Why is "Pre-Cutting" necessary & essential? => 17 photos

  I obtained a fantastic book from a well-known jewellery designer. As I looked at the photographs, I found some examples worthy of immediate discussion.

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 1) This photo is the 'epitome of poor planning' when cutting into metal.

2) The beads are of all different sizes. Why was this?

3) The beads were not 'rounded' with a bead-burnisher. Why not?

4) The graver left a long line of metal beside each gemstone.

5) The corners of the cutting were not made distinct, but remained 'rounded'.

    This photo of the Diamond Setting is 100% PERFECT. Now compare the metal cutting shown in the next picture.

 The stone setting in this photo is a 'total disaster'. This is necessary for me to list the errors in numerical order.  

1) The beads were not made uniform in their design.

2) When a flat graver was used to separate beads, that graver had a rough edge to the tool.

3) The beads were not rounded with a 'bead burnisher'.

  My 'display plate' was completed for the sole purpose of having all of the 'beads' created symmetrically and uniformly. I 'gold-plated' this display plate to highlight the metal cuttings.

 This single metal strip shows the in-between design. There is no possible way any of this metal cutting can be achieved if the gemstones were initially mounted. The tip of the graver just couldn't cut around the Girdle if the stone was set first.

 

  This ring has 'three stages of metal cutting' all into one ring.

  

 This "Chopard" watch case was on a shopping mall display board that shows the general public how quality gemstone setting is essential.

 This 'close-up' of the same watch, allows the viewer just how the diamond setting should be seen. The beads are all uniform and a pleasure to be seen.

 Even on the 'test strip' I used my Bead-Burnisher to round each bead. You can see the multiple steps being taken to achieve a quality in stone setting.

  Every Onglette graver should be fashioned and shaped on a 'Bench Grinder'.

 Let's be honest here, how can any stone-setter get the Onglette graver to reach absolute closeness, if the stone has been set first?

  Here is another 'three-step display' of pre-cutting.

 To achieve a fine line of pre-cutting, I used not only an Onglette graver, but a 'Flat graver' to create a mirror-like finish if and where possible.

 I feel that the setter should use any tool in the arsenal of 'cutting blades' when possible. (These plates are only for 'display and practice'.)

  To cater to a fine line of cutting is not an 'overnight experience'. This skill is a test of time and mistakes in cutting do & sometimes happen.

 This is an example of having a very sharp Onglette graver pointed blade,. This is not like what we've seen in the 'mediocre & poor stone setting' photos we've been seeing in the first few displays.

 I'm using a Flat graver to reach into the edges of the line cutting. (I inked this line to just where the flat graver is cutting).

 It is advisable to use either the "Flat or the Onglette" gravers to achieve quality 'pre-cuttings'.

=> Experiment, and make mistakes as often as possible.<=