Cabochon Turquoise stone (before setting) - 7 photos

  These few stones are a rare find for me, why? The stone polisher gave me the stones and the 'dob' many decades ago. I thought that it would be prudent if I shared these with you in this essay. 

The matrix in the stones made these two stones almost 'non-usable'. But for me this shows how a natural stone can be made completely usable, even with subtle defects.

 This stone is being seen under my microscope at approximately 250x Power

magnification. This is stronger than continually using my iPhone camera. The matrix in this stone is quite colourful, but it isn't suitable for jewellery, pity!

  I like this stone as it looks like a 'map of the world and its blue oceans', agree?

This photo shows the underneath side of the stone. The matrix is quite apparent in this view. 

 This final photo shows the cement as it is being made ready for the 'polishing process' that will start shortly.

Why use an Onglette graver #1? - 11 photos.

The many reasons for using an Onglette graver are explained in this blog-essay

 Let's start with metal cutting and progress further showing many techniques.

Not having or using an Onglette #1 graver can be very troubling. 

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 This particular tool engraves lines before any Bright-Cutting that has to take place.

 

 Here are some interesting engraved lines all though 'very rough looking'. But in my mind, this cutting 'breaks the surface' of the metal and allows further Ongelette #2 graver cutting. 

 The Onglette graver #1 allows new fine-cutting to take place before any further cutting. In this photo, I wouldn't use any saw blade, but a graver will permit me to see EXACTLY WHERE EACH LINE WILL BE CUT.

 I will control each cut, as a saw blade doesn't give me that option.

  When I make the 'first cut', they are almost superficial and 'gently cutting into the surface'. I will again make additional cuts, but each time deeper and continue to cut the metal with a more direct series of cuts.

 The second cut will be more precise than the original. No other graver will give me that option.

 

 Without any prior Onglette #1 cutting, no Bright-Cutting can be initiated. Simple as that!

 

  When you are holding your (sharp) Onglette Graver #1 the (razor-sharp) blade can easily cut into your skin. PLEASE USE A THUMB GUARD, as this will prevent any serious infections from occurring.

 Upon looking at this CAD-created casting, there is no possible method of cleaning to take place unless the metal is (surgically) cleaned with your Onglette #2, or using a FLAT graver #40.

 This photograph shows exactly 'where and how' the graver is to cut into the metal.

 This is the closeup of the first series of cutting. The Onglette #1 is a fantastic graver, as its main purpose is to prepare for the many metal cuttings.

 This is my very own "knife edge" graver, it is quite thin but it sure needs to have a "Thumb-Guard" during its constant uses.

 You can see the shiny portion of the blade, that is the cutting section and it needs to cut DEEP. 

 

 With 400x power magnification, the 'deep cutting' is quite obvious. I will use my Onglette #2 graver to Bright-Cut. I'll 'recut' where necessary, and then the gemstone will be set.

 

What is a "Bead Raiser" & what does it do? - 22 photos.

Under normal circumstances our CAD "Computer Aided Designing" program might not give us the necessary tools. Therefore 'we' must make our own to suite our specific needs.

In this photo, you can see the 'face' of the graver nestled against the lower right side of the bead. 

 This is the "Bead Raising Tool" under 250x magnification, it shows the gentle 'uplift' of the 'Onglette #2 graver with the modified point'.

 The main difference between an "Onglette (metal cutting) graver" and the "Beading tool" (also an Onglette graver) is the 'rounding' of the point.

 This 'rounding' allows the front of the graver to dig into the metal without breaking the delicate graver point, simple as that!

 No matter the graver's length, it still works with the 'adjustable handle'.

The required Emery Paper has a grit of #240; if needed, you can use #400 grit. I prefer the #240 grit, as the blade won't slide along the metal while 'digging in'.

  All of my graver blades are of "HSS", aka "High-Speed Steel". The reasoning is that I need a durable blade that won't bend or break in the (aggressive) beading processes.

 From a substantial piece of steel, I fashioned a new tool to create new beads.

 Underneath the face of the graver point will be my new Bead-Raiser. That section will now be smoothed and rounded on "Emery Paper" of  #240 grit.

  No matter the length of the graver, all three of them will eventually be used in conjunction with my "Adjustable, Graver Handle".

 In using silver as my 'chosen metal', I use it specifically for its softness and being able to make my metal cuttings shine. You can see the first samples of 'Raising Beads'.

 

 Without any new tools, there wouldn't be any method or technique for securing or forming the new beads.

 A Bead Raiser tool has just one purpose and that is to move metal over the Girdle of the stone.

  You can see how the 'curvature of the blade' as it now looks under my microscope.

 This is a #400 power magnification of the course #240 Emery paper. This paper will literally 'round off' the front edge of the blade.

    Here is a finer paper that is used to shape the steel blade, it's rated at #600 grit.

   It is imperative to have this 'new tool' in our inventory. The "CAD" program is not the only way to set stones, WE MUST THEREFORE IMPROVISE ON OUR METHODS.

 Supposing that we have to set gemstones, as shown in the following photos? There is only one solution to this problem and that is to use a "Bead Raiser".

 

 Only after the holes have been enlarged to accept the stones, then the hand-made beads are ready to have the stones put into the metal. I will gladly use my Bead Raiser to "move the metal" over the Girdle of stones.

