Mediocre & inferior diamond setting => 7 photos

   These 7 photos of the diamond setting are 'just passable'. From my experience, these are not what I would write and classify as being of 'fine quality, stone setting'. (I am not using their official business name for these legal reasons).

 Allow me to give you my reasons for writing this tutorial essay.

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Number 1: Some of the Pave' beads are missing completely.

Number 2: The graver was not sharp enough to cut along the beads.

Number 3:: These bigger diamonds were not set in the appropriate areas, why is this? I would have placed the 11 very large diamonds where there are rounded areas or curves in the pendant below the Emerald-Cut diamond.

NUMBER 4:

 Many Pave' beads are not uniform in size or even missing altogether. Pre-cutting the metal would have been a much better metal-cutting option.

NUMBER 5:

 In my estimation, this is probably the most 'inferior quality' of diamond setting that I have ever seen. "MEDIOCRE" is an understatement. (I'm saving this photo just to prove that there are still setters who have still much to learn).

NUMBER 6:

 The process of 'Bead-Setting' had no planning before the setting. In some areas, 8 of the beads are missing. Why was this item made available for sale?

Number 7:

 All of the beads were not burnished or attempted to be made round in shape. There is a faint line of metal running along the edge of all of the diamonds. This shows a distinct lack of care taken in setting the stones after being placed into the metal.  

Number 8:

 As shown in other similar photos from a previous tutorial-essay. The Pave' beads were again not made round in shape after being set. This shows me a complete lack of care being taken in setting this expensive ring. Not one of these beads has been burnished round.

Number 9:

  When the setter decided to use a flat graver to separate the beads, there was little care in cleaning his graver point. Thus leaving a rough texture in between the 'moved-over' beads.

  These photos show me a complete lack of esteem and subsequently lack of integrity in producing this very high-end line of jewellery. 

 These are my honest observations and many of my peers will beg to differ with me. Pictures don't lie!.... Gerry Lewy.

How would you set (GENUINE) PRINCESS-CUT EMERALDS? => 37 photos

 The first step in this very 'l-o-n-g' essay is to prepare for the square opening for the Pavilion Facets. The Rate of Difficulty is 

15 out of 10. Why is this number so high? 

Just read my texts, review the 37 photos and decide for yourself.

 

  I'm now starting the instructions on "How to set Square (genuine) Emeralds".

 The 'opening' procedure is NOT DONE WITH ROUND BURS. I heartily suggest using a bud-shaped bur as this long-cutting bur will create an angled corner.

  I found that the 'separating bars' in between the stones are not conducive to these Emerald stones. The bezel openings must match the angles of the stone.

  We are now doing a 'pick & choose' process for these DEEP STONES. It is customary to place each stone on the top to visualize 'how and where' will be eventually positioned.

 

  The bezel openings will give you the 'sole reason' why every opening of the deep hole must NEVER be touching any stone. 

 Not every stone will be evenly square and Pavilion-angled as same as each. This could cause you many metal-cutting problems.

How do you prepare for Girdle Cutting?

 

 I use two shapes of burs, why two? First of all, I want a round bur to make 'little holes' where the (moderately thick) Emerald Girdle will lay. This round bur' will be used only as a guide for the bud-shaped bur cutting.

 This might be a convoluted process, but it works for me 100% of the time.

 The Emerald Girdle must be cut straight across the bezel wall and not be crooked. This 'round bur, precutting' was my idea and it has saved me much aggravation.

 I kept the bearing line at a reasonable depth as I wanted enough metal to hold the stone in place.

 Initially place a faceted stone inside the bezel opening just to see if it is suitable for setting.

 

  Are the new bearings fully adequate for all of the stone settings?

  CLEAR AWAY ALL OF THE EXTRA PAVILION METAL THAT IS SITUATED IN THE HOLES. Do this when you are ready to set your square stones.
 Have you meticulously 'cleared & cleaned' the metal underneath the new bearing cuts? This is where the Pavilion of each stone will sit!

 Take a moment to now examine 'how & where' each stone is sitting.

   Do this IMPORTANT cleaning on EVERY BEZEL IN THE RING.

  As this photo shows, the end stone in this Channel ring might have another remaining problem.

  Let's not forget that each 'stone opening' must be kept clear of any remaining extra metal. This is especially for the last channel stone.

     A SERIOUS ERROR THAT (COULD) OCCUR.

 Do you see the corner of this stone? It is touching the last bezel wall? This could easily result in a damaged or a broken stone. 

  I used a saw-blade of #4/0 grit thickness and cut a line into the metal, as shown here. I need to make the end-bezel look easier to work on.

  The 5 square stones are now placed into the ring, but how was this managed?

 I used (again) my saw-blade to keep the bezel tips separated.

  

  Keep a little space in between all of the stones. Why is this so important? When you are hitting the bezel tips, the slightest vibration could make the stones jostle together and could endanger the stones.

