Gypsy Stone (detailed) setting. REVIEW - 21 photos

 This in-depth study is solely on "Gypsy-Stone setting", this technique needs to be explained in full. There are definitely NO SHORT CUTS in this technique.

 The Scale of Difficulty is rated at "8.0 on the 10 Scale".

 What tools are needed? 

1) A light-weight riveting hammer.

2) 156C (Carbide) undercutting bur (measured at 1/3rd the size of the stone).

3) A full assortment of Pumice Wheels of #180 & #1,000 grit.

4) Onglette graver, with a #2 width (this graver will Bright-Cut the rim of the opening).

5) Polishing paper, with a grit of #800.

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 The very first thing to do is to drill a hole 90% size of the stone. The 10% difference will allow for any overlapping of the metal, to the stone.

 This is what the 'bearings' that you cut looks like. The bearings must not allow the stone to sit too high in the hole.

 

  By keeping the "156C" bur in a vertical position. you gauge how & where the bur will will start the cutting.

 How far into the hole will your 156C bur should be? Here is MY GUIDE. 

The bur shaft must never be lowered into the hole. The teeth of the bur will define the correct DEPTH for the stone, once lowered and finally set.

   This is another view of where the teeth of the bur will cut into the metal.

  This is the face of the riveting hammer. I wouldn't let this hammer touch the ring, why? Those marks will dig into the metal and leave a rough surface. GET RID OF THEM NOW. 

 The only method in removing those 'marks', is to buff them off on the Polishing Paper. The git of the paper that is needed for this technique is #400 and then using a #800 grit.

This pristine looking hammer-face will give you a fantastic looking shiny surface.

 When you are cleaning the hammer-face keep the complete 'face' fully in contact with the paper.

 If there are no modifications to the hammer-face, just look at what happens to the metal around the setting. This is a 'genuine disaster'.

 I 'inked' the metal surrounding the hole, now I know exactly where the hammer-face touched the metal.

 The 10% balance of the metal in the hole is where the facets of the stone are located. Now comes the Bright-Cutting inside of the hole.

  I left a 'sliver' of metal for you to see the Bright-Cutting being done.

  On one side of the Onglette graver will be highly polished, as this will leave a shiny mirror-like surface.

 Using the very same polishing paper that I used for my hammer, I'll use the paper for my graver. I'm putting a layer of pencil-graphite into the paper to make the paper be equivalent to #1,200 grit.

 

  This soft-core pencil will fill in the pores of the paper to a softer texture.

 When the hammering and Bright-Cutting has been completed the next step is to 'clean' the surface surrounding the setting hole.

  This cleaning starts with a #180 grit Pumice Wheel.

  Once the#180 Pumice wheel has been finished, then use a #1,200 grit Pumice Wheel. 

 In this final photo, you can see just where the "Table" of the stone is nicely situated.

Which is better? "Natural Diamond" or "Lab-Created" stones.- 4 photos

  First of all, I'm not discussing prices as these numbers change by the month. Suffice to say there is still enough information on the Internet to discover.

 A DIAMOND IS A DIAMOND, if "Mother Nature" created her crystalline specimens or if it was manufactured in a laboratory. The gem is still the same instead of having millions of years sitting in the Earth. In the laboratory the technician puts a 'diamond seed' in an oven and letting the processes start.

 These 'diamond seeds' are put under 'High Pressure and High Temperature', thus these new diamonds are aptly named "HPHT-Diamonds"

 When Nature creates a diamond it is "WYSIWYG" or "what you see is what you get". In the laboratory environment, the technicians can create a diamond with the clients very own specifications. What a great idea?

 This innovative 'gem-making' process is commercially only 10 years old.

With 'natural diamonds' these are with inclusions being shown below. BUT 'LAB-CREATED' STONES can be created without without any defects, interesting thought?

With a "Lab-Created Diamond" the inventory for one company exceeded 120,000 gemstones and now companies now have 160,000 stones for a client to 'pick and choose'. 

