ANOTHER REVIEW (but with newer photos) "Cut-Down, Diamond Setting" => 25 photos.

 This extensive essay is the culmination of many years of training for me. This was taught to me 65 years ago and I truly believe that only a few Diamond Setters have attempted to teach this technique to their colleagues, or students.

  If you wish to copy this essay for yourself or anyone, there is NO CHARGE.

 I wrote the original blog-essay July 22nd, 2024, since then I have added many more photos. I don't want this technique to be 'seen & forgotten'.

The Difficulty Level is Rated at  50+ out of 10. 

 This exercise is truly difficult and not for the "Beginner" or "Intermediate Level Stone Setter". I'd say that this is similar to going to "4th year of College, or University direct from leaving the last year from Elementary School". 

 This is not a CAD (Computer Aided Design) design, in fact any 'artificial means' will not do this design any justice. All of  this metal cutting was done by hand.

What important tools are required?

1). Onglette #2 graver.

2). 156C (Carbide) #003. (Depending on the size of the selected stone.)

3). Bud Shaped bur #005.

4). Flat-shaped graver #40.

5). Pumice Wheel, Tapered => #180 grit.

6). Round burs. (used in preparation to the stone setting.)

7). Flat-shaped graver #41. (Used primarily in creating the 'new beads'.)

==THERE ARE NO SHORT CUTS IN THIS DEMONSTRATION===

 This is my photo of the display ring resting on the "Inside, Ring Holder" it can very tightly prevent the ring from moving.

  In this tutorial-essay, I will stay with one technique instead of confusing you with too many metal-cutting ideas.

  If the measured diameter of the stone is 0.4mm's, I suggest a 0.25 mm sized bur #156C, 'under-cutting bur' to create a seat for the stone. This drilling will have a seat all around the opening of the hole.

 HAVE THE TABLE OF THE STONE SIT LOWER THAN THE SURFACE OF THE METAL. This will make the new beads 'strong and thick' in the setting process.

 Don't forget to clear any remaining metal for the Pavilion of the stone. Each stone must be sitting exactly inside the hole. This should be as low as possible, this is so important!!!

Have your 'bud-bur' be deep into the ring, this is where the 'new beads' will be created.

 

 If the stone is not deep in the metal, there is no chance that any 'new bead' be able to be moved over the Girdle of the stone. UNDERSTAND?

 

 With using the WIDE-FLAT (#40, or #41) graver DIG INTO THE METAL as shown here, this is where the new Beads will be now created. 

 With half of the 'Face' of the graver being inserted into the line where the Bud-Bur" was cutting into the metal, there must be a "DIG IN & Twist" technique.

 Make absolutely sure that all of the 4 corners of these new Beads be TWISTED over the Girdle of each stone. Can I over-emphasize this any further? (this is the most demanding aspect of this process).

 

 You can now easily see the 'four prongs' holding the stone in the ring.

 With the center section shown 'as not being touched or cut', it has to be angled, or facetted with the Flat graver #40. No metal should be left untouched, I'd use a highly polished graver face to do this angular cutting.

All of the areas where a bud-bur was touching, a Tapered Pumice Wheel #180 grit should clean all of those areas. This will greatly assist the cloth-wheel in the final polishing.

 This where you should use your large Bud-Shaped bur. Don't hesitate in digging in to a deeper depth. The deeper you cut, the stronger will your claws eventually be.

 

 From a little sliver of metal, these 'slivers' will be strong enough to hold any stone you need to set. Don't hesitate in these steps.

 You can see the depth of the stone at this stage of development.

   Theoretically, all of the 4 pieces of metal MUST BE COVERING THE STONE. 

 On each claw there has to be using an Onglette #1 graver to have the new claw be kept separate from the rest of the metal. 

 Already you can see 'some semblance of order' being created  in this novel design.

 On each side of every claw there will be a flange of Bright-Cutting being made. I use a FLAT graver of #40 width, NOTHING WIDER. 

 On synthetic or Genuine Emeralds, please be careful in not damaging the soft stones.

 

 In this photo you can see where the Onglette graver did the cutting. IT IS NOT NECESSARY TO BURNISH ANY OF THE NEW CLAWS, it doesn't warrant it.

 

 In this photo, there is a b-i-g problem starting to happen. The stone hasn't been lowered into the metal deep enough, from this point onwards, there will be much difficulty in proceeding further. Remove the stone and set the stone again, but much deeper.

 I continued in the setting of this problem stone setting just to have you see what happens if the 'shallow-set stone' wasn't repaired.

 The results are many; the claws are miniscule, any beads are harbouring on having the stone getting lost after a few weeks of being worn.

 If the ring is needing to be resized, for sure some of the stones will surely be subjected to being loosened, or coming out. As you can see that the new claws are just barely covering the Girdle of the stone.

 That is the main reason in asking that THE STONES MUST BE SET LOWER INTO THE RING. 

 I prepared this problem for many reasons, if the stone setting isn't hard enough, why look for more problems?

 Having a 'hollow stone setting situation' can even lead to inferior metal cutting. That is why all of the stones MUST BE THOROUGHLY KEPT AS DEEP AS POSSIBLE. 

 Compare these two photos, the above photo looks just 'vaguely' finished'. While the lower photo being shown, has the exact metal depth that leads in having much better results.

  AGAIN IN CLOSING, THERE ARE NO SHORT-CUTS IN THIS TUTORIAL ESSAY.