Gypsy (Flush) setting & multi-claw setting #2 => 8diagrams.

 This essay explains how "Flush Setting & multi-claws" are prepared.

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 Remove any extra metal from an equal layer around the stone. But leaving enough metal for final polishing.

 The Culet of the stone must NEVER PROTRUDE THROUGH THE BOTTOM OF THE RING.

 

 NEVER HAMMER AT THE EDGE OF THE RIM OF METAL. As the diagram shows, hammer-hit (as shown) away from the outer edge.

 Never push the stone into the new bearing (seat), just GENTLY slide the stone in one side, and then the opposing edge. I do this procedure all the time and avoid all kinds of setting problems.

 What happens if the stone protrudes through the bottom? The wearer will immediately feel the sharp point of the stone.

 ALWAYS MEASURE THE THICKNESS OF THE RING TO THE STONE. This will prevent any problems before the setting.

  I always use or raise little mini-claws just below the tip of each claw. This 'little hook' will hold each stone very tightly in the setting.

 Furthermore, the 'hooks' will blend in with the metal and won't ever be seen.

 To install these 'hooks', I suggest using a 'Flat graver' against the inner claw. The chances of losing a stone are almost impossible.

 I still use this rule to estimate the depth of setting any stone of any size. I suggest getting used to this habit as it will save you many setting problems.

 The top of the bur must be lower than the surface of the metal.

 

Claw Setting diagrams #1 => 7 diagrams

 These 5 essays are extremely important to anyone who is involved in stone setting. With each of the following diagrams, there will be a few sentences of advice.

 As I explained, some diagrams may not be in sequential order. When I was learning my profession 65 years ago, I wished I had these drawings way back then.

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When the delicate setting has been completed, there will be filing marks remaining on the surface. It is best to remove them with a pumice wheel of #800 or #1,000 grit.

 The design of the wheel should be FLAT. 

 When you are starting to set a square-shaped (Princess) stone, it is best to use a bud-shaped bur, but NEVER A ROUND BUR. Aim the point of the bur towards the inside corner of the V-shaped claw.

 When you are starting to set a Bezel on an Oval stone, there is a sequence of hitting the bezel frame. Just follow the numbers, and you will never have a crooked stone.

 When the hammering on the Flush-mounted stone is finally finished. The next important step is to Bright-Cut the setting with your graver. 

 Some setters don't use any tool for this. I was taught to use an Onglette blade as this will leave a bright & shiny rim above the Girdle.

 To remove all of the hammer-hitting marks, it is important not to use any file. My only suggestion is to use an "Emery" Snap-On wheel of "Medium" grit for this process.

 There must be NO SPACES where the girdle of the stone meets the Bezel wall. Plus, the Pavilion should join the Bezel. The sharp outside edge of the bezel should be gently filed away.

  At the beginning of the preparation of the seat of a Flush or Gypsy setting. The seat must be of equal depth all around the inner wall (as shown). If not, then the stone will 'continually appear crooked'.

 

What is a Bud bur used for? (text only) )

 This particular essay was co-authored by my close friend Charles Wechsler from Brooklyn, New York. USA.

=>His office business is for handpiece repairs & sales:

1420 KINGS HIGHWAY

BROOKLYN, 11229. USA

telephone number: 718 - 339 - 2640

cell phone: 718 - 339 - 7901

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Bud-shaped diamond setter's burs (often named as 'Bud Burs' in setting tools) are mainly used in stone-setting to cut or refine seats and contours for round burs. These are used especially when you need a 'curved, tapered cavity' rather than a flat seat.

                                  MAIN APPLICATIONS:

A) => BEZEL SETTINGS

1) Bud burs are used to open and shape the inner wall of the bezel.

2) They help to create a smooth curved seat where the girdle of the diamond will eventually sit.

3) The tapered bud shape allows controlled cutting without widening the bezel too much.

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B) => FLUSH / GYPSY SETTING

1) These burs are used to refine the curved cavity inside the drilled

hole before the stone is inserted into the metal.

2) This helps the girdle curve of the diamond to sit properly.

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C) => BURNISH / TUBE SETTING 

1) The Bud shaped burs greatly shape the inside of the tube before setting of the stone.

2) This is very useful for creating a rounded seat that supports the pavilion of the selected stone.

