Intricate Bead (Pave') Setting - 15 photos

 In this extraordinary essay, I want you to follow the numerous steps in Pave' setting. Remembering, that nothing was created with the help of CAD. The only guide I had were the few holes in the metal ring.

              

           WHAT ARE THE TOOLS TO CREAT THIS PAVE' SETTING?

 

 The tools are few, but the results are mindboggling as you will soon see.

1) Onglette graver #1 

2) Rounded (Bead-Raiser) underneath front of the Onglette graver #2.

3) Flat graver #40 

4) Bead Burnisher (not shown)

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The Difficulty Level for this (detailed) exercise is 8.0 out of 10.

Shall we now start?

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  Once that we have the holes drilled to the specifications for the diameter of the stones, just lay the stones aside until absolutely needed.

 The very first thing 'we' do is to draw a line (cut) in the metal with your Onglette #1 graver, Where and why?

 The Onglette graver must enter the edge of the hole, the front of the graver must dig into the hole DEEP, then cut this line again once more.

 This first line of cutting should be as a sample to what we are aiming for here. The deeper 'we' cut the better the overall results. There should be 'no shallow cutting, the deeper the merrier'.

 In this photo, the 'rough cutting line' is still too shallow. Get your Onglette #1 graver to cut DEEP!!!

At the end of the ">" line, the graver should create a DEEP 'V' shape, as shown. What remains are two triangles, these Triangles will eventually be your new Beads, agree?

 1) Always have your burs in close contact to your work areas. That Red thing is your 'thumb guard', why is it used? The bottom of the graver rests against the finger-pad and as it's very sharp, it could cut into your skin. WOOPS!

 2) The wax pick-up seen laying against the bur sleeves is what you should use to pick up your stones. Please don't use your tweezers, as you will surely have a few of them fly away and never to see them again.

3) Always have your 10x power Loupe always accessible to examine how the stones are sitting in the metal.

 As seen here are your selected Ruby synthetic stones and the burs that you chose. 

Many times I will use my "156C" Carbide bur, I will use them to create a seat against each new bead. This way there will be no crooked stones being set.

    Inside and in the bottom of each hole there will be a deeper recess just for the Culet of the stone. If you don't drill for the Culets, the stone won't sit deep as you need them.

 In this photo you can see five of the stones in their respective spots. At this juncture, use your Bead-Raiser (Onglette #2) and move the two beads over the Girdle of those 5 stones.

 When a group of stones have being set, use your Bead-Burnisher and secure each bead. This will create a 'rounded finish' on the tip of each Bead, plus rendering each Bead tight against and secure during the many years of wear.

  Bright-Cutting is a delicate form of cutting. Every Flat graver that is used MUST HAVE A HIGHLY POLISHED SURFACE. This polished graver will create a mirror-like surface that's being used.

  In using an Onglette graver #1 (or #0 width) it is incumbent to keep the the graver sharp all the time. This is similar to 'marking the surface', but this time the operator of the graver will decide where the cutting will commence and finish. 

I'm working on a few cutting designs during this writing. BTW, the graver MUST CUT ALONG EACH HOLE. The graver-tip should cut and enter the wall of each hole.

 There is no other way to create Beads or Bright-Cutting if it isn't prepared by using your Onglette #1 graver.

 There are NO SHORT-CUTS IN DIAMOND SETTING, either you nor I have that ability to do any gemstone cutting fast and still make it look good!!

 In this particular ring (project) Graver cutting takes first place in enhancing the metal. Cloth-Wheel Polishing does not work well in this respect. 

The Flat graver #40 is often used in making the metal equal to a strong reflecting mirror.

 BTW, only a 'Flat #4' graver that is highly polished on #400 or #800 grit "Polishing Paper" is the only paper to use for these projects.

 

 I chose to use this ring for its many intricate metal carving areas. I didn't spend too much time in the ring cleaning, as this was not needed on this topic.

 

 In my previous essays, you saw how Bright-Cutting was achieved. I will do this same tutorial-essay topic again, as a reminder of this very important 'finishing' technique.

 

Metal carving created with Gravers - 10 photos

 Metal cutting is one of the most rewarding aspects of Diamond Setting. It can either be rewarding, or devastating. But to the untrained eye, there are many areas that need to be explored. 

