INDEPTH REVIEW of 'GRAVER CUTTING' => 38 photos

 This ornate pattern has a "Difficulty Rating of 50+ out of 10" (maybe higher).

This design & pattern had NO (computer designing) CAD involved in any of the metal carving & engraving.

 This is one of the most insanely difficult and labour-intensive metal carvings to work on. (I can personally vouch for this). 

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 WHAT TOOLS WOULD I USE?

1) An Onglette Graver #1 for the 'rough outline cutting'.

2) Next is a Flat Graver with a #40 width. 

 

 

 This is the thickness of the FLAT graver, as you can see that the 'face' of the graver has been created very thin. As you will see that this has many of the cuttings need a narrow cut. It's literally impossible to cut a 'thin line' with a thick blade.

 This is my assortment & inventory of gravers just for this exercise. I put all of these gravers into my "Adjustable, Graver handles" as this permits me to use any graver of any length or width.

 As this heart-shaped silver model has some irregularities in it's shape. I just refined the overall pattern before any metal cutting were started.

 I'll be using an Onglette #1 in width, but nothing wider at this point in time.

 Just for this line of cutting, I'll be using an Onglette # 2 to separate the 2 holes. DON'T USE A SAW-BLADE as you won't have enough directional control in the cutting.

  This is what we're aiming for in our overall pattern to look like. I always write 

THERE ARE NO SHORT-CUTS IN DIAMOND SETTING.

 

  What we must do is to use this metal cutting line as the basis of the pattern & design.  

YES, there will be some cutting errors, but I'm going to guide you through them. 

 

  This is the 'finished' pattern including all of the graver 'Bright-Cutting'.

 The first line of 'metal cutting' must be against the hole, as this is where the new pattern will be created.

Don't think for a moment that the depth of this cut is 'final', I ALWAYS USE MY Onglette graver #1 to cut at least 2-3 more times. 

 This design took me 1 hour. "SPEED WILL CAUSE MANY MORE CUTTING ERRORS".

 THIS IS A VERY SERIOUS METAL CUTTING PROCESS TAKING PLACE HERE, =>PLEASE DON'T PANIC & RUSH YOURSELF <=

 

  The 'particular heart-design' is not perfect, this is due to a few errors in the wax, fear not, why? Just use your Onglette graver #1 to re-engrave the 'original pattern' as seen here.

 Your gravers for this project are Onglette #0, #1 (and sometimes #2). When you need to resharpen the graver, always keep your oilstone well lubricated with a "Medium grade" oil viscosity.

 When I'm placing my graver on to the oilstone, please have it held at a 45degree angle.

 

 To prevent any cut fingers, PLEASE USE A RUBBER, THUMB-GUARD. It is quite normal to rest your blade against the 'finger-pad' of your thumb.

 The front of the graver is called a 'Face', this graver face is your 'friend' it will do much of your hard work. Always keep the 'face' in pristine condition.

 When you are using your Flat graver, kindly use your polishing papers #800, #1,000 or #1,200 grit papers. As well, examine that the face of the Flat graver is always sharp. I use a graphite soft pencil to add a brighter sheen to the polishing paper. 

 The graphite granules will be thoroughly imbedded into the pores of the paper, thus reducing any coarse activity in polishing.

 If I had a selection of mediocre shaped gravers, they wouldn't be of any use to me or this metal cutting exercise.

 

 Here you can now see a 'black line', it isn't black, but a reflection of light bouncing off of the metal. I used a Flat graver to make this bright cutting, it is held at a 45degree angle.

  You can now see how deep into the metal the Onglette graver has been cutting. It is not a 'series of shallow cuttings'. I could cut much deeper if it is warranted, which it is now.

 To have the easiest handling of a graver (of any shape) is to grasp the blade in the palm of your hand & fingers. BUT NOT TO HAVE THE TIP OF THE BLADE EXTENDING BEYOND THE FIRST NUCKLE (joint) OF THE FINGER.

 Not only is the graver cutting now in a straight line (thankfully) it is now at a decent depth. This shows that the graver has been repeatedly cutting deep.

 There isn't any other tool that can do this specialized work, not even with CAD a.k.a. "Computer Assisted Designing".

 If the width of cutting area as shown is too wide, DON'T FILE IT AWAY. I just engraved another line of cutting, the result is of a nicer finished effect.

 I have a fairly large inventory of 'cutting blades', in each 'adjustable handle' are specially shaped gravers serving a specific purpose.

