Progress in engraving metal with Onglette & Flat gravers? => 21 photos

 This essay is full of errors & more errors. Errors are what we need instead of just writing "do this and do that". In this one photo, I can see at least 8 problems.

"Onglette & Flat gravers" are our specialised working tools. There are no other tools in our inventory that can create masterful patterns in metal.

 This opportunity is still a challenge for any jeweller who has at least 4 years of experience. 

  Here is a list of Flat and Onglette-shaped blades; they are also supplied with measurements and the names of the manufacturers. Every blade that I use is made with "HSS" or "High-Speed Steel". 

 There is no other tool in our inventory that can cut patterns with such ease. If you look closely, 4 beads are holding this one stone.

 You might have seen many of these patterns previously. Repetition is my form of teaching.

  In my previous essays, I've stated that there was no computer incorporated in designing these patterns. I used only Onglette gravers to cut into the metal.

  In this particular pattern, I'm showing a novel design with a '2-bead' setting. This pattern was cut before any stone was set; this design is aptly named "Pre-Cutting".

 I incorporated Onglette, as well as Flat gravers, to achieve this pattern.

 When I was learning this honourable craft, my supervisor gave me all of these rings to cut. As I mentioned before, 'pre-cutting' is the safest method of creating a clean cut.

  Even in this design, 'pre-cutting' allows the artisan to cut patterns using both the Flat and Onglette gravers.

 I used coloured stones to distinguish the white metal from the stones.

 I have many essays on this topic of "mini-claws". Just think if the stones were set first, there would be problems & errors galore.

 You can easily see the reflected images from the metal cutting. All that is remaining is to set the multitude of small stones. I used a Flat #40 graver to cut the edge.
  When the need to resurface the blade arises, I use 'Polishing Papers' with a grit texture of #600, #800, following #1,200 grit. These 3 papers will return the high sheen that is needed to resurface the metal.

 

  Here is my bench grinder that will help me reshape the graver blade. I must have all of the graver blades in pristine condition at all times.

                    ERRORS ARE BEING DISPLAYED.

  Using an Onglette graver on soft metal can be a real challenge, as the soft metal doesn't have much strength. The tendency to make errors in cutting can be a major concern for anyone.

 Using an Onglette graver for a beginner can be fraught with many difficulties. By using a 'freehand' pattern, previous cutting experience can be what is greatly needed.

 The Onglette graver 'must cut from one hole to the next'. The graver point should enter the hole and not leave any metal along the sides of the hole.

In this photo, you can now see the cutting residue of metal.

 If the remaining line of metal can't be removed, I use a bud bur to remove the sliver of metal where needed. These 'slivers of metal' must never be seen after the stones are set.

  This is what we are aiming for, namely, clean cut lines. I'll use my bud-shaped bur and let the bur get right into the side of the holes. "One line cutting" is not deep enough; in my days of stone setting, I'd cut at least 3 times, each time deeper than the last.

 After using the Onglette graver, you can easily see the new depth being achieved. You can even see the bud bur cleaning. 

  On the right side of the blade, here are the correct angles for engraving.

   This photo shows the hole still needing the 'bur-cleaning'.

 Nothing else is required in cleaning the hole in using the Onglette graver. The 'Pavilion' opening is nicely achieved.

 

MY burs on plates/pads => 14 photos

In this essay, you will view all of my 'replaceable' burs. 

This photo displays my collection of '12 twist drills'.

 On this tray of assorted "156C" (Carbide) burs are named 'under-cutting' burs. These burs are also known as 'bearing cutters.' Regardless of the name you use, they are a remarkable tool.

 In this one tray are my 77 B' cup burs. They are needed to round off every claw setting. The downside is they seem to have a very short life span, as the inside teeth seem to wear down quite fast.

 These are our round burs; they do so much that the list is almost endless. The 'downside' is that they cannot be repaired if they get badly worn.

 On another pad is a collection of very small, round burs. These can be used as I previously mentioned, and can be used extensively. When they are badly worn, just do one thing, and that is to discard them.

 Here are two bur packs that are fresh and never touched. Each of these has a tincture of oil that will prevent our enemy, named rust, from destroying them.

 The numbers on the far left are the generic names, and those numbers on the right corner are those bur sizes.

 Some of these "77B" burs, otherwise named as 'cup burs', can be seen in various degrees of wear. Don't get attached to them if they seem to be failing in doing their job. Their job is to 'round off the tips of the claws'.

