What are the techniques setting gemstones in cluster-type claws? => 18 photos

 I've covered this topic on numerous occasions, and nevertheless, it needs to be written again and again.

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  The safest bur is to use an "HSS" (High Speed Steel) bur as shown here. These burs have the teeth spaced further apart than the Carbide, as shown in the first photo.

 It is advantageous to create a slot in the claw, as this will be the best technique to prepare the claw for drilling.

These HSS burs will cut a Pavilion seat with the same (43-degree) angles as that of the stone.

  Not every diamond has a thin Girdle; many of them were found with a thick Girdle, and the technician kept much of the mass. 

  In this diagram, you can easily see the correct process, or technique of setting a diamond in a 4-claw setting. You can see that the 'Table Facet' is slightly higher than the claws.

 If the claws were higher, there would be problems in having the client's fingers getting caught in the metal.

 The Girdle of the stone must be well planted into the metal. The Girdle must always be secured, and the Girdle must adhere to the claws at all times. All 4 claws must be well-countoured and to the angle of the stone.

 No matter the size of the stones, the 'finished product' is essential. In this example, the 'shared claws' should secure the stone in the stone settings.

  Even in the 'claw-making' technique, as seen here, the final setting is still very important. The claws must always be well placed in the stone settings. Even if the gemstones are ultra-small, the stone setting techniques are exacting and so very critical.

  In the process of setting a 'cluster ring', there is no deviation from the claws being moved towards the stone.

THERE ARE NO SHORT-CUTS, 'ANYWHERE OR ANYTIME'.

  My own "RULE OF STONE SETTING" is to set the stones on the lower level first.

 Many decades ago, I found that putting stones into the metal was the easiest part. To secure the stones was with a Flat graver #40 and literally scrape a shard of metal over the girdle of each stone. In essence, only one claw is seen holding that one stone, nice eh?

 Here is my cluster ring being worked on. Normally, I wouldn't have such an array of rings on my bench-peg, but for this essay, I'm making exceptions.

 

  These claws will never be left with the large amount of metal as shown. It is much easier to 'move a claw' when it is high than to have the claw made to look like a little mound of metal.

 You can easily see that the stone is sitting deep in the claw setting. The Pavilion of the stone is resting securely in the claw.

  The centre stone is not the last stone to be set in this multi-claw configuration. I'll explain my reason for using my pair of pliers that have a 'pointed & bent' tip.

 For convenience and ease of moving the claws, I discovered that the tip of the pliers rests against the middle layer of claws.

 

 In moving the outer claw, only one jaw is actually doing the hard work. The inner jaw of the pliers is locking the jaw inside the set of claws. It's easier to see the photo than to text the technique.

 In every set of claws, there must be room for the Culet and the Pavilion to rest. This process must never be overlooked.

  In this final photo, the photo also mentions that the 

CULET MUST NEVER EXCEED THE DEPTH OF THE 

CLAW SETTING. 

 If the Girdle of the stone is very thick, then I would suggest modifying the claw to accommodate the Girdle of the stone.

Why are there Culet facets on every stone? => 8 photos

 This is where all of the 58 facets of the diamond come together. This 'point' is usually the bottom section of every stone. This results in a cutting point at the finger (skin), causing constant pain.

  In past decades, these Culets were removed by having them 'polished off'.

 No matter the size or shape of the stone, every gemstone has these culets created. If not, there wouldn't be any brilliance or shine to the stone.

 Culets appear on every stone, including a CZ or even a synthetic stone.

You can see this Culet protruding through the bottom of the ring.

  No matter the absolute stone colour, these Culets have one thing in common...they are sharp.

 Under extreme magnification, these Culets appear to be damaged, and the points are 'broken off'.

 Under 'normal' circumstances, Culets should never protrude beyond the bottom of any ring.

 

 This gemstone had one error in its construction; the ring was created too thin. This led to a pointed Culet protruding through the bottom of the metal.

 

How to clean SHELLAC from your jewellery! => 7 photos

 You've just finished your engraving while it was on your shellac stick. What would you do next?

 I would examine to see if the engraved plate to see if any more engraving is warranted. Because once the plate is off the shellac stick, the next step is this cleaning.

 This is so very important, I suggest printing out the instructions.

 With a low flame of your torch, GENTLY heat up the plate. Heating the shellac will only cause a bubbling action, and the shellac will be ruined for future applications.

 

 I use "Methyl Hydrate" as the preferred (liquid) medium to remove all of the shellac. I'd place this liquid in a glass jar and have it not only soak, but also completely immerse it.

 

 Place this jar of alcohol into an ultrasonic tank, and the intense vibration will cause the alcohol to loosen the shellac.

 How easy is this? The time being spent without any intensive vibration could take up to ONE HOUR or more (if you're lucky). 

 But using this 'ultrasonic' technique, the total amount of time is now measured in minutes.

 If your cleaner has the option to warm up the liquid, your success rate is greatly improved.

  I usually keep the ultrasonic cleaner on a 3-5 minute timer; that is all that is needed.

 This combination of warming the liquid and intense vibration will give you a complete & thorough cleaning.

