My daughters' jewellery 'gift from her Dad' - 65 photos.

 Last month my dear daughter "Stephanie" saw the beginnings of this pendant. She said to me "Dad, can you make one just like it for me?"

As a Diamond Setter, I put my tools together and created this pendant just for her.  I took many photo's of it from a wax-injection to it's completion.

 I had to combine two blog-essays together as I wanted to be sure that no pictures were to be missed. I named this pendant a 'gift from her Dad'.

How many Dad's can make a similar gift to their daughter? 

 (If I might have duplicated a few photos while combining two essays, my apologies).

I arranged some 'finished pendants' with mirrors, just to get a better perspective on how this item is to look.

 Mirrors can fool the 'eyes & mind' in to this collection of loose stones.

 As I only had 4 silver pendants to work with, here are my collection of finished pendants.

 How do I secure the stones when there is only one claw made available? I will use my Flat graver of #40 width to scrape a sliver of metal over the rear of the stone.

This pendant looks just fine, BUT there is a problem, there is one claw missing.

 What implement would I use to push over each claw? I abhor using any steel metal 'hand pushing' tool on these delicate claws.

 If I used a 'steel pushing' tool, it would be with a serrated edge BUT the front edge will leave me with many cleaning problems.

 This will be to your advantage to use a Brass pushing tool in moving claws over each stone.

 In using a TAPERED pumice wheel of #240 grit, examine each claw that there are no deep indentations anywhere.

Every casting mark in the metal must be removed prior to any further stone setting.

 What size of 'cup bur' would be used? The size of the bur should be larger in covering each claw. If the size of the "77B" bur is the same, the result would be a 'little cup', or edge on every claw rim.

 It's better to 'cup bur' (make round) the centre stone, post-setting. If not, the bur might just hit the remaining claws or grind against the stones.

 With a FLAT-faced pumice wheel of #240 grit, clean everywhere possible.

 Wherever there are design indentations, use your Tapered pumice wheel and clean before Tripoli and Rouge polishing. NEVER DO THIS WHEN THE STONES ARE SET.

 The Pumice cleaning should also be used along the lower section of the claw. The whole pendant MUST BE IN PRISTINE CONDITION before any stone-setting starts.

 This (soft metal) BRASS pusher is the only 'hand-pusher' that is needed. Don't use a steel pusher!

 

  This is the brass recess that will cover the 'tips of the claws'.

  Inside the area where the stone will sit must be made wider to accommodate the Pavilion of the stone.

 There are basically two methods in holding this pendant. The easiest method is to use an adjustable 'clamping device'. BUT, the fingers usually hit the pin-vise.

  My best method is putting the pendant on a 'shellac-stick', as seen here. 

  Now compare the working diameter of this wooden stick to the pin-vice.

   With an Awl, GENTLY spread the claw(s) further apart.

 There should be no residual pieces of cast metal that will hinder the placement of any stone. I'd use a 10x power Loupe to examine the area of the setting. 

 With your Flat graver, cut a sliver of metal down along the side of the center claw to the Girdle of the stone. This will 'lock the stone in place'.

  Always be very gentle on these claws, one slip and 'it's a trip to the repair shop'.

   Every indentation on this multi-claw pendant needs to be in pristine condition.

 After aggressive touching of your setting tools, get rid of any marks.

 

 

    All of the centre-claws need to be rounded with your "77B" cup-bur.

 The cup-bur should not be the same size as the tip of the claw. It should be larger, as the teeth of the rotating bur need to get the claw tip smooth to the touch.

  Before you progress further along your gem-stone setting, make sure that ALL OF THE MARKS ON THE CLAWS HAVE BEEN REMOVED & CLEANED.

 In this photo, you can see that the BRASS pusher is now holding each and every stone tightly and firmly in place.

 If you push with your metal tool, the stone could get crooked. The very first thing that you do is to lock in the 'back claws' with your Flat graver. THEN WORK WITH THE SINGLE CLAW IN THE FRONT.

 

 

 There are extra pieces of metal inside many stone spaces. Get rid of them as soon as you can. These could have been easily removed in the wax form.

  

  If you see that one or even two claws are missing, 'STOP' what you are doing and do the repair as soon as possible. 

 Keep the heat of your torch to a low flame as you don't want to melt any of the metal in the process.

 This photo shows where those 'slivers of metal' should be situated. The sliver of metal MUST BE ON THE STONE!!! (not against the stone). This sliver of metal is created with the means of using a Flat graver to cut INTO the metal of the claw.

 If you need to spread apart any of the claws, just GENTLY move the single claw away from the pendant. Never spread the claws sideways, lest you might damage any stone on the right or left side of the hole.

 If you are unsure of using an 'awl', you might gently use a pair of pliers and move any claw that you need to. This photo shows how much easier it is to use than the 'Awl'.

 I always set the center stone first. In this photo, you can see how to spread apart those 6 claws without any effort. In using the 'Awl' there won't be any damage to any of the soft metal claws.

