Why are your gravers prepared differently? Essay #3 (final page) => 8 photos

 These are the basic shapes of gravers that any diamond setter and engraver will use. Remember that each of them must always be kept in pristine and high-polished condition.

 You can see just how important it is to have a well-maintained graver. The most important aspect of diamond setting is keeping your graver finally tuned for precision metal cutting.

 To reshape your graver is also a learned skill. It must be held at a 45-degree angle to achieve the best cutting results. This is the angle that is required to give you the best cutting & carving to the metal.

 These are the polishing papers that are in numerical order starting with a #240 as a soft Emery grit paper. The paper on the far right is the very smooth #1,200 grit paper.

 In this photo, I'm displaying an Onglette graver being positioned and then sharpened on a well-lubricated 'Oilstone'.

 In this second photo, I'm reshaping a "Flat" graver as I need to have a 100% sharp edge to the base of the blade.

 Even the base of this blade will eventually get worn & dull from constant wear. Never assume that all gravers will stay sharp, as we all know that on a Flat and Onglette gravers, these are two areas that need to be always well-maintained. 

 I exert a constant downward pressure as I 'want & need' this pressure to gently reshape the cutting edges.

 You can now see how thin the face of the Flat graver must be.

 I always rub the bottom of the blade on 'paper polishing' paper. I start with a basically #2/0, #1, followed by the #600 grit and then finally the smoother #800, or finally the #1,000 grit paper.

 In this photo, you can easily see what these two gravers look 'before & after' the intense shaping.

 

How to shape your gravers? Page #2 of 3 lessons => 8 photos

 I am displaying an Onglette graver just for this particular 'grinding & sharpening lesson'.

 All of my gravers are "HSS", or "High-Speed Steel", the reason is that this steel has a longer overall working-life, and they retain their usefulness for longer periods of time.

 I have contoured the grinding wheel to create a curved edge. This is because the graver should have only slightly pointed areas, not flat ones.

You can see how fine the front of the graver now looks.

 The length of the graver should align with the first knuckle of the middle finger. This will be the optimum length of the tool that the setter is holding. You can see a faint colouring of the tip of the blade, which is due to the 'accidental' heating of the blade during the grinding process. WOOPS!

 You can now see how fine the cutting blade is shaped. A large, bulky blade will never help in creating fine-looking creations.

This is my very own grinding wheel that I still use every day.

 Here are the shapes of my two gravers, which illustrate the 'before and after' results of the bench grinding processes.

 This is an assortment of gravers that I have 'on hand' at all times. The lengths are not the determining factors, but how they will be shaped for gemstone setting.

Every cutting blade is purchased with a "High Speed Steel" composition.

 

Why do you keep your gravers sharp? (Essay #1, of 3) => 11 photos

 This topic is not easy, but if it isn't repeated often, it might get lost among other issues in this tutorial blog. There has been no "Computer-Aided Designing" involved in any of these photos.

 These gravers are our workhorses in our profession; we need them to be in pristine condition...100% of the time.

 All of the metal cuting was originaly just flat metal. Gravers were the only tools that I used to create these intricate patterns.

 This metal carving was cut by a 'Flat' graver. You will notice the shiny surface as it mirrors light from my bench lamp.

 As I mentioned previously, this silver plate was not designed via CAD. It was carved with only an Onglette graver (along with my 65 years of training.)

 

 Here is one of my largest metal cutting designs. This disk took me an estimated 5 days of designing and metal carving.

 This double-photo shows some historical features. The top photo was set about 75 years ago. Then my client asked me to remove all of the diamonds as he didn't want the ring anymore. I took many photos, just to save them for posterity.

 The lower photo was set with CZ's with my initials. CAD was not involved and using only my Onglette gravers.

On this one 'photo page' displays a selection of gravers that I used on a typical gemsetting day. These multiple photos are an example of intricate metal carvings that only Onglette gravers can create.

 

 This flat metal displays "Bead Setting in silver" all of the metal carving was created with only ONE ONGLETTE graver.

 I cut this circle not with any expensive power tools, but using only an Onglette graver. 

 The total costs involved is estimated at $45.00 for the graver handle and the blade.

 Again, no CAD was used in creating this intricate pattern. All I used were the simplest collection of engraving tools. 

  From a flat plate of metal, this was turned into a claw-setting in using only Onglette gavers. (No other tools were involved. 

 All of my gravers have to be in top condition; I rely on only the sharp pointed tools to cut into the metal.

 This technique is aptly named "Pre-Cutting", as all of the metal carving has been done before any stone setting was done.

 Even long before any stones were set. I used my Milgrain and Bead-Burnisher to prepare for eventual gemstone setting.

 This ring was a collection of many design techniques. I used only an Onglette blade to execute these patterns on this gold ring.