 Each hole must be made larger to accept each stone.

 As I always say there are "NOT SHORT-CUTS IN GEMSTONE SETTING" The 'quickest route' is always 'the correct route'.

 After each stone is placed into the metal, use your Bead-Raising graver/tool to dig into the metal and tighten every stone where each bead is located.

 As you can see all of the metal cutting has been attended to before setting any of the stones.

 Is this a difficult process? I think this process is rated at about 7-8 out of 10.

(VERY LONG) Baguettes in Channel Setting - 24 photos

 This project has a "Difficulty Scale of (?) out of 10". Consider this of being one of the most challenging Diamond Setting projects that you can ever encounter. This is fraught with frustration and keep asking yourself "why am I doing this?" 

My answer is "you are doing this project, it's because you can!"

 If your ring was initially made for Channel Setting of round stones, this project will now be using 'long baguettes'.

 Basically ignore the round holes, they aren't going to be needed in this project. We will work around them as they will be used in keeping the two channel walls together.

 Measure the sizes of these synthetic stones, All of the long baguettes MUST BE OF THE SAME MEASUREMENTS. Examine them with your digital calipers, don't assume that they are all the same size. 

 Any deviation could lead to stone setting problems, we don't want this to occur.

 Grind down the metal where the holes were intended for the round stones. Once done, then we can start to carve out the metal for these DEEP BAGUETTE STONES.

 Carve out all areas of the channel, even along the lowest edge as you can. We are lowering the stones deep into the channel, and with the deep stones we have to keep a watchful eye on the spaces allowed. EVEN IN THE CORNERS, MUST BE CARVED OUT.

 I attempted to use a "bud-shaped" bur to cut a flat groove for the new stones needed here. But as you can see, that just wasn't the case. The bearing was slightly crooked, but this didn't cause me any adverse problems. I just worked around this drilling error.

 I put my round bur against the stone's Girdle to reach the required size. I added a slight millimetre larger to the required size, as sometimes the stones have different thicknesses.

 As a setter I must be always wary of the Culet depth. If the metal hasn't been carved out sufficiently, the stone won't sit well. I suggest using a '10x power Loupe' to examine where the Culet is sitting.

 

  I explore and examine different areas of this channel continually. This is the most delicate area of this project. 

 Even the extreme corners (not shown) of the channel needs to be cleared of any unnecessary metal.

  In this photo, you can see the different thicknesses of the four stones. This is quite 'normal' with synthetic stones, please don't be too concerned.

 I could suggest in obtaining extra stones just for these inherent (thickness) problems.

 When the baguette stones are placed into the channel, I usually use my pair of plier jaws to initiate the 'securing & tightening processes'. This is to bring the channel walls closer together prior to the hammering that is to be done.

 Closely investigate where the Culets of the stones are in relationship to the inside metal. If the stones are touching the inside of the channel opening, take them out =>NOW! 

Re-carve the channel opening.

 I will carefully carve out a bearing just to have the 'stone not move lengthways'. I will also carve deeper into the metal at the end of that stone. This will 'lock in place' the last stone.

 I discovered that there was too much space at the end of the channel. I then decided to set another stone just to fill in the gap, but I set that white stone FIRST, then this locked in the long baguettes.

  I rotated the ring as I wanted to work on the other area of the ring. As before I drilled a 'bearing' as to secure the two long baguettes. The two blue stones were longer than the Amethyst, therefore there wasn't any need of an additional white stone.

  
 

 The finest picture that I took for this essay IS HERE. It shows you how two stones that were set on two angles together. 

 But look carefully that between them, there are no spaces where the two Girdles meet.

 This is why I can't give a higher Rating of Difficulty than (?) out of 10.

 All through the rigorous stone setting process there are no spaces. In fact where the end stone had some space is where the white stone was to lay. 

  The Reciprocating Hammer Anvil MUST not touch the stone under any circumstances. IT ONLY MOVES THE METAL towards the long Amethyst and blue stone baguettes.

  I Bright-Cut the inner wall of the channel, some of my peers just use a triangular file. But I use a FLAT graver to get a very shiny surface cutting.

 Files leave a rough texture along the metal wall, which is not nice to see. With this, stones could get chipped in the process.

 REVIEW: There was a problem with a remaining space, I then opted for a white stone to be set. I initially measured the length of the two stones and I found that there was a 'spacing problem'. That is why I set a white stone to have the channel completely filled with stones.

 The metal on the channel wall is hammered flat, I will now Bright-Cut the inner metal. Then I'll use a Triangular file of #4 grit and gently remove any hammered marks.

When I see that the surface is level, I'll use a Pumice wheel of #180 grit and clean everywhere.

  One third of the white stone is nestled inside the channel wall but not allowing the FLAT graver to have too much metal cut away. I wanted to have a distinct long 'channel opening'.

 If you see any spaces in between the stones, (I wish you luck) as there are no spaces to be seen. I planned for this stone setting exercise long before I set the first stone.

 In retrospect, I could have used an Amethyst round stone instead of a white stone, but my stone dealer didn't have any at that time of setting.

 Sometimes 'we' have to improvise to what we have on hand, pity!