 How fast was this cleaning technique? Quick & easy!

 

How is a Marquise stone set in a Full Bezel? => 11 photos

Bezel setting can be a little challenge, at the best of times.

 Here are 4 stones that could be used in this ring, but for this essay, I'll just work with the blue stone.

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 The first thing that a setter must do is to inspect for any defects on the stone for any of the facets, ANYWHERE.

 (If any of the facets have any minor abrasions, you should refuse to set that stone, as the client could say 'that was your fault'.) I can write this from my own experience.

 Any extra metal that is remaining from the metal casting should be removed NOW.

 The next important process is to create a 'seat' for the stone to sit. The point of the stone, as well as the bearing for the girdle, must be at the same depth.

 The next step that must be done is to use a round bur with the same diameter as the thickness of the girdle.

 This bur will drill a recess, where the point of the stone will be resting. I suggest using a "High Speed Steel" bur to carve out where the pavilion of the stone will be lying.

                     Lay the stone inside the bezel setting!

1) Make sure that the stone isn't moving in the bezel frame.

2) Is the stone sitting flush with the bezel frame?

3) Have you noticed that the stone isn't sitting high on any end?

4) Are you totally satisfied with the sitting of the stone?

  If you answered these 4 questions in the 'affirmative', we can then proceed onward.

 You have two choices in tightening the stone. You can use a flat face hammer or a "Reciprocating Hammer"; both techniques will be shown here.

 In using a regular hammer, there is just one problem, which is that the large face of the hammer literally covers the bezel tip. This will render the hammer hitting & viewing almost useless.

 The best hammer to use in bezel setting is the Reciprocating Hammer. Why is this? Any hitting is available to be seen at all times.

 When you are starting to use the hammer, I'd start at the centre of the bezel frame and work towards the ends of the bezel.   Emphasising the 'contact hitting' and NOW GENTLY PROCEED TO THE ENDS OF THE MARQUISE STONE.

 The Reciprocating Hammer anvil is easier to see, and you can direct the anvil to exactly where it should be touching.

 You will notice that the ends of the stone are contoured to be at a lower level than the middle of the stone. THIS IS NOT A DEFECT. This is because of the original faceting processes.

 I would like the Bezel Wall top to be FLAT and not contoured to match the stone.

 I, as a Diamond Setter, always Bright-Cut inside the bezel. This acts like a 'finishing touch' to the stone setting process.

 Instead of using a metal file, you should use a flat-edge Pumice Wheel with a #180 grit. The flat Pumice wheel will match the angle of the Bezel top.

 

  In this photo, you can now easily see the contours of the ends of the stone.

 Any additional 'bezel hammering' should be kept to a minimum. As I mentioned before, the bezel wall tip MUST REMAIN FLAT and not follow the various contours of the stone.

 

When are new beads created & positioned? =>16 photos

This essay is about how the stones are positioned.

 Use your dividers and position the stones on a flat surface. Remembering that all of the stones should be of the same colour (and of course) the same size.

 Keep your tools well organised on your setting bench. If you drop a stone, you can find it in a moment, instead of rummaging through all sorts of tools.

From the measurements taken from the 8 stones, you can transfer that spacing to this ring top.

 Kindly scribe where the beads MIGHT BE CREATED. The two words are 'Might BE'. This all depends upon the sizes of the stones.

  We've just drilled the holes and set the stones where the beads were intended.

The first bead should be located at the corner, as shown here. We have to make this look interesting and not just 'put a bead here and walk away'. We are always thinking of designing.

 The front of EVERY BEAD MUST BE SITUATED HALF-WAY COVERING THE GIRDLE OF THE STONE. That bulge of metal is the true bead. That shiny hole was where the bead-raiser dug into the metal.

   In this photo, I decided to burnish first each new bead, as this alone will give strength to the bead. The four diamonds went in the corners first.

 I tried to decide where each set of Garnets might be placed. This is why there are multiple holes in some spots. Spacing is very critical.

 I found that there was more space in certain areas of this rectangular ring. Therefore, the largest stones went in, as shown.

 In every hole, I counter-sunk as I wanted the Pavilion to be resting against the walls of every hole. 

Each hole used two sizes of burs; the first bur was for the outside diameter, and the second bur was to open the Culet of the hole.

 You can now see that the close proximity of the two Girdles was overlapping. Therefore, I lowered the Garnet deeper into the metal.

 After I successfully completed the drilling process, I completed the bead-burnishing process. By burnishing each new bead, it was made stronger and less prone to damage.

  

 I decided to ignore the inside areas where the 12 stones were sitting. My main concern was the 4 rectangular walls of the ring.

 Upon cutting, I discovered that the width of the four walls needed an additional line. 

 Filing the walls thinner would make the pattern look like poor taste.

 I engraved four lines, using a #1 Onglette graver, and carefully cut around the 4 outside walls.

This blade is shown on the right of the photograph.

 These additional 4 lines are shown in this photo.

                              

 For the inside of the 12 stones, I decorated the remaining metal by just 'touching' the surface using a round bur.