      HOW TO TIGHTEN THE GENUINE STONES?

 If you are careful with hammering on soft stones, I would suggest a 'light tapping' on the stones. 

These genuine Emerald stones are rated at about '6 on the Mohs Scale' of overall softness. Synthetic stones are about 7+ and a Diamond is top of the scale at a 10.

 When the hammering is being done please tap at the outside edge of the bezel wall, BUT NEVER ON TOP OF THE BEZEL.

  If you wish to use your Reciprocating Hammer, have the anvil only hit one section of the bezel segment wall.

  Here is an up-close photo of the anvil resting against the bezel.

 You can see how much of the 'flattening' is taking place. DON'T COMPLETELY FLATTEN THE BEZEL TIP.

 Have the metal tip tightly resting on the stone. Avoiding any spaces between the stone and the bezel.

    

        WE ARE DEALING WITH THE END STONE.

 You can easily see where the corner of the stone is lying. It is now touching the metal against the corner of this stone. The chances of breakage are phenomenally high at about 100%.

  

    What is done now to prevent 'corner breakage'?

 What I usually do is drill a hole into where the stone corner will rest, thus preventing the stone from touching the metal. If you look closely, you can see a minute breakage already occurring. OUCH!

 Keep the end bezel from being solid or joined together. I'd use my saw blade all the time for this not to happen.

     FINISHING WITH THIS SQUARE SETTING!

 During this final stage of stone setting, I prefer to clean the front of the bezel claws with my Flat graver of #40 or a Triangular file of a #4 cut. The front of the bezel walls needs to be professionally cleaned and 'not just filing it and walking away'.

 Once your saw blade has cut a separating line, let's now make it wider by using a thin bud bur. Be very careful not to damage the stone in this delicate process.

 From a thin saw blade of #4/0 width, we now have decent-looking separation in using the bud bur.

                            PUMICE WHEEL FINISHING

 In keeping with the finishing stage of this very difficult setting, it is imperative to 'moderately polish' the bezel tops and walls. DON'T USE A CLOTH WHEEL. I prefer to use a BLUE pumice wheel of #180 grit and follow with the PINK #1,200 grit wheel.

  Remember that if the genuine stones are lightly touching, please be very careful not to have the stones press hard against each other. The results could be so very costly.

 Finally, and in conclusion, this essay has taken me literally days to write, edit and not forget the setting and along with the photography. 

 

"Double Star' Setting", techniques => 16 (intense) photos

 This metal designing process is rated on my "Difficulty Scale at 20++ out of a very shy 10". 

 But one day soon we all should know how to do this metal cutting, designing & engraving. (This metal cutting & designing isn't something that you can learn in a '2-day' class). This has taken

me MANY (intense) MONTHS to learn the techniques.

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 For ease of seeing & cutting on a bright silver surface, I darkened them. I also chose to engrave two designs per plate.

 The only tools that I used were Onglette gravers of  #1 and #2 plus

 a Bead Raiser of graver #2 width. Nothing else!!!

 The first step is to drill 2 holes in the plate. The holes should be 75% of the size of the anticipated stones that will be eventually set.

  I lather the plate with a lubricating solution, namely "3 in 1" oil. This will prevent overheating of the rotating 'twist-drill'.

 I want a 'smooth & blackened' surface, as all of my future lines will be etched continually if required.

 On the road to designing, I will make an 'X' shape pattern, but these 4 lines MUST BE ETCHED with equal spacing and length. These 4 lines will be my initial cuts.

 In using the Onglette graver of #1, cut 4 long cornered cuts as these long cuts must be at the 4 corners on the plate, as shown here.

 When you are starting your cutting, don't angle the graver on its side. The graver must be held vertically. 'WE' need relatively a deep engraved cut.

 Try to cut this line 2-3 times. The initial cut should be shallow at the start, then be cutting deep as you progress towards the hole.

 This is how you should hold your graver throughout this labour-intensive designing process.

ERROR #1 One of the lines is longer than the other 3 lines. This is why it takes many months to learn 'star' engraving.

 I am using my Bead Raiser to start the second of two stars.

 These 4 mini-beads that were just being created will be turned into mini-claws.

  

  Behind each of these 4 mini-beads, or soon-to-be mini-claws, must be now turned into a 'star' design. With the Onglette #2 graver, cut behind the new star line and STOP at the new bead.

 The next step in this 'double-star pattern' is to cut the metal all around the new 'bead-claws'. This is shown here!

 You are basically separating the bead from the surrounding metal.

  Once the beads, now 'mini-claws' have been created, its time to GENTLY recut as all of the metal around the star now being cleaned.

 With your Bead Burnisher, you can 'round' the bead tips. This will enable you to set the stone.

  This is what 'we' are aiming for. Just examine what it looks like now against what we started with.

 ERROR #2: One of the embarrassing aspects of metal carving is when you hold your graver nearly flat against the metal, slipping occurs.