Three-stone ring with "Three Bezels"!

   The Difficulty Scale on this setting project is about 8.5 out of 10. This high number is solely due to the "Bright-Cutting" processes starting so very soon.

 Long before you start any sort of burring with your "High-Speed-Steel" burs, place your selected stones on the surface of the openings. If you don't see any metal being shown, then your stones are too large. If you are still wanting to set them, disaster is looming & your ring could be ruined in the process.

 In this photograph are the correct sizes of stones, why? The metal is of sufficient thickness to 'Bezel-Set' and has enough remaining metal to still "Bright-Cut" inside the rim afterwards.

 I need to clean out the deepest section of the opening and to not have any metal touching any part of the Pavillion or Culet. You can use any large Bud-shaped bur you might have e.g. #025 <=> #030.

  This is just another view showing how DEEP you need to go in your initial burring.

  In this ring, the three bezels are semi-joined together, let's clean out any 'remnants' from the casting process.

 These 'extra' little pieces of metal must be removed NOW! If you feel that there is a need to cloth-wheel polish these spots, again, let's do this NOW!

 I used another smaller Bud-shaped bur (the width of the opening in between the two Bezels) just to smooth the metal. You could even Rouge this area after your 'burring' if you wish.

 Select your High-Speed bur that is 75% of the size of your stone, to start the first bearing-cuts!

  How deep should you go into the hole is a very important question, why? You need ample metal to hammer over the Girdle of the stone. How do you find a solution?

 The widest section of the bur-teeth is where the Girdle will be, simple as that!
 In conclusion, GET THAT BUR WELL INTO THE  BEZEL OPENING!

Tilt the H.S.S. bur at a slight angle of 20-degrees, this will give the bur access to only one section of the opening! Don't use a High-Speed Steel bur the same size as the stone.

 Bur the metal in three (or four areas) not all at once. 

Thus keeping each bearing-cut at the same DEPTH all around the hole. 

 If your bearing-cuts are just slightly 'higher or lower' than the other sections, so will your stone, it will 'sit crooked', YUK!

 I prefer to let the HSS bur make 'three or four' contacts with the metal. Don't just lightly touch the metal, but let that bur "get into" the walls and make a definite seat for the stone.

 As we are dealing with three thick Girdle stones, use a round bur and make sure that the bearings are same (or larger) widths as the stones.

 In this photograph, you can see how these three bezels are now ready to accept the stones.

  What size of round bur do you need? I don't use any formula for this technique, but eye-ball each of the stones with a round bur that is slightly LARGER than the Girdle. Why larger?

 It is imperative that THE STONE MUST NOT SIT TIGHT in the bearing. You should allow some extra space for these wide Girdles.

 When you're starting to hammer the metal, the tight stone might just get squeezed and "Whoops!" broken stone!

 Cubic Zirconia stones or even Genuine-stones have some degree of being not uniform around the Girdle of the stone. Make allowances and use a round bur for the 'widest' thickness of the Girdle!!
I might even suggest a larger bur if you wish (as shown).

  If you see that whole bezel frame needs to made more open, don't drill it open, just use a metal tapered rod (as shown) and ream it more open.

 I use this method many times and it sure helps to get the stones in and saves the ring!!
BTW, this Awl was "Made in the USA"!..:>)

 HOORAY! The three stones are now in their own "little new homes!" Now the next step is using the 'Reciprocating Hammer'.

 In this picture, you can see that I've slightly reduced the outside frame as I don't want too much metal to be hammered down. The 'clean-up' further on might extensive, plus this could also be a very time-consuming process. 
           
                         

  In this picture, you will see that THE ANVIL IS NEVER HELD PERPENDICULAR, but is being held at a 'slight angle away' from the stone!

 Why is this so darned important? Easy answer!

 Suppose that the anvil is getting close to the stone, one simple 'hit' of the anvil tends to fracture some of the Facets. I keep the anvil on an angle & away from any stone as much as possible.

Another reason is;  I need a 'thick' layer of metal as this will allow me to "Bright-Cut".

 I know that this is difficult to see, but the anvil just never, under any circumstances, will I let the anvil come close to the 'inside edge' of the metal.

 Now you can see that all three stones are 'evenly' hammered and of course, secured.

 So far so good? NO, there is a slight problem, let's investigate where it is, agree?  

 With a 10x power loupe 'we' can see that the metal, in between the two bezels, the metal has not as yet fully been 'pushed towards the stones'. A major problem is just starting. Whoops!

 With your loupe, this is just what is happening. GET ALL OF THE METAL DOWN ON YOUR STONE! But don't 'flatten' it, but hammer again at an angle. Keep a watchful eye on how this is progressing!