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D) => GENERAL SEAT REFINING

  After drilling or using a round as well as a "156C" bearing bur, stone setters usually use a bud bur to do the following steps:

1) Contour the seat!

2) Slightly taper the cavity!

3) Adjust the fitting of the stone!

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E) => WHY DO STONE SETTERS USE BUD BURS?

 1) A tapered shape gives a better control in tight areas.

2) It creates a more natural curved seat for round stones.

3) A Bud bur assists in avoiding over-cutting the setting wall.

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F: => COMPARISONS WITH OTHER SETTING BURS.

1) 156C burs => Gives a precise girdle seat for Faceted stones.

2) Hart, (HSS) shaped burs => Prepares the seat for claw setting.

3) Bud burs => these are excellent in shaping curved or tapered cavities and Bezel interiors.

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IN CONCLUSION: 

Bud shaped burs are mostly used with the following techniques:

1) Bezel Settings.

2) Gypsy / Flush Setting.

3) Tube Settings.

 These burs are used to shape or refine the seat for the stone. These burs are primarily excellent for round gemstones.

What does a Bud bur look like? => 8 photos

  Bud burs, as one travelling student said to me, these are my "Buddy burs". These are so very important that every jeweller should use them as well as in stone setting.

 This bur is also named "Flame bur". This elongated shape is also important in metal carving. You'll notice that this shape is fantastic for cleaning the inner frame of End Bezels. 

  Bud burs come in all sizes. When the gemstone setter requires a certain size, it must be made available without any time lost.
 During my hectic stone setting days, I needed a large selection of these burs. Cost was not the critical aspect, but just having them available made up for the cost of purchasing them. 

             Here is my inventory of Bud Burs:

 From a small size bur #003 and then resting against a #050. WOW! Quite a difference in size, agree?

 

  These are my 'mid-range' of Bud burs. I won't mix a large size of bur with a small one. My purpose is to save time looking for one bur among 'hundreds' in my collection.

 These two packages of Bud burs, starting at #003 on the left, then on the right is a size #015.

These 'often-used' Bud burs are well defined as 'good to have'.

 In this bur box are all of my extremely large sizes of burs. I keep them separate from other smaller shapes, and they are well-lubricated.  These are very expensive and sometimes hard to find at a moment's notice.

 Here is a variety of smaller burs. They tend to get well-used, so I'll just place them together with the other 'often-used' burs.

End Bezels for Baguette stones => 18 photos

  When the need arises to set either a 'Tapered' or a 'Straight baguette', the technique is still the same. Plus, in this type of stone setting, there are simply NO POSSIBLE SHORTCUTS.

 The inside 'End Bezel' is GENTLY moved backwards with the aid of your pliers. This process 'will be corrected' when the stone is set. What we are doing is gently increasing access to the End Bezel for the stone-setting process.

 What must happen now is to widen the opening for the selected stone shape. If the stone is of a 'tapered shape', thus the opening must be shaped to that stone. 

 The inside of the bezel should be filed and trimmed, as all of the bezel claws must be cleaned. There shouldn't be any rough edges to be seen, as with the blue stone.

 The 'End Bezels' should be filed smooth. Both of the end claws should be filed equally on both ends.

 I think that a Triangular file #4 will be the best file to use in these tight areas.

 The "Reciprocating Hammer, Anvil' should lightly tap the bezel end claws. If the Hammer touches the stone with too much force, the stone will quickly shatter.

  Have the Anvil lightly 'tap-touch' the corners of the bezel claw first. As this will secure & prevent the stone from moving.

  I marked the metal exactly where the anvil will touch. DON'T HAVE THE HAMMER ANVIL HIT THE VERY FRONT OF THE METAL BAR.

 It is permitted to have a slight incline of the stone. Why is this? The angle of this stone will merge with the shoulder stone and the main (unsoldered) stone.

 The Hammer Anvil is not pounding the metal; it is only GENTLY keeping the stone secure in the bezel.

 You can see that the Hammer Anvil is not coming close to the stone. It is only gently moving the metal towards the stone, but not touching the soft stone.

 You can now see the stone as it blends in with the Bezel.

                        IMPORTANT NOTES ON STONE SETTING

  I suggest using a round bur to prepare a seat for the stone. DON'T LET THE STONE SEAT GO BEYOND THE  BEZEL.

  My other suggestion is to drill three little holes. These holes should not exceed the width of the stone.