 When you are using this 'AWL' always make sure that the tool-tip is free from any marks that might transferred to the inside of the claw-setting.

            

              17 PHOTOS FROM MY (PREVIOUS) BLOG-ESSAY!

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Upon examining the pendant, always keep the multiple claws in an upright position. 

 Clear out any residue from the casting, there isn't any other time in doing this cleaning. If there are multiple claws missing or too short, discard this casting and start again!!!

 Already you can see one or two claws bent out of shape. This must be rectified prior to any casting, but be so very careful as these wax-claws might easily break off.

   It's far easier to repair a wax form, than attempting to do this in metal.

 With a "Twist-Drill" remove as much of the shellac & metal before setting any gemstones.

 

 Be careful in selecting your stones, they MUST BE UNIFORM IN SIZE & COLOUR.

 Have those Pavilion 'holes' well cared for in this pendant. If there are any problems being seen at this juncture, don't proceed further. Be careful and be critical of what you are attempting.

 I suggest that your stones have a thin Girdle, this will make your setting process so much easier with your new setting skill.

  This stone has a thick Girdle "STOP" and find a thinner girdle-stone to set. A thick stone is even difficult for this setter, please examine your stones prior to any setting,

 PLEASE read this again, 'a thinner stone works better for you'.

 If you are using a pair of pliers, have one jaw inside the hole and the other against the base of the claw...then squeeze the jaws together.

 

 This is the position of your "156C-Carbide" undercutting bur as it creates a 'bearing-cut' for the stone. Have your bur gently rotate against the claw(s).

  

 Be very careful where your steel jaws are 'resting'.

 

  These are the "High Speed Steel" burs that is used for the 6-claw center setting.

  Don't leave this claw-cutting residue on the side of the claw. I'd use a Triangular file #4 cut to clean the surface, then using the Pumice Wheel of #240 grit. DO ALL OF THIS PRIOR TO ANY STONE SETTING.

Here are the center claws before any cleaning has being done. You can see that claws at 6:00 and 3:30 o'clock are not equally spaced. Repair them NOW.

 Here is a white stone with a very thick girdle, please change it with a 'thinner' stone girdle. By doing this easy change, your setting will be finished faster and less problems.

               

"CUT DOWN" Diamond Setting pattern & metal carving -14 photos

 This pattern is so interesting that IT MUST BE SHOWN. I don't know how many Diamond Setters there are who know of it's name, or even familiar in how to execute this innovative pattern. That is why it's so very interesting.

 I have a series of photographs with these exacting techniques. There WON'T BE ANY BEADS OR CLAWS IN THIS DESIGN, this pattern is really different. It still amazes me even during this writing, how strange it still looks.

 The Level of Difficulty is at a high level of complexity. I'd rate this at "12 out of 10".

When I was in my apprenticeship, my teacher Stan Levine, (of blessed memory) spent only one hour showing me how to do this pattern. Now it's your turn to learn this innovative technique.

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           What tools are needed in this project?

                      Onglette graver #2

                      Flat graver #40

 There is no danger of setting Genuine Emeralds of any size, with this technique.

 Just what keeps the stones in the metal? The answer is so very simple and to do this pattern is to use a Flat Graver of #40 width, not the thinner #39 or a wider #41...but only a blade of 1.35 mm in width.

 On either side of the '4 cuts' that now appear, it's imperative to keep these 'cuts' separated from the new overall pattern. How is this done?

 

Use your Onglette graver #2 and make cuts in the shape of a wide "V", as shown. This is where the delightful pattern name "CUT DOWN" comes from.

 

 With your Flat graver #40, make a wide flat cut as shown.

 How do you make these flanges of metal, just look at the 4 points that is pivoting from beyond the setting of each stone. 

Each 'pivot-point' starts lower & deeper than where the stone is sitting. There are 4 of them for each stone.

 The 'pivot-point' determines the length of the new bead-flanges. (as shown in this photo)

  

 The "Cut-Down" setting rule is easy "DIG INTO THE METAL ON ONE EDGE (or side) OF THE GRAVER AND TWIST".

 In between the stones, you may create a little square, or two 'parallel lines' or cuts. With these lines you can Bright-Cut them.

 To make this simpler, place the palm of your hand on a table-top and pivot your palm to the left. Now transfer this "hand-motion" technique to your Flat graver, isn't this easy to grasp?

 Don't be overly concerned about uneven or large spaces in between any stones. I will delve into this during this important 'instructional essay'.

 

 It's much better to 'set & secure' 3-4 number of stones, than 'one at a time'. This will give you continual lines of even setting, "Uniformity is very important".

For safety reasons, I suggest you lower your stones much lower than the regular bead-setting levels.

 Keep the 'Table' of all of these gemstones below the level of the metal.

 I like to have a 'bearing' created, as I don't want any stone to be set crooked or sometimes on a slight angle by accident.

 My 'Palm-Pivoting' technique as described, is the rule for you to follow and to practice further. Do you see the amount of metal literally covering each side of the round stones?

