Which metal cutting graver DO YOU REALLY NEED? => 14 photos

  The variety of gravers is mind-numbing to the novice jeweller. The most important question is what will you be needing that graver for?

 This heart-shaped item will need both gravers, Onglette and a Flat blade. I used many cutting techniques in creating the pendant. Only hand-cutting was my decision; I avoided using CAD (computer-aided design). 

 All metal carving was made as I saw that certain areas needed my ongoing decision-making.

Only Onglette gravers could carve for me the intricate metal designs.

 Of the four gravers being shown, I leaned heavily on the Flat and Onglette shapes. These two shapes (in grey) are on the left of the four, which are at the bottom of this photo.

 The Flat graver shown here is my favourite "#40 width". A narrower blade is TOO THIN for many patterns in the common diamond setting patterns.

 

 The moment that you have that blade in your hand, how will you hold it? For this answer, please go to my recent instructional essay dated Jan.19th. 2026.

  I don't use a thick Flat-shaped blade, as many designs need intricate metal-cutting patterns. This is exactly why a thin blade is essential in Fish-Tail and creating 'mini-claw' settings.

 Only a thin #1 width Onglette graver is able to cut a pattern in metal, followed by the regular #2 width. To achieve a wider cut, I suggest #3 with a highly polished side of the blade.

 (This metal-cutting process is not for the novice, sorry!)

  It is customary to cut deeper into the metal with your #2 Onglette graver, but never lean your graver on its side.

   BTW, there is a great opportunity to create a nice pattern, and this is so important, but how? All of the cutting was done from a flat top ring; all we are doing is designing this with our gravers. The Rate of Difficulty exceeds 15+ on the "10 Scale".

 On the (highly polished) RIGHT side of the Onglette graver will clean the rough spots. From this delicate area and a smooth graver, there will be no more metal carving.

 This hand-cut pattern, named "Cut Down", will extensively use a Flat Graver using a #40 width.

 Here is another photo using the same flat graver and creating a curved surface. There wasn't any curved surface before.

 A wider Flat (#41) graver cannot get in between the beads; a #39 width is also still too narrow. Therefore, I always have a #40 width with me all the time.

  When I was requested to insert diamonds into a set of teeth, I had to literally create a 'Beading Tool' that would raise Beads over EVERY stone and many more in between.

 This newly formed Beading Tool was an "Onglette, #3 width". It had a rounded point, as I didn't want any part of the graver face to break off.

What is the CORRECT 'hand holding' position for your gravers? => 6 photos

 I know that many jewellers are engraving and setting stones, but what is known about the techniques in holding a graver? If the jeweller is working with metal for long periods of time, the jeweller will experience 'localised' fatigue.

 This ongoing fatigue will hinder the completion of a suitable design for your jewellery. Fatigue will also be detrimental to the arms and fingers. I was instilled with correct body posture, along with finger& hand placement to my gravers in my earlier years of apprenticeship.

 Therefore, THIS PARTICULAR ESSAY IS FOR YOU.

 To keep my fingers free of shards of metal during the bench grinding & shaping process, I'm using latex gloves as shown here.

This photo shows how long the graver should extend; it shouldn't lie beyond the first middle finger knuckle.

All three fingers are holding the graver and resting IN THE PALM. The little finger prevents any further movement. This end finger is very important in the holding process.

 The little flat spot in the handle is not for decoration, it's mainly to NATURALLY GRASP the handle.

 The thumb and forefinger act as a guide for your blade in metal carving. While the remaining fingers are used to grasp the handle.

 Many times, I will cover my thumb for protection, but why? The thumb tends to move UNDER THE GRAVER, thus needing absolute ongoing protection. The bottom of the graver is quite sharp, almost like a knife.

Refurbishing our 90 year old Hammer Face... Essay #2 of 2 essays =>10 photos

 This particular hammer is in excess of 85 years old; it's still good for a few more decades.

 What history this hammer has seen, in my family, is beyond my knowing.

My very first step is to examine how deep the gouges are. WOW, very deep!

I'm using an Emery (paper) disk of "Course" grit and just basically removing the initial 'tough & rough' surface. In this process, I'm careful not to ruin the 'hitting surface'.

The gouges are everywhere, on the hammer face, the main shaft...just name it!

Here, I explored the many indentations that have been collecting over the decades of use.

With an Emery Wheel, I've removed the first layer and discovered that many of these gouges ARE DEEPER THAN I EXPECTED.

With a pair of 'Safety Lenses", here is a good photo of the shards of metal being removed. The possibility of having these metal specks hit my eyes would be a disaster.

 

  Here is a 'group photo' of both hammers that I am working with in these tutorial essays. You can see the size difference between the two items.

   

  I've enlarged this hammer face purposely. Every area of this hammer face must be cleaned. I prefer to emphasise the cleaning processes & techniques, but not the end result.

 This is a repeat of the Emery wheel, shaving off layers of steel. This is like a video, but in a halting photo. I took many photos just to capture the 'sparks of hot metal being ejected'.

How do you 'resurface' the face of your hammer? (essay #1 of 2) => 12 photos

 The most unseen tool on your bench is the face of your hammer. When was the last time you looked at the face of your "Bezel-Setting Hammer"? Was it weeks or months ago?

