Diamond Setting Diagrams => 6th Page (6 photos)

  When you use a file, there will be stirations (or file marks), and these are not wanted to be seen.

 I suggest using (as shown) a rotating disk of "Emery" grit. These wheels smooth the surface, as well, not leaving any deep gouges. 

  When new bearings are created, it is required not to have any spaces where the girdle of the stone is resting. The claw should envelope the Girdle rim completely.

  

 No matter the size of the stone, the depth of the bearing should be equal on all sides of the cluster of claws.

 The combined angles between the "Table and the Pavilion" facets will be at 43.5 degrees. This rule will allow the light to be reflected evenly and give the viewer good reflected light. 

 

Diamond Setting Diagrams => 5th Page (2 photos)

IMPORTANT & USEFUL INFORMATION.

 When you are measuring the depth of a stone to the metal, you MUST always measure from the Table of the stone, never the metal.

 I know that this seems redundant, but I've seen some major accidents at this point in my career.

 Just for your information:

 The "Mohs Scale of Hardness" on these two stones is 9.0 out of 10. While a Diamond is 10.

Diamond Setting Diagrams => 4th Page (4 photos)

 When hammering the claw tip, keep the hammer at an optimum weight. My hammers weigh an estimated 85 grams.

 Keep the Culet well inside the metal. ALWAYS MEASURE THE STONE TO THE METAL.

 

Diamond Setting Diagrams => 3rd Page (8 photos)

 On a genuine stone, the facets should reflect light appropriately, giving the viewer a correct dispersion of light. 

  When the stone setting has been completed, don't keep the stone buried in the metal. Trim the unnecessary metal to expose the Table Facet.  

  If the hammer is being used, please keep it away from the stone. just in case it hits the fragile stone.

 NEVER EVER 'PUSH' THE STONE INTO THE METAL, just slide the stone at an angle.

 

DIAMOND Setting Diagrams => 2nd Page (10 photos)

 The photos in these many pages are in NO SEQUENTIAL ORDER.

The Culet is like a razor blade if it cuts into your fingers. WOOPS!

 This bur has little use in the techniques being shown in these pages.

 

  YOU'VE READ IT HERE, AND THIS TECHNIQUE IS A 100% WOW!

 This technique of having a bent bur cover holes was taught to me when many of the readers weren't even born. 

 How would you prepare for this new tool? Use a well-used bur and soften it over a bench torch. and bend it at a 90-degree angle.   When you polish the 'tip', heat it RED HOT again just to harden it. Where the tip is hitting the metal, I suggest 'smoothing & polishing' the contact spot. No longer do you need to fill each little hole with solder; you are just moving little layers of metal over each hole.

 

                                           !RULE OF THIRDS!

A) The bearing should start 1/3rd in from the edge of the claw.

B) The actual bearing should be 1/3rd into the metal.

C) The depth should be 1/3rd from the tip of the claw.

 The graver tip should be at a 45-degree angle on the oilstone.

 You can see why the Onglette graver is best for cutting into metal. Compare this with the Flat graver. 

 

Diamond Setting Diagrams => 1st page (9 photos)

 These multi-coloured lines give the setter which section of the claw to work on first.

 A 4-claw 'V' shaped claw looks repetitive, but we are working on 4 claws, with 8 sections. These 'sections' are meant to hold a Square stone. It looks difficult, but it really isn't.

 Keeping a stone from moving in a bezel is not an easy task. Things can go wrong after the very first stone tightening process.

 YOU MUST FOLLOW THESE NUMBERED STEPS, or problems will occur, trust me!

 A metal pusher MUST NEVER HAVE A SERRATED FACE. Even if it's to gently grip the metal. The 'rough-textured face' will get deeply embedded into the ring or claws.

 The mediocre or inferior faceting of a cubic zirconia will not shine well, as light will not bounce back to the eyes of the client.

 I use a separating disk to dig deep into the tightened claws. This process is something that I thought of. What basically happens is that I'm loosening the grip on the claws, and I'm 'peeling' the claws off of each tightened stone.

 

"Gemstone Diagrams" for YOU => 11 photos

 This first diagram was created for me, and it initiated a series of hand-drawn diagrams that will be featured shortly on this blog.

 As of now, there are (an estimated) 80 diagrams in this extensive library that are made for viewers like you!

 

  Many of these diagrams in this first essay have text written on each. Thus making the instructions easy to read and work with. The 'unwritten diagrams' are also self-explanatory.

  Here, you can see that 'light' does not bounce back to the viewer. The 'bouncing light' gives unrealistic brilliance. The viewer will then see it as a mediocre colour and of little shine.