 This exactly what 'we' need!
  Oh, by the way, what are those 'little scratch marks' on the Table of the stone? When I buy CZ's from my stone-dealer, I always ask for 'the best quality stone',
 In my estimation, "Swarovski" stones are the best, why? The Mohs "Scale of Hardness" is at 8.5 <=> 9.0. I don't need to have a poor quality stone in my demo's fail me, not nice to see!

 These larger stones all have these Laser inscribed words on the "Table" of each stone!
"Swarovski Zirconia" is the lettering!

  We are now starting to initiate the "Bright-Cutting" processes.

 This is not that easy for the beginner, I suggest much practice is required prior to making any serious Onglette graver cutting!

You can now see a 'little sliver of metal' that is carefully being cut away.

 Here is the sole reason why I need to have the metal nice and thick! If not thick, I won't be able to have a good cut!

 If the inside corners were not pushed or hammered down a second time, I just couldn't get a clean circular cut, anywhere!

 BTW, none of the three stones is touching each other. If they were, some of the Facets could be literally broken.

  As I don't have or use a GRS, engraving block I have tried to cut in a circle. After some years of testing my skills, I have (almost) succeeded..:>) This is not the easiest part of Bezel-setting.

 Many times, I will recut the three Bezels many times just to make all three look uniform in appearance. I am not at this time worried about the outside edges these will be attended to shortly.

 You can see that there is a little extrusion of metal on all three bezels. When the "Reciprocating Hammer" is hitting the tip of the frame, it is displacing some of the metal to form a 'little ridge of metal' over the outside edge of the bezel.
 This is quite a common occurrence, so don't get stressed upon seeing this!

 The very next step is to file everywhere with your Triangular file with a grit of #4.
Use the 'fine corner' edge of your file and get in between the two Bezels. Once you are doing this rotate the file in a circle and remove all of the course finish, on the tips of the Bezel walls.

  Can you tell me which is the Grit #2 and #4?..:>) Do this marking on your own files, it makes for easy identification in your bench-pan while you are at work.

 I constantly use my metal, ring-clamp that is like a mini-vise, it allows my working fingers to get close to my setting project. I can then lock the jaws of the clamp...so very TIGHT!

 Now you can see some improvement in our 'nearly finished' Bezel ring.
We are not finished YET!

LOOKING GOOD!..:>)

 Here is a close-up of my "Right-Sided, Onglette Graver #2". Actually, it is a graver that has been fashioned to cut "ONLY ON THE RIGHT SIDE OF THE BLADE!" (If you are left-handed, the left side of the blade will be then contoured to cut in the same fashion)

 What happened here? As I am Bright-Cutting all around the hard CZ, the hard stone Facets will & can break off the very point of the Graver. Don't get stressed over this graver getting worn down!

 This is not your fault!  Overtime (minutes) the constant hitting of the graver to the stone, this will happen! The flat point is the culprit and it has now to be re-shapen.

 The re-shaping process is to literally 'refine the leading point', using your light Emery paper #400. Rotate it as you are now gently 'following the curves' of your graver. Some practice is needed here!

 Once you are satisfied with your results, then use your Polishing paper #800 or even a #1,200 to make your graver super-smooth for your "Bright-Cutting"!

 With the same Graver that was in for repair, you can continue on with your fantastic Bright-Cutting as you were doing before!

 Just prior to any further cloth-wheel polishing, please use your "Tapered" Pumice wheels to get in between the corners of the Bezels.

 I like to round off the outside walls of the Bezels until the three walls are all in uniform appearance.

              

 When you are using your cloth-wheel for polishing do the following procedure first!
 Please GO GENTLY and DON'T PUSH YOUR RING INTO THE (Tripoly & Rouge) WHEELS. If you do, you will destroy all of your hard work in making this ring a wonderful "Piece of Art"!!!

 If you have any questions, kindly email me:  "gerrylewy18(at)gmail.com"

Modifying your "Bead-Burnisher"!

                 "Modifying your Bead-Burnisher, how & why?
             This technique will save you from any stone breakage!     

 
When you have a series of fine 'beads' to burnish, here is a fantastic method in finishing your project. The thought of damaging your Diamonds or even Emeralds will be now a thing of the past!

 This method and techniques were taught to me only 60 years ago! It has been a 'real life-saver' when dealing with expensive stones that need to be safely 'burnished' & uniform in size.

 In decades past we had to make our very own 'bead-burnishers'. For only a small $ amount, you can buy these in a set of 12, or even 18, time saved than making your own.

