How are these mini-beads created? =>19 photos

 This is not a computer creation. The Rate of Difficulty is 12, on "The 10 Scale", as this technique needs much practice to be completely proficient at it.

 

WHAT TOOLS DO 'WE' NEED and when?

  There are only two tools (gravers) required for this technique. The most important will be a thin #1 Onglette, along with the secondary tool, which will be a highly polished engraving #2 Onglette.

 

  Under some circumstances, I will use a #40 FLAT graver with a fine cutting point (as shown). The new Onglette blade is shown as well in this photo.

                                   
 What we are aiming for is seen in the photograph seen below. The lateral line will be created with a small round bur. Don't improvise with any other bur.

  There are two cutting lines seen here with a "before & after" view. There is a pattern of 2 lines intersecting each other; these two lines will be where the new beads will be located.

 I added a 'decorative touch' to these lines by running a MILGRAIN wheel over the edges. 

(The blank area is where the beads will be.) The Milgrain effect accentuates the lines that were just created & shaped.

 When these lines were just cut, I preferred to cut my lines again, but this time much DEEPER. 

 This will give me more opportunities to use my Onglette #2 graver, putting more emphasis on a "DEEP" cut. A "casual line" in cutting is not in our vocabulary.

 These three photos display how the hand envelopes the graver & handle.

 There is much emphasis on keeping the lines straight and not curved, as this sometimes occurs naturally.

 I use a specially created Onglette #3 Beading Tool. This blade has a rounded front point. I will dig into the metal just behind each of these mini-pins and subsequently move the bead-claw OVER the Girdle of the stone....but not against it!

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 The line of cutting must remain PRISTINE and should have no contact with any burs.

 This particular process takes many months of practice; consider this technique a skill all by itself. 

 All of the metal carving should be completed at this point; the last step that should be done is to bead-set the gemstones.

  I used a mini-round bur to give each line of cutting a wider line to prepare for more Onglette cutting. 

Once the line has been created, then I'd use my Onglette graver to cut DEEP. Then I'd do this...... AGAIN.

 Here is the round bur actually doing the 'line preparation'. Don't destroy or ruin the inner row of BEADS. Don't use your graver to cut in between the holes.

A graver is meant to cut only a line along the edges of the holes.

 I will use my BUD-BUR to keep my line straight, as a round bur won't give that option. The BUD-BUR will give me a LONG & Deep CUT.

  A narrow BUD bur should cut DEEP that will establish and clean a new row of 'mini beads'.

 Start to use your round bur from the 'lines of cutting' until it reaches the centre section. Thus, exposing a line of newly formed BEADS. Don't let your burs touch the 2 lines of Onglette cutting.

  Those newly formed beads can now be 'Bead Burnished' with no effort. 

 All of the decorative 'beads' should be burnished at this point. When the gemstones are inserted into the holes, the whole process will then be completed. 

 BTW, a gemstone that has been inserted; then and only then can the beads around each hole be used in securing the stone.

How to set a square stone into a 4-claw setting? => 17 photos

 This essay will address ONLY the "preparation of the stone" for a 4-claw setting and not the finishing.

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The stone that you eventually choose shouldn't be larger than the 4-claw opening. This ensures that the claws remain almost vertical.

  These claws are 'spread out' only to give the burs more access to the claws.

   Major OOPS! This stone cannot be used as it has a defect in the right corner of the stone.

 How do you determine the round bur size for drilling into the claws? This is an easy question; the size should be exactly the width of the Girdle of the stone. There is no guessing here, only the visual assessment.

  Here is the assortment of round burs that will be needed and finally used in this process.

 Before any stone setting, it is imperative to clean any casting 'errors' remaining, before the next step.

Rotate the stone and check if the bur that you chose will do the claw preparation.

With the selected round bur, you may now start the drilling. BUT HOW FAR DOWN THE CLAW WILL THE DRILLING TAKE PLACE? The depth should be 1/3rd from the tip of the claw to the base of the 4-claws.

 HOLD THE MANDREL EXACTLY AT A HORIZONTAL POSITION. The next step is to drill 1/3rd into the claw; this is where the corner of the stone will eventually rest.

 If you go deeper, then there will be a chance of the claw tip falling away.

