How to maintain the graver with an Oil Stone? => 15 photos.

 This little task seems easy, with many techniques involved, this can be mind-boggling.

 First of all, hold your graver approximately at a 45-degree angle. This will be the same angle being put on all of the 'faces' on all of the gravers.

 I never assume that I have the correct angle, I always put the tip of the graver on the oil stone and lean it to the desired angle.

  

 The 45 degree angle is for ANY GRAVER that I've been using for many weeks and NEVER DEVIATED FROM IT.

 If I must create a "Right-Sided, Onglette graver" then, and only then, will I make the angle at 30 degrees.

 

 

 My FLAT graver has to have the same angles and this can be created on the oil stone.

 To acquire the correct cutting angle, these cannot be found when the graver is first purchased from your tool supplier. YOU HAVE TO SHAPE IT ON YOUR OIL STONE.

 Don't expect that all graver angles come that way, the shaping for metal cutting is a skill to be learned.  But for now, lets just say that you have learned this technique, lets now continue further in this essay.

 If your "Bright-Cutting" blade is needing to be resharpened. Always keep your stone well lubricated with a fine layer of oil, of a "Medium" viscosity.

 You can see just how thin the 'face' of the FLAT graver has been honed, or shaped. The oil-stone is used for sharpening blades prior to Bright-Cutting.

 

 There is a fine layer of oil ALWAYS only the surface of the oil-stone. This oil keeps the blade cool as its being sharpened, heat is an enemy of gravers. 

   
  As an example, all of the assortment of gravers have the very same cutting angle. The oil-stone has just one purpose and that is to contour the cutting face of the blade.

 
 Even for this moderately thick FLAT graver face is still at 45-degree angle. For this blade I kept it thick for a previous diamond setting procedure that I had.

  No matter the purpose, all of the gravers have the same angle created from the oil-stone.

 Some of these engraving blades are very old, but still 'in their prime' in doing metal carving. The 'well cared for' blade is a testament to the owner and setter.

 All of my handles are named "Adjustable, graver handle" as I can use a long or short blade and still do my setting.

 From repeated graver shaping, a fine layer of steel is being built up, how can it be removed? Just use a strong magnet and in seconds the steel shavings is easily removed.

 I had to do some metal cutting and automatically I put some a few drops of oil on the stone. I NEVER SHARPEN ANY BLADE WITHOUT THIS FINE LAYER OF OIL.

Would you use a "HSS", or a "156C" bur? When & where will these burs be used? => 24 photos

  For every bur there is a reason, in this essay, I'll be explaining the best qualities of each.  My experience indicates which are 'good', or 'best'.

 "156C" the letter "C" is an abbreviation for "Carbide". These burs are softer than the High-Speed Steel bur, both look the same, but are so different in their uses.

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 Let's start with the "156C" (Carbide bur) the difference between the "156C" and the "HSS" bur is what makes them interesting.

(I know that you've seen many of these photos in previous essays, but many of these same burs may have multiple uses.)

 The "156C" bur have their "cutting teeth" created close together. The HSS bur has its teeth created further apart, these burs can even be repaired if the cutting teeth are worn smooth. This 'repairing process' cannot be done to the '156C' bur, if those mini-teeth are worn or damaged they should be just discarded, as I do on many occasions.

  You can see just how close each of the teeth are for easily crafting claws in very small claw settings. These are the best burs in creating seats for 'cluster rings'. My choice of photos being shown further in the essay demonstrates this fact.

 I have ample supply of these 156C burs for any eventuality in case a bur gets worn too fast and is unable to be used again.

 I always keep duplicate or triplicate numbers of the same sizes. I never force the issue in keeping a damaged 156C bur. If it is worn, or damaged...GOOD-BYE!

 I found through my experience that the smaller 156C burs get worn very quickly, pity! Don't attempt to keep it, as a 'damaged bur' is not wanted anymore in doing precision work.

  Here are my (favourite) HSS burs, they have a stronger steel composition not like the softer Carbide steel. Even as the angles are similar to both styles, the difference ends there. The HSS are reliable and can be recut & repaired at the 'setters bench', the Carbide burs cannot be recut as the teeth are too close together.

  Here is a prime example of the 'tooth construction' of the 156C and the HSS bur. 

 In the process of repairing the worn teeth on the HSS bur, I made a choice to repair each tooth or accept the fact that a damaged bur shouldn't be used again.

 These burs are not cheap, for this option I can make each bur last for many 'repairing'.

 I repair each tooth by using a 'separating disk' to do the individual 'tooth repairing'.

 For the finer demands of gem-setting, I would gently use the 156C in 'Gypsy-Flush setting'.

 This is a 156C bur that 'has seen better days', there are chances that this bur might be good for only a few more claw settings. These 'damaged' teeth are showing signs of irreversible wear.

In preparing a 'cluster-top', only a 156C bur can be used in these delicate situations.

 In using this High Speed Steel bur, I would use this particular bur only in cutting a seat for  the Engagement setting rings. This great photo displays the spacing of the teeth.

 The 156C could be used on 'cluster rings', but not for the Engagement rings. 

 Here is the great example of where the 156C bur should be used at all times. We are dealing with precision metal cutting against the small claws. 

The HSS burs haven't the precise cutting ability, these 'seats' must be drilled in exact dimensions that of the stone. 

 Which bur should be used for the larger diamond? I chose the HSS bur to do the metal-cutting, The HSS bur have the very same shape & proportions as the diamond, I found that the 156C hadn't the overall shape of the large diamond.

 I used many shapes & sizes of burs to set these gemstones. NO SHORTCUTS ARE PERMITTED.

 Remember, that this ring WAS NOT CREATED WITH CAD, 'Computer Aided Designing'. Precise metal cutting was done everywhere using these two styles of burs.

 I elected to create 'seats' inside of the newly created claws by using ONLY the 156C bur. I demanded precise cutting against very (delicate) claw, unfortunately (the fantastic) HSS bur hasn't that option.

 (Prior to any setting of the many stones, I recut the little 'bur contacts' as seen here.)

Here is another example of using the 156C bur instead of the HSS bur. Delicate claw-carving had to done with the greatest of care. 

Two burs of the same size, can still have two different results. 'Experience' is the best teacher.

 Here is a much closer photo of the '156C' bur preparing the many seats for the small diamonds. You can easily see the 'new seat' for the unset gemstone. I'm only 'touching one claw' at a time.

=> The 156C bur only 'touches the metal', but never digging into the claw. <=

 This is the style of HSS bur I will use in preparing the claw setting for this stone. (But of course much smaller bur will be used.) 

 I used this large bur only as a display, as a smaller bur wouldn't be easy for a picture.

 Can you imagine if I chose an aggressive cutting HSS bur? The damage that would occur would be catastrophic, I preferred to undercut only one claw at a time.

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.