How to drill holes in metal...correctly? => 10 photos

 Anyone can drill a hole, agree? But to 'drill a hole correctly', this is what we are aiming to do today.

 Why did I use a round bur to partially drill a hole? The answer is relatively easy, if I didn't, the twist-drill would be running around and not cutting any hole. This mini-hole aligns the drill to stay in one place. This is so very important in the first step of drilling any hole. 

 

 The 'twist drill' must never start the drilling process at an angle (as shown here) because the drill hole will also be on an angle and we don't want this to happen, do we?

 The best placement of the drill will be held in a vertical position.

 Before and during any drilling, the twist-drill must always be well-lubricated. This is to prevent overheating of the steel drill and aid in removing any metal residue. 

  This twist drill will literally overheat in seconds if there is no oil in the hole.

 Here you can easily see that the oil is clearly seen around the hole. I like to 'flood the hole' and surrounding metal with this lubricating oil.

 The twist drill is now been put to good use. I will drill through the metal with the aid of oil I want the drill to keep drilling until it has cleared the metal underneath

 This is the residue of metal, I painted the ring as I wanted the subsequent holes to be in one continuous line. 

 I located another thicker ring for drilling and again kept this thicker ring absolutely flooded with oil.

Please be aware that overheating of metal will even cause the steel to break during the drilling process. This is the most difficult aspect of drilling holes, if any steel is remaining in the ring, the chances of it being removed can be a major problem. 

 I would carefully lower my twist drill deeper into the ring in segments. Drill, remove, oil, drill again, remove and use oil.

 All of this is not an easy task but look at what could happen if there was not enough oil being used..OUCH! 

 In my collection of twist drills at my bench, I have drills ranging from 0.35mm up to 1.47mm. Each of them has its own purpose, being a gemstone setter these drills are important to be kept in a wooden box and not just lying around getting damaged.

INDEPTH REVIEW of 'GRAVER CUTTING' => 38 photos

 This ornate pattern has a "Difficulty Rating of 50+ out of 10" (maybe higher).

This design & pattern had NO (computer designing) CAD involved in any of the metal carving & engraving.

 This is one of the most insanely difficult and labour-intensive metal carvings to work on. (I can personally vouch for this). 

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 WHAT TOOLS WOULD I USE?

1) An Onglette Graver #1 for the 'rough outline cutting'.

2) Next is a Flat Graver with a #40 width. 

 

 

 This is the thickness of the FLAT graver, as you can see that the 'face' of the graver has been created very thin. As you will see that this has many of the cuttings need a narrow cut. It's literally impossible to cut a 'thin line' with a thick blade.

 This is my assortment & inventory of gravers just for this exercise. I put all of these gravers into my "Adjustable, Graver handles" as this permits me to use any graver of any length or width.

 As this heart-shaped silver model has some irregularities in it's shape. I just refined the overall pattern before any metal cutting were started.

 I'll be using an Onglette #1 in width, but nothing wider at this point in time.

 Just for this line of cutting, I'll be using an Onglette # 2 to separate the 2 holes. DON'T USE A SAW-BLADE as you won't have enough directional control in the cutting.

  This is what we're aiming for in our overall pattern to look like. I always write 

THERE ARE NO SHORT-CUTS IN DIAMOND SETTING.

 

  What we must do is to use this metal cutting line as the basis of the pattern & design.  

YES, there will be some cutting errors, but I'm going to guide you through them. 

 

  This is the 'finished' pattern including all of the graver 'Bright-Cutting'.

 The first line of 'metal cutting' must be against the hole, as this is where the new pattern will be created.

Don't think for a moment that the depth of this cut is 'final', I ALWAYS USE MY Onglette graver #1 to cut at least 2-3 more times. 

 This design took me 1 hour. "SPEED WILL CAUSE MANY MORE CUTTING ERRORS".

 THIS IS A VERY SERIOUS METAL CUTTING PROCESS TAKING PLACE HERE, =>PLEASE DON'T PANIC & RUSH YOURSELF <=

 

  The 'particular heart-design' is not perfect, this is due to a few errors in the wax, fear not, why? Just use your Onglette graver #1 to re-engrave the 'original pattern' as seen here.

 Your gravers for this project are Onglette #0, #1 (and sometimes #2). When you need to resharpen the graver, always keep your oilstone well lubricated with a "Medium grade" oil viscosity.

 When I'm placing my graver on to the oilstone, please have it held at a 45degree angle.

 

 To prevent any cut fingers, PLEASE USE A RUBBER, THUMB-GUARD. It is quite normal to rest your blade against the 'finger-pad' of your thumb.

 The front of the graver is called a 'Face', this graver face is your 'friend' it will do much of your hard work. Always keep the 'face' in pristine condition.

 When you are using your Flat graver, kindly use your polishing papers #800, #1,000 or #1,200 grit papers. As well, examine that the face of the Flat graver is always sharp. I use a graphite soft pencil to add a brighter sheen to the polishing paper. 

