What is "FISH TAIL" Diamond Setting? =>(ver.#2) --> 29 photos

 Over the past many weeks, I've been writing about the most difficult diamond setting techniques that many of the setters still have to work with.

 This particular topic is the absolute epitome of the series! On my 'Scale of Difficulty', this rating is at least 75 out of 10.

 What you see in this tutorial essay is that there is no "Computer Aided Design" (CAD) program involved, as everything has been hand-cut.  

 I located an article that was printed in 2005, which provides an accurate description of this technique in great detail. I supplied 33 photographs for this tutorial essay. Many photos have been deleted as some of them were not required.      

 This photo shows the final metal cutting. The name "Fish Tail" refers to the 'eyes and tail of a fish'.                 

 Once all metal shaping is complete, coloured stones can be inserted and the piece can be finished.

  This metal casting had numerous errors in its design. I kept it to show that mistakes are prone to happen. After this photo was taken, I scrapped this pendant as 'not acceptable'. (aka YUK!)

 This partially completed pendant has been completed and is ready for stone setting.

 With an extra amount of metal on the inside of this pattern, I used my engraving tools to add 'a bit of glamour'.

 Under closer scrutiny, I saw some areas that were not acceptable. I inked the 'questionable' spots.

 The line of cutting was 'mediocre to poor'. The Onglette line of cuts was not against the hole, and this is not a technique that promotes excellent 'Bright-Cutting'.

  This is what is now required and acceptable; the 'cutting line' must be alongside the setting hole.

 The holes for stone setting are not in the right places for accurate stone setting.

 These are the preliminary 'outlines' needed to start the initial onglette graver cutting. After careful scrutiny, I decided to again cancel this silver project. Why waste precious time fixing something that is not acceptable?

 These holes are not in the correct places to proceed further. I'd be very cautious of continuing; the holes need to be enlarged for stone setting.

 If one hole is not centred (as shown here), the only option is to drill the diamond hole (carefully) and try to relocate that hole with your round bur.

 If this isn't an option, if you have another pattern, then just scrap this heart pendant. I would start with a new and improved designed wax form.

 Get those graver lines cut uniformly. My second option is to make the holes drilled in an even line and cut DEEPLY, 'not just scratching the surface'. 

This is my "Right-Sided Onglette graver". Why is it named in this fashion? The graver is styled to cut only on one side, making a 'right-sided cutting blade'. THIS IS MY INVENTION, which I created about 25 years ago.

 Where there is 'extra' metal, how do you remove it? YOU CAN'T! But what I did in these photos is to use my FLAT graver of #40 width and Bright-Cut the extra metal.

 This will give you a spectacular finish all around the heart-shaped pendant.

 After the Bright-Cutting has been completed, if you wish to Milgrain the heart-shaped wall, this is your decision!

 Where the bright-cutting has failed to clean the track, what is next? I decided to use a mini-bud bur and clean the cutting area as much as possible. This will give the stone a better chance of being seen, instead of seeing extra lines of metal.

 

 Your FLAT graver is now being used extensively. Why is this? This will give you more reflection on your Bright-Cutting. Your Onglette graver lacks the possibility of giving you this same reflection, PITY!

 Here you see the remains of the FLAT graver cutting. Again, the Onglette graver doesn't give you this option.

 The FLAT graver can be used anywhere where there are walls that need to be shaped. 

 To me, this is one of the most interesting photos. Why is this? The results of the cutting are what make Bright-Cutting much more desirable. There are no files or Pumice wheels that can achieve this process.

 Remember that every wall needs to be graver 'cut & polished'. Don't hesitate to avoid this FLAT graver process.

 Why should I use a "156C, Under-Cutting" bur in gem setting? The girdle of the stone will gently rest in the groove in the hole.

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   This photo is spectacular as all of the metal carving has been completed. WOW!

 

  EVERY FACET & ANGLE NEEDS TO BE MADE SHINY for the viewer. 

 The reason for using this 156C bur is to have the stone sit accurately and not be crooked. 

When the stone is set, all that is required now is to burnish the mini-claws or beads. All you need to do is burnish and press the metal down onto the Girdle Facets.

 IN REVIEW!

 I will engrave 3-4 times DEEPER into the metal, as I want the cutting not to be just a dainty fine line. This line of cutting is what makes metal carving the true beginning of Diamond Setting on this heart-shaped pendant. 

BTW, this tutorial essay has taken me approximately 5 long hours to write. 

