How to shape a wax tube, to make a ring? (ver. #1) 14 photos

  Initially, this was a simple hollow wax core. After delicate carvings with exacting stone measurements, the end result will be a wax channel ring made for a round stone setting. 

(As these photos of a wax channel are very new, please understand that I want to be careful in my tutorial teachings. I don't want to make ANY MISTAKES.)

 The completed tube will be (hopefully) included in "Version #2" of this series. There are many more photos to be shown.

 THIS IS A REPEATED ESSAY FROM MARCH 17. 2025, but now with additional notes and photographs for your records.

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 This formula explains which kind of wax is 'best' for our pattern.

 I prefer to scribe a faint line rather than to guess where the saw blade should cut.

 I'm carving a series of cuts in sections all around the thick wax tube. I'm using a saw blade of #2/0 thickness. I didn't want to keep exchanging the saw blade if it breaks, so I used a thinner blade.

 I keep my metal pan on my bench, as the wax shavings might mix in with my precious metal fillings.

 I found these 3 large files in my local hardware store, and I've used them basically for wax carving. You can see the different textures

 

 From the rough texture of the wax separation, I started to smooth out the saw blade cuttings. I'll start with the rough file texture first.

 I need to remove the saw blade cuts, as seen in this photo. The wax looks very uneven, but this will quickly change.

 l'll insert my finger into the wax hole and carefully rotate this wax tube with the thumb and middle finger. I need an even surface.

 Next, I'll go to the 'medium texture' file, as I need to get a slightly smoother surface.

 The 'saw blade cuttings' have been nicely removed, but we're still not finished yet!

 This '3-finger rotating exercise' on both sides will now prepare for the finishing process.

 Very gently examine both sides for any errors on the surface.

 Here you can see the collection of wax that collects and mustn't get mixed with your precious metal filings.

Hammering Instructions using 6 diagrams and photos

 I've been displaying on many occasions "how and why" the hammering sequence is so very important.

 Many of these instructions are self-explanatory, but I will endeavour to guide you along this process of stone setting.

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 In the art form of Bezel Setting, there is a main problem, and if not corrected immediately can lead to irreparable damage.

 Just suppose that the stone is correctly set with the 'Table Facet' sitting flat, but the stone is sitting twisted. How would you prevent this from occurring?

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 1) Place the stone Table facet side, sitting in the bezel and with your hammer, initiate the 'gentle' hitting on the bezel wall at the sequence numbering #1 as shown in the first diagram.

 

2) The next 'hit' will be in the opposing corner of #2, then following is #3, with #4 (in the middle of the bezel frame) and #5 and lastly #6. This will prevent any sort of twisting of the gemstone.

3) With this completed exactly as described, there is no chance that this stone will tilt.

 The Oval stone is now held in place securely, with no problems.

 4) With more very gentle tapping just to smooth the bezel, it is to finish off the bezel setting.

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  I prefer to give details with photos or diagrams; a written text is not always advisable. 

 These two lines are coloured to distinguish one cutting section of the claw from the other.

--------- This line is for the bud bur to guide the "High Speed Steel" for the claw cutting.

""""""This line is where the "High Speed Steel" bur will cut an angle for the Pavilion facet.

 

(REPEAT) How to prepare your "SHELLAC STICK" => 18 photos

  The name of this shellac is named; "Flake Shellac". It arrives

 at your tool supplier in a 'flake consistency and not in a solid form.

   If the 'flame point' is too small, it means that the temperature is too hot and will make this whole process unsafe & unusable. 

 

 DON'T OVERHEAT THE SHALLAC, AS IT WILL GET BURNED AND BE DEEMED UNABLE TO BE USED. You can see the smoke!

  Hold the 'point' of the flame away from the shellac. If you see any 'bubbling' of the shellac,...STOP...!!! And keep the flame further away, as you are ruining the shellac.

 This is where the flame is too close, and the whole collection of new shellac is about to be totally destroyed. YUK!

 I always have two sizes of shellac sticks ready to be used. I never know when one size could be too large, or again too small.

 This shellac layer is nearly unusable, as you can see many areas looking like charcoal. This is a sign of 'burned shellac' and thus cannot be used again.

  It is advisable to resurface the working area ... SMOOTH.

 This delicate butterfly is not a good candidate for any stone setting or engraving. Do not progress any further in this labour.

 The thin silver plate is not holding the pattern securely, as there are areas underneath still with spaces.