 Please use a 'bud-shaped' bur to excavate the Pavilion where the stone will sit. Clean out the corners and have the Bud Bur clean all along the Pavilion of the setting.

 Clean out the plugged opening of the bezel; if not, the stone will not sit well as expected. Before the stone is finally set, it is imperative to pre-polish the bezel frame.

 The inside of the bezel should look like a long square. The Pavilion will sit accordingly, and when the hammering starts, there won't be any problems while the stone is being 'tightened'.

 From the beginning to the final finish, this will make any client happy with the results.

Go to this blog essay dated => "AUGUST 22. 2025 ESSAY". It covers the cleaning aspect of this essay.

Bright-Cutting a 'Circle' => 24 photos

This is not hard, 'it's just insanely difficult'!!!

Not one aspect of this project can be learned in one day.

 The tools needed for this essay are minimal. I use Onglet #0, #1 and #2 gravers, and a Flat graver of #40 width. 

 Why have a large and thick pointed gravers that are shown so many times by other authors? This finely pointed graver will still cut accurately.

 The 'rounded bottom' of the graver has one very important use. The purpose is to move (not push) any beads against and over the girdle of the gemstone. We shall see it in action in a few minutes.

  These are my inventory of polishing papers, which are all laid out in sequential order. The papers on the left of this row are basically Emery grit, starting with #240 up to #600 grit.

 The 'polishing papers' that will be used will serve to create a highly smooth surface on the sides of each graver. These papers are at #800 to #1,200 grit texture.

  I will keep my "Flat" graver in the coloured handle for easier identification while looking to make a flat cut.

 I thinned off much of the graver on the 'right side'. I needed this cleaning process just to thin the metal cutting.

 

 On the graver's left side, also got thinned just as I did on the right side, also for the same purpose.

 

 Preparing the circular cutting pattern involves a multitude of techniques. All of the cutting tools must be maintained in a pristine condition at all times.

                    This is where the 'metal cutting, fun starts'.

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  I cut these 4 grooves into each of the holes as they are short and well defined.

 With the thinned Onglette graver #1, I'm going to join the holes together, as shown. This is the reason why I modified the blade.

 Another technique is to cut a complete circle around this pendant. As shown here! The sides of each hole must be cleaned of unwanted metal. I suggest using a Bud-shaped bur; JUST GET THE HOLE CLEAN.

 This is the 'problem metal' that MUST BE REMOVED before anything else is to be done. The edge must be absolutely clean of any unwanted metal during this 'cleaning' process.

 You can now see how deep the cutting must be. NO SHALLOW CUTS ARE TO REMAIN.

  Starting at the two border lines, cut a 'V' shape pattern INTO EACH SIDE OF THE HOLE. You will soon see why this is important.

 Recut many times around "the circle" as the complete circle of metal is getting cleaner at each series of cuts.

 Clean away any unwanted 'graver cuttings', I'd use the Onglette #2 graver for this process. DON'T FORGET TO CUT DEEP.

 The next important cutting is to Bright Cut the little square in between the two holes. This shiny square, when polished, will look just like another gemstone.

 Blank and flat metal is not wanted; it has to be visually enhanced with a bright & shiny surface.

What are 'we' to do with the extra metal around the rim?

 The easiest method of removing blank areas of any pattern is to "Bright Cut" it. There is no need to grind it away, as this only ruins the pattern. YUK!

 Here is my Flat graver #40, starting to visually enhance that blank unwanted area. 

 This is one of the many reasons why ALL DIAMOND SETTING TOOLS NEED TO BE KEPT IN PRISTINE CONDITION AT ALL TIMES. In this photo, I'm cutting at a 45degree angle.

 I'm using my Onglette #2 graver and 'Bright-Cutting' the line of metal cutting along the holes.

  With my modified "Onglette #2, Bead-Raising" blade, I am moving the metal 'against and over' the edge of the stone.

  Those little triangles are now being put to use...as 'BEADS'!!!

 If there is any metal remaining (anywhere), you can just use your Flat graver and remove it CAREFULLY.

 I use a tapered Pumice wheel of 1,000 grit to manually polish the inside metal cuttings. Try to avoid a large cloth wheel polishing wheel.

 If you found this exercise difficult, IT IS, Imagine that it has no shortcuts anywhere. Fondest regards from Gerry Lewy!