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.