 I have a 'few photos' of what two of them look like. I'll show you how to repair them with little effort. Every indentation on the hammer face will be immediately transferred to the Bezel Setting. Therefore, WE NEED 100% ABSOLUTELY CLEAN TOOLS.

 The drafting pencil lead must be 'soft to the touch', as the lead must be 'pushed' into the pores of the paper. This enhanced polishing paper will give you increased smoothness that is not available from tool suppliers. YOU MUST MODIFY THE PAPERS TO GIVE YOU EXTRA POWER IN YOUR POLISHING.

The face of the hammer has to be 'refurbished' continually, not once in a while! (Smooth) Polishing paper won't clean the steel surface; it will only enhance the major defects.

This is an epitome of a defective hammer face that needs to be repaired, NOW.

 WHAT ARE THE 'SERIES OF PAPERS' USED TO REPAIR THE HAMMER FACE?

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 These are the sequence of "Emery & Polishing" papers that will greatly assist you in this delicate process.

 Keeping this regimen of papers in sequence is essential in any refurbishing process. Don't try a shortcut to avoid any paper polishing, as the steel needs to be 'repaired'.

 A soft-core pencil will allow the paper to be given extra cleaning power. This will give the paper of #800 grit to be #900, if one of your available papers is not available.

This refurbished Riveting or Bezel Hammer is now ready for many weeks of hard-hitting work.

 This 'nearly acceptable' hammer face still needs to be well monitored, as these marks could leave additional defects on the Bezel Frame.

 This hammer face is not acceptable under normal conditions. These deep gouges will be transferred to the bezel in a way that could damage the entire bezel frame. 

 Upon examining the 'partially cleaned hammer face', defects still remain on the surface. Basically, GET RID OF THEM NOW before deciding to use your hammer again.

 As this hammer face has been thoroughly repaired, and your inspection has been approved. You can NOW START BEZEL SETTING once again. 

 This 'cleaning process' is not learned in one day, but it would improve your Bezel Setting.

Why sharpen a graver on an oilstone? => 10 photos

 The most basic and least expensive technique for refurbishing the cutting surface is on an oilstone. There is 'no rhyme or reason' for buying a costly desktop machine to do this sharpening. 

 In Canadian funds, the costs are astronomical at $3,350.00 or a lower price of $1,450.00. (I never display the tool suppliers' names.)

 There is a possible way that your eyes should not get too close to the fast-rotating wheel.

THE SERIOUS PROBLEM IS THAT MINUTE SHARDS OF METAL FROM THE ROTATING BLADE COULD IMPACT YOUR EYES. 

The speed rheostat just doesn't let you to get too close to the cleaning of the graver. The whole mechanism also interferes with your arms and hands. 

 The engraving blade will have very limited contact with the rotating wheel. There must be a constant supply of a lubricant to keep the blade cool. If there is a power outage, OR THE MACHINE IS AT FAULT, does that mean that you can't resurface your blades?

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 On an oilstone, the blade can be sharpened by applying pressure along the surface of this 8-inch stone.

The retail price for this oilstone costs only $35.00 (plus taxes).

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The graver MUST BE HELD AT APROXIMATELY 45 DEGREES.

This angle will give the face of the graver the correct cutting angle, as well.

 Remember to keep the oilstone 'well lubricated'. With the technique of holding the graver, you can get as close as necessary. Now compare the limited 'closeness to this oilstone' as to the rotating wheel.

 How often would I use this oilstone? I wore deep gouges into the stone, and it had to be discarded from years of continual use. 

  The proximity is about 6 inches from my face to the stone. Careful examination of the 'graver shaping & grinding' process is essential.

 Examine the angle of the graver to the oilstone. Can you see the 45degree angle?

Here you can see just easy it is to move the oilstone without any mobility problems

Why is this "TUTORIAL BLOG" important?

 Since the second week of April in 2018, I've been writing tutorial essays into "OUR" blog. This information has been given to everyone FREE OF CHARGE. Consider this my 'gift' to the jewellery community.

 I have been a DIAMOND SETTER for the past 66 years. Instead of travelling to schools and small groups of students, I decided to create a blog, and in each essay, there can be as many as 15 photos to display. The photographic library now exceeds (estimated) 10,500 pictures throughout this extensive blog.

 As of January 2026, I've written 800 essays that have been seen in 126 countries. The total readership is now at 274,876 jewellers. Along with these essays are 45 videos. (I still have an additional 15 more videos waiting to be posted).

 The number of topics is vast, as I aim to document them for posterity and share with the next generation what Diamond Setting is like. I avoid discussing CAD (Computer-Assisted Designing) as when I started my apprenticeship (circa 1960), this technique was not known. Every ring was duplicated by hand.

Here are my tutorial essays that appear in this blog:

1) How to grind a graver?

2) What is "Fish Tail" setting?

3) How to do "Channel Setting"?

4) Channel Setting with Genuine Emeralds.

5) How to use Polishing Papers?

6) What is "Princess Setting"?

7) How to set stones in wax?

8) How to set Cabochon Stones with a 1/2 round bur?

9) How to do a Flush, or Gypsy Setting?

10 How to set Baguettes in an 'End Bezel'?

11) How to set Diamonds in a 4-Claw configuration?