THIRD (final) essay on "Claw Setting & Trimming Claws" - 8 photos

 As this IS A REPEATED PHOTO, I cannot avoid displaying this photo again. It is here where the Flat graver comes in handy while setting any diamond in a '4-claw mounting'.

 Remember this one important rule: DON'T USE A FILE TO CLEAN THE SIDES OF THE CLAWS. The Flat graver technique was taught to me 65 years ago, and it's now your turn to learn it.

Lay your Flat graver where the groove of the 156C bur was cutting into the metal. 

From this point down, you should cut into the metal just at the edge where the stone will be sitting. You need to remove every 'sliver of metal' that has no need to be there.

 It is nearly impossible to use this technique when the stone has been set.

 This has to be done on ALL OF THE 4 CLAWS. KEEP YOUR GRAVER SHARP TO DO THIS PRECISION CLAW CLEANING.

  Although this is a new stone setting, it looks like it needs to be re-tipped, why is this? There is little amount of metal on all of the 4 claw tips. Under close examination: the stone is at the correct height, but the claws are too short.

These are my 'working wheels' they are used specifically in removing any deep or superficial marks in the metal.

 These Pumice wheels come in flat-faced or Tapered surfaces. The Pink colours are of #1,000 grit while the Blue colours are of #180 grit.

 This photo shows good-looking two claws, but the "V" shaped claw that is holding the point of the stone lacks any security. Mediocre claw design.

 Instead of using a large steel file to reduce the claw height, why not use a different process? 

 I use my 'Snap-on, Emery wheel' to do the claw reduction The grit that I use is a "Medium Grade" Emery wheel.

 As I wrote in the previous essay the claw carving was not properly used. The claw on the left is not acceptable, now compare the carving to the claw on the right. There is no comparison between them both.

 I wrote this page many years ago and it still needs to be shown again. It should be read and displayed many times.

 When you are attempting to set any large diamond, examine the stone setting with your 10x <=>15x power loupe.

 If you observe that the claws are not fully sitting on the 'Crown Facets', what would you do next?

The next step is to use a saw blade and recut the claw tip thus making the tip of the claw rest correctly on the stone. 

This 'claw-recutting' MUST NEVER GO BEYOND THE GIRDLE OF THE STONE.

The result is that the claw tip will fully mould itself to the stone.

 

  You can see that there is an ample amount of metal available for claw trimming. This is what we are aiming for in these 3 essays.

SECOND essay on "Claw Setting & Trimming" -16 photo's

 How do you find if the diamond is correctly in the 4-claw head & well-centred? This is quite easy, as the Culet of the stone MUST BE IN THE CENTER OF THE FOUR CLAWS.

   I suggest that you use a FLAT graver with a #40 width and cut the areas where your "HSS" bur was cutting into the metal. This flange of metal MUST BE REMOVED NOW, DON'T USE A FILE, as a file will leave a serrated edge where the file was trying to clean. 

 A FLAT GRAVER WILL 'CLEAN & CUT' both at the same time.

  I might suggest rotating your ring just to make sure that your stone is sitting in the centre of the 6 claw head.

 All of the '4-claw' settings MUST BE EUALLY SPACED. These claws must be in a vertical position and not tilted or crooked. Another point is to use your #77B Cup Bur to shape your claws as shown here.

 WOOPS! These girdle seats were drilled too high against the claws. Because of this major error, there won't be enough metal to go over the Girdle of the diamond.

 To repeat, observe the 'rough texture' on the side of the claw. These bits of metal will be on ALL OF THE 4 CLAWS.

 This is a close-up photo of the "HSS 90-degree angle" cutting bur. These teeth will cut into the metal and leave shards of metal mainly on one side of each of the 4 claws, this is due to the rotating bur.

  These are two results from the bur-cutting. The claw on the left is just a very mediocre example of preparation of the cutting. 

 The claw on the right claw is a fine example of what the inside of each claw should look like. You can visualize that the Pavillion will lay against the inside of the claw without any open areas.

 I cannot over-emphasize what the 'pieces of metal' will look like. GET RID OF THESE PIECES OF METAL NOW!

                               Let's discuss the correct 'filing technique' from this one photo.

1) The tip of each claw must be filed flat.

2) There must sufficient amount of metal holding down each section of the stone. 

3) The front section of the claw must be filed straight across as seen on the left claw.

