How to set a square stone into a 4-claw setting? => 17 photos

 This essay will address ONLY the "preparation of the stone" for a 4-claw setting and not the finishing.

                                =======================================

The stone that you eventually choose shouldn't be larger than the 4-claw opening. This ensures that the claws remain almost vertical.

  These claws are 'spread out' only to give the burs more access to the claws.

   Major OOPS! This stone cannot be used as it has a defect in the right corner of the stone.

 How do you determine the round bur size for drilling into the claws? This is an easy question; the size should be exactly the width of the Girdle of the stone. There is no guessing here, only the visual assessment.

  Here is the assortment of round burs that will be needed and finally used in this process.

 Before any stone setting, it is imperative to clean any casting 'errors' remaining, before the next step.

Rotate the stone and check if the bur that you chose will do the claw preparation.

With the selected round bur, you may now start the drilling. BUT HOW FAR DOWN THE CLAW WILL THE DRILLING TAKE PLACE? The depth should be 1/3rd from the tip of the claw to the base of the 4-claws.

 HOLD THE MANDREL EXACTLY AT A HORIZONTAL POSITION. The next step is to drill 1/3rd into the claw; this is where the corner of the stone will eventually rest.

 If you go deeper, then there will be a chance of the claw tip falling away.

 In using a smaller round bur, it is imperative to cut a downward groove from where the point of the claw will rest. Why is this?

 This downward cutting will enable the edge of the Pavilion to rest. INTERESTING, process?

  I would extend the 'downward cutting' further, just in case the stone doesn't have the opportunity to be free of the claw.

  Our next important step is to align the stone into the claw setting.

 EXAMINE EVERYWHERE THE CLAW WILL BE TOUCHING THE STONE.

 The next steps are so important that this is "15, on my 10 Scale".

  Keep all of the 4 claws at an equal distance from each other.

=> I can see that the bottom left corner and top right side of the stone aren't in line with the claw. FIX THIS NOW!

 With a pair of plier jaws that have been serrated for the 'gripping' action, you can bring two corners together. The action is 'corner to OPPOSING corner', NEVER SIDEWAYS.

Ensure that the Culet of the stone is in the centre of the 'claw basket'.

None of the claws should be crooked or bent, as seen in this photo.

 With your Emery disk of a 'Medium' grit, reduce the height equally on all 4 claw tips. Being careful not to damage any facets of the stone, thus ruining the stone. 

THIS CAN HAPPEN SO EASILY!

What were these machines used for? => 2 photos

 Many decades ago, I was teaching in a jewellery workshop. I glanced around and saw these two unusual machines. I quickly got my camera and photographed them. THIS IS THE FIRST TIME THAT THEY ARE BEING SEEN IN PUBLIC.

 Would you believe that these are the beginnings of 'bench-grinding machines'?

 

  I, for one, wouldn't let my gravers get anywhere near them. The weight of either of them is beyond my calculations. This very heavy rotating stone could weigh hundreds of pounds. Just look at the wooden support that holds the grinding wheel. AMAZING!

. 

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?

                 -----------------------------------------------------------

 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.