How to Channel Set, "Princess" square-cut stones in a wedding band?

 This essay name may be long, but these results are going to be just phenomenal. 

We will be starting with a domed, semi-round wedding band, this "Essay-Demonstration" will show how this important channel is carved.

The 'Difficulty Scale' in this essay is 9.5 out of 10!!!

What tools are needed?

 An assortment of Round & Bud Shaped burs! (Sizes to be shown during this essay!)

Flat Graver #40, or Glardon #12.

Please, NO "156c" (under-cutting burs) in this setting process!!!

 The letter "C" in this name refers to a "Carbide" bur, not the aggressive cutting "HighSpeed Steel" bur.

 In this very first photograph, you need to gauge the length of the Princess, square stones that you need to set.

 That "gauged length" should be 90% of the channel you are now making. I always gauge a smaller opening, just in case you need to extend the channel-wall further and during the setting process.

 I feel that it is really necessary to figure out where the 'center' of the opening. I have to know right now just how far into the channel wall will I have to carve with my multitude of burs.

 With my bud-bur, I MUST now excavate the lower section of the new channel, I have to clean out the opening just for the Pavilion of the stones. This must be done with absolute care.

 No stone Pavillion should be touching or even resting against any metal. If not, breakage will definitely occur!!!

 Examine the newly made channel, just to see if the stone will be 'fitting' as you expected!

  Do not to use any triangular file to create parallel sides of new 'walls' of the channel. That file will leave extended marks on and beyond the new Channel opening.

 Use your separating wheel to 'evenly carve' where the stones will be resting.

  At this point, we are slowly starting to under-cut where the Girdle of the Princess stones will be sitting. I will never make the new 'bearings' anywhere near the top of the wall. I want, at all times, "depth", as I need this depth for future setting steps.

 Can you see where the shaft of the rotating bur is 'resting' while it is turning? I want a 'steady & secure' bur to cut out these very important bearings. 

 I don't want any uneven bearings, as this can easily be a major problem further in the setting process.

 In this photograph, you can see how the first of many stones are sitting. Don't worry about the curves at the "end of the channel", I will modify the 'end cuts' afterwards.

  I discovered during the setting & placing of the 'used' stones a few abnormalities with these stones. The first is one of the corners is broken..(ouch!) The other problem is that that the stone on the left is "slightly larger" than the others!!

 With these two stones in question, where will I place them? One easy answer, I'll be setting these two problem stones at the 'curved' ends of the channel.

 My eyes will now gravitate toward the center and looking at the evenly-shaped stones in the middle of the ring.

 I'm now securing, for the first time these stones with my Reciprocating Hammer. This step is only to gently 'securing of the stones', nothing else!!!

 Remember when I said to keep the stones low, this is where the 'depth' comes in. If I had the stones higher, breakage will occur from the hammer-anvil hitting the 'Table Facets'. 

 Can you see that the Hammer anvil never comes any closer than what is shown here, why? Let's move on with the answer, in the next few steps.

  I want to have the 'broken corner' of that problem stone sitting under the bearing-cut, not between the stones. 

 I used my Flat Graver #40 to Bright-Cut the inside of the Channel wall. I also Bright-Cut the 'curved ends'.

Don't clean with any file, as that file will leave a serrated edge, not easy to fix!

I used a "Snap-On, Sanding Disk" to clean the hammer 'hits' and followed then with my Pumice wheel of #180 grit.

Even with the multitude of 'cleaning steps', the stones can & will never be touched,.

 It is my firm belief that this particular setting of the Princess-Channel is one of the most difficult to work on, no mistakes are permitted.

 I always provide more stones, in case of size and ultimately any broken stones you might come across.

 For any question on this difficult setting process, please contact me at 

"gerrylewy18 (at) gmail.com".

Problems in Channel Setting (with very small c.z. stones)

 Channel Setting is a relatively quite a simple task! But if the stones are (sometimes) too large for the required length & width of the channel opening, problems 'sometimes' arise. I encountered a few of them and here is what I did a few minutes ago to rectify this problem.

 The Difficulty Rating on this project is an easy 6, out of 10.

 The size of these stones in this one ring range from 1.70mm's down to 1.41mm's. I could have set or used smaller cz's, but you wouldn't have been able to see how these stones would be set.