 If there need to be any 'modifications' needed for the cutting project, it is advisable to make those alterations IN THE WAX. It can be a major problem if it's done in the metal form.

 This is the prime example of 'fixing' any much needed repairs in metal. This might be an exhaustive fruitless exercise in metal cutting. (I've walked that road many times.)

 If you are unsure of this next cutting step, you can acquaint yourself with other remedial steps, as shown here. I used a very thin shaped Bud-bur instead of an Onglette #1.

 This photo displays both the Flat and Onglette gravers in the cutting process, "this is not an overnight learning experience".

There are 4 angles been worked on and this is why every engraving blade needs to be kept in a pristine condition.

 All of the main essentials in graver cutting need to be kept within 'hands reach' in your bench-tray.

  I decided not to complete this 'heart', I chose to scrap and not waste any further time in 'fixing' what can't be repaired. 

From every NEGATIVE ACTION HAS A POSITIVE ROUTE.

YOU TOO WILL FIND THIS A VALUABLE LESSON. Every error can be a learning experience.

 Instead of completing this heart, you could learn how to experiment with the cutting actions of your blades.

 "Practicing engraving" even means getting your fingers used to simply 'holding the gravers'.

 The most simplest graver contact can be a challenge to the uninitiated tradesperson. Be methodical where the graver-face will touch the metal at each hole. Just cut one section at a time!

 Curves around the pendant' is a genuine 'learned skill'. This 'curved section' of the heart shouldn't be engraved with straight lines (as shown here). This should be a progression of mini-cuts culminating in a 'gentle curve'.

 Here is my Flat graver with a width of #40. You will notice how finely-shaped it looks. You are basically moving a 'graver face' not an enormous amount of steel.

 I've seen many videos and I wonder how can anyone learn with those steel gravers?

 Here is the ongoing process of 'graver cutting', this coil of metal (silver) was not planned by me. But is a normal occurrence of how the metal is being lifted during the metal carving.

This is the correct 'name and origin' of a FLAT graver. The letters HSS mean that the steel is of a "High Speed Steel" blade and not of a soft Carbide nature.

 

 This highly polished steel blade gives a mirror like reflection against the 'cutting surface'. There are only two gravers that can achieve this effect. 

They are the Flat and Onglette blade and no other blade can make this happen. Even with CAD will not give you a bright-cut reflection.

 This photo shows how the soft-graphite pencil is being applied to the 'polishing paper'.

 

"The Jeweller's Bench Book" => "Orchid in Print" Volume 2. => 3 photos

  Many years ago I met Charles Lewton-Brain and he asked me if he could write a few short notes about my position as a "Diamond Setter, tutor and writer". I gladly accepted his offer and I still have his book in my possession and paid little attention to it until this past weekend. I will now edit his text and subsequent photos for OUR blog. 

"Gerry Lewy's bench for setting with his burs on display". He is a Diamond Setter and teacher in Thornhill, Ontario, Canada he told me "I have a rounded indentation in the bench pin to brace & rotate my shellac stick."

                                    REFERENCE TO THE NUMBERED SETTING TOOLS.

1) The variety of his 'bur pads' are very important as he keeps his burs separated by shape and size.

2) The round pads are where he keeps his gemstones while he is working. He told me, "These rubberized floor-pads can be bought in any hardware store". He will keep them cemented to his bench top in case any pad gets loose and the stones might get lost.

3) He puts a tincture of oil into a used 'glass fuse' with a piece of cloth. He needs to keep his burs well lubricated at all times.

 I was honoured in having me (the only Canadian) to be selected in this interesting book along with other jewellers in our vast world-wide community.

The official name of this book for your reference is: 

"ORCHID IN PRINT" MAXIMUM BENCH WORK, Volume 2.

(REVIEW) => "Flush Setting" your large Square stone. => 30 photos

 The "Rate of Difficulty" easily exceeds '50, out of 10', plus this PATTERN IS NOT FOR THE BEGINNER. There are no short-cuts in this insanely 'challenging' exercise.

 Mistakes can easily occur, PLEASE READ THIS TUTORIAL-ESSAY MANY TIMES BEFORE STARTING YOUR PROJECT.

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 Select (carefully) which stone you wish to set, it all depends upon the amount of metal (space) that is now available.

 In theses two 'bur packets' are the set of round burs, these range from #003 all the way up to #026. Why so many burs? You just don't know which bur is required at a moments notice.

