Techniques on setting gemstones. => 19 photos

 On this #681st tutorial essay, I felt that it was imperative to review some of these stone setting techniques, again.

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 The main problem with these stones is that there are many gaps between the Girdle Facets and the metal. In all actuality, the amount of metal holding the stone is too severe. The amount of metal should only be minuscule.

 In the "correct" diagram, the metal is covering all areas of the Pavilion, the Girdle and Crown Facets so very tightly! 

You will notice that there are no gaps or spaces anywhere, as seen in the diagram labelled as "incorrect". The stones are buried too far into the channel setting and hide much of the stone.

1) Using a bur of this design does not help in creating a seat for a gemstone. The result is that there is too much 'pushing' of the metal to hold the stone. DON'T USE THIS SHAPE OF BUR!!!

2) The best-shaped bur is the one being shown below in this 'double diagram'. As this bur is cutting into the metal, it is also creating a seat for the stone. The bur needed is the #156C-shaped bur. This shape creates and greatly assists in gemstone setting.

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  In this series of mini diagrams from an 'outside source'. Here are 5 steps in creating a "Gypsy=>Flush" stone setting project. It's my honour to educate you, as the reader, to understand the many techniques being seen here.

In my library of photographs, I've inserted many pertinent photos where needed.

1) The 'twist drill' should not be too wide, but enough to create a hole just for the Culet Facet.

2) The 'vertical' cutting bur should be as wide as the diameter of the stone. The underneath section of the hole must be carefully 'countersunk'.

3) When the stone is secured into the metal, the depth of the "Table Facet" should never remain higher than the surface of the metal.

4) With your "Reciprocating Hammer", tap gently vertically' the edge of the metal rim. The result is to lower the rim of metal onto the Crown Facets of the stone.

5) With the same hammer tip, tap at an angle of 45degrees. Once the hammering has been completed. The next and final step is to "Bright Cut" the inner edge as shown.

  

 This is the close-up of the Bright Cutting process in using an Onglette graver.

When I was using my Onglette graver, I carved all around the bezel. This process isn't used too often with some setters, pity!

  In the finishing process, I used a Pumice wheel of #240 grit. This wheel cleaned the surface of any deep hammering marks.

  At an angle of 45degrees, I finished the cleaning, after setting, but with a Higher Polish Pumice wheel of #1,000 grit. This wheel prevents any cloth polishing wheel from ruining the finished surface. I truly think that these pumice wheels are just superb!!!

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The HSS bur, also known as "High Speed Steel" bur, cuts a seat for any gemstone. This 'seat' envelopes the Crown and Pavilion Facets at the correct angles at all times.

  

 All Cabochon stones MUST LAY FLAT, regardless of whether the stone has a curved surface.

 In diagram #8 

The top of the claws MUST NEVER BE HIGHER THAN THE STONE. DON'T FILE THE CLAW TIPS FLAT. The reason why is explained in diagrams # 9 & #10.

 There must not be any spaces between the claws and the stone. The claw and the stone should not have any spaces. The maximum weight of the hammer must be very delicate and not exceed 85.0 grams. The hammer should be a 'light' tapping, but never hitting hard. If this occurs, there could be breakage to the stone.

 These 'bent' nosed pliers are just what the stone setter needed. When the jaws of the pliers are closed & brought together, they both work as a team. It's best to serrate the jaws, as this manoeuvre will grip the bezel without slipping.

  When the bezel metal joins the stone, then you can use your "Reciprocating Hammer" and tighten the bezel jaws close together.

 When you are trimming the 'centre stone claws', important finishing starts next. The outside of each claw could be filed at a 45-degree angle.

 What I do is to file a clean 'square cut' on the front of each of the 4 claws. The next step is to use the tapered (Pink) Pumice Wheel of #1,000 grit. This pumice wheel will intensify the cleaning process.

1) This diagram was made by an off-site company, but I found it so very worthwhile for this essay.

2) The bur that is being used here is a "156C" (undercutting bur). 3) Why would I use this kind of unorthodox bur? This bur creates a seat just for the girdle of the stone.

4) What size of bur depends on the size of the stone? This is an easy answer.

5) Select a bur that is 75% of the size of the stone; then the stone will sit in tightly and not be loose, causing much concern to the setter who is trying to tighten the stone.

 

  My observations on this photo have a few problems. 

1) There is a break on the base of the claw. (on the far left). 

2) Many claws need to be repaired. These claws were stretched out too far to have the bur fit inside the tight-fitting claws.

 A solution is required before stone setting, but where? Use a #2/0 saw-blade and separate these claws again before stone setting.

 I'm hoping that you, as a reader, appreciate all of my 65 years of experience as a diamond setter in helping you.

Multiple (Mirrored) images => 8 photos

In this tutorial essay, I offer new and interesting perspectives on my own creations.

   From a single coin display, there are now four views to enjoy.

 This poker disk won me a 'GUINNESS WORLD RECORD'. This was a complete CAD, computer-aided design project.

 This disk has two sides to view. By the way, this 130-gram piece of jewellery took me almost 2 years to create.

 Please forgive the 'double-vision'; it was that my iPhone was focused on the front view.

 With the mirrored views, you can see the front and reverse in one photo.

 Although this was taken at my bench, the 'available lighting' gave me some colouring distortion.

 This is the technique I used to create the 'mirrored' views.