Can you make 'mini claws' from flat metal? => 32 photos

  In this spectacular essay, I will explain every step of the process, from which graver to use. Then further how to carve the metal into preparing the very important 'mini-claws'. 

 The mirror image was projected on the line cutting by the highly polished Flat graver #40. There is no possible way that these metal cuttings were fashioned by a rudimentary basic graver. This is not an easy technique to master.

 No 'CAD' was used in this essay, also known as 'Computer Aided Designing'.

 

 I discuss only the basic tools, namely the Onglete graver number #2. At specific times a number #1 might be seen as well. You will notice the fine point of the graver as compared to the original & untouched 'tool supplier' blade.

  

 Here is a #2 Onglette graver that is sharpened on the right side, it aids me to cut only in delicate situations.

These '4 graver cuttings' explain what the gravers actually do in the metal. The 'metal groove' on the far right belongs to the Onglette #1 graver. Now compare the 3 slots that as well belong to the Onglette #2

   A Flat graver of #40 width is sometimes used to complete this metal-cutting process.

 

 All of my metal-cutting is done prior to any stone setting. If the stones were set first, I just couldn't achieve a clean-cutting. This process is known as "pre-cutting".

  All of the metal cutting in this creation was done long before any stone was set. My Onglette #2 graver is so essential, without it, I couldn't design this 'star'.

 Once the 'beads' are formed and pushed over the stone every bead must be burnished smooth. I usually "Milgrain" the edges to emphasize the pattern.

 This Milgrain edge highlights the edges as seen in this photo.

  This is my "Beading Tool", it has only one purpose and that is to move the beads 'against and over' each stone. This tool was fashioned from an Onglette #2 graver, and these cannot be bought from any tool supplier. All it takes is to 'round the point of the blade' on an Emery Paper.

 When I learned this detailed pattern it was so long ago that many of you readers were not born yet. This pattern was initially cut on a gently rounded band.

  

 Here you can see the positioning of the Beading Tool sitting against each bead.

 Absolute care is needed in metal cutting, why is this? It is essential not to have any 'slipping' of the graver #1 as seen here. 

These 'slips' can be corrected with a Triangular file #4/0 to repair any minor metal cutting errors.

 In this photo, you can see "shared beads" being used extensively then afterwards the "Bead Burnisher" being used to smooth each bead tip.

 This photo displays my collection of Bead Burnishers that I will use once the stones are set into the 'mini-claws'.

                                 IN THIS TOPIC: "MAKING THE MINI-CLAWS"

 I use a small round #002 bur to cut (deep) into the metal thus starting to shape & design the mini-claws. The deeper you cut, the taller the claws will be.

 In this photo, I cut just as deep in the other direction and now you can see the starting of the '4-claws' being created. Interesting process isn't it?

 I 'coloured' the silver metal just to show the image being used. I again, use the round bur #002 in between the two lines, then again using my Milgrain tool.

  Don't be afraid to make your 'separating cuts' too shallow, MAKE THESE ROUND-BUR CUTS DEEP.

 

 These are my favourite #002 round burs, these are my "claw designing burs". If you choose a #003 round bur, the results will be just mediocre in the thickness of the new claws. (I'm writing from personal experience.)

 In this close-up photo, you now observe where each round bur is positioned.

 
 These 3 lines are the beginnings of mini-claws. The only blade that will initiate these mini-cuts is the Onglette graver #1, please do not attempt any wider blade.

 After numerous graver cuttings that are 'deep and deeper' still, you are getting the idea of how these mini-claws are starting to take shape.

 There are three words for you to learn. "Practice, practice and practice".

  This is my Onglette graver #1 with a 'moderately polished' graver tip.

  There is an error here! The two stones were drilled too close together thus leaving you with minuscule and poor chances of achieving well-defined claws.

 Always plan ahead where your new holes will be drilled.

 If your holes are drilled too far apart, then it's nice to have extra claws fashioned as shown in this photo.

 This is the 'optimum' space before any metal cutting. "One stone width" for the new claws is required as a 'rule in the spacing'.

  When drilling and finally starting your metal cutting remember this: KEEP THE LINES EVENLY DRILLED, if not, major problems will start as seen here.

   Here are 'my preferred' (best) metal cutting blades Onglette #1 and #2.

   This is my favourite Onglette #1 (thin) graver. The HSS signifies that this blade has been 'heat treated' to be a long-lasting graver, "High-Speed Steel".

 

BEST method in setting a "Pear-Shape Diamond" ring.

 I estimate this is one of the 'best' methods in setting an expensive Pear-Shaped  Diamond.

1) There is a very secure "V" shaped claw protecting the point of the stone.

2) The Bezel is well protecting the curved area of the diamond. This is very important.

3) Much of the curved girdle of the diamond is also well protected. 

4) How is the Pear-Shaped diamond set? When I prepared to set this stone, I placed the stone inside the bezel and scribed 'two little' marks. These little marks were the guiding spots while I was preparing a seat for the girdle. Why did I do this 'preliminary scribing'?

5) I didn't want any unnecessary 'bearing cuts' to be exposed. Basically, all I will show is the 'shape of the stone' laying against the Bezel Wall.

6) Finally, I wanted the Bezel Wall to remain clean and without any extra lines of bur cutting.

7) I emphasised that the 'metal over the curved areas' of the stone should offer me two things. "Security". The additional security is with the help of the "V" claw.

8)  There won't be any breakage during the constant wearing of this ring.

9) I "Bright-Cut" the inside of the Bezel and the V claw, why? I want the wearer of this beautiful ring to appreciate the high quality of Diamond Setting.

10) The amount of Bezel metal around the 'Girdle' must not be thin, but nice and thick. This is displayed in the photograph shown below.

  Now compare the setting of the Genuine Emerald that I wrote about on January 27th.

Errors in setting this 'Pear-Shape Emerald'

 There are many problems in setting this expensive Pear-Shaped Emerald. I will go by numbers and give my reasons. As a Diamond Setter for only 65 years, I've come across many techniques that this particular ring is lacking.

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1) There are 'no means of protection' in guarding the point of the stone from being further damaged. Already I can see a faint 'rounding' at the Emerald point. This 'absence of protection' is an expensive error in the design.

2) The wearer will have a tough time preventing further breakage from taking place.

3) The point of the Pear Shape will cut into the skin of the finger.

4) To protect further catastrophic breakage to occur, there must be a "V" shaped claw at

 the point.

5) The '4 claws' are too short, thus having no means to protect the stone from further          damage.

6) The '4 claws' have not been 'rounded' at the tip, thus leaving sharp edges, why?

7) All claw tips must be 'rounded & smoothed' and not be left in the 'condition' as being      seen here.

8) If I was the retailer or fashion conscience wholesaler, I would never let my client take this ring out of my office, or store. There would be instant 'negative feedback' from the  new client. 

9) The 4 claws were not trimmed or completed in an orderly fashion. There are extra slivers of metal on 3 of those 'mediocre' looking claws. 

  These comments are just my own personal thoughts when I saw this photograph. I am very sure you have learned much from this tutorial essay.

"Gerrylewy18@gmail.com"