 My diagram should be of great importance to you, as it describes the 'depth & width in setting this rather difficult stone shape.

 This first step is to drill a hole in the center of the allocated space. Keep your drill held in a vertical position, the hole must not be drilled at any angle.

 Select a 'bud-shaped' bur that is smaller than the stone (as shown).

 Inspect the square stone that you want to set, I'd even have a few 'extra' stones in case one or two of the Girdles are too thick.

The stone MUST BE UNIFORM IN SHAPE AND WIDTH.

 On the flat surface, I'd scribe in ink four lines, these 'lines' will be where the corners of the stone will be positioned. I'd call this my "GPS" as I need these lines as a guide for my many metal cutting.

 With a 'round-shaped' bur I'll measure the overall size of the stone to this bur, but not larger.

 In using the pre-selected bud-burs, I must excavate the metal where Pavilion of the stone will be laying. As well as using the bud and round burs, I'll be creating a mini-shape of a square hole.

 I'll now use the four corners of the square stone and gently carve a distinct pattern and 'turn the round hole into a square hole'.

  With a larger Round bur, I need to cut more of the metal and have greater access for the square stone to sit. This is a very delicate process, there is no need to do anything of this metal carving quickly. "SPEED WILL QUICKLY RUIN A BEAUTIFUL MASTERPIECE".

 Frequently place your square stone on, or against the new hole. Keep cutting the opening until the stone is slowly fitting into the hole.

Carve out all of the corners of the stone to fit along the four (GPS) inked-lines.

 Now you see why I drew those 4 inked lines, if I didn't draw them I'd have a stone sitting out of place on the desired metal place, or just badly crooked. YUK!

 In using any of the small round & bud shaped burs, continue with the 'opening process'. As I mentioned before, frequently excavate more of the hole as the stone MUST BE LOWERED INTO THE HOLE and not touching the inside metal. 

 This is the most delicate stage of this setting, as everything is depending upon this bur shaping.

 With the smallest bud-bur that you now have, cut the 'four corners' inside the hole to accept the stone. 

 I would use my 10x loupe and examine where the 'corners and sides' of the stone are being positioned.

 BTW, I used an Onglette graver and cut out the corners of the hole. I need this new opening as the need to have a square hole made possible, as soon as possible.

 At the base of the Onglette cutting I will use a round bur and drill (as shown), why is this needed now?

These four holes will be used for the corners of the stone to be 'resting'.

 If there is a need to use a bud-bur to excavate the four holes to the facet shape of the four corners, do this now! 

 The four revamped holes MUST ADHERE TO THE FOUR CORNERS AND THE PAVILION FACETS, agree to this?

There is now much delicate work and checking to see if the stone will be fitting accurately.

 The size of the corner round hole MUST REFLECT TO THE SHAPE AND CONTOURS OF THE STONE. The round bur must be of the exact dimensions to that of the stone.

 From the inside 4 corners there now must be a bearing for the exact placement of the Pavilion to that of the stone.

 After many times that the stone is being placed into the square hole, we can now go further with this exercise. 

 The Table of the stone must be lowered further into the metal, basically the stone must be lower than the surface of the metal, the reason for this will be shown in a few minutes.

 If you see that the Culet of the stone is protruding below the inside surface of the ring CHANGE THE STONE. As this sharp point is not acceptable.                             

  HAMMERING 

  When the stone has been lowered successfully into the metal, the hammering can start. But where will the hammer touch the metal? I always want the answer to be easily seen at all times in this delicate process. KEEP THE STONE LEVEL AT ALL TIMES!

 These 'little spots' is where the hammer-face made contact to the metal. The metal is not being hammered flat, but it is being moved towards the stone.

 Don't let the hammer-face touch the stone, if you do ...GOOD-BYE STONE!

 Very lightly hammer the four corners around the corners of the stone. Remember, that this is the most delicate areas in the whole hammering process.

 When all of the 'side and corner' spots have been hammered with precision, it is best to even out the hammering areas. 

 It is not advisable to have any 'flat' areas due to the continual hitting, this will often occur.

 With your graver it is now well into the FINISHING aspect in the stone setting. I could use my FLAT graver and BRIGHT-CUT the inside walls of the opening. THIS IS SO IMPORTANT!

 With your Pumice Wheels (#180 and #1,000 grit) kindly smooth the surfaces all around the Flush setting.

  

  "NOW YOU'VE PUT A "SQUARE STONE INTO A ROUND HOLE". Was this difficult?