 I used both the "Onglette and Flat gravers" in creating these metal designs. This pattern is a precursor to "Fish Tail Setting"

 Thus completes the first of 3 essays on graver shaping and sharpening. I preferred to keep them separated as there are too many steps involved to explain & display.

Channel Setting in rings => 22 photos

  The Channel Setting rings are not for the 'first-time' stone setter. This skill lies within the realm of many years of stone setting; even I had a 'difficult time' grasping all of the subtle nuances of channel setting. (My difficulties are that I am Dyslexic and I have a learning disability)

 I practised on silver (.925) for the first couple of years, and so should YOU!

 The most important aspect of the 'square stone' setting is that the stones must never have spaces in between any of them.

The recess of the channel setting must be thoroughly polished before any stone setting is done.

 

 The Reciprocating Hammer anvil must NEVER come in contact with the delicate gemstone..NEVER!

 The anvil should push the metal 'towards and over' the girdle of the stone. Try to avoid any spaces in between the stones, as seen here. 

  The row of gemstones must lie flat and not be crooked.

                        ERRORS IN SETTING BAGUETTES

 This photo was copied from the internet, as it showed multiple stones being set crookedly. There are 'Tapered', as well as 'Straight Baguettes', this is including one stone missing....YUK!

 

  All of the wedding band diamonds shouldn't have any space in between any of the gemstones.

As you can see in this photo, there is a space, and this is not permitted.

 When there is a time when there are "Princess stones" to be set, please be very careful that these stones don't move. 

 During the Reiprocating Hammering procedure, any vibration might cause the stones to move sideways, thus resulting in severe structural damage to the stones.

 During the hammering process, DO NOT APPLY EXTRA PRESSURE ON THE CORNERS. This can be seen in this photo.

 The hammer anvil MUST NEVER TOUCH THE STONE at all costs. This can be seen in this ultra-delicate wedding band.

 In this photo, you can see that care wasn't taken, and one diamond has already broken.

 In hammering even a few diamonds, the anvil MUST NEVER GET TOO CLOSE TO THE DIAMONDS. If the vibrating hammer touches any stone, it very easily causes havoc to the gemstone.

 This process moved the metal OVER THE GIRDLE. If the metal gets squeezed, then the metal trimming will be made too thin.

  ALWAYS PRE-POLISH THE CHANNEL OPENING, as it is impossible to polish the metal after the stones are set.

 In this GREAT photo under extreme 800x power magnification, you can see how the bearings are being created. I used a "156C" (carbide) bur to facilitate the metal cutting.

  The first stone to be set is where the large diamond has been set. You can see that the Culet is in the centre of the 4 claws. LOOKS NICE, agree?

 The separation of the Channel wall should be where the Princess stone end bezel is lying.

 This gem setting photo is the epitome of a well-crafted wedding band. All that remains is to present it to your client.

 Although this pendant was manufactured over 25 years ago, I still enjoy looking at this creation.

 The first stone that was set was the one where the chain will be placed. No diamond should be touching the gold chain. EVER!

 In the extra channel ring photo it displays the hammer hitting spots. There is no need to hit the metal 'hard or heavy'. Only light tapping is required. If continual hitting is done, then the metal gets too thin for filing.

EXCLUSIVE "EMERALD" Channel Setting => 5 photos

 On 'Ganoksin & Orchid', I have read about many beginners & also intermediate-level jewellers posting questions on how to channel set gems. 

The "Level of Difficulty" lies at 18 on the 10-point Scale.

 I will fill the void that I hadn't explained, just how these delicate stones can be set. I found the exact photos that will make your job much easier than just words on a page. (Allow me to help you more with some extra time.)

 During my 9 years of apprenticeship, my 'fantastic' teacher stated that this was not an easy task. Those wonderful years of learning are now for YOU to share with me.

 The technique involved in setting "Princess-Cut" square gemstones can be easily found in this tutorial blog.

 The 'best' bur to use in this project is a bud & round bur. Careful in using a round bur, as this requires cutting multiple angles.

 A round bur only gives you one basic cutting angle. We are literally carving numerous angles in an area that conforms to a stone with various angles. (This takes a lot of skill.)

 This bracelet has 11 individual links to set 55 Emeralds. A round-shaped bur will be used in special areas for carving out the corners.

 Here are the 55 Emeralds that will be used in these links. You will see which stones I selected to use. I aimed for colour, size and shape.

 I always have 'extra' stones, just in case I need to exchange one stone for another.

 I selected which burs I will use. I especially used a round bur to carefully carve the corners of each bezel.

 You will notice that many of the stones are of the same colour. (The links on the left are darker due to the lighting conditions when I was taking this photo.)