 First of all, select a bead-burnisher that is 'larger in circumference' than the bead you need to be rounded! For example, in your pre-made set of burnishers, use a burnisher that is not the same size as the bead, why not?

 When you attempt to rotate the burnisher, you will see a little rim (or dish) around the tip of the bead. This is definite "no-no"!

 With your selected burnisher in your handle, lay it on your oil-stone at a 45-degree angle. Your stone should have oil on its surface as the metal will not get embedded into the pores of the stone.

With "three long strokes" of the burnisher, from one end of the stone to the other is sufficient to get the correct results.

 Do not keep stopping and looking as this might give you a 'faceted' effect on the tool when you're wanting to start again! Three...long...SLOW draws on the oil-stone, it's now done! Was this EASY?

  There are many instances where the simplest procedure can turn into a nightmare! When you have to secure for example 49 stones in this item. 

 Every one of these beads must of the same size & moved over the stone in an orderly fashion. 

A 'bead-burnisher' is the only setting tool you need to use, but it must be configured as not to damage any of the stones!

 When I was awarded the "Guinness World Record" some years ago, I used a 'bead-burnisher'
that didn't damage any fragile stones in the process. I placed the 'facet' of the burnisher against the stone if not there would have been 'stone-dust' in my bench pan!!!

 Instead of using a "cup-bur, aka 77B" on each claw tip, I did many things at once. I 'rounded off '
the mini-claw tips and at the same time pressed the 'tip' down on the stone and furthermore making the claw-tips uniform in appearance.

  There is no other way to finish setting these 516 stones (double-sided plate & the "88").  Using a correctly designed 'bead-burnisher' and let it do the clean finishing with you!

 To review this important topic:

 Why must there be this 'metal facet'? The answer is very interesting and easy to understand.

 When the burnisher is held vertical, that section of the rim on the burnisher is no longer going to make any contact and damage the Facets of the stone.

 Basically, there is now only 3/4 of a rim now to 'round' the beads. Interesting scenario?
 You can still rotate the tool as you have done in the past. Now there are no longer having any 'barriers' to prevent you from getting the beads finished!

 I have added a few of my 'archived' photographs of the many uses of a 'faceted, bead-burnisher'.

  In this picture, I wanted to secure the bead as it might get cut or destroyed in the 'rough-cutting processes.

 (I might suggest  in having you experiment on some 'sample' beads to familiarize yourself with this very easy technique.)

 Try some 'fresh' beads on a silver plate and get used to the "Oil-stone & Faceting process". Then understand what is going on between the 'burnisher-facet' and the 'soft' stones.

 Here are a few of my archived pictures!
  Here is a set of "Grills", the beads are now secured and strong enough to withstand further graver cutting.

 
  In this picture, I can easily bead-burnish these very delicate stones with no 'breakage' problems!

 
  All of these 'tender' stones were equally burnished in size, even on Emeralds & Rubies!

 
  This process will now enable you to burnish your beads with no further problems!

 Email me for any questions; gerrylewy18@gmail.com

Which Pumice Wheel to use, when, where & why!

  In this essay, I'm not discussing anything to do with stone-setting. I'll be explaining rather where and when & of course, which Pumice wheel that should be used in the 'clean-up' process.

 There are basically only two Pumice wheels that I use constantly, they are both the "Flat-Faced" and the "Tapered" edge.

 The next question is which 'grade or grit' is commonly used?  I'll use my experience as a Diamond Setter to guide you further!

 My choice is a #180 grit, with a "Medium" texture! Nothing more than these for the clean-up.
The colours are a "dark-blue" in your tool suppliers office. There is 'light-blue' these are not mine!

 The next is a "Pink" colour-wheel, with a grit of #1,000. These wheels will cancel-out any further meticulous cleaning to your metal then using the cloth-wheel polishing.

 These two (Tapered) styles of pumice wheels can get into so many crevices that no file or "Tripoly, or Rouge" polishing can get into. The catch-phrase is "keep your edges and surfaces flat & sharp!" The cloth-polishing wheels just usually 'round off  the edges & corners'...:>(

  Here are only a few of my assorted Pumice and Emery wheels of all shapes and sizes.

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On some of my teaching classes, a few of my students didn't need all of the wheels I purchased for them. One night I had no container to use..after my dinner, I kept the box, but I ate a great salad!..:>)

 So here is a large size container and it came with a tight lid.

                        "Alas, poor pumice wheels, where for art thou?"

I always have a "back-up" of assorted-wheels in case of any emergency and so should you!