 Tools that are needed here are; a Round bur @ #007, Bud bur @ #008 and a 156C #010 (undercutting) bur.

 This is including a riveting hammer BUT (Please) NO Reciprocating Hammer!

  I need to 'tap' on the metal, but not to smash the metal down over the stone!

  I use a Flat Graver #40, or Glardon #12, this is only used after the setting.

 Pumice wheel of #180 grit & #1,000 Pink wheel (this is a mini 'at the bench' Polishing wheel)

 What do these #'s really represent? "#007" is the name for a 0.07mm bur, "#010" is actually a 1.00 mm bur.

Just how can a bur 'slice through the metal' without running in different directions?
Just by accident, I found a way to avoid this ongoing problem. I 'rested' the "rotating & cutting" bur against the edge of the channel hole and it promotes stability with the rotating bur...a great idea? Indeed! 
 This keeps the "bearing & carving process" bur where it's needed, it really steadies the bur!

   After fitting & setting the 'main & center grouping' of stones into the channel, I took some photographs from different angles. I then noticed something quite odd!!!

 I had to select smaller CZ's, as I went along 'fitting & securing' process of the stones. The stones here are just being 'held into place' and ready for the hammering next to follow.

 These 'main stones' are only 2.50mm's, but the 'end' stones are only 2.25 => 2.35mm's. I needed just a little smaller size of stone as to have them fit in! The difference in size is almost negligible.

 The end stones are 2.35mm's (measured prior to setting). But after some radical burring and attempting to fit in the smaller stones, these 'end stones' finally fit in. I initially tapped (lightly) the metal just for stone stability & security.

 Once the hammering was started, I easily maneuvered the hammer directly over the 'table' of the stones, as I hit the metal. These stones are now lower than the metal and subsequently, the 'table' of the stones won't be touched or even damaged.

How do I know just where the hammer is touching? I don't like guessing at this point..(look below!)

 I like to have a 'visual' on where the hammer will now be touching or making direct contact. I'll now lightly 'tap' all around the channel layout. BUT, I'll hammer at a 15degrees (or less) angle, that is hammering away from the stones that were just set.

 I can now observe just where the hammer is making direct contact or just touching. As the coloured ink will be removed from the ring and now be fixed to the hammer face. Interesting idea?

 You can here understand why I use the 'coloured-ink' marking. BTW, you will notice that all of the stones are 'almost, girdle-to-girdle' in their new resting place!

 I'm not too concerned if there is a little space in between some stones, why so? Read further!!!

 In the process of hammering, there will be some vibration going on with the stones. Some of the stones might be moving due to some hammering.

 This simple hammering action can cause damage to the two stone-girdles. Therefore two stones could be totally ruined and have to be removed. I try to simply avoid direct stone contact, I like to see some 'little spaces' in between the stones, that can be only seen with a 10 power loupe.

 Problems can and do arise in this hammering process. Great care in preparation will avoid any stone damage that can cause you to remove stones & ruin the ring or setting. 'Light tapping' is the only way to hammer, not heavy pounding on the metal, as the results can be literally horrific!

Why must the ring be put on the ring-mandrel? If you hammer on your 'regular' ring clamp, the hitting-power will be absorbed by the leather. The results are 'little movement' of the metal over the nicely set stone waiting to be finished.

A steel mandrel is the 'best' holding device for channel-hammering, there is no other way!!!

  I used here at this point a Flat Graver of #40, or Glardon #12. I Bright-Cut the inside metal!  Remember, don't use a Triangular file to clean up the inside channel wall as there will be a rough-texture, you need a 'smooth & shiny' surface. ONLY A FLAT GRAVER CAN PRODUCE THIS CLEAN EFFECT.

 Upon the finishing with my Pumice wheel of #180 and Pink Pumice of 1,000 grit, I noticed a few pin-holes. I went over again with my Pumice wheel of #180 grit to remove any slightest mark that I can find.

 Then afterwards, I repeated the previous Pumice wheel cleaning! I don't want any pin-holes remaining and again showing for the final "Tripoly & Rouge" polishing.

 I want every mark on this ring to be carefully removed. Can you notice just how clean the"Bright-Cutting" is now appearing?

 At the 'ends' of the Channel, I decided to cut a 'semi-circular' curve as to give a clean 'finished' effect to this stone-setting project! 

