Progress in engraving metal with Onglette & Flat gravers? => 21 photos

 This essay is full of errors & more errors. Errors are what we need instead of just writing "do this and do that". In this one photo, I can see at least 8 problems.

"Onglette & Flat gravers" are our specialised working tools. There are no other tools in our inventory that can create masterful patterns in metal.

 This opportunity is still a challenge for any jeweller who has at least 4 years of experience. 

  Here is a list of Flat and Onglette-shaped blades; they are also supplied with measurements and the names of the manufacturers. Every blade that I use is made with "HSS" or "High-Speed Steel". 

 There is no other tool in our inventory that can cut patterns with such ease. If you look closely, 4 beads are holding this one stone.

 You might have seen many of these patterns previously. Repetition is my form of teaching.

  In my previous essays, I've stated that there was no computer incorporated in designing these patterns. I used only Onglette gravers to cut into the metal.

  In this particular pattern, I'm showing a novel design with a '2-bead' setting. This pattern was cut before any stone was set; this design is aptly named "Pre-Cutting".

 I incorporated Onglette, as well as Flat gravers, to achieve this pattern.

 When I was learning this honourable craft, my supervisor gave me all of these rings to cut. As I mentioned before, 'pre-cutting' is the safest method of creating a clean cut.

  Even in this design, 'pre-cutting' allows the artisan to cut patterns using both the Flat and Onglette gravers.

 I used coloured stones to distinguish the white metal from the stones.

 I have many essays on this topic of "mini-claws". Just think if the stones were set first, there would be problems & errors galore.

 You can easily see the reflected images from the metal cutting. All that is remaining is to set the multitude of small stones. I used a Flat #40 graver to cut the edge.
  When the need to resurface the blade arises, I use 'Polishing Papers' with a grit texture of #600, #800, following #1,200 grit. These 3 papers will return the high sheen that is needed to resurface the metal.

 

  Here is my bench grinder that will help me reshape the graver blade. I must have all of the graver blades in pristine condition at all times.

                    ERRORS ARE BEING DISPLAYED.

  Using an Onglette graver on soft metal can be a real challenge, as the soft metal doesn't have much strength. The tendency to make errors in cutting can be a major concern for anyone.

 Using an Onglette graver for a beginner can be fraught with many difficulties. By using a 'freehand' pattern, previous cutting experience can be what is greatly needed.

 The Onglette graver 'must cut from one hole to the next'. The graver point should enter the hole and not leave any metal along the sides of the hole.

In this photo, you can now see the cutting residue of metal.

 If the remaining line of metal can't be removed, I use a bud bur to remove the sliver of metal where needed. These 'slivers of metal' must never be seen after the stones are set.

  This is what we are aiming for, namely, clean cut lines. I'll use my bud-shaped bur and let the bur get right into the side of the holes. "One line cutting" is not deep enough; in my days of stone setting, I'd cut at least 3 times, each time deeper than the last.

 After using the Onglette graver, you can easily see the new depth being achieved. You can even see the bud bur cleaning. 

  On the right side of the blade, here are the correct angles for engraving.

   This photo shows the hole still needing the 'bur-cleaning'.

 Nothing else is required in cleaning the hole in using the Onglette graver. The 'Pavilion' opening is nicely achieved.