"Fish Tail" setting. (Ver.#1) 13 'additional' photos.

 I decided to instead of piling all of the 58 photos into one long essay. I'm creating two tutorial essays to facilitate easier understanding. I could have selected many more, "but enough is enough".

 This is the first of many necessary patterns to demonstrate this technique. I'm using two styles of gravers, they are an Onglette #1  and a Flat graver #40. I'M NOT CUTTING LINES, BUT SCULPTING PATTERNS INTO THE METAL. In this case, I'm using (soft) silver as an easier metal to cut.

In using the Onglette graver, my first cut is to cut a line right against the hole where the stone will be set.

This is how the first cutting line appears.

 I'm using an Oval (#002) or a maximum #003 bud bur to separate the two openings. (This is a very delicate process. DON'T LET THE OVAL BUR EXTEND INTO THE CUTTING LINE. We need this space for more designs in the cutting.

TO QUICKLY REVIEW: 

 THE FIRST LINE OF  CUTTING SHOULD BE ALONG THE EDGES OF THE HOLES. This is so very important!

 Using a thin Onglette graver of #1 width, cut the pattern for the 'eyes' of the fish. All this takes is an inverted 'V'. With the same thin, Onglette graver cut a pattern for the 'bead' at the bottom of the hole.

 With all of the Onglette gravers and the bud bur, this is exactly what you should be aiming for.

In my version #1 on this topic, I'll be demonstrating all of the many metal cutting techniques. There is so much to explain, which is the reason for the two versions of this essay.

 Now with these multiple Onglette cutting designs, you can see the pattern come to life. This is one of the two most 'challenging' metal-cutting projects in my library.

With your Flat graver of #40 (width), you can start to execute your Bright Cutting.

 With the corner beads now acting as 'eyes', this is where the metal sculpting starts.

To extend the pattern into the metal, I'd use a triangular file #4 grit to shape the design further. I'd even use a tapered-edge Pumice Wheel of #240 grit just for some detailed finishing.

 In my version #2 on this topic, I will display the actual setting techniques. You can see that this pattern needs at least a '75 out of 10' on the Rating of Difficulty.

 What are the requirements to execute this design? There must be at least 3-5 years of metal cutting experience. There are no shortcuts anywhere in this pattern

How & why you should modify your "77B", 'CUP BURS'? => 16 photos

 Of all of the different burs being used, these 'Cup Burs' can be one of the most expensive. I had the opportunity to purchase these "77B" with a size of #50; these were $66.00 for only 6 burs in a packet. These burs cost $10.00+ each (plus taxes). OUCH!

 For a size of #009, these smaller sizes of burs are $18.00 or $3.00 each.

 Beware that these delicate burs clog very easily with your metal. The manufacturers suggest that these MUST BE KEPT WELL LUBRICATED AT ALL TIMES.

 As I want the teeth of each bur to keep cutting, I will reshape each of them on my oil stone. This process will be an important feature in extending their life.

  By removing the rim of each bur, this will expose more of the teeth as it rotates.

 To achieve this modified angle, it is quite easy; you just rotate the bur on your oilstone at a 45-degree angle. This simple process exposes more of the teeth. How simple is this?

   Please keep your expensive burs well-lubricated.

 In this photo, you can now see the bur teeth being further exposed as it is making contact with the oilstone. The unnecessary metal on the rim is being gently removed.

 When the bur is being used, gently hold the bur at an almost vertical angle. Don't let the 'bur teeth' make contact with any gemstone. I could easily set and clean genuine Emeralds.

 The bur teeth will rotate on the metal claw with a fantastic result. Each claw will be almost round, looking now like a ball.

 When each claw is being rounded, please hold the bur at a slight angle 'away from vertical'.

 Never allow the rim of the cup bur to touch any stone. As I mentioned, KEEP YOUR BURS WELL LUBRICATED.

 

Now you can see the teeth being exposed and ready for rounding of the claws.

 Here is the 45angle that is required in this 'modification technique'.

 Avoid any bur teeth from coming in contact with the gemstone. This is the most stressful area of 'claw rounding'. If there are any shards of metal remaining, you can use a triangular file or a tapered pumice wheel to do any last-minute cleaning.

  This photo displays the 'before & after' modification techniques. I'd use this new technique on any size of "77B, Cup Bur".

 Tell me why there is so much bur-metal being made on any cup-bur? Just get rid of it!!!