  There are still some very small marks that are only visible with my close-up "iPhone" lens and it's magnifying-attachment. My 10x power loupe even missed these little 'defects & indentations' that are just left of the end stone.

 These marks are so very slight, but sometimes the polishing wheel might just make them more visible during the polishing process, as the cloth-wheel might just bring them to the surface!

  If you have any questions, don't hesitate in contacting me "gerrylewy18 (at) gmail.com".

"Half-Bezel" gemstone setting

  There are many interesting names to this kind of stone setting, "Half-Bezel', "Double-Curve Bezels" and lastly, "End Bezels"! Whatever name you wish to identify this setting with, it still sets nicely.

 Why do I like this setting? It has & gives you 'more exposure' to the stone than the Full-Bezel. The "Full Bezels" literally cover up about 33% of the stone in the setting, I want the client to see more of the stone, but not the metal.

 This kind of setting warrants Bright-Cutting during the 'finishing stages'. In the following many photographs is the 2nd stage of setting! As I don't want to burden you with how the stone is actually set, but the finishing is 75% of the setting process.

 This is so much more reading and here again, as always, the 'Onglette Graver' cutting is what will separate you from the other designers. Bright-Cutting can be so 'creative' when you achieve the skill required in gemstone setting. This will make all of your jewellery so much more beautiful..:>)

 On this opening photograph, you can see a two (blue & red) rings waiting to be Bright-Cut in the background. These are now my next 'setting essay' also waiting to be written about Bright-Cutting!

  I am now using only my 45-degree angle 'High-Speed Bur'. Although it's very aggressive in its cutting, it's the 'best bur-in-town' for excavating any Bezel metal. This bur automatically gives you the correct angle as of the Pavillion of the large gemstone.

 To prepare for the 'hammering process' I want my hammer to hit only on the outside edge of the frame at exactly a 45-degree angle. Please be very gentle in this sort of rough-filing!

 In this photograph, you can see just how the appearance of inside the bezel is 'after' the HSS bur carving. I'm working from the bearing cut, then down towards the bottom of the bezel-wall.

 Don't worry if the appearance of the tip of the bezel and how it looks. You must see a 'flat top' area, this area will gently be formed & moulded 'over' the stone by the numerous hammer hits!!!

 I know that this seems awfully rough method of tightening, but it works great for me! I'm literally 'crimping the metal' at the 4 ends of the wall, this is just to secure the stone from moving! I'm only 'tightening' the four corners as these 4 corners will gently hold the stone in place during the heavy hammering hits.

 Please be darned careful in this process as the stone must be level and never slanted/crooked!

 Please always hammer on your mandrel! As if you use your ring clamp, the powerful hitting forces will be immediately absorbed as it hits your metal ring. Hence, this will be a poor and an inaccurate method of moving the metal over the stone.

 You don't want a serious amount of metal to be moved over the girdle of the stone, what you see here is sufficient. Do you notice the height of the metal holding the stone? This is so important in the next stage of setting.

 Just a quick note, here is the actual 'hitting 45-degree angle' of the hammer. The hammer must be so very smooth on the 'face', as there must never be any indentation on the hammer face, why so? The hammer marks will be quickly transferred to the bezel tip and be very difficult to be removed.

 Cleaning with a 20cm. or an 8-inch file but with a safety-sided feature (as shown) again filing at 45-degree angle.

 I'm using a 'Medium' (texture) grade paper sanding disk as this is now a part of the 'cleaning process'.

 I'll be now using a Pumice wheel of #180 grit, following the sanding-disk operation. This will be almost the completion of this setting process.

 I'm now using my Onglette  #2 Right-Sided shaped graver to cut only on the Right Side. This will give a nice reflecting surface to the inside of the Bezel wall.

  I'll be using a fine Triangular file #4 cut to only clean the 'ends' of the Bezel wall.

 These are the finished views of the Bezel Ring. you now have a well-defined Bezel wall tip!

 This ring will shine then afterwards, you won't be seeing two massive amounts of curved metal holding the stone.

 I preferred to use a 'coloured gemstone' to give it more eye-appeal than a simple 'white' stone! Nice comparison from Pink to the White (silver) metal, agree?

 If you have any concerns or questions, kindly contact me "gerrylewy18 (at) gmail.com"