 I avoided the uses of CAD (Computer Aided Designing), I used only the Onglette and Flat gravers as this is what makes our craft so valuable.

 Once that the basic design plan has been initiated, then comes the intricate metal carving.

 

   These 'inked dots' are my guide to the next stage for metal carving. These scribed dots are my "GPS" as I need to know where each new lines of cutting will commence.

 I've dealt with this topic many times during my 6 years of tutorial blog writings. I'll keep this essay 'brief and to the point'.

 I used my Onglette graver to create a 'border' around the inner 2-bead carving. My graver started at a mid-way point in between the two ends, as seen here. The 'new ends' are in line with the points at the inner cutting.

 With this pattern I used my Milgrain and created a knurled edge. This serves no purpose except for additional decoration.

 I showed you a two beaded pattern, now with this you can see a 3 pointed pattern but with a difference. 

That difference is where I set a genuine Emerald, there is no risk of damage as all of the metal carving has been done ahead of time.

 Where there are three little Triangles is now where the Bead-Raiser will move the metal well over the edge of the Girdle.

 With an Onglette #1 or #2 I'll 'rough-cut' two lines on an angle in between the two holes being shown in this photo. I will cut these grooves multiple times and each time digging a bit deeper.

 

The end result is being shown in this photo. I will now use my Flat graver and Bright-Cut the metal into a fanciful pattern of lines.

 I'm now using a fine Onglette #1 and create 4 little corners on each hole, what are they for? These will eventually be beads to be moved over the stone!!!

 But the pattern cannot be made when the gemstone is in the metal.

 This inner pattern is like a little 'pyramid' with four-sided, bright-cuts adding to the decorative pattern. Where the lines have been rough-cut will be Bright-Cut and the end result is just outstanding. The graver cutting is very difficult to the uninitiated, but after loads of practice, this task becomes easy.

"METAL CARVING" IS NOT AN EASY TASK, IT WASN'T EASY FOR ME WHEN WAS I STARTED MY APPRENTICSHIP, circa 1960's.

 But after many years it became second-nature to me, so it will be come second-nature to YOU.  My email address is:  => gerrylewy18@gmail.com

 

"To BEAD OR NOT TO BEAD", (circa 2004)

 In this 3rd essay that I'm offering you is an interesting interpretation of how different burs are  best suited for gemstone setting.

 I only hope that you will reprint this essay in 'larger text' and keep these essays into your own library.

 Bradney Simon the owner of this magazine travelled to my home direct from North Carolina, USA. In 2004, while here he requested that I write a few essays for his magazine, after my writing of 18 essays 'the rest is history'. 

 

=> 'MY Buddy Bur' circa 2004 => 2 photos

 In these series of essays direct from the "BENCH" magazine (circa 2004), I've saved a few of the past issues for my own blog. My many videos are now being now seen on "YouTube", thankfully. In due course, I will post them into my blog.

If the printing is too small, you are obliged and FREE to reprint them then add them to your library. ALL OF YOUR REPRINTING IS OF NO CHARGE to YOU!

 

"Fish-Tail Setting" (circa 2004) => 2 photos

 If you can't read the fine print, kindly print these two pages at no cost to you. Then you have an essay that Mr. Bradney Simon published for his "BENCH" trade magazine circa 2004. At that time when he published this essay he inserted advertisements (which I couldn't delete).

 My own tutorial blog has interpretation of this essay, this technique was taught to me originally 65 years ago!

 I use no CAD anywhere in this technique, please enjoy and learn...Gerry Lewy!

 

"C.C.C." or 'Computer Created Claws' - 7 photos

As this was a CAD created disk, there are some things to understand with CAD and wax insertion of stones.

 There are areas where a larger stone is required and be very knowledgeable of this fact.

In this photo the larger stones appear to be along the wide band of wax. In fact, there are smaller stones needed along the edge of the circle of the disk.

 Once the stones are set into the metal, you can use a 'cup-bur' (77B) to smooth and round off the tips of the claws.

 The base of where the claws are situated is rough and highly textured. The polishing cloth cannot reach into this deep area, but this can be overcome (to a point).

 I use a FLAT graver of #40 width to reduce the rough-texturing from the casting processes. You can do this 'metal finishing' either "before or after" the stone setting.

Even at this stage of development, you can see the quality of stone setting vastly improve.

