High Speed Steel (HSS) drilling #4 =>12 diagrams

 In this tutorial essay, I prefer to cover as many areas of stone setting as possible.

 YES, I've repeated many diagrams as they are that important, and I didn't want to erase them from this blog.

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 I've been using 'pumice wheels' extensively in my creative diamond setting programs, being shown to you. They come in only two shapes, Tapered and now Flat.

 Here is where the FLAT shape will come in handy. When all of the filing and using an Emery disk are finished, the FLAT shape will now remove ALL OF THE MINUTE CUTS THAT WERE MADE. But please, for your safety, USE A SLOW ROTATING SPEED.

 In this diagram, you can use this as a guide for determining where the bur must be used. Where the teeth of the bur end will be EXACTLY WHERE THE STONE WILL EVENTUALLY SIT.

 In my previous essays, the rotating HSS (High Speed Steel) bur will eject a long sliver of metal on one of the four claws of the setting. 

You have two options here: I use a Flat graver #40 width to cut away the metal. DON'T USE A FILE, as this will leave more striations on that one side.

  This diagram is self-explanatory in the setting of little stones.

  This is another diagram that doesn't need any further explanation.

 Tightening a square (Princess-Cut stone) is a 'delicate (scary) stone tightening procedure'. If you tighten this shape at the corners, you should immediately look for a diamond polisher, as the stone will chip at the corners.

 I always told my students (and you) that from 4 'V' claws, you now have '8 places' to bend over the 4 corners. No shortcuts here!

 After you use an oilstone to sharpen your Flat graver, there will be minute pieces of metal lying at the point of the graver underneath that front end.

 This cannot be left untouched, but can be removed with your Polishing Paper of #800 grit.

 The location of your 'bur cutting' will determine exactly where your stone will sit. Please be accurate.

 When you are setting a stone in a 'Flush Setting', please be wary of the location of the Culet Facet. If it protrudes through the bottom, the metal is too thin. Plan for another smaller stone.

 

  NEVER PUSH YOUR STONE INTO THE METAL. Always slide it in on an angle, as shown.

 

  This is my separating disk. Here are the exact dimensions when ordering another group of them. 

   Here are my important "Rule of Thirds".

 1) One-third below the claw top.

2) One-third from the edge of the bearing to the claw.

3 (Lastly, one-third of the stone is the width of the metal. This will give you the exact proportions of the depth of the stone.

 The thickness, width and height of the metal over the Girdle Facet will give the wearer many years of pleasure.

Various bur drilling techniques #5 =>4 diagrams

Where would you place your HSS bur? The answer is in this essay. THERE COULD BE MANY ERRORS IF THE FOLLOWING STEPS ARE IGNORED.

  After you prepare the seat for your square stone, it obvious that you should remove the outside edge of the wall. This will allow you to hammer over the stone with much less metal. See my drawing!

                                       

  Allow the edge of the rotating bur to cut into the wall of the opening.

You are allowing both the 'upper and lower teeth' of the bur to cut into the metal. This will allow both the Crown and Pavilion facets to sit properly.

  When you are doing your burring for seats, do yourself a favour and make sure that the bearing is equal all around the opening. 

 The next important step is to taper the opening to accommodate the Pavilion of the stone; see my drawing for this important step.

 DO NOT (EVER) SPEED UP THE REVOLUTIONS OF YOUR BUR. If you do, you might lose control of the quickly rotating bur.

 

4-Claw, Bright-Cutting & other preparations #3 =>10 diagrams

 This third essay covers the many aspects of the stone setting principles.  

=>There are 2 MORE TUTORIAL ESSAYS STILL TO BE EDITED. <=

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The Pavilion of the stone MUST ALWAYS MATCH THE ANGLE OF THE SEAT IN THE CLAW. (There are no shortcuts permitted.) 

 Where the 'up and down cutting' also creates an angle for the Crown Facets of the new stone to sit.

 The 'reflection of light' is nicely explained in this diagram, along with which cutting blade produces each reflected light source.

