"Handpiece Repair Service"

 My great friend gave me his business card, as I have been a close friend of his for many years. I derive no fees from him in promoting his 'handpiece repair service'.

  When you make initial contact with him, kindly use my name as a reference. Gerry Lewy!

 

Why are there 58 facets on a Diamond ? => 9 photos

  Nearly all diamonds have 58 facets. Just what is their purpose?

 In this informative diagram, you have both the official names and locations of all of the facets.

1) I was taught that the Bezel Facet was shaped like a kite. Therefore, the second name was also a "Kite Facet".

2) If the Girdle is too wide (or thick), instead of reducing the carat weight, the 'faceting technician' will suspend the operation of 'polishing the diamond' to achieve more brilliance. 

 This detailed photo gives names to the diamond and is used as a guide to achieve the exact proportions, when needed.

 There are 'double-claws' on each corner of this stone. Why is this? I can only offer you some worthwhile words. "Security & Safety" of the stone. Instead of 4 large & bulky claws, the designer created 8 claws that even have a space in between these 'double set' of claws.

 The designer opted for four, 'tear-shaped' claws. My preference would be four round-shaped claw tips instead.  Thus exposing more facets of the stone.

 

 

  Having claws that cover the "Upper-Girdle Facets" adds additional security to this 'Fancy-Cut stone'.

  This displaying technique is used in handling a diamond of this size. Therefore, the stone stays clean at all times & no fingerprints.

    

 Messrs Tolkowsky was the official originator of the "Modern Cut".

 When all of the facets are accurately cut, then and only then will light bounce back to the viewer.

 These names of the diamonds have changed throughout the decades and years. Here are the official names for your library.

What are the shapes of diamonds => 7 photos

  This photo, which I found on Google, shows the many shapes of diamonds.

    You can see on these diagrams that these stones come in a variety of shapes with their own specific "G.I.A." names.

 Baguette gemstones have ONLY 14 facets. Why is this? They are called a "Step-Cut" as the sides of these stones look like steps. Even with "Tapered Baguettes", these stones are also created with 14 facets EACH.

 This photo was not AI-created; it shows the reflection of light throughout the gemstone.

  ALL round stones will have 58 facets, giving full brilliance. Light enters the "Table Facet" and is then reflected back to the wearer.

 As seen with these Cubic Zirconias, these are created in a multitude of colours.

  Every gemstone will enable light to 'enter and exit' with no errors due to the accurate shaping & cutting processes. 

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.