What is the least expensive method to polish gravers? => 16 photos

 I'm going to display the most expensive graver polishing machine on the market. I have just no idea why new setters might spend vast amounts of precious money on a machine that costs $2,575.00 (plus shipping & taxes).

 My polishing papers with the wooden sticks cost me EACH an estimated $30.00.

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This rotating disk machine comes with a price of $1,050.00.

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This plastic, 'paper-holding board' is a mere $27.95

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This rotating wheel machine has a price tag of only $1,585.00

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 This rotating table comes with a series of disks and other accessories with a price tag of only $2,575.00.

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 Why would I rub a soft-core drafting pencil into a polishing paper? The main reason is to increase the grit of the paper. It will make the paper of your choice from a grit of #800 to at least #1,100.

 This 'rubbing' will prevent any continual changing of papers. The pencil core will find its way into the pores of the paper.

 The following photos display the different (grit) textures of polishing papers.

  I went to a local hardware store and asked for 'paint stirrer' sticks. These sticks come in lengths of 11.5inches, which is great for the paper polishing sheets. 

 Instead of spending huge amounts of money, each of these gravers was polished on the 'wooden paint sticks'. I needed to maintain an oval shape to the sides of each graver. A flat metal disk will remove that angle.

 This collection of polishing sticks has been serving me well for the past 45 years. One of these sticks was from the year 1977.

 I like the softness of the 'paper on wood', as I won't have any problems with the sensitive 'graver on wooden sticks'. 

 This is a sample of the cost-efficient 'paint stirrer sticks' instead of the expensive rotating metal disk machines shown above.

 

"Show me designs for 'engagement rings & heads'" => 7 photos

 Here is a library of engagement ring 'claw settings' that are seen daily. As you can see, only a few of them have soldering pegs. 

(I will keep my preferences to myself as I need to stay neutral at all times.)

 These heads are designed for: 1)security, 2)ease of stone setting, and finally 3) appearance. It is quite common to have the jeweller pre-polish the 'head' before soldering it to the main ring.

All of the necessary 'karat and trademarks' must be stamped long before any of the gemstones are set.

  Here is an engagement ring set with many square "Princess-Cut"

diamonds, it also contains bead-set gemstones throughout.

 This 'Full Bezel' protects the Girdle of the stone throughout many years of wear.

 This Full-Bezel arrangement protects the delicate diamonds.

These are the best groupings of diamond ring heads that I've seen.

Safety in this engagement ring rates high in the 'flat-top' design.

 For a simple-looking Marquise ring, here is a two-toned combination.

 You are free to share any of these photos with your friends and students.  gerrylewy18@gmail.com

 

Why do gravers come in different shapes? 9 photos

 We all use gravers for metal carving and gemstone setting, agree? But what shapes do they come in?

 All gravers come in equal lengths, but the only difference is how they are used.

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These displayed shapes are used primarily in 'Diamond Setting'.

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These are the most common sizes for gemstone settings.

1) Flat gravers start in #37 (narrow) and finish at #42 width.

      2) Onglette graver shapes are #2/0, #1 and finally #3.

     3) Half-round blades are usually #51 & #52.

 I use a "Liner" (Florentine metal cutting blade). I generally use a #10/6. What are these numbers? 10 is the width, as 6 is used with the number of lines cut along the base of the blade.

Here are 6 metal cutting patterns done with gravers.

(These have just been shown in recent essays; now I'll explain which gravers were used in the cutting.)

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1) Here is the "Liner" or "Florentine" graver.

  2) 'Kite' or Onglette #0 did the outline cutting.

  
The circle cutting against the Flush Setting was accomplished by using a "Right-sided and shaped" Onglette graver using a #2 blade.

  I didn't use any Flat blade, but only an Onglette tool.

 

 This design was achieved by using two Onglette blades #1 and #3 engraving blade.

 Would you believe that only an Onglette blade did the actual metal cutting and metal shaping? For the rippling edging effect, I used only a Milgrain #2 tool.

 In this final photo, this pattern gave me only one chance to achieve the desired pattern.

 It isn't the graver, but how each one of them can be used. Not to mention the long-term skill of over 65 years at the bench.

Up close 'HAMMER ANVILS' => 15 photos

 In this special essay, I will explore only the 'Reciprocating Hammer anvil' and then show the final stone-setting results.

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  The new 'coloured' anvil can be purchased at any tool supply company. But it is up to you, the stone setter, to fashion the shape to your setting needs.

 My anvil was contoured specifically for "Flush" stone setting. This is why the tip has been shaped with 'exacting proportions'. After a few months of setting, I will file the edges to a rectangular shape again. I prefer a #4 (Fine) or a #2 (Medium) texture file.

The anvil on the right is the basic design, and on the left is the 'ready-to-use' anvil.

The 'hole in the anvil' is used to insert a little bur, as this will greatly assist you in turning to tighten or remove the anvil.

 

  After tightening the anvil, I always smooth the anvil top & sides with a #600 grit Polishing Paper.

            

 A pair of pliers will help me grasp the anvil on the Reciprocating Hammer.

 After many months of (filing) trimming the anvil, exchange it for a newer tip. 

 If by any chance the tip gets loosened from constant use (this might occur), PLEASE TIGHTEN THE ANVIL SECURELY.

 This gnurled section of the handle adjusts the tension (or impact strength) as required.

 Gemstone setting results:

We are aiming for a smooth surface, always be watchful that the anvil hits exactly where it is needed.

   Do you see any rough texture from the anvil?

 This is my favourite photo of what a great hammer anvil will do to your gemstone setting.

Why are your gravers prepared differently? Essay #3 (final page) => 8 photos

 These are the basic shapes of gravers that any diamond setter and engraver will use. Remember that each of them must always be kept in pristine and high-polished condition.

 You can see just how important it is to have a well-maintained graver. The most important aspect of diamond setting is keeping your graver finally tuned for precision metal cutting.

 To reshape your graver is also a learned skill. It must be held at a 45-degree angle to achieve the best cutting results. This is the angle that is required to give you the best cutting & carving to the metal.

 These are the polishing papers that are in numerical order starting with a #240 as a soft Emery grit paper. The paper on the far right is the very smooth #1,200 grit paper.

 In this photo, I'm displaying an Onglette graver being positioned and then sharpened on a well-lubricated 'Oilstone'.

 In this second photo, I'm reshaping a "Flat" graver as I need to have a 100% sharp edge to the base of the blade.

 Even the base of this blade will eventually get worn & dull from constant wear. Never assume that all gravers will stay sharp, as we all know that on a Flat and Onglette gravers, these are two areas that need to be always well-maintained. 

 I exert a constant downward pressure as I 'want & need' this pressure to gently reshape the cutting edges.

 You can now see how thin the face of the Flat graver must be.

 I always rub the bottom of the blade on 'paper polishing' paper. I start with a basically #2/0, #1, followed by the #600 grit and then finally the smoother #800, or finally the #1,000 grit paper.

 In this photo, you can easily see what these two gravers look 'before & after' the intense shaping.