 In using a smaller round bur, it is imperative to cut a downward groove from where the point of the claw will rest. Why is this?

 This downward cutting will enable the edge of the Pavilion to rest. INTERESTING, process?

  I would extend the 'downward cutting' further, just in case the stone doesn't have the opportunity to be free of the claw.

  Our next important step is to align the stone into the claw setting.

 EXAMINE EVERYWHERE THE CLAW WILL BE TOUCHING THE STONE.

 The next steps are so important that this is "15, on my 10 Scale".

  Keep all of the 4 claws at an equal distance from each other.

=> I can see that the bottom left corner and top right side of the stone aren't in line with the claw. FIX THIS NOW!

 With a pair of plier jaws that have been serrated for the 'gripping' action, you can bring two corners together. The action is 'corner to OPPOSING corner', NEVER SIDEWAYS.

Ensure that the Culet of the stone is in the centre of the 'claw basket'.

None of the claws should be crooked or bent, as seen in this photo.

 With your Emery disk of a 'Medium' grit, reduce the height equally on all 4 claw tips. Being careful not to damage any facets of the stone, thus ruining the stone. 

THIS CAN HAPPEN SO EASILY!

What were these machines used for? => 2 photos

 Many decades ago, I was teaching in a jewellery workshop. I glanced around and saw these two unusual machines. I quickly got my camera and photographed them. THIS IS THE FIRST TIME THAT THEY ARE BEING SEEN IN PUBLIC.

 Would you believe that these are the beginnings of 'bench-grinding machines'?

 

  I, for one, wouldn't let my gravers get anywhere near them. The weight of either of them is beyond my calculations. This very heavy rotating stone could weigh hundreds of pounds. Just look at the wooden support that holds the grinding wheel. AMAZING!

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Which metal cutting graver DO YOU REALLY NEED? => 14 photos

  The variety of gravers is mind-numbing to the novice jeweller. The most important question is what will you be needing that graver for?

 This heart-shaped item will need both gravers, Onglette and a Flat blade. I used many cutting techniques in creating the pendant. Only hand-cutting was my decision; I avoided using CAD (computer-aided design). 

 All metal carving was made as I saw that certain areas needed my ongoing decision-making.

Only Onglette gravers could carve for me the intricate metal designs.

 Of the four gravers being shown, I leaned heavily on the Flat and Onglette shapes. These two shapes (in grey) are on the left of the four, which are at the bottom of this photo.

 The Flat graver shown here is my favourite "#40 width". A narrower blade is TOO THIN for many patterns in the common diamond setting patterns.

 

 The moment that you have that blade in your hand, how will you hold it? For this answer, please go to my recent instructional essay dated Jan.19th. 2026.

  I don't use a thick Flat-shaped blade, as many designs need intricate metal-cutting patterns. This is exactly why a thin blade is essential in Fish-Tail and creating 'mini-claw' settings.

 Only a thin #1 width Onglette graver is able to cut a pattern in metal, followed by the regular #2 width. To achieve a wider cut, I suggest #3 with a highly polished side of the blade.

 (This metal-cutting process is not for the novice, sorry!)

  It is customary to cut deeper into the metal with your #2 Onglette graver, but never lean your graver on its side.

   BTW, there is a great opportunity to create a nice pattern, and this is so important, but how? All of the cutting was done from a flat top ring; all we are doing is designing this with our gravers. The Rate of Difficulty exceeds 15+ on the "10 Scale".

 On the (highly polished) RIGHT side of the Onglette graver will clean the rough spots. From this delicate area and a smooth graver, there will be no more metal carving.

 This hand-cut pattern, named "Cut Down", will extensively use a Flat Graver using a #40 width.

 Here is another photo using the same flat graver and creating a curved surface. There wasn't any curved surface before.

 A wider Flat (#41) graver cannot get in between the beads; a #39 width is also still too narrow. Therefore, I always have a #40 width with me all the time.

  When I was requested to insert diamonds into a set of teeth, I had to literally create a 'Beading Tool' that would raise Beads over EVERY stone and many more in between.

 This newly formed Beading Tool was an "Onglette, #3 width". It had a rounded point, as I didn't want any part of the graver face to break off.