 In this interesting photograph is the exact process I used in cleaning delicate areas of a basic flat-surface engagement ring. On the back of the claw/prong, I would be using the side of the 'Pumice wheel #180 grit' as shown.

 I totally avoid any use of a file! I need to have the surface of the metal smooth and no remnants of striations from the teeth of the file.

Try and have extra 'mandrels' for those wheels, timing is of the essence when you are rushing to get a ring finished. Two mandrels the #180 grit (Flat & Tapered) and two more for the #1,000 grit of the same.

 This previously written (2016) essay supports my present ideas on 'which', 'where', and of course 'when' to use your Pumice 'cleaning' wheels.

(For this essay, I'm posting many photographs to better explain each mini-topic!)

                                “Pumice Wheels @ #180 grit!”

 There are many tools on the market these days that is now used constantly in the “Diamond & Gemstone Setting” processes. The one that I believe is most important, is not the Pillar or Triangular file, but the often ignored is the “Pumice Wheel”.  I, and with most setters that I know, use only the #180 Grit. There are many too smooth grades a.k.a. #240, I prefer the basic #180, why so? It is not too aggressive, but still, it cleans and is really very gentle around anything that you are setting & even cleaning.

 Let’s suppose that after you complete your filing around Claws, Bezel and even Channel-Setting. It is imperative that you should use an even smoother textured-apparatus, namely the ‘Pumice Wheel’.    

 If you are not using them, you have just nothing to lose, the results are just fantastic. You could even experiment on where you could find other uses for them. In your jewellery fabrication, these can be a ‘real life-saver & gift’ for your cleaning, even prior to the polishing with your wheel-buffs. 

  I'm using the side of the wheel to get close to the claws as I can.

  I'm using the very tip of the Tapered wheel but now at a much slower speed.

 After your filing, there are even little striations left on the metal, so how do you remove them? Don’t polish them off, why so? Easy answer, you’d be then making all the ‘squared-off’ claws or flat surfaces, actually be then rounded, not too nice after your hard labour. <=(I type and use the “Canadian spelling” version, in all of my essays.)

 To continue on; let’s suppose you’ve used your ‘Emery Disks” just to do some last-minute cleaning and you still notice some rough surfaces. You say to yourself, “What happened, these marks weren’t here before?” The ‘Fine’ or ‘Medium’ grit on the sanding disks are to blame, then STOP! 

  Get out your Pumice wheel and ‘redo’ those 'rough-textured' surfaces!

 In the following photographs, many of them are ‘staged’ just for this essay. Of course, I wouldn’t be holding the rings in a soft material that way, they are only to demonstrate how the wheel will be in contact with the claws and other surfaces. 

 What stones can I use these wheels next to? With great care and experience, these can be used literally beside any soft stone! Although it does need some practice to use them near Blue Zircon, Turquoise, Opal and very carefully..Pearls! (Sorry I don't have any photo's of these rings in progress).  I have a multitude of ‘wheel mandrel’s, why so many? All the time you are using the wheels, you might be wasting time removing one wheel shape to another…just buy many of the mandrels and keep your mind on your work, not stopping to remove, put another wheel on. AKA "time being wasted"!  

  I, even at times, use the ‘worn out’ wheels to clean the inside of the ring. There are so many other uses, all you have to do is to be creative!!

 After a short period of time, you need to keep your flat surfaces FLAT, How would you manage this? You could use your ‘sanding disk’ or a Corundum (separating disk) and just reshape your pumice wheel, as needed.

Just keep those wheels ‘trimmed and cleaned’ & ready to be used again. 

 In my opening remarks, I did say that these wheels are a ‘gift’ to the jewellery bench. Learn to use them as often as you can, use the Tapered wheels to the little areas. 

 BTW, I use the #1,000 grit Pink wheel as these could be used in lieu of the polishing cloth-wheels. Why use the (aggressive) “Tripoli & Rouge” as you have been using? When you could have been using the Pink #1,000 grit instead! 

 Stay alert as to where your wheel is touching the metal or you will have 'scratches' put on to the 'Facets' of the stone.

 Be very gentle and have your wheel rotate at a slight angle AWAY from the stone.

  
 These wheels are just great for Gypsy Setting. Avoid any filing, but use a "Fine" texture Emery & Pumice wheels extensively.

 I always set my stone further into the metal, just to avoid any unforeseen 'catastrophes' when cleaning near the stone.

Now you can ‘save’ those delicate stones in any kind of setting patterns.

 I sincerely hope you have ‘found a new friend’ and they are the Pumice Wheels!  Two words for you to remember, they are; "Experiment often!"