4) The sides of each claw should be parallel to each other.

5) The rear of each claw could be half-rounded with the Triangular file of #4 grit.

6) The easier method is to use your #77B, Cup Bur. There must be 50% amount of more metal on top to allow the Cup Bur to be used. 

This stone is set too high in the 'low-profile' claw configuration. PLUS the stone is grossly crooked because the Girdle bearings were not correctly drilled at the same depth. 

Examine the depth of the Girdle and Pavillion seat, if there is a minute discrepancy the stone will be set tilted aka crooked.

 This is my specialized selection of gem-setting tools. If other jewellery tools are occupying the same bench tray, get rid of them as you don't want unnecessary tools lying askew.

 I always initiate cutting a little groove into each claw with a bud-shaped bur. If I didn't use this technique, the 156C  bur would surely run amok around each claw. This action will endanger or ruin the claws.

 It is advisable to examine the height of the claws to the size of the stone. Any last-minute preparations should be done at this stage, if one claw seems to be too high, you can make the immediate corrections NOW.

 Once the Girdle indentations have been created, you can spread out the 4 claws to accommodate the large gemstone. This manoeuvre is only temporary as it will give you much freedom in setting the stone. 

REMEMBER TO CLOSE THE CLAWS UNTIL THEY  ARE IN A VERTICAL LAYOUT.

 After all of the cleaning with Pumice Wheels and FLAT graver shaping, there will be a need to 'pre-polish the claws' prior to the final stone setting.

 If you decide to do this after the stone has been set. "Good luck" Your ring will not look professionally manufactured.

Trimming your "Engagement Ring" claws - 25 photos (first of three essays on this topic)

 This topic is not easy, it is also challenging. One of the first things I learned 65 years ago was to learn to do this 'trimming'. "Do you Bright-Cut your 4 claws? Did I what? Are you serious? I am positively 100% serious, then what tools would I need?"

1) Flat #40 graver.

2) Triangular File, 8 cm long with a #4 grit.

3) Two Tapered Pumice Wheels, with #180 & #1,000 grit.

4) "Inside, ring clamp".

5) Eye loupe of (minimum) 10x power magnification.

6) Two Polishing Papers with #800 grit & #1,000 grit.

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 This first of many photos shows that even after rounding the 4 claws there will be a few 'remnants of metal' remaining...GET RID OF THEM NOW.

 On any '4-claw ring', there will be a greater need to keep the claws as smooth as possible. I always use my Pumice Wheel, of #180 grit for a start. I always hold any ring carefully in my "Inside, Ring Clamp". 

 The regular wide wooden ring clamps do not give me any access that I need. I want my fingers to get as close as I can to my working areas.

 When I'm finishing the 'trimming' on a "V" shaped claw. I will use my Pumice Wheel but with a "FLAT-FACED" surface, as shown here.

This "Triangular, 3-claw head" needs to be kept in this configuration at all times. I will even 'Bright-Cut' the inside of those claws, why is that? This action lets the wearer know that someone appreciates quality workmanship.

 On my 'Setters, Hold-It" pin-vice clamp, I want to have absolutely no movement when I'm filing the claws. "Pre-polishing" is so necessary that I can't overestimate how important this preliminary action is. 

 When the stone is set, there is no opportunity to polish any 'inside metal areas' afterwards. DO THIS DELICATE METAL TRIMMING NOW.

   This is the newer version of the "Inside Ring Clamp". With this special ring clamp, I can now hold my 'hand and file' very close to the ring. This is why I display my own clamp as seen above.

 These are my favourite 'light-abrasive', finishing wheels. The blue-coloured wheels are #180 grit and the Pink coloured wheels are #1,000 grit. These colours are not for decoration but for a specific purpose.

 All of these '4-claw, rings' should be pre-polished ahead of the insertion of the centre 'gemstone or diamond'. After the stone-setting has been done, all that remains is a light buffing of the claw tips.

 'Pre-polishing' is so important that it can be overlooked by some new jewellers who are starting to create a clientele.

 There is no need for a 'large and rough' file when finishing the claw setting. Stay within the parameters of using 'delicate needle-nose' files. 

 When I'm setting these claws I want to 'stop and see' if any problems might be starting. YES, the 'Opti-Visor' is great, but not perfect! Have a hand-held loupe in constant proximity to your bench-pin. I prefer a 10x power loupe, but a 15x power is best!