 The graphite granules will be thoroughly imbedded into the pores of the paper, thus reducing any coarse activity in polishing.

 If I had a selection of mediocre shaped gravers, they wouldn't be of any use to me or this metal cutting exercise.

 

 Here you can now see a 'black line', it isn't black, but a reflection of light bouncing off of the metal. I used a Flat graver to make this bright cutting, it is held at a 45degree angle.

  You can now see how deep into the metal the Onglette graver has been cutting. It is not a 'series of shallow cuttings'. I could cut much deeper if it is warranted, which it is now.

 To have the easiest handling of a graver (of any shape) is to grasp the blade in the palm of your hand & fingers. BUT NOT TO HAVE THE TIP OF THE BLADE EXTENDING BEYOND THE FIRST NUCKLE (joint) OF THE FINGER.

 Not only is the graver cutting now in a straight line (thankfully) it is now at a decent depth. This shows that the graver has been repeatedly cutting deep.

 There isn't any other tool that can do this specialized work, not even with CAD a.k.a. "Computer Assisted Designing".

 If the width of cutting area as shown is too wide, DON'T FILE IT AWAY. I just engraved another line of cutting, the result is of a nicer finished effect.

 I have a fairly large inventory of 'cutting blades', in each 'adjustable handle' are specially shaped gravers serving a specific purpose.

 If there need to be any 'modifications' needed for the cutting project, it is advisable to make those alterations IN THE WAX. It can be a major problem if it's done in the metal form.

 This is the prime example of 'fixing' any much needed repairs in metal. This might be an exhaustive fruitless exercise in metal cutting. (I've walked that road many times.)

 If you are unsure of this next cutting step, you can acquaint yourself with other remedial steps, as shown here. I used a very thin shaped Bud-bur instead of an Onglette #1.

 This photo displays both the Flat and Onglette gravers in the cutting process, "this is not an overnight learning experience".

There are 4 angles been worked on and this is why every engraving blade needs to be kept in a pristine condition.

 All of the main essentials in graver cutting need to be kept within 'hands reach' in your bench-tray.

  I decided not to complete this 'heart', I chose to scrap and not waste any further time in 'fixing' what can't be repaired. 

From every NEGATIVE ACTION HAS A POSITIVE ROUTE.

YOU TOO WILL FIND THIS A VALUABLE LESSON. Every error can be a learning experience.

 Instead of completing this heart, you could learn how to experiment with the cutting actions of your blades.

 "Practicing engraving" even means getting your fingers used to simply 'holding the gravers'.

 The most simplest graver contact can be a challenge to the uninitiated tradesperson. Be methodical where the graver-face will touch the metal at each hole. Just cut one section at a time!

 Curves around the pendant' is a genuine 'learned skill'. This 'curved section' of the heart shouldn't be engraved with straight lines (as shown here). This should be a progression of mini-cuts culminating in a 'gentle curve'.

 Here is my Flat graver with a width of #40. You will notice how finely-shaped it looks. You are basically moving a 'graver face' not an enormous amount of steel.

 I've seen many videos and I wonder how can anyone learn with those steel gravers?

 Here is the ongoing process of 'graver cutting', this coil of metal (silver) was not planned by me. But is a normal occurrence of how the metal is being lifted during the metal carving.

This is the correct 'name and origin' of a FLAT graver. The letters HSS mean that the steel is of a "High Speed Steel" blade and not of a soft Carbide nature.

 

 This highly polished steel blade gives a mirror like reflection against the 'cutting surface'. There are only two gravers that can achieve this effect. 

They are the Flat and Onglette blade and no other blade can make this happen. Even with CAD will not give you a bright-cut reflection.

 This photo shows how the soft-graphite pencil is being applied to the 'polishing paper'.

 

"The Jeweller's Bench Book" => "Orchid in Print" Volume 2. => 3 photos

  Many years ago I met Charles Lewton-Brain and he asked me if he could write a few short notes about my position as a "Diamond Setter, tutor and writer". I gladly accepted his offer and I still have his book in my possession and paid little attention to it until this past weekend. I will now edit his text and subsequent photos for OUR blog. 

"Gerry Lewy's bench for setting with his burs on display". He is a Diamond Setter and teacher in Thornhill, Ontario, Canada he told me "I have a rounded indentation in the bench pin to brace & rotate my shellac stick."

                                    REFERENCE TO THE NUMBERED SETTING TOOLS.

1) The variety of his 'bur pads' are very important as he keeps his burs separated by shape and size.

2) The round pads are where he keeps his gemstones while he is working. He told me, "These rubberized floor-pads can be bought in any hardware store". He will keep them cemented to his bench top in case any pad gets loose and the stones might get lost.

3) He puts a tincture of oil into a used 'glass fuse' with a piece of cloth. He needs to keep his burs well lubricated at all times.

 I was honoured in having me (the only Canadian) to be selected in this interesting book along with other jewellers in our vast world-wide community.

The official name of this book for your reference is: 

"ORCHID IN PRINT" MAXIMUM BENCH WORK, Volume 2.