Why do gravers come in different shapes? 9 photos

 We all use gravers for metal carving and gemstone setting, agree? But what shapes do they come in?

 All gravers come in equal lengths, but the only difference is how they are used.

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These displayed shapes are used primarily in 'Diamond Setting'.

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These are the most common sizes for gemstone settings.

1) Flat gravers start in #37 (narrow) and finish at #42 width.

      2) Onglette graver shapes are #2/0, #1 and finally #3.

     3) Half-round blades are usually #51 & #52.

 I use a "Liner" (Florentine metal cutting blade). I generally use a #10/6. What are these numbers? 10 is the width, as 6 is used with the number of lines cut along the base of the blade.

Here are 6 metal cutting patterns done with gravers.

(These have just been shown in recent essays; now I'll explain which gravers were used in the cutting.)

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1) Here is the "Liner" or "Florentine" graver.

  2) 'Kite' or Onglette #0 did the outline cutting.

  
The circle cutting against the Flush Setting was accomplished by using a "Right-sided and shaped" Onglette graver using a #2 blade.

  I didn't use any Flat blade, but only an Onglette tool.

 

 This design was achieved by using two Onglette blades #1 and #3 engraving blade.

 Would you believe that only an Onglette blade did the actual metal cutting and metal shaping? For the rippling edging effect, I used only a Milgrain #2 tool.

 In this final photo, this pattern gave me only one chance to achieve the desired pattern.

 It isn't the graver, but how each one of them can be used. Not to mention the long-term skill of over 65 years at the bench.

Up close 'HAMMER ANVILS' => 15 photos

 In this special essay, I will explore only the 'Reciprocating Hammer anvil' and then show the final stone-setting results.

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  The new 'coloured' anvil can be purchased at any tool supply company. But it is up to you, the stone setter, to fashion the shape to your setting needs.

 My anvil was contoured specifically for "Flush" stone setting. This is why the tip has been shaped with 'exacting proportions'. After a few months of setting, I will file the edges to a rectangular shape again. I prefer a #4 (Fine) or a #2 (Medium) texture file.

The anvil on the right is the basic design, and on the left is the 'ready-to-use' anvil.

The 'hole in the anvil' is used to insert a little bur, as this will greatly assist you in turning to tighten or remove the anvil.

 

  After tightening the anvil, I always smooth the anvil top & sides with a #600 grit Polishing Paper.

            

 A pair of pliers will help me grasp the anvil on the Reciprocating Hammer.

 After many months of (filing) trimming the anvil, exchange it for a newer tip. 

 If by any chance the tip gets loosened from constant use (this might occur), PLEASE TIGHTEN THE ANVIL SECURELY.

 This gnurled section of the handle adjusts the tension (or impact strength) as required.

 Gemstone setting results:

We are aiming for a smooth surface, always be watchful that the anvil hits exactly where it is needed.

   Do you see any rough texture from the anvil?

 This is my favourite photo of what a great hammer anvil will do to your gemstone setting.

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.