  After examining these burs up close, they need to be discarded 'post haste'. Or as 'fast as possible'.

 Here is a collection of round burs in no random order.

 In this packet of '156C' burs, they will not be touched only when their uses are required. They will be kept separate from the other pads of burs and covered with a plastic lid.

 This assortment of burs is used extensively, and you can see the many signs of wear.

 REMEMBER, if you see that the bur teeth are showing signs of wear...throw them out.

 Many of these burs shown here are nearly useless, as these teeth are now nearly non-existent.

  You can, as well, buy a 'packet of a dozen round burs' from the smallest to the largest size. Every tool supplier sells these packets for your own consumption.

 

What are "1/2 round" burs? (ver. #1) => 9 photos.

             What are "1/2 round" burs?

 These burs are shaped in this manner for several reasons & here are some of their uses discussed in this essay.

 

 Every bur that I use for "Cabochon Setting" was specifically shaped on my bench grinder for only one purpose.

 Each of my 'chosen round burs' was contoured, and these were kept separate from the rest of my round bur collection. In essence, I have two sets of round burs.

 These strange-looking burs are what make our jewellery lives so-o interesting. These are specifically made for creating seats inside a tube setting for Cabochon stones.

 These burs will create a seat inside any piece of new jewellery. The size of these burs are designed just for the size of the stone.

   My inventory of these "1/2 round" burs exceeds at about 30-40 burs.

  Here are a few of the burs that will be required for this tube setting. For your information, these burs might differ by 0.25 mm, as the exact stone size determines the size of the bur.

  This large, round bur size can be altered just by grinding off more metal from the tip.

 From this photo, you can easily see the shape of the intended Cabochon stone being made ready for setting.

Where were these cutting blades used? => 29 photos

 This photo has been seen many times, but it needs repeating, as 'repetition is a part of learning'. Learning is what this blog is all about.

 This essay provides an example of the tools that I have frequently used.

 The question here is how these mini-claws were actually pressed over these mini-claws? I can only answer that question with one shape of the blade. 

A 'flat graver' will do the 'claw pushing, or moving'. The Bead Burnisher would be very akward. The flat graver will be carefully placed between the separate claw 'tips'.

 From a flat silver plate, I designed a pattern with the help of an ink marker and scribed a series of 'lines and squares'. The only two cutting blades were the Onglette and Flat gravers. Nothing more!

  From a series of Onglette gravers of different widths. I chose one for the intricate sculpting, that graver is seen at the bottom of this photo.

 These little balls are not balls, but beads that were designed just for one purpose. That purpose is to 'hold a diamond' in place.

  With the help of an Onglette graver, I outlined a pattern in the silver. From that point onwards, I used my Flat graver to create a 'mirror-like' surface.

 With a highly polished, right-sided, cutting edge, I transferred a dull cutting surface to a glass-like two, semi-circles.

 The next group of photos are what a "Right-Sided" Onglette graver can achieve.

  There was no Flat graver used in these photos.

 There is no other cutting tool that can "Bright-Cut" the metal as the Onglette graver can. This blade is cutting around a Marquise-shaped stone.

 From an 8-sided Star as seen here, I changed it again to a 'double border' Star.

  I used a double curved Star effect for better cutting results.

 =>There was no flat graver used in these intricate photos.<=

  All of the 8 sides are also 'Bight-Cut' and pre-cut before any stone is set. 

 All of the mini-claw preparation was created from a flat plate. All of this metal cutting was produced with a Flat graver, with the emphasis on the Onglete blade.

 This mirror-like appearance can be achieved only with a 'Flat' graver.

 As seen in my previous photos, the graver on the left side details the long periods of labour in achieving this very bright surface.

  This is another example of intricate metal carving. I used both shapes of gravers to get these lines cut. This 'metal cutting' is not for the beginner.

  
 Only a FLAT graver can initiate this different style of metal carvings. I'll be displaying this unusual pattern in the next essays, named "Cut-Down Setting".

 Here are the measurements of my Onglette gravers.

 This is my favourite FLAT graver that I use continually. I've seen some gravers that look like a mountain, as they are so thick in height.

 In this photo, is where I will use my Onglette #2 to cut a 'full circle'.

 I cut a border with my Onglette graver #2. I also used a Flat graver to achieve a cutting border.

 This side of the graver is not perfect but only 'partially acceptable'. There are many marks on the side of the blade, which can affect the end result in metal cutting.