Really, (REALLY) OLDE LAMPS that we used to work with =>10 photos

 I've written about bench-lights before, but nothing like these out-of-date and antiquated lights...WOW & OY!

 

 We must begin to think of OUR EYES. We only have two of them, and they must never give us problems, agree?

 You can see a 'pump drill' on the far right of the bench. These were used on pre-motorised drilling equipment.

 The earliest light source were these candles that were made of wax and had to stay on the workbench.

 This is my bench with my main 'three-bar light' and a side (2-bar light) backup source of light.

  This cute-looking lamp has one problem, which is that it has just one bulb. OUCH!

 The metallic shield covering the 'reflecting bulb' will give anyone eye strain and headaches in minutes.

 My own eyes wouldn't last for an hour due to the glare of that one bulb. You can see that there was a 'light and heat shield' placed in front of that one bulb.

 This three-bar light is still used on my 2nd bench. The pulsating flicker of one bulb is too much for the eye. 

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 This is why some lighting fixtures have three bulbs, as the two remaining bulbs will cancel out each of the 'flickering' effects.

 The 'flickering bulb' pulsates at 1/15th of a second. (I just thought that this might be interesting for you)

 

  I'd give up setting stones in a 'nano-second' if I had to work with these mediocre lamps. (A nanosecond is 1 billionth of a second).

 I have no idea when this lighting fixture was used. But it could have been in the previous century.

 I think that it used kerosene as a lighting source. The half-round bell on top allowed the 'light heat' to dissipate.

 

What does a "BEAD BURNISHER" do? =>13 photos

 To put this into perspective, a Bead Burnisher has just one role. That role is to make all of the sharp bead tips as smooth as possible.

                             

 After my 'Pre-Cutting' has been completed, the next important step is to round off the tips. This should be done immediately after metal cutting, allowing Genuine Emeralds to be set without the risk of breaking the soft stones.

 You can now see 'where and when' the burnisher works its magic.

 

    

  The burnisher may smooth the sharp bead tip, but this should be done with some coordinated skill involved.

 

 Again, here is another bead setting pattern aptly named "French Setting". In this pattern, only 2 beads are holding one stone. These two beads must be smoothed like 'little balls' sitting over the Girdle of the stone.

 The tip of the burnisher must sit gently against the 'Table Facet'. This is why I create a flange on the edge of the tool. That flange will rest on top of the stone. 

 My teacher taught me the technique 65 years ago.

 This 'flange technique' can be gently used on 'ANY SOFT STONE'.

 This burnishing process can be used on any mini-claws. But the burnisher must cover the mini-claw, without leaving a rim around the tip.

 Here is a selection of burnishers with the flange being created.

 With a burnisher moving the mini-claw, the inside of the tool gently smooths the claw. 

   Here is the completed series of 'burnished claws'. You can see that the burnisher is being held at a 45-degree angle, not vertical.

 

How wide is your graver? => 14 photos

 Our gravers come in many sizes and shapes. In this essay, we will explore a variety of them in great detail.

 I have not shaped them for this essay; these are my very own, which I've been using for many months (or years).

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 On the right side is a #2/0 Onglette blade. Now compare that to the left blade of #3 width. I have used this ultra-thin tool on many occasions to cut outlines of precise patterns.

These are the same blades, but from different angles.

 The yellow coloured blade is a "Flat" graver, while the others are Onglette-shaped.

  No matter the length of the blade, these blades can still be used in conjunction with my 'adjustable' graver handle.

  For your information, the #0 is a 'knife-edge' that was created by 'Gesswein Industries' many years ago.

 These are my well-used blades; I will fashion them to create a fine point and never use them if the point remains ultra-wide, as I've seen from other authors & setters.

These are my 'Flat' blades that come in various widths. For various patterns, I would use all three for different areas, if warranted.

  Although I'd use an Onglette blade for metal cutting, I'd transform them also into a "Bead-Raiser".

   When I purchase my blades, I visualise what they will look like once they are properly shaped.

  Even though this blade is a #2 (wide) Onglette, the possibilities are endless. It can be a cutting blade, or even a new 'Bead-Raiser'.

From one blade, as seen on the left, the age of the blade has no significance. Even a blade that is years old still has much life in it.

   This display shows the variety of Flat gravers of various thicknesses. I'll just go to my favourite tool supplier, thinking of what tool I need for the specific pattern.

 If that blade isn't available, I'll never give up. I'll just modify the closest shaped blade and let my mind and fingers do the rest.

 For this simple design, my various blades consisted of Onglette #2 for the Bead-Raiser. Onglette #1 for the preliminary cutting blade.

 Then followed by a Flat graver of #40 to cut flat angles. Finally, that ultra-thin #039 Knife-Edge to keep the outline clean.

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 If you think that this is easy? After 65 years of metal cutting, anything becomes easy.

 (By the way, this pattern was not initially cut or designed by CAD.)

Too many WAX SPRUES ?? =>10 photos

 I have written about sprues before, but the need to discuss this topic again remains essential.

 I was exploring why we must attach so many wax sprues to the basic pattern. This would help in the flow of hot metal during the revolving of the crucible. 

 Some of the (added) sprues weighed more than the actual basic item.

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 If you must use sprues, PLEASE USE A THINNER ROD, not as shown in these photos.

 After the casting, there is a direct need to cut off these sprues. This is a prime example of "over-kill", as the cutting of the metal sprues could lead to damaging the basic pattern. OUCH!

 

 My intentions were good, but I applied too many thick sprues to a small area.

  Whenever there are sprues being attached, the next major problem is in the 'cleaning'.

 This quagmire of sprues is a nightmare to cast this large curved bracelet. The 'weight of the sprues' is almost that of the bracelet.

 

   These few sprues are just sufficient for this casting.

  These 'extra' sprues are more of a time-wasting labour than a helpful addition for casting.

 Suffice to say, 'the best intentions were to assist in casting.' You, the jeweller, must be made aware to keep your sprues to a minimum at all times.

 For each individual sprue, the removal of a sprue led to more 'complete cleaning'.

 For obvious reasons, I never forged ahead and did the metal casting. This was just an exercise in demonstrating the placements of wax sprues.

"GIA, Certified" diamond. 7 photos.

  I was given the privilege of checking the validity of the online 'G.I.A.' certificate against the lasered inscriptions on the client's diamond. My client is fully aware and gave me permission of writing this essay into OUR BLOG.

 This diamond was engraved with the identification numbers written on the Girdle of the stone. We both reported the same number, and it was a 1.01 carat of "E-colour" it was of a "VVS-1" quality. 

 Here are the exact numbers for you to refer to while online.

 There were a few 'natural inclusions' along the Girdle of the stone. But for sake of keeping the weight of the stone high, the diamond polisher refused to remove these inclusions instead of reducing the weight of the stone.

 

 As the Girdle of the stone was thick, this diamond polisher just 'faceted' the stone instead. This was a very wise decision on the skill involved.

  

  Here is the actual inscription as it appears on the stone.

   You can see just how thick this stone is instead of leaving the girdle in a 'rough' state. The diamond polisher improved the quality of this gemstone; this polishing actually gives added luster to the brilliance of the stone.

  Here is another copy of the numbers of the "GIA" to validate the online certificate. Even you, the reader, can justify these numbers yourself.

 I had little difficulty in viewing these important numbers. I took numerous photographs and kept them for the client, and you to see how 'GIA' will identify this stone.