.

 When all of the 'side and corner' spots have been hammered with precision, it is best to even out the hammering areas. 

 It is not advisable to have any 'flat' areas due to the continual hitting, this will often occur.

 With your graver it is now well into the FINISHING aspect in the stone setting. I could use my FLAT graver and BRIGHT-CUT the inside walls of the opening. THIS IS SO IMPORTANT!

 With your Pumice Wheels (#180 and #1,000 grit) kindly smooth the surfaces all around the Flush setting.

  

  "NOW YOU'VE PUT A "SQUARE STONE INTO A ROUND HOLE". Was this difficult?