 After the hammering over the Flush setting, comes the cleaning of the hammer hits. Initially, a #180 grit Pumice wheel will suffice. Every hammer mark MUST BE CLEANED UP.

   Every bead must be 'against and over' the Girdle of each stone.

  Around every Gypsy setting must be cleaned and made beautiful by Bright-Cutting around each of the stone settings.

 

 This diagram is not great, but it explains that every mark from hammering MUST BE REPAIRED.

 When the hammering is initiated, it is imperative that the Bezel Wall comes down directly upon the stone. 

 You will notice that the inner seat of the setting has no spaces around the Girdle of the stone. The stone sits completely against the metal frame.

 I wanted to REPEAT the hammering cycle on the Oval bezel.

                              

                                  Square stone setting in a V-claw setting.

  All 4 'V' claws MUST BE THE SAME size & thickness. 

 The 4 'V' claws must sit against the square stone on the 8 sides. NO SHORTCUTS.

 

 

Gypsy (Flush) setting & multi-claw setting #2 => 8diagrams.

 This essay explains how "Flush Setting & multi-claws" are prepared.

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 Remove any extra metal from an equal layer around the stone. But leaving enough metal for final polishing.

 The Culet of the stone must NEVER PROTRUDE THROUGH THE BOTTOM OF THE RING.

 

 NEVER HAMMER AT THE EDGE OF THE RIM OF METAL. As the diagram shows, hammer-hit (as shown) away from the outer edge.

 Never push the stone into the new bearing (seat), just GENTLY slide the stone in one side, and then the opposing edge. I do this procedure all the time and avoid all kinds of setting problems.

 What happens if the stone protrudes through the bottom? The wearer will immediately feel the sharp point of the stone.

 ALWAYS MEASURE THE THICKNESS OF THE RING TO THE STONE. This will prevent any problems before the setting.

  I always use or raise little mini-claws just below the tip of each claw. This 'little hook' will hold each stone very tightly in the setting.

 Furthermore, the 'hooks' will blend in with the metal and won't ever be seen.

 To install these 'hooks', I suggest using a 'Flat graver' against the inner claw. The chances of losing a stone are almost impossible.

 I still use this rule to estimate the depth of setting any stone of any size. I suggest getting used to this habit as it will save you many setting problems.

 The top of the bur must be lower than the surface of the metal.

 

Claw Setting diagrams #1 => 7 diagrams

 These 5 essays are extremely important to anyone who is involved in stone setting. With each of the following diagrams, there will be a few sentences of advice.

 As I explained, some diagrams may not be in sequential order. When I was learning my profession 65 years ago, I wished I had these drawings way back then.

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When the delicate setting has been completed, there will be filing marks remaining on the surface. It is best to remove them with a pumice wheel of #800 or #1,000 grit.

 The design of the wheel should be FLAT. 

 When you are starting to set a square-shaped (Princess) stone, it is best to use a bud-shaped bur, but NEVER A ROUND BUR. Aim the point of the bur towards the inside corner of the V-shaped claw.

 When you are starting to set a Bezel on an Oval stone, there is a sequence of hitting the bezel frame. Just follow the numbers, and you will never have a crooked stone.

 When the hammering on the Flush-mounted stone is finally finished. The next important step is to Bright-Cut the setting with your graver. 

 Some setters don't use any tool for this. I was taught to use an Onglette blade as this will leave a bright & shiny rim above the Girdle.

 To remove all of the hammer-hitting marks, it is important not to use any file. My only suggestion is to use an "Emery" Snap-On wheel of "Medium" grit for this process.

 There must be NO SPACES where the girdle of the stone meets the Bezel wall. Plus, the Pavilion should join the Bezel. The sharp outside edge of the bezel should be gently filed away.

  At the beginning of the preparation of the seat of a Flush or Gypsy setting. The seat must be of equal depth all around the inner wall (as shown). If not, then the stone will 'continually appear crooked'.