Bright-Cutting a 'Circle' => 24 photos

This is not hard, 'it's just insanely difficult'!!!

Not one aspect of this project can be learned in one day.

 The tools needed for this essay are minimal. I use Onglet #0, #1 and #2 gravers, and a Flat graver of #40 width. 

 Why have a large and thick pointed gravers that are shown so many times by other authors? This finely pointed graver will still cut accurately.

 The 'rounded bottom' of the graver has one very important use. The purpose is to move (not push) any beads against and over the girdle of the gemstone. We shall see it in action in a few minutes.

  These are my inventory of polishing papers, which are all laid out in sequential order. The papers on the left of this row are basically Emery grit, starting with #240 up to #600 grit.

 The 'polishing papers' that will be used will serve to create a highly smooth surface on the sides of each graver. These papers are at #800 to #1,200 grit texture.

  I will keep my "Flat" graver in the coloured handle for easier identification while looking to make a flat cut.

 I thinned off much of the graver on the 'right side'. I needed this cleaning process just to thin the metal cutting.

 

 On the graver's left side, also got thinned just as I did on the right side, also for the same purpose.

 

 Preparing the circular cutting pattern involves a multitude of techniques. All of the cutting tools must be maintained in a pristine condition at all times.

                    This is where the 'metal cutting, fun starts'.

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  I cut these 4 grooves into each of the holes as they are short and well defined.

 With the thinned Onglette graver #1, I'm going to join the holes together, as shown. This is the reason why I modified the blade.

 Another technique is to cut a complete circle around this pendant. As shown here! The sides of each hole must be cleaned of unwanted metal. I suggest using a Bud-shaped bur; JUST GET THE HOLE CLEAN.

 This is the 'problem metal' that MUST BE REMOVED before anything else is to be done. The edge must be absolutely clean of any unwanted metal during this 'cleaning' process.

 You can now see how deep the cutting must be. NO SHALLOW CUTS ARE TO REMAIN.

  Starting at the two border lines, cut a 'V' shape pattern INTO EACH SIDE OF THE HOLE. You will soon see why this is important.

 Recut many times around "the circle" as the complete circle of metal is getting cleaner at each series of cuts.

 Clean away any unwanted 'graver cuttings', I'd use the Onglette #2 graver for this process. DON'T FORGET TO CUT DEEP.

 The next important cutting is to Bright Cut the little square in between the two holes. This shiny square, when polished, will look just like another gemstone.

 Blank and flat metal is not wanted; it has to be visually enhanced with a bright & shiny surface.

What are 'we' to do with the extra metal around the rim?

 The easiest method of removing blank areas of any pattern is to "Bright Cut" it. There is no need to grind it away, as this only ruins the pattern. YUK!

 Here is my Flat graver #40, starting to visually enhance that blank unwanted area. 

 This is one of the many reasons why ALL DIAMOND SETTING TOOLS NEED TO BE KEPT IN PRISTINE CONDITION AT ALL TIMES. In this photo, I'm cutting at a 45degree angle.

 I'm using my Onglette #2 graver and 'Bright-Cutting' the line of metal cutting along the holes.

  With my modified "Onglette #2, Bead-Raising" blade, I am moving the metal 'against and over' the edge of the stone.

  Those little triangles are now being put to use...as 'BEADS'!!!

 If there is any metal remaining (anywhere), you can just use your Flat graver and remove it CAREFULLY.

 I use a tapered Pumice wheel of 1,000 grit to manually polish the inside metal cuttings. Try to avoid a large cloth wheel polishing wheel.

 If you found this exercise difficult, IT IS, Imagine that it has no shortcuts anywhere. Fondest regards from Gerry Lewy!