Errors seen in this wax 'ring & pendant' set. - 18 photos

 There will be times when a 'wax-cluster' pattern might not be seen prior to metal-casting. In this essay, I will endeavor to explain the errors seen on these waxes. I'm not explaining the stone setting processes, but showing the many problems with each of them.

 I know from past experiences, the simplest wax-injection can be fraught with errors and these can lead to serious problems AFTER METAL CASTING.

 In this photo-essay, THERE ARE MANY ERRORS DURING THE RELEASE OF THE WAXES from the rubber mold.

 The main problems are that the outside prongs (or claws) are too short for any sort of basic stone setting. (Your time is too precious to sit and repair them all.)

 I counted 9 claws that are lacking any ability to hold a stone. Please discard this wax.

 There are 'two center claws' missing. If there are too many claws missing on this wax, don't waste your precious time, get rid of it and inject another wax.

   In this pendant-wax, there are 10 claws in dire need of being repaired. For this wax, is it worth your while in saving it?  Saving it for what purpose? If you have a rubber-mold use it again.

  The underneath holes are virtually plugged up with wax. These holes need to be opened  & cleaned prior to any metal casting.

   On this wax pendant, there are still more problems of 'short claws/prongs'. Thankfully, the wax sprues are thick enough for the flow of metal during the metal casting.

 On the 'front wire prong' there is a defect in the rubber mold and subsequent newer wax will have a little hole. Either you fix every wax or repair the rubber mold, which might be a frustrating process.

 

                           WHAT ARE THE ERRORS SEEN IN THESE WAXES?

  

   This wax has 6 wax-prongs missing and a partial stone setting seen on the mid-right side is also missing.

Two base claws have been damaged beyond repair. Just say 'good-bye' to this wax.

 I gingerly attempted to show how to melt a wax rod into where the main sprue is being attached.

 I used this fine wax rod that measures only 1.45mm's to add more wax to the joining of the sprue to wire basket.

 The underneath of the wire-basket has broken prongs. This is not good for the casting process. As you can see that the main wax rod measures 2.75 mm's I made it thinner in my (warm) finger tips. Now I can use it gently where needed. 

 The wax-pen is heated to only to melt the wax, not to make it 'boil' while being used.

 The collection of wax builds up on the wax-pen is being used and needs to be removed, how is this done? Just increase the temperature of the pen and the wax will clean itself in literally seconds.

  I put a 'smiley face' on the dial as to where the optimum heating should be used. The word "wax' signifies the highest operating temperature to work with. 

 You can still see the tip smoking, while I was wanting to clean any residual wax from the tip of the pen.

 For an extra flow of metal during metal casting, I wanted the metal to flow 'everywhere'. Sometimes metal might not reach all of the areas, that is why I created another opportunity for the metal to flow.

 Under 'normal' circumstances, metal might not always reach the areas that is farthest away from where the metal is starting to flow.

 You should give the metal a chance to flow into these hard to reach areas. If not, there will be claws missing and this will lead to problems galore.

 Underneath the wire basket are 'supporting claws' missing. It is imperative that all of the claws are joining the 'basket', it could be chaos in discovering that you have so many claws to fix.

 This photo shows that there are unnecessary bits of 'extra wax' remaining inside of the basket of wires.

 You have two serious choices; either make a new wax frame or very carefully remove those pieces of wax. Not to mention one section of the sprue hasn't attached itself to the wire basket.

 If you think that wax casting is an easy process, think again. What you neglect in fixing now could lead to many soldering and repair problems after your metal casting. "gerrylewy18@gmail.com"

 

What is a 'shellac-stick'? Where is it used & why? - 28 photos

 This is a commonly used 'metal (jewellery) holding compound' in Diamond Setting practices, where & how is it used?

 First of all, it is used primarily in holding pieces of gold or silver without damaging any areas. This avoids the use of a 'pin-vice'. These pin-vices leave deep marks on the sides of the metal that can be so very difficult to clean & remove. These deep indentations on the sides of the soft metal are the agony of many gemstone setters, including me!

 In my realm of stone-setting, I decided in my earlier years of training to apply melted "Flakes of Shellac" onto a wooden dowel or stick. This 'stick' was created in two sizes each for any size of the item that I'd been setting.

  My hand should grasp the dowel without getting tired.

1) If the dowel (shellac stick) is made of steel, there would be a constant heavy weight put on my hand and wrist. This alone would make my 'setting time' a long tiring process.

