"Gemstone Diagrams" for YOU => 11 photos

 This first diagram was created for me, and it initiated a series of hand-drawn diagrams that will be featured shortly on this blog.

 As of now, there are (an estimated) 60 diagrams in my library that are made for viewers like you!

 

  Many of these diagrams in this first essay have text written on each. Thus making the instructions easy to read and work with. The 'unwritten diagrams' are also self-explanatory.

  Here, you can see that 'light' does not bounce back to the viewer. The 'bouncing light' gives unrealistic brilliance. The viewer will then see it as a mediocre colour and of little shine. 

 

A CLAMP for YOUR (setting) BENCH => 20 photos

 Clamps come in all shapes for different uses. I'll demonstrate how these are used.

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 This interesting item is a handheld clamp, as its jaws grip the item tightly when needed.

 This is my favourite 'adjustable' pin clamp. The holes are many, depending on where the pins need to be positioned.

  As you see, it has been used many times. These pins don't squeeze the gold or the silver; they can be easily fashioned to just gently grip & hold the piece of jewellery.

  Instead of laying the cluster top on a shellac stick (as shown here), sometimes this can be a messy process in the cleaning after the setting.

 

  I'll even use this particular clamp for gentle engraving & stone setting.

 I'll secure the cluster-top to the clamp, and then I can gently rotate the item when needed. 

 These 'clamp pins' can be easily positioned anywhere on the clamp plate, depending on where it is needed. 

 

You can observe the 'indentations' that I cut on these brass pins.

 In all actuality, there are only 2 pins holding the cluster top.

  Even on a thin sheet of silver, this clamp top will hold the plate securely without damaging the outside edges.

 These brass pins have been modified and shaped to hold any items that are needed. I can easily move the pins anywhere that is easy for me to hold.

 As I don't want to ruin any of the soft claws, I'll never want to squeeze the clasp too tightly.

  Here is another view of this wonderful hand-clamp being used.

  I had a "GRS" clamp to give me a flat 'examining table' for photographic purposes.

 I once had a large number of earring studs to set, and I fashioned the tip of my pin-vise with holes. These holes & pins were just what I was looking for. I positioned the pins to gently grab the earring, but not to endanger any of them.

 

  I suspend each earring pin in the center of the jaws enabling that pin to be without cutting into my fingers.

 I use a separating disk to equally create a groove into each brass pin. These newly modified pins will be my favourite holding pins for literally years to come. 

  I fashioned another few sets of pins to hold any item, even coins, at a later date.

 If the need be a cluster-top or even a coin, this multi-use devise should be modified at your bench, as they cannot be bought with the grooves already cut.

 These pins were specifically created just for this one purpose, and the reason was to hold my "Guinness World Record" disk.

 You can see just how wide the 'gripping action' is taking place. Even if the pins are gently touching the large stones and their claws, there is no danger of damaging any of them. 

  Here is another technique for you to ponder, I will allow the pins to gently grip this disk from the inside. This technique allows no damage to occur to the delicate outside surface.

 "It's not the tool that you initially buy, it's that same tool that will greatly assist you in the years to come."

"Upscale mall" posters => 8 photos

  I visited this upscale shopping mall a few times and took photos of the jewellery posters. (I'm always on the lookout for new essay topics to explore.)

 These photos are no exception.

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 This one photo displays "Tube (Bezel) and "Bead" settings, what a nice find!

  This is one of the 'public displays' in this mall, and it caught my attention.

 To capture the 'construction techniques' without any printed words is what I feel is best. I use my own words and not someone else's.

  The six claws are gingerly protecting the Triangular stones from continuous 'wear & tear'.

The connecting links offer stability and security while being worn. 

 

 The connection processes underneath these links display originality. I just couldn't avoid capturing the clean, continuous lines. You notice that each link was thoroughly polished before assembly.

 

Really, (REALLY) OLDE LAMPS that we used to work with =>10 photos

 I've written about bench-lights before, but nothing like these out-of-date and antiquated lights...WOW & OY!

 

 We must begin to think of OUR EYES. We only have two of them, and they must never give us problems, agree?

 You can see a 'pump drill' on the far right of the bench. These were used on pre-motorised drilling equipment.

 The earliest light source were these candles that were made of wax and had to stay on the workbench.

 This is my bench with my main 'three-bar light' and a side (2-bar light) backup source of light.

  This cute-looking lamp has one problem, which is that it has just one bulb. OUCH!

 The metallic shield covering the 'reflecting bulb' will give anyone eye strain and headaches in minutes.

 My own eyes wouldn't last for an hour due to the glare of that one bulb. You can see that there was a 'light and heat shield' placed in front of that one bulb.

 This three-bar light is still used on my 2nd bench. The pulsating flicker of one bulb is too much for the eye. 

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 This is why some lighting fixtures have three bulbs, as the two remaining bulbs will cancel out each of the 'flickering' effects.

 The 'flickering bulb' pulsates at 1/15th of a second. (I just thought that this might be interesting for you)

 

  I'd give up setting stones in a 'nano-second' if I had to work with these mediocre lamps. (A nanosecond is 1 billionth of a second).

 I have no idea when this lighting fixture was used. But it could have been in the previous century.

 I think that it used kerosene as a lighting source. The half-round bell on top allowed the 'light heat' to dissipate.

 

What does a "BEAD BURNISHER" do? =>13 photos

 To put this into perspective, a Bead Burnisher has just one role. That role is to make all of the sharp bead tips as smooth as possible.

                             

 After my 'Pre-Cutting' has been completed, the next important step is to round off the tips. This should be done immediately after metal cutting, allowing Genuine Emeralds to be set without the risk of breaking the soft stones.

 You can now see 'where and when' the burnisher works its magic.

 

    

  The burnisher may smooth the sharp bead tip, but this should be done with some coordinated skill involved.

 

 Again, here is another bead setting pattern aptly named "French Setting". In this pattern, only 2 beads are holding one stone. These two beads must be smoothed like 'little balls' sitting over the Girdle of the stone.

 The tip of the burnisher must sit gently against the 'Table Facet'. This is why I create a flange on the edge of the tool. That flange will rest on top of the stone. 

 My teacher taught me the technique 65 years ago.

 This 'flange technique' can be gently used on 'ANY SOFT STONE'.

 This burnishing process can be used on any mini-claws. But the burnisher must cover the mini-claw, without leaving a rim around the tip.

 Here is a selection of burnishers with the flange being created.

 With a burnisher moving the mini-claw, the inside of the tool gently smooths the claw. 

   Here is the completed series of 'burnished claws'. You can see that the burnisher is being held at a 45-degree angle, not vertical.