Gypsy Stone (detailed) setting. REVIEW - 21 photos

 This in-depth study is solely on "Gypsy-Stone setting", this technique needs to be explained in full. There are definitely NO SHORT CUTS in this technique.

 The Scale of Difficulty is rated at "8.0 on the 10 Scale".

 What tools are needed? 

1) A light-weight riveting hammer.

2) 156C (Carbide) undercutting bur (measured at 1/3rd the size of the stone).

3) A full assortment of Pumice Wheels of #180 & #1,000 grit.

4) Onglette graver, with a #2 width (this graver will Bright-Cut the rim of the opening).

5) Polishing paper, with a grit of #800.

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 The very first thing to do is to drill a hole 90% size of the stone. The 10% difference will allow for any overlapping of the metal, to the stone.

 This is what the 'bearings' that you cut looks like. The bearings must not allow the stone to sit too high in the hole.

 

  By keeping the "156C" bur in a vertical position. you gauge how & where the bur will will start the cutting.

 How far into the hole will your 156C bur should be? Here is MY GUIDE. 

The bur shaft must never be lowered into the hole. The teeth of the bur will define the correct DEPTH for the stone, once lowered and finally set.

   This is another view of where the teeth of the bur will cut into the metal.

  This is the face of the riveting hammer. I wouldn't let this hammer touch the ring, why? Those marks will dig into the metal and leave a rough surface. GET RID OF THEM NOW. 

 The only method in removing those 'marks', is to buff them off on the Polishing Paper. The git of the paper that is needed for this technique is #400 and then using a #800 grit.

This pristine looking hammer-face will give you a fantastic looking shiny surface.

 When you are cleaning the hammer-face keep the complete 'face' fully in contact with the paper.

 If there are no modifications to the hammer-face, just look at what happens to the metal around the setting. This is a 'genuine disaster'.

 I 'inked' the metal surrounding the hole, now I know exactly where the hammer-face touched the metal.

 The 10% balance of the metal in the hole is where the facets of the stone are located. Now comes the Bright-Cutting inside of the hole.

  I left a 'sliver' of metal for you to see the Bright-Cutting being done.

  On one side of the Onglette graver will be highly polished, as this will leave a shiny mirror-like surface.

 Using the very same polishing paper that I used for my hammer, I'll use the paper for my graver. I'm putting a layer of pencil-graphite into the paper to make the paper be equivalent to #1,200 grit.

 

  This soft-core pencil will fill in the pores of the paper to a softer texture.

 When the hammering and Bright-Cutting has been completed the next step is to 'clean' the surface surrounding the setting hole.

  This cleaning starts with a #180 grit Pumice Wheel.

  Once the#180 Pumice wheel has been finished, then use a #1,200 grit Pumice Wheel. 

 In this final photo, you can see just where the "Table" of the stone is nicely situated.

Which is better? "Natural Diamond" or "Lab-Created" stones.- 4 photos

  First of all, I'm not discussing prices as these numbers change by the month. Suffice to say there is still enough information on the Internet to discover.

 A DIAMOND IS A DIAMOND, if "Mother Nature" created her crystalline specimens or if it was manufactured in a laboratory. The gem is still the same instead of having millions of years sitting in the Earth. In the laboratory the technician puts a 'diamond seed' in an oven and letting the processes start.

 These 'diamond seeds' are put under 'High Pressure and High Temperature', thus these new diamonds are aptly named "HPHT-Diamonds"

 When Nature creates a diamond it is "WYSIWYG" or "what you see is what you get". In the laboratory environment, the technicians can create a diamond with the clients very own specifications. What a great idea?

 This innovative 'gem-making' process is commercially only 10 years old.

With 'natural diamonds' these are with inclusions being shown below. BUT 'LAB-CREATED' STONES can be created without without any defects, interesting thought?

With a "Lab-Created Diamond" the inventory for one company exceeded 120,000 gemstones and now companies now have 160,000 stones for a client to 'pick and choose'. 

 But one thing that should be known, the Jewellery Appraisal MUST mention that the diamond being appraised is either 'Natural' or 'Lab-Created'. The final pricing might completely differ from one to the other.

 It has taken billions of years to create one diamond of a size you'd like. With a 'Lab-Created' it has taken literally 6 WEEKS.

 Plus this is avoiding the problem of 'Blood Gems' meaning the stones have not been used in paying for war-torn countries.

 I for one, had my preference but after searching for information on these stones, I'm thinking again. We all can't keep our minds 'closed'.

 There are many 'pro's and con's' on this topic. I just can't mention the many topics and answer truthfully. If you or your client is wanting a diamond, there are many factors to consider, budget, qualities and above all, the desired stone size.

 I could keep writing for hours more, my suggestion is for your you do you own research.

Best Bezels - REVIEW - 32 photos

 This photo shows the Reciprocating Hammer hitting the bezel, but the 'contact' is using the edge of the hammer tip. The metal is literally being moved towards the stone.

 The lower 'double-photo' shows the three Princess-Cut stone pendant. This one photo is not for the 'faint of heart', as I would register this technique at a definite 15 out of 10 on the "Scale of Difficulty".

  This tube bezel does look like a tube, but these bezels should retain their thin-like appearance. The lower photo shown has many bezels with thin and thick-looking bezels. I prefer the thin appearance.