2) On any steel dowel, my hand can't perspire from those long periods of holding.

3) Some implements seem to be great, but these won't give you any 'freedom of motion'. The mobility is only regulated by the 'constant' changing of  levers. The GRS clamps appear to be good, (but not for this setter).

 I've worked on some insanely difficult large pieces in many years as a Diamond Setter. But the thought of buying those (GRS & RIO) clamping vice-tools have never entered my mind. The following photos are my answer in getting my gem-setting projects easily done.

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  The name is what my shellac is comprised of, "Orange Flake Shellac" as "Grobet" is my very own choice of manufacturer.

 This well-designed, wooden clamp is used for primarily for 'linked-bracelets'. All the setter has to do is to put their fingers inside the wide hole and set the gemstones. Of course, the flat surface is covered with the Flake Shellac.

  

 This wooden, shellac-stick is similar to what I created and used for the past 65 years. It is light in weight and so easy to maneuver against the bench-peg. You will notice that the top of this wooden dowel that it has NO HIGHLY POLISHED SURFACE, why? The new layer of shellac will easily grip against the 'textured' wood. 

 This rotating wooden clamp 'insert' it is covered in shellac can easily turn your linked-bracelet to any location that is required. 

 As this is all made in wood, there is no heavy weight to constantly 'lift & hold'. The setters hand will no have no ill effects of being lifted against the bench-peg for long periods of time. The "nut & bolt" locking is easy to use. (I like this design).

Now compare the wooden clamp (shown above) against this steel-vise clamp. The weight of the clamp is not for my hand, I cannot alter the overall shape. Not for me!

  For this little flat vise-plate, I'm also very limited on what I can place on this pad.

 MY CHOICES OF "SHELLAC STICKS", I'm as well showing why I prefer not to use this hand-held metal pin-clamp. The reasons are many!

 The locking-screw will interfere with my fingers and overall mobility.

 

  The most obvious reason why this clamp is now 'collecting dust' in my bench-drawer is being shown in this one photo. These little pins will leave deep indentations in the soft metal, when the setting is completed it will be difficult to repair the surface.

 These pins interfere with my fingers and setting tools in doing Pave' Diamond Setting.

  I think that this close-up photo displays the exact problem that I'm writing about.

                               Preparing to create a 'Shellac-Stick'.

  Because of my previous setting projects, I MUST REPAIR THE SURFACE, again.

 This is a very simple task and my choice of tools are a wide-file and a very small flame.

   When the flame is melting the shellac, it will get soft & more mailable and easy to mold.

 Here the two sizes of wooden shellac-sticks. On the left is 1.5 inches in diameter, the stick on the right is exactly 1.0 inch wide. 

 When the flame of the torch softens the shellac, but not getting 'bubbling-hot'. I'll tap the surface to make it flat with a steel file as it'll be now a new working surface.

  From tapping the surface smooth & now flat, I can use this new surface again to do whatever I need from it.

  I'm not limited to one size of working area. This is why I have two shellac sticks at my disposal, either stick will give me easy access to my projects.

 Each of these silver-stampings are exactly 0.457 mm's in thickness. These are too thin to put into any vise-clamp, the ONLY SOLUTION is a 'shellac-stick'.

 When you are attempting to secure these 'stampings', it is imperative to place them in easy reach while on the shellac plate.

   

 In using any thin 'engraving project' underneath security is paramount, if not, they will bent out of shape. Just melt extra shellac under all areas.

  The most annoying aspect of this pin-vise is the locking-screw. I found that the knurled edges of the screw were interfering with my finger mobility. That is why I prefer my shellac-stick most of the time.

 On a flat shellac-stick, any design can be used. All it takes is imagination on what and where to use your pattern.

 Always keep your shellac underneath the item for security. If not, the item might just break off during the setting.

 When you are melting the flakes of shellac, try to use a low-flame, if not, the heat will boil the compound and destroy it. You should try to keep the flame at a safe distance. The 'safe distance' is beyond the 'blue' as seen here.

 Once the shellac is starting to liquify and melt, you should STOP! Rotate the dowel and gently melt the flakes slowly again, but not to get to the 'boiling' point. This happens so darned quickly.

 

   Once the flakes are sticking to the wooden dowel, heat up the flakes again then rotate SLOWLY.

 There is just no way that I could put this silver ornament on my pin-vise. The shellac stick was my only solution in holding during my gem-setting processes.

