How wide is your graver? => 14 photos

 Our gravers come in many sizes and shapes. In this essay, we will explore a variety of them in great detail.

 I have not shaped them for this essay; these are my very own, which I've been using for many months (or years).

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 On the right side is a #2/0 Onglette blade. Now compare that to the left blade of #3 width. I have used this ultra-thin tool on many occasions to cut outlines of precise patterns.

These are the same blades, but from different angles.

 The yellow coloured blade is a "Flat" graver, while the others are Onglette-shaped.

  No matter the length of the blade, these blades can still be used in conjunction with my 'adjustable' graver handle.

  For your information, the #0 is a 'knife-edge' that was created by 'Gesswein Industries' many years ago.

 These are my well-used blades; I will fashion them to create a fine point and never use them if the point remains ultra-wide, as I've seen from other authors & setters.

These are my 'Flat' blades that come in various widths. For various patterns, I would use all three for different areas, if warranted.

  Although I'd use an Onglette blade for metal cutting, I'd transform them also into a "Bead-Raiser".

   When I purchase my blades, I visualise what they will look like once they are properly shaped.

  Even though this blade is a #2 (wide) Onglette, the possibilities are endless. It can be a cutting blade, or even a new 'Bead-Raiser'.

From one blade, as seen on the left, the age of the blade has no significance. Even a blade that is years old still has much life in it.

   This display shows the variety of Flat gravers of various thicknesses. I'll just go to my favourite tool supplier, thinking of what tool I need for the specific pattern.

 If that blade isn't available, I'll never give up. I'll just modify the closest shaped blade and let my mind and fingers do the rest.

 For this simple design, my various blades consisted of Onglette #2 for the Bead-Raiser. Onglette #1 for the preliminary cutting blade.

 Then followed by a Flat graver of #40 to cut flat angles. Finally, that ultra-thin #039 Knife-Edge to keep the outline clean.

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 If you think that this is easy? After 65 years of metal cutting, anything becomes easy.

 (By the way, this pattern was not initially cut or designed by CAD.)

Too many WAX SPRUES ?? =>10 photos

 I have written about sprues before, but the need to discuss this topic again remains essential.

 I was exploring why we must attach so many wax sprues to the basic pattern. This would help in the flow of hot metal during the revolving of the crucible. 

 Some of the (added) sprues weighed more than the actual basic item.

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 If you must use sprues, PLEASE USE A THINNER ROD, not as shown in these photos.

 After the casting, there is a direct need to cut off these sprues. This is a prime example of "over-kill", as the cutting of the metal sprues could lead to damaging the basic pattern. OUCH!

 

 My intentions were good, but I applied too many thick sprues to a small area.

  Whenever there are sprues being attached, the next major problem is in the 'cleaning'.

 This quagmire of sprues is a nightmare to cast this large curved bracelet. The 'weight of the sprues' is almost that of the bracelet.

 

   These few sprues are just sufficient for this casting.

  These 'extra' sprues are more of a time-wasting labour than a helpful addition for casting.

 Suffice to say, 'the best intentions were to assist in casting.' You, the jeweller, must be made aware to keep your sprues to a minimum at all times.

 For each individual sprue, the removal of a sprue led to more 'complete cleaning'.

 For obvious reasons, I never forged ahead and did the metal casting. This was just an exercise in demonstrating the placements of wax sprues.

"GIA, Certified" diamond. 7 photos.

  I was given the privilege of checking the validity of the online 'G.I.A.' certificate against the lasered inscriptions on the client's diamond. My client is fully aware and gave me permission of writing this essay into OUR BLOG.

 This diamond was engraved with the identification numbers written on the Girdle of the stone. We both reported the same number, and it was a 1.01 carat of "E-colour" it was of a "VVS-1" quality. 

 Here are the exact numbers for you to refer to while online.

 There were a few 'natural inclusions' along the Girdle of the stone. But for sake of keeping the weight of the stone high, the diamond polisher refused to remove these inclusions instead of reducing the weight of the stone.