 This circular Bead Setting pattern is just the correct size for the shellac stick, thus making it easy to work with, agree?

 When I'm Bead Setting, I need absolute care in how the pattern is being held. I need to have extra contact spots with the shellac, not as we are seeing here.

 

  This circular disk IS JUST THE CORRECT SIZE. The shellac edges are holding the "#7" logo, which means that the hand & fingers are holding the wooden handle with no difficulty.

 I would reheat the silver item, AGAIN. There are still spaces under the plate as well as unheated flakes of shellac. The unmelted flakes can cut into your skin.

 I'd even get rid of any unused &unwanted shellac, as the skin of the hand won't have a good place to rest against.

         =>  REVIEW! <=   Melting Flake Shellac

        Gently melt a few flakes of shellac as a start, then gradually apply additional flakes to the new surface.
 

  Please keep the flame from being short, as seen here. This means that the flame is too HOT and the new shellac will quickly burn.

Why put your steel mandrel against your bench for setting => 3 photos

 Here is a great idea and technique for holding your steel mandrel if your hands need that extra support.

 This additional support is quite essential when you are Bezel or Flush Setting. You need that support when both of your hands are fully occupied.

 One hand will hold the steel mandrel and the ring, while the other hand will hold the hammer. Between these 'holding techniques', you can now have greater support in getting the ring finished.

  I use a bur that you don't need, just hammer that bur into your bench at arm's height as shown here.

 It is preferable if the mandrel is an "extension of your bench peg", again, as shown here.

 Your ring should be tightly secured on the mandrel. Don't use this technique if you are attempting Pave' setting. 

Using a steel mandrel is the best & ONLY option.

 

How to repair wax from a NEW statue? => 21 photos

 I've covered many wax topics in the past months and years. However, this essay holds a special meaning for 'us' in the "Lewy" family. Why is this? This statue was a gift to my Parents circa 1934, when they got married in Manchester, England. 

 We even gave this statue a name, "The ballerina". 

 I had a specially large rubber created for this statue. My rubber mould technician was surprised that I wanted to have this statue copied.

 After 25 years of having this mould sitting in my cupboard, you are now learning why I wanted to have this done.

 To illustrate its size, I placed a tape measure along its height. This will show just how large it is. This heavy rubber weighs in excess of 8 pounds.

 My caster made a wax carving of it, but two pieces. Hence, it's in two different colours because of its intricate shape & its delicate features.

 All of these waxes (and a few more) weighed approximately 139.0 grams. After coring, the remaining wax weight has been greatly reduced to 78.9 grams in total. This will be a great financial saving in the metal. 

  This 'three-tooth' bur was fashioned just for wax cutting & wax removal.

 By removing some of the internal wax, the finished weight will be substantially reduced. I am constantly aware of the "Rule of 6% 'wax to metal' reduction".

Here you can see what the '3-tooth' bur has started to clean.

 As the "Ballerina" has bended arms, I'm limited in just how deep into the arms & legs that I can cut.

 This is the wax residue after just a few moments of coring. I must continually stop and clean the rotating bur. 

If not, the 'bur wax' obscures and vastly limits my vision.

  Even a 'sculptured face' needs to be remodelled and hollowed out. The face alone weighed 5.5 grams.

 I removed exactly 2.5 grams from the inside of her head.

The 'hollowed arm' now weighs 2.2 grams.

The "Ballerina" torso now weighs 25.8 grams. Those 'dots' were intended for me to set some gemstones after casting.

Before any wax removal, this one leg is now weighing 6.4 grams.

You can see that even the slightest bending of the 3-tooth bur, there is a wax hole to the arm.

 The wax hole in this one arm MUST BE REPAIRED AS SOON AS POSSIBLE.

 Here are the two back halves of the torso, which are now joined by a touch with the warm wax pen. NOT WITH A HOT PEN TIP.

 With the utmost care, let the wax pen carefully join the two halves together.

 With a 'bent leg', there is limited opportunity to remove wax where required.

If there are holes in any hollowed area, fill them with a soft wax that only requires a 'warm heat'. NEVER APPLY THE WAX TO THE FRONT OF THE FACE.

 This might destroy the facial contours, as this might be very difficult to repair.

 I use a soft wax that will carefully fill in any defects from the '3-tooth' bur cuttings.

 In closing, this process is not for the beginner; it is only for the well-trained repair person or wax technician.