 

  

 Always keep the setting project well-secured, this can be done by watching where the flakes of shellac will be melting.

 There was no chance of putting this very delicate silver project against any pin-vise.

The chances of damaging the outside of this disk was beyond comprehension.

                    Hoping that this essay was interesting and informative for you.

                                               Gerrylewy18@gmail.com

 

MORE "Creative metal cutting" using ONLY your Onglette graver - 14 photos

 In this additional essay on graver cutting, I think that more notes are needed. 

I wanted to put these 'extra notes' into one long essay. After thinking that so much is required in describing Onglette Cutting, I proceeded in using more photos, BUT WITH MORE (DIAMOND SETTING) INFORMATION.

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 I'm showing how the bottom of the Onglette graver #2 that has been 'rounded' to create the new Beads.

  

 This new tool only has one purpose and that is to create Beads and no longer is it for metal cutting. Beads are made to cover the edge (Girdle) of the stone, but never just against it.

 Once the Beads are moved over the stone, all that is then required is to make them rounded or Burnished. This singular process gives them additional strength for holding the stone in place.

How do you round off the bottom of the Onglette graver?

 You should place your graver on an Emery board  #240 grit, as shown here. This will remove the fine cutting point and transform this into a Bead-Raising.

 When you are attempting to initially cut the lines along the metal, make sure that the graver cuts ALONG THE EDGE OF THE HOLE. What you are aiming for is a deep line of clean cutting.

    These triangles (which will be future Beads) must be created with equal width and size.

  

  I used an "Under-Cutting, 156C" (measuring at half the stone size) bur to create a seat for the stone. If I didn't have this 'seat', I could could very easily break the soft stone with too much applied pressure from the Onglette graver.

 All three new beads MUST BE OF THE SAME SIZE, WIDTH & OVERALL SHAPE. If not, remove the stone and recut accordingly.

As you can see that there is a clean trough just behind the three new beads. This is where the Beading Tool was moving the metal.

      What "graver shapes" are needed in this exercise? From my point of view, I always use a fine point Onglette #1 or #0 for the 'preliminary metal cutting'.

 For the very first thing I would do is to draw an outline on the metal with the desired shape and its location on the band.

 As without this "initial drawing", the final shape will be made with many cutting & designing errors.

 These three triangles at the corners, are the 'beginning of  our new beads'.

 The 'preliminary line cutting' should look like this, I suggest that the metal should be polished ahead of time. If the polishing is done after the cutting, the polishing wheel will quickly ruin the many fine graver-created edges.

 "Graver slippage" is a common feature in 'rough-cutting'. Don't be worried, as I wrote, 'after a while your techniques will improve with practice'.

  The 'stone selection' is very critical in finding the correct size and shape. All of these two requirements depend upon the thickness of the ring, if the ring is too thin, the stone will protrude from underneath. 

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 The stone on the right has a very wide & think girdle and it isn't conducive for a quick stone setting procedure.

 The stone on the left is much too deep and it isn't for 'bead-setting'.  Even I wouldn't attempt to try and set this stone. 

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 If you think that these two stones are going to be set easy? I wouldn't attempt it, find newer replacement stones that have a 'diamond shape', WHY?

 The thickness of the face of the cutting blade is so very important in this delicate metal pattern.

 I've seen some setters make videos showing a cutting face so very thick, I wonder how can a delicate pattern like this be sculptured. (Plus, there aren't any spoken words in describing some of their delicate instructions).

 My Onglette graver is thin, how thin? I use a graver-face of 0.21mm's. I need this thin face to cut into every corner of the three sides of this Triangle. 

 I won't start the cutting at the corners, but the cutting has to be started in the middle of the corners and working out towards the ends of each line.

 The 'starting at the corners' will lead to extra cutting lines that leas to difficulty in stopping of the graver cutting. This leads to unnecessary lines that are difficult to repair.

 I know that this seems a like a convoluted process, but 'graver slipping' does often occur in and on the metal. DON'T BE TOO OVERLY CONCERNED.

 With this very fine graver-tip how can you, as a setter or a jeweller, execute this delicate cutting pattern?

  In using an Onglette #0 or #1, I will cut the lines starting at mid-point towards the corners, terminating your cutting at the corners.

  All together, these essays will educate and increase your knowledge of gemstone setting.

There are three things to learn in my essays, "PRACTISE, PRACTISE & PRACTICE".