What are "1/2 round" burs? => 8 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 "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.

Triangular 'wax => wire' settings => 12 photos w/ diagrams

                           Here is something very different.      

    From a wax to a silver setting is 'almost' easy.

1) These two (shared) claws have much in common, as the centre wax claws will allow the two triangular stones to be set.

2) The 'outside two claws' have one purpose, that is to bend over the end corners of the silver claws.

3)  The inside of the wax opening must be contoured to accept the Pavilion facets. 

REMEMBER: THE 6% RULE OF WAX => METAL SHRINKAGE.

 This is predominantly the 'unseen rule' that many jewellers who do their own casting seem to forget, pity!
4) The inside two claws should be somewhat thicker to accommodate the two triangular stones.

5) After metal casting, always check if the two stones are sitting correctly and aligned with the new casting.

                =========================================

                    If care is not used, what happens next?

  Just one word can be used..BREAKAGE. If care is not taken during the stone setting, especially at the corners..WOOPS!

 

  Although these two stones are CZ, namely Cubic Zirconia, breakage is almost a common occurrence.

 These 'bearings' for these stones need to be carefully scrutinised, as this is where some problems can easily occur.

 I would be remiss if I neglected to mention that the bearings must accommodate the Girdles of the stones.

                                  Bezel setting using pliers.

  I would avoid 'pushing the metal' towards the stone. It is much simpler if the metal were tightened with the pliers' jaws, instead.

  In setting a stone of this design, the rule is to have the bezel be 'equally contoured' and never bent out of shape.

  In this photo, you can now see just how nicely the sides of the bezel are being shaped. Accuracy is foremost in gemstone setting.

 With these (strange-looking) plier jaws, the ease of tightening is also very important to the jeweller/setter.

                                  Bezel Setting => Diagrams

 Having the 'sides of the bezel tightened' is quite different from this diagram than in the metal. 

But you can see the idea that all the sides of the bezel must be drawn together..EQUALLY.

 When the setting of the bezel has been completed. The next process is in 'filing & trimming'.

 I suggest filing the metal with a triangular file with a #4 grit. You can see from this diagram that the filing angle is at a 45-degree angle.

 There are many more technical aspects in gemstone setting; suffice to say, I could keep on writing for more pages.

DIFFICULT => Intricate engraving blades. => 12 photos

 When I first started using my Onglette gravers. I practised on silver, but rarely on gold. This DIFFICULT training pattern was a 5-pointed star.

 In this essay, I will describe what it looks like after the diamond setting. None of my metal cutting was done using 'C.A.D.' as this program, 'Computer-Aided Designing' technique, wasn't even envisioned or dreamed of back in 1965. 

                            What tools do I use? 

 These specific tools, which have a common name of 'gravers', are honed to a delicate shape, as seen below.

 These are my preferred "Emery" (#240 & #400) and "Polishing Papers" #600 & #800 and #1,200 grit Polishing Papers.

 The "HSS" blade has a #40 width, as this is the only blade that I use in many instances. The other blades are the Onglette metal cutting gravers.

 In using a moderately shaped graver as shown in the lower photo, I have chosen my choice of tools.

  

1) These 'gravers' are a delicate blade and need to be polished continually. There are many methods, but in my many years of 'metal carving', I personally avoid any rotating disks with polishing compounds embedded in the steel disk.

2) I need a smooth surface, but never a completely flat surface. If I needed a flat surface, I'd choose a "Flat' graver, do you see my point?

 

  1) My graver that I need to use in this process is a "Right-Sided" Onglette, as I prefer a slight curve to the side of the blade. This particular 'curve' enhances the metal cutting pattern.

 2) The left side of this 'graver' has no purpose, as I'm 'right-handed'. If I were 'left-handed', the reverse can now be shaped on my bench grinder.

                 How are these tools maintained?

 I feel it is necessary to polish the side of these gravers on #800 grit paper, as this paper enhances the 'working side' of the blade.

 

  Once this #800 paper has done its preliminary 'polishing and cleaning' work, I'd immediately use #1,200 grit polishing paper. 

 This will give this Onglette Graver a fantastic result. This paper maintains a highly polished curve to the blade.

  As only one side of the blade is to be used, this blade must be 'highly polished' at all times. 

 The Red Handle distinguishes the Flat from the Onglette-shaped blade. This is for easier identification during the many steps in metal carving.

 I'll NEVER CHANGE THE COLOURED HANDLE TO ANYTHING ELSE FOR THE IMPORTANT METAL CUTTING. Because of this 'Handle Identification', there won't be a need for 'searching and guessing' which blade is meant for which purpose.

            Gravers are in various widths. 

 Here are two gravers: the blade of the left is the usual Onglette #2, but on the right side is a specifically bought 'Knife shape' #4/0.

 I'd be using this blade for intricate metal carving, as seen in the pattern shown in the first photo of the essay.

  The bottom of this graver is rounded for a purpose, and this purpose is to create beads that will eventually hold a gemstone. This will be great in Pave' Setting; these gravers were designed specifically for engraving.