 But one thing that should be known, the Jewellery Appraisal MUST mention that the diamond being appraised is either 'Natural' or 'Lab-Created'. The final pricing might completely differ from one to the other.

 It has taken billions of years to create one diamond of a size you'd like. With a 'Lab-Created' it has taken literally 6 WEEKS.

 Plus this is avoiding the problem of 'Blood Gems' meaning the stones have not been used in paying for war-torn countries.

 I for one, had my preference but after searching for information on these stones, I'm thinking again. We all can't keep our minds 'closed'.

 There are many 'pro's and con's' on this topic. I just can't mention the many topics and answer truthfully. If you or your client is wanting a diamond, there are many factors to consider, budget, qualities and above all, the desired stone size.

 I could keep writing for hours more, my suggestion is for your you do you own research.

Best Bezels - REVIEW - 32 photos

 This photo shows the Reciprocating Hammer hitting the bezel, but the 'contact' is using the edge of the hammer tip. The metal is literally being moved towards the stone.

 The lower 'double-photo' shows the three Princess-Cut stone pendant. This one photo is not for the 'faint of heart', as I would register this technique at a definite 15 out of 10 on the "Scale of Difficulty".

  This tube bezel does look like a tube, but these bezels should retain their thin-like appearance. The lower photo shown has many bezels with thin and thick-looking bezels. I prefer the thin appearance.

  This insanely expensive Emerald took me about 3 hours in labour. I had to be 100% aware of the facet edges that were touching the underneath bezel frame. The thought of breakage NEVER ENTERED MY MIND.

 As you can see the bezel was given to me in pieces and then Laser-soldered together.

By the way, I had the opportunity to Bright-cut the frame using my highly polished Onglette gravers, as shown.

 The Flat gravers were not used as the side edge of the Flat graver could cut against the Emerald facets. I never asked my client how much the stone cost. But afterwards, I learned that the cost was well into '5 digit' numbers.

 I use my "High-Speed Steel" undercutting burs as they create the bearings that make a 'seat' inside the Tube bezel. These burs are created at 90degree angles.

  The "156C" bur is of no use to me as the teeth are too close together and just don't cut a thick rim into the metal.

With my 150x power microscope, you can see the bezel as it is sitting against and over the stone.

  My hammer is a lightweight tool that is not heavy for long periods of hitting.

 The face of this hammer must be well-cared for as if there are any defects on the face they will be easily transferred to the gold or silver. This results in defects that can't be easily removed.

 This Oval Stone bezel has a Culet that is sometimes protruding through the base of the bezel. When I'm hammering, I don't wish to have the point of the stone make any contact with the steel mandrel.

 If there is any contact, the stone will get easily broken. That is why all of the 'setting mandrels' have that groove carved out.

  On the inside of any & every Bezel will have a shiny surface. That shiny surface is named "Bright-Cutting". I never overlook this technique during the final stages of Bezel Setting, neither should you.

   Here is the side-view of the Bezel-setting as it is holding the stone TIGHT.

    Here are multiple views showing more Bezel set items.

 Here is my favourite tool is the Onglette graver #2 'ready for action'.

 This is the 'before and after' views of the essential cutting blade. I've seen some videos showing a massive steel blade, what is the purpose of such a thick blade? 

 To execute such a shiny surface, the Onglette blade must be highly polished using Polishing Paper of #800 grit.

 I put a layer of 'soft pencil graphite' into the pores of the paper, why? This paper is now softer and is now rated at about #1,200 grit (without buying more papers).

  The "modified & enhanced" graver can & will cut a cleaner swath all around the inner Bezel. DON'T USE A FLAT GRAVER, as there will be faceting against the metal.

  I'm now showing my "HSS" bur along with the Oval Ruby stone. Don't forget to pre-polish all the many areas of the ring before setting of this delicate stone.

 

 This next photo shows the finished ring, all that is needed is a light Rouge polishing.

 On my Scale of Difficulty, this project rates a '7.5 out 10'.