 

 As the Girdle of the stone was thick, this diamond polisher just 'faceted' the stone instead. This was a very wise decision on the skill involved.

  

  Here is the actual inscription as it appears on the stone.

   You can see just how thick this stone is instead of leaving the girdle in a 'rough' state. The diamond polisher improved the quality of this gemstone; this polishing actually gives added luster to the brilliance of the stone.

  Here is another copy of the numbers of the "GIA" to validate the online certificate. Even you, the reader, can justify these numbers yourself.

 I had little difficulty in viewing these important numbers. I took numerous photographs and kept them for the client, and you to see how 'GIA' will identify this stone.

What can you see with a "Digital Microscope"? => 15 photos

 I've been using a 'Digital Microscope' for many years, and the sights are just unbelievable. I can make the 'teeth of a steel file' resemble the shores of the Niagara River. 

 My digital microscope is a piece of modern technology. I'll be showing how our tools really appear; the power of this viewing can reach 600x (or more) magnification.

 This stone is 0.50 carats in size, and you can even see that the claw on the right isn't even touching the stone.

 This saw blade has a #4/0 cut, as it looks just like the teeth of a Dinosaur.

 The fine engraving was a photo of one of my gravers.

 No, these are not 'stars at night', but of #2/0 grit emery paper.

  These are the teeth of a #2/0 grit file taken at 600x power viewing.

  This is a "Medium" grit (Snap-On) Emery wheel.

 This is the same wheel, taken at maximum 600x magnification.

 This is a genuine diamond before any intensive faceting was started. The metal claw is holding the stone while it is being carefully "Faceted".

 BTW, this stone has been in our family since 1927, when my Father learned his Diamond Polishing craft on it in Antwerp.

 These photos are of a "Medium" grit teeth on a file; you can still see the metal residue remaining between the teeth.

  This 0.50 carat just had the preliminary facets formed.

 You are now looking at a 0.50-carat 'test diamond' that every diamond polisher learns how to familiarise themselves with. 

 This triangular diamond still shows the natural facets on its surface. (These features look just like a mountain).

 What you are looking at is an "Industrial Diamond" just after it was taken out of the Earth. These diamonds are not for jewellery, but only for industrial purposes.

  This photo displays some of the workings of a battery-driven watch.

How do you REPAIR a "Pin Set" disk from a wax casting? => 12 photos

  These are the two most important words that I learned circa 1965. "PIN SETTING" or otherwise known as setting gemstones within these 'little wire claws'.

  Any name you wish to use, we will use it with great fondness.

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 Let's first discuss how these are created in the 'wax stage'.

You will notice how well-formed these mini-claws appear. There is no need for any 'improvement' to any of them.

1) You will notice that some holes look 'oval' in appearance. These can be made 'round' when the disk is cast in metal.

2) There are a few remaining wax-pins joining the outside of the wax disk. Let's deal with this problem when the wax is formed.

Multiple holes are filled with wax; THESE MUST BE CLEANED..NOW!

 In this next wax, there are a few setting holes that are plugged up. Why is this occurring so often?

 There are additional problems with the wax mold we will deal with them further on in this essay.

 

 These defects need to be remedied while still in the wax stage of development.

  The answer to these wax problems are these '3 tooth' cutting burs.

 Here is the close-up of how these two burs look. These are as sharp as glass; please handle them with absolute care!

 Try and avoid putting them in your handpiece; rotating them slowly with your fingers is best. 

Every hole must be made clear of wax.

 This is what we are aiming for: a clean-looking wax ready for metal casting.

 This is the culprit; there are defects all around the outside edge (screaming) to be repaired.

 In the metal stage, it is now possible to see where the rubber mold must be repaired.

 Here are 3 gemstones just now set into the wax. Don't heat up the stones, as they will get buried deep into the wax and become useless. Make sure that all of the holes are absolutely clean of any remaining wax.