 Be very mindful of the sizes of stones being needed in any circular area. Nothing is made in this disk to be uniform, we must be prepared to set various sizes of stones. 

                                  CLEANING A WAX, PRIOR TO METAL CASTING.

  If possible, clean out any areas of metal before the stones go into the pattern. When the stones are set, then it's too late. 

 I suggest to use a thin shaped Bud-Bur #003-#004 for this detailed cleaning, just get rid of those extra pieces of wax that will turn into metal.

 At this corner of the disk where the "circular sections" of the frame meet, select a larger stone. 

 

 

"Spacing of your Beads" before Diamond Setting - 15 photos.

 This "Bead-Spacing" exercise is so crucial, that I wrote this essay just on this one topic.

  In this tightly fitting ring top there will be 12 large gemstones. As I had only 4 diamonds, I chose to put them into the 4 corners with my very large Blue Sapphire (of course), in the center.

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  What tools will be needed in this teaching essay is just the very basic of setting tools?

 I will use an Onglette #2 graver that has its front underneath shaped round & smooth.

 When I use this tool for raising beads, I need to have little effort is securing each stone while during this exercise.

 On EACH STONE in this ring-top are Beads that are sitting 'on and over' each of the Girdles on each stone. How would you know if the beads are on the stone?

 Look directly down upon each stone, if you see the metal covering the Girdle, then your Bead is doing it's required job. 

 As required, I drilled a hole in the exact center of the ring top, that will be the center of the large stone.

 Here are my chosen setting tools for this exercise. I won't exaggerate that I want to have every bur made available in my bench during this setting project. To keep looking for one single bur that is laying somewhere on my bench-top is so very time-wasting. 

 Each bur-pad has their own shape of burs and not mixed around. My bud-burs and in the far right Blue pad. In the far left are my bead-burnishers, for the 'extra large' round burs will be in the center square-shaped bur-pad.

 I roughly marked where the Garnet stones will be set. I left nothing for afterwards. PLANNING IS SO ESSENTIAL. 

 In my mind, I've left nothing to guesswork. I place each stone even before drilling, on to the ring-top. (you can see the tell-tale markings).

 Once that the Flat plate has received the many diamonds, I filled in the remaining spaces with 'Decorative Beads', these beads serve no purpose except to make the plate look 'full', empty spaces are not nice to see and serve no purpose.

 Everywhere in the early stages of  'raising beads', pre-planning is so essential in "Bead-Spacing", I can't over emphasize this request or need.

  Even in the exercise of setting stones in a 'row of teeth', executing the right placement of even one stone is much needed. 

 Please, 'NO GUESSWORK'. If you feel that you made a mistake in your spacing, then you DID make a mistake!!!

If you are having a problem in holding the object for setting, change it's position immediately. YOU MUST BE FULLY RELAXED, as a tired hand or wrist may cause you problems in your important thinking. Don't fight it!!! 

 Even in changing the position of the tooth, planning is always needed. 

That one hole spot is not good for your hand, get the drilled hole in the center of the shellac stick.

 

 Never say "oh, I can ignore any changes while setting a stone, BAD MOVE. Spacing is major issue in setting stones, even in the CAD pre-planning layout.

 This is my Onglette #2 graver as it's being shaped from a cutting blade to a Bead-Raising tool. There is even a chance for mistakes while choosing the correct soft Emery paper. I use a #400 grit paper instead of a rough #200 grit, as to give a mild-rough texture to the underneath of the blade.

"SPACING OF BEADS" is so crucial, one mistake in the spacing can make a great difference in the whole structure of the layout of diamonds. I'm not being flippant, 'thinking ahead' is 100+% needed.

 In between each 'set diamond', is a new position for another gemstone. I could use a pair of dividers, but instead I use my eyes to guide where each new stone will be placed. Interesting method? 

 Here is the underneath spot on my Onglette graver #2 for making beads, if you 'feel' that your graver is sliding...STOP your work and 'mildly texture' your blade again. Mistakes are not in my vocabulary in this very important "Bead-Raising" process.

  I'm really hoping that you, the reader have learned something new in "Spacing of your Gems". I learned this intricate process only 65 years ago, now it's your turn to practice this much needed technique. 

Nothing is this exercise has been CAD created.

gerrylewy18@gmail.com.