       

      WHAT ARE YOU ARE 'ALWAYS' LOOKING FOR?

1) Are your claws on your stone?

2) Are the claws of equal distance?
3) Are the claw tips symmetrical to each other?
4) Are all claws nicely polished?

  When setting a square gemstone ALWAYS KEEP THE CLAWS 'V'-SHAPED, (as shown in this photo).

 I have two Optivisor head visors the stronger is a #7 of a stronger magnification then I use a #5 lens for the normal setting.

 This assortment of mini-files will be of much satisfaction to you as they will get into delicate areas of those multiple claw heads. 

 

 This loupe is comprised of three lenses which is 'best' as there won't be any aberration in the viewing.

  This is my (well-worn) #5 lens with approximately 3x power magnification.

 These are "#77B, Burs" with another name of "Cup Burs". But I've modified the bur on the left of my oil-stone by shaving off much of the bur. I wanted the teeth of the bur to have greater contact with the claw tip.

 There will be many times when a FLAT graver will be used and the front tip MUST BE KEPT SHARP AT ALL TIMES. My Polishing Paper of choice is halfway between an "Emery and Polishing", hence I use a #800 grit paper.

  

 The underneath of the graver MUST BE SHARP AT ALL TIMES if it isn't in pristine condition, then there will be scratches on the claw when it's being used.

 This is my FLAT graver being inspected on the oilstone during the frequent resharpening processes.

 Here is the 'before & after' photo of the FLAT gravers. All gravers must have the HSS identification which symbolizes the strength of the blade, namely "HIGH SPEED STEEL". 

  The next essay on this important topic will show where these gravers will be used BEFORE and AFTER THE GEMSTONE STONE ARE SET.

 I decided not to make this essay too long to read. I found many photos of this 'finishing process' in my archives.

Engagement Rings for 2024 & 2025 showing 10 designs & WHY?

 I saw these 2024 &2025 Engagement rings on a jewellery website and I feel that I want to put some of my thoughts into what I feel towards them.

 I try not to mention the creator's name nor the costs for those diamonds but suffice it to say these are just spectacular and original. The jewellery site did report that "what was old, is now new again".

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The ring on the left is an "Old Fashioned Cut" stone, how did I know this? The Culet point was removed. Many of the facets we not completed during the Diamond Polishing process, this shows that this diamond was from the last century (1900's).

 At each corner of the 6-cornered pattern, the designer chose to have a larger diamond. This was to give more emphasis to a 6-cornered design. Good idea!

  The other stone-setting techniques will be discussed further in this essay.

 I enjoy the thick and protective "V" shaped 2 claws as this gives maximum protection to the most vulnerable areas of the Marquise. The 'wide, side claws' also protect the widest part of the stone giving maximum security to this 3.25-carat diamond.

 The Blue-stone bezels were correctly Full-Bezel set and they were Bright-Cut. The four claws just seem to blend in towards the centre stone. Job well done!

 This Full Bezel seems to make the Marquise diamond look wider as well as longer. It also fully protects all areas of this precious diamond. The three diamonds were set in white gold, which is why the white gold ring is a perfect match for a 'near-colourless' diamond. The inside of the 3 Full Bezels were Bright Cut.

  All of the sharp corners of this diamond are fully protected by 18karat gold. There are no sharp edges anywhere to be seen.

 Even though the Engagement ring is yellow, the Diamond Bezel is white gold. It is an 'unwritten rule' never to set a white gemstone into a yellow bezel, why is that? The diamond will pick up the colour of the gold-yellow bezel, thus giving the diamond a 'false colour.'

 This ring totally fascinated me as all of the diamonds are of a Yellow tint. Thus having the diamonds blend in with the gold.

 Do you notice that there's a "Milgrain effect" around the Full Bezel of the large 3.25-carat diamond? A truly remarkable skill is keeping the Milgrain tool on the edge of the bezel wall. WOW!

 The claws that are holding the shoulder stones were split into two claws. Thus giving 'double security' to every stone.

 In keeping this insanely expensive Emerald-Cut Diamond safe and secure, the designer chose very wide claws. These claws give extra strength and protect the four corners. (I personally wouldn't choose yellow gold on a white diamond).  There would be a 'negative colour' reading for the Diamond Appraiser and the appraiser might even ask that the stone be removed to get an accurate GIA report.