What "EMERY PAPERS" prepare your gravers? => 14 photos (1st edition).

The first photo displays the initial Emery Paper that is needed to improve the quality of the 'well-used' graver.

 The most basic & underestimated 'polishing paper' at your bench is Emery Paper. It comes in many grades of texture, ranging from #800 medium grade to a coarse #240 grit. 

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 Here are three sheets of paper, composed of different grades of strength. The rough-textured paper is seen on the right, and the smoothest on the left.

 This stick is made of rigid plastic and securely holds any piece of paper in place. These emery papers can be replaced with little effort. You can use #4/0 grade of the finest, which is very soft or the coarsest of #240 grit. I approve of this'stick', as it has a long usable shelf-life, plus the graver will be best used on a hard surface.

  These eight sticks of wood, each consisting of 1 grade of polishing paper. These sticks have paper that has been heat-treated, and the paper won't come loose over time.

 When the papers get worn, all that is required is attach another layer of the same grit of paper. Each wooden stick will have another grade of paper.

 You will see that I'm not using any (insanely expensive) rotary disk to hold any paper. Each of these sticks can be purchased for $2.00 each at any local paint store.

 The main purpose of these Emery Papers is not to smooth any jewellery surfaces. On the contrary, I will demonstrate how Emery Paper will aid in preparing a graver blade for "Bright Cutting".

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 Here are my often-used 'Emery Papers', as you can see that I'm not discussing the '(smooth) Polishing Papers' at this present time. The techniques for these specific papers are quite different.

This coarse Emery Paper is just that, very coarse! You can see the granules of the paper being wrapped around the stick.

 These emery papers come in a coarser grit. I just purchased a paper without wasting my time looking for a paper that isn't always available. "Labour and availability of the selected papers" are the main ingredients of success.

The #800 grit paper is relatively smooth and much softer than the #240 grit.

 Here is my second choice of Emery Paper, but it still isn't 'rough & tough' for what we need.

 Under closer scrutiny, you can still see the granules in the paper.

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  I am only using the #240 grit paper to remove any 'rough spots' on the side of the Onglette graver.

 Once these rough-textured spots are cleaned (on both sides), I'll examine the graver point again. The smoothest papers do not remove the defects, but only enhance the need to be corrected.

 When you are running the blade over the paper, only the tip of the blade needs to be altered.

 All of these gravers have seen much use, and I'll resume the cleaning on the series of emery papers.

  I'll lay the graver flat on its side, as this is where the Bright-Cutting action will occur.

 Once the series of #240 & #400 grit paper has been completed, the next level of improvement is with the #600 paper. It is best to apply finger-pressure to both sides of the blade. You should closely examine the levels of cleaning every few moments.

 Don't allow any flat surfaces to occur, as these are not required in any Bright-Cutting. The Onglette blade has a slight curvature. This will allow Bright-Cutting to take place.

 We are on the last EMERY paper for improving the sides of the graver. I wholeheartedly suggest examining what has been done until now. The next phase of refurbishing a graver will be shown in the next essay.

 

"SILVER SOLDERING", circa 1946 => 3 photos

"HANDY & HARMAN" printed a brochure for jewellers in 1946. (This was ONLY a mere 80 years ago) I bet some of these readers weren't even born yet?

 I think it might be something to remember what life was like for jewellers who were trying to solder. 

These images describe how different the 'safety measures' were back then.

I've had this brochure in my home library since the early 1950's. 

Why use 'Adjustable Graver Handles"? => 6 photos

 In the earlier days, all the setters had were little round balls of wood with a hole in the centre. Thankfully, we've advanced to an easier method to hold our gravers.

 Many times, the engraver or setter had to fashion the handle to fit their hand or fingers.

 BTW, the multi-screw handle (shown on the right) securely holds the graver and prevents the blade from unexpected movement.

  I drilled little holes into the wood. It was my earlier method of 'graver <=> handle' identification.

 The centre handle shows where the handle broke while inserting a new blade. This could never happen in an 'Adjustable' graver handle.

 Now compare this handle, which is completely adjustable for any length of blade.

 These basic wooden handles had a limited lifespan when the holes used to hold the graver were worn out..."Goodbye, new wooden handle."

 If the graver was hammered too heavily to get the blade into the wood, it would literally split and render the new handle unusable or ruined.

  It isn't the length of the graver as shown here, it's the amount of 'life' that the user can get from it.

 Only an 'adjustable' graver handle can give the setter, or engraver, what is required. I could get months or a year from one blade.

 If you only had one handle to use, then that one handle could be bought to suit your ongoing requirements.

 

 

How was your diamond 'polished & shaped'? => 14 photos

 These blog photos are from our family archives, as my Father (of Blessed Memory) was a diamond polisher in Belgium, circa 1927. I still have many of his 'polishing tools' at my home for you to see.

 This was the earliest rendition of a diamond weighing scale, dated from 1943 in London, England.