 If the round stones were set at a higher level, the amount of metal covering each stone would be miniscule as compared to those shown here.

 What do 'we' do with the spaces in between the stones? As seen above in the upper 3 photos, I created little squares and then Bright-Cut those squares.

  

 For decoration purposes, I always Bright-Cut these spaces. I then will scribe with a ink marker as a rudimentary guide for cutting with my Onglette graver.

   It is important to make sure that the 4 cuts of metal ARE COVERING THE 4 NEW CORNERS. If not, the whole appearance and function of a "Cut-Down" will be in jeopardy.

THIS IS THE EPITOME OF A "CUT-DOWN" STONE SETTING.

  To create these 4 deep cuts, the Flat graver MUST DIG INTO THE METAL DEEP

''shallow cuts" will never give you the results that are needed.

  The Flat graver 'pivot-point' must start beyond where the stone is sitting. Then you can 'twist the metal over the stone' with the greatest of ease, trust me!

  

                 =>This is the technique of 'Cut-Down' setting<=

 I used an ink-marker pen to be used as a tool to guide myself in creating these metal covering beads.

 At first, I drew little squares, and then on each side, I created Flat graver diggings. I prefer to make these beads on 1 & 2 corners, I'd turn the ring around and start again with corners 3 & 4. This will be culminating in 4 Flat-graver flanges securing each stone. Good Idea?

  This "Cut-Down" design is not an easy process, but after a few dozen practice settings it will become easy for you. Then you can use my notes and guide your students.

Emerald-Cut diamond, Diamond Setting - 20 photos

This Emerald-Cut, diamond ring can be turned into a magnificent expensive creation. But how can this diamond be set with ease? This essay will answer many of your questions.

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 Regardless of the original thickness of the claws, there is much to do in the preparation.

The stone 'bearings' must be free of any metal preventing the stone from sitting correctly. 

1) In using a round bur on all of the 4 claws, this makes 8-angled cuts into the claws.

2) All of the metal inside of the claws will determine the safety of the stone.

3) The "Pavilion Facets" along with the "Crown Facets" need to be prepared for setting.

4) These 4 claws now have '12 areas' to be carved out in the setting.

5) Where the 'Pavilion Facets' are now resting, need also be carved out. (See this photo!)

  =>All of the metal carving prepares the setter to carefully set this diamond<=

 Just how do the claws get to fold over the Emerald-Cut stone? 

I use a pair of pliers to grip the edges of the corners. Other setters will push over one side only, but this will leave the claws to be totally bent out of shape, this is a bad method.

 As there are 8 sides to these 4-claws, I use a different method to overcome any 'claw-pushing' problem.

 Don't under any circumstances attempt to squeeze "corner to corner why? Squeezing will cause instant breakages around the corners to occur.

 I decided many years ago to grip the "V" sides of the claw, then to close each side of the "Vee" claw pattern. You can now see where the plier-jaws are nicely placed.

 This is my 'gripping area' in the plier-jaws. This serrated indentation of plier-claw grips the claw and not allowing them to slip off.

 This indentation is not too deep into the steel jaws, but just enough to hold the claws firmly in place during the folding process.

 These pliers are bought with the 'bent' appearance, I enjoy using them as they give my hand all the security in working with the claws. I DON'T NEED TO BEND MY HAND & FINGERS. 

These few gravers will do something that so very few setters will do, that is to Bright-Cut the inside of the 8 sides of the 4-claw setting. (I've seen this for a fact).

 When I need fast results in 'graver maintenance', I'll improvise by enhancing the graver polishing by having my soft leaded drafting pencil rub along the surface of the paper. This allows polishing paper to give me (or anyone) a far better graver cutting result.

 

  The 'pencil-rubbing' with the soft lead improves the paper from #1,200 grit up to an estimated #1,800 grit. This action works extremely well for Flat gravers that I would be using to Bright-Cut the insides each of the "V" claws.

 

 These are gravers that under my scrutiny will give me the best possible results in Diamond Setting.

 After filing the outside of the claws to shape of a "V", I can now proceed further.

 I'm now continuing to shape each of the 4-corners "equally". You can now see just how the claws are now being formed over the corners of the gemstone.   

  Why is there a line engraved into the corner of this metal? From this 'line', this acts as a guide in the Bright-Cutting process to occur.

 There is a gap in the metal claw, this is not good to have. Everywhere claw metal "MUST BE DOWN ON THE STONE".

 You can see that ALL OF THE CLAW-METAL IS NICELY RESTING ON THE STONE. You can see that the corners of stone is well protected from undo wear and misuse.

 Here are all of my Emery & Polishing papers to maintain a good cutting graver blade. The paper grades start at #240 Emery, all the way up to #1,200 Polishing grade of paper.

  Once that the inside Bright-Cutting has significantly being completed inside of each claw, extra filing with a Triangular file #4 cut can only now proceed. 

 The whole idea is to "have maximum security, with minimum amount of metal".