  This insanely expensive Emerald took me about 3 hours in labour. I had to be 100% aware of the facet edges that were touching the underneath bezel frame. The thought of breakage NEVER ENTERED MY MIND.

 As you can see the bezel was given to me in pieces and then Laser-soldered together.

By the way, I had the opportunity to Bright-cut the frame using my highly polished Onglette gravers, as shown.

 The Flat gravers were not used as the side edge of the Flat graver could cut against the Emerald facets. I never asked my client how much the stone cost. But afterwards, I learned that the cost was well into '5 digit' numbers.

 I use my "High-Speed Steel" undercutting burs as they create the bearings that make a 'seat' inside the Tube bezel. These burs are created at 90degree angles.

  The "156C" bur is of no use to me as the teeth are too close together and just don't cut a thick rim into the metal.

With my 150x power microscope, you can see the bezel as it is sitting against and over the stone.

  My hammer is a lightweight tool that is not heavy for long periods of hitting.

 The face of this hammer must be well-cared for as if there are any defects on the face they will be easily transferred to the gold or silver. This results in defects that can't be easily removed.

 This Oval Stone bezel has a Culet that is sometimes protruding through the base of the bezel. When I'm hammering, I don't wish to have the point of the stone make any contact with the steel mandrel.

 If there is any contact, the stone will get easily broken. That is why all of the 'setting mandrels' have that groove carved out.

  On the inside of any & every Bezel will have a shiny surface. That shiny surface is named "Bright-Cutting". I never overlook this technique during the final stages of Bezel Setting, neither should you.

   Here is the side-view of the Bezel-setting as it is holding the stone TIGHT.

    Here are multiple views showing more Bezel set items.

 Here is my favourite tool is the Onglette graver #2 'ready for action'.

 This is the 'before and after' views of the essential cutting blade. I've seen some videos showing a massive steel blade, what is the purpose of such a thick blade? 

 To execute such a shiny surface, the Onglette blade must be highly polished using Polishing Paper of #800 grit.

 I put a layer of 'soft pencil graphite' into the pores of the paper, why? This paper is now softer and is now rated at about #1,200 grit (without buying more papers).

  The "modified & enhanced" graver can & will cut a cleaner swath all around the inner Bezel. DON'T USE A FLAT GRAVER, as there will be faceting against the metal.

  I'm now showing my "HSS" bur along with the Oval Ruby stone. Don't forget to pre-polish all the many areas of the ring before setting of this delicate stone.

 

 This next photo shows the finished ring, all that is needed is a light Rouge polishing.

 On my Scale of Difficulty, this project rates a '7.5 out 10'.

 

Round stone setting techniques - REVIEW - 15 photos

 This essay is a review of the very basic 4-claw setting techniques that every jeweller or stone-setter should know. Keep the ring in the exact center of the ring clamp. If not, there will a great tendency to setting the diamond crooked.

 To keep the 'side stones' held in place, I used a Flat graver of #40 width to create 4 pieces of metal to set each Blue Sapphire.

  This is the epitome of a correctly set diamond. I examine where the 'Culet' is placed, this is so important.

  I never use any other burs in preparing for the stone setting. These are my "High Speed Steel" burs that have a 90degree angle, this has the same angle that as of a diamond.

   The point of the Culet is in the center of the 4-claw head. NICE?

  Under closer scrutiny, I see that the center stone is (ever so slightly) crooked. How did this occur? The bearings, or grooves were not correctly cut into the claws. One bearing was left higher than the others, this was culminating in a crooked stone.

 I'd be somewhat worried with the 'exposure and the height' of this delicate stone. In this regard, I would lower the 'stone-basket' substantially.

 There isn't enough claw-metal holding the expensive diamond.

  The most important feature in 'round stone' setting, is keeping the diamond Culet in between the claws. There is now ample amount of metal covering the Girdle of the stone.

 All center stones should be set lower into the claws. The remaining height is where the tips of the claws are then used to hold the stone.

 This is the acceptable depth that all center stones should be set at. The remaining metal should be cut down a further 50% to sit between the "Table Facet" and the Girdle. 

 Keep the 4-claws in a 'square' configuration, that is the claws should have 'equal distance' between each other.

 This stone is dangerously set too high in the "4-claw basket". I'd remove it and lower the stone down as if the stone got moved, just say "Good-Bye", to the diamond. 

The Culet MUST BE LOWERED FURTHER INTO THE 4-CLAW HEAD. Simple as that! Upon closer examination, there isn't enough claw-metal holding the stone.

  In this photo you can see the new bearings in the claws for the center stone. If the Girdle of the stone is wide, the solution is to use a bud-shaped bur and cut a little extra bearing inside where the seat has been prepared. You are theoretically customizing the claw setting.

 From a series of photographs, I've detailed many techniques of setting round stones.

"Weights & Measurements". Updated information for you - 3 photos.

  Instead of copying every word and numbers, then making mistakes, I did the next best thing and took a photo of my computer screen. I 'borrowed' photo's from "International Gem Society", namely "IGS". 

These weights & items were something that should not be overlooked in my ongoing blog.

   Here is another conversion of weights "borrowed" from another source.

Do you know your birthstones? Here is the factual list of stones to the months.

 In my travels or via the internet, I'm so grateful to these company owners for the labour that they put in with making these charts.