 

 Here are loupes dating from London, England, circa 1940s. In fact, I used them extensively during my apprenticeship days in Toronto. Canada.

 

  To accurately measure the angles of the Pavilion Facet during the 'polishing processes', the technician had this gauge on hand to accurately check the angles of the Pavilion.  

 The three fellows shown in this photo were 'girdling the facets' during the shaping process. 

The man on the right was my Father (of Blessed Memory).

  With the ongoing aid of a 15x power loupe, all of the facets have to be thoroughly examined during the shaping techniques.

 When the diamond is inverted, the technician can correct any aberrations of the Table Facet. If there are any errors, the stone is inverted and recut or repolished on the diamond wheel that has Diamond powder impregnated on the steel wheel. 

 As I don't have any Diamond Wheels with diamond dust available after 95 years, I'm just simulating the actions if there were a wheel to reshape the gemstone.

 In this view of the Pavilion Facet being recut & reshaped, the name of this tool is a "Dobb"; it can hold the stone very securely. Of course, no fingers can hold the stone as tightly as this tool can provide.

 

 I placed a genuine Emerald in this same holding device to display how this Emerald can be held in place. You will notice that only ONE FACET IS RECUT, ONLY ONE FACET AT A TIME.

 These two sharp blades are used to split the raw crystal into two separate pieces. Just one sharp tap of the blade with a hammer will divide the stone in half.

 Thus, having two stones remaining to be shaped at a later date.

 The "Table Facet" of the stone is secured on the tube underneath and exposing the Culet Facet to be either removed or have the "Pavilion Facet" shaped. 

 This is a diamond crystal being made ready for the long process of being shaped and cut. This long process could take either days or weeks, depending on the size of the stone. Imagine that after just one facet that was completed, a full examination of that new facet will be made and checked for angles.       

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800x Power Magnification of an unset diamond => 6 photos

 Here is an unusual display, not every day will you see such great magnification as these photos. It is also very uncommon to capture pictures of diamonds in their 'unpolished' condition.

 I'm displaying the very same diamond that my Father practised his new profession as a Diamond Polisher 95 years ago.

 These tools have never been seen in trade magazines either. What a legacy.  

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 This is "Diamond Powder", which is the only compound that will be used to cut & shape other diamond crystals. Only a diamond will shape another diamond.

 The colour of this diamond is of no consequence, but it is still a diamond in its raw state. You can see a few of the new facets being created.

 

  Here is a prime example of a partly completed faceted stone. As only a few of the 'Girdle Facets' have been gently cut & shaped.

 After "Bruting", which is a name for the shaping of the new Girdle, you can see the rough texture of the crystal.

Here are two pictures of diamonds, one on the left is a man-made or 'lab-created' stone. The crystal on the right is what Nature created millions of years ago.

 The name of these lab-created stones is "HPHT," which means High Temperature (of 2,000 Celsius and High Pressure 725,000 PSI).

 Here is a remarkable photo displaying a Laser-engraved ID on the Girdle Facet. Instead of carrying a paper sheet with all of the pertinent details. The ID is a number that the GIA has on file in its office, and anyone can view it in seconds.

 A few weeks ago, my friend came to my 'home office' to verify the diamond, and we both viewed the ID with my digital microscope.

  In closing, you have just seen the most interesting & original photos that I've put together. These have not been plagiarised from other sources.

"Handpiece Repair Service"

 My great friend gave me his business card, as I have been a close friend of his for many years. I derive no fees from him in promoting his 'handpiece repair service'.

  When you make initial contact with him, kindly use my name as a reference. Gerry Lewy!

 

Why are there 58 facets on a Diamond ? => 9 photos

  Nearly all diamonds have 58 facets. Just what is their purpose?

 In this informative diagram, you have both the official names and locations of all of the facets.

1) I was taught that the Bezel Facet was shaped like a kite. Therefore, the second name was also a "Kite Facet".

2) If the Girdle is too wide (or thick), instead of reducing the carat weight, the 'faceting technician' will suspend the operation of 'polishing the diamond' to achieve more brilliance. 

 This detailed photo gives names to the diamond and is used as a guide to achieve the exact proportions, when needed.

 There are 'double-claws' on each corner of this stone. Why is this? I can only offer you some worthwhile words. "Security & Safety" of the stone. Instead of 4 large & bulky claws, the designer created 8 claws that even have a space in between these 'double set' of claws.

 The designer opted for four, 'tear-shaped' claws. My preference would be four round-shaped claw tips instead.  Thus exposing more facets of the stone.

 

 

  Having claws that cover the "Upper-Girdle Facets" adds additional security to this 'Fancy-Cut stone'.

  This displaying technique is used in handling a diamond of this size. Therefore, the stone stays clean at all times & no fingerprints.

    

 Messrs Tolkowsky was the official originator of the "Modern Cut".

 When all of the facets are accurately cut, then and only then will light bounce back to the viewer.

 These names of the diamonds have changed throughout the decades and years. Here are the official names for your library.