I decided to get right to it and try making some necklace and bracelet sets. Since I had a request for a set made from some fossil coral, it seemed like a great place to get started!

I started of of course by cutting some up into slabs. I knew that if I was going to make a nice set, it would have to be nicely matched. So using slabs cut back to back from the same piece of rough, I laid them out and began to cut out pieces in an order that would result in matching the right side of the center piece to the left side of the center piece/pendant.

Here is the results for the first bracelet set prior to drilling and of course prior to shaping so as to be able to drill into a flat surface.

Then moving on to the necklace piece. The request was to make a set like this one, except with drilled holes.
So the process was the same up to when it came time to figure out exactly what angle to drill the holes so that the tooth like stones would hang properly.

After asking for some suggestions, it was agreed to drill at an angle shown on the right set of stones.

So for now, until the vise I ordered shows up, which I hope is Monday, I have things to a point for both the bracelet and necklace sets where I will be ready to drill.

Will make another blog entry as things progress !

Of course if your new to my blog and have not visited our Lapidary / Gemstone Community Forum, you can follow along there too!

Been playing a little with druzy materials. Ever since we started talking about it on our forum.

Some of the members showed some pretty cool druzy gemstone cabochons. I instantly began to find sources for different types of druzy minerals. Hard to find at a good price when searching the term “druzy”. The best opportunities seem to show themselves when I search for various pieces of rough with either a druzy exterior or geode interior.

From what I have read, the gemstone mineral Stichtite comes from Tasmania. The articles I read all talk about Stichtite, but not the Imperial Stichtite that I am showing here. So can not say for sure it the Imperial comes from the same area. Most likely though.

Then for additional druzy top, I cut some black druzy from a piece of Ruby in Zoisite. Although the piece I have is for the most part Zoisite. It is generally referred to as Ruby-Zoisite, or Anyolite. It is a natural combination of ruby and zoisite crystals in a single specimen. This too is from Tasmania. That made the combination of the two in a single cabochon design that much more unique and interesting.

Well, this is the set I ended up making. I really like the color combination of the pink Stichtite and black druzy from the Zoisite.

Thanks for stopping by my lapidary blog, and hope you like the cab set!

Ever since I started using the Wordpress e-Commerce Plugin by Instinct Entertainment customers have been lining up complaining about how difficult it is to shop with. Not user friendly at all.

In response to that, I created a new ZenCart for shopping gemstone cabochon jewelry supplies.

Much more user friendly.

Gemstone categories are broken up into the following:

Agate Gemstone Cabochons
Fossilized FreeForm and Matched Cabochon Pairs
Jasper Gemstone Cabochons
Mixed Gemstone Cabochon Pairs
Mixed Unusual Gemstone Cabochons
Agate Matched Gemstone Cabochon Pairs
Jasper Matched Gemstone Cabochon Pairs

Hope you will stop by and check it out!

Here is an example of what I am most familiar with shaping cabochons from.

Here are just a few examples of what this material looks like in cabochon form. Both earring cab pairs and freeform.

Here is an example of a piece in a bezel setting with Silver Metal Clay as the medium for the jewelry backing.

A friend of mine gave me an interesting piece of Fossilized Coral. Different from what I am use to working with as it is a single tube form. I have this in the saw as I am typing this entry, so only have a few preforms to show. These will make some beautiful cabochons.

As always, if you like this Fossilized Coral your welcome to make a special request to have it cut and shaped to desired specs.

Thanks for stopping by and hope you enjoyed!

The other day a friend of mine gave me another piece of rough of this same mineral. Since I was still unsure, I requested an ID for it on our gemstone forum. It is nice to finally know that it is Dolomite.

Here is a picture of the piece of rough as it was given to me. Prior to slabbing.

I will bypass showing the slabs I cut from this and go directly to showing some preforms. Although I would like to mention that in order to get nicely matched pairs, it is necessary to use two slabs cut back to back from this same piece of rough. That is the only way to really be able to design quality matched pairs. It enables a lapidary to match the grains properly.

Then another picture as I have started to shape and on into the beginning sanding stages.

Finally, the finished matching earring cabochon pairs. Each with a neat matching pendant gemstone to go with.

These matched earring pairs are very slim, at two millimeters. The original preforms started out at about three millimeters. The pendant stones finished at four millimeters thick.

As always, if you would like to have a different design cut and shaped from this Dolomite mineral for a custom jewelry designed piece you have in mind, feel free to contact me for a special request.

Hope you enjoyed this entry!

Believe me.. I remember all to well. Bought my first combo unit. A Highland Park. It came with one course 80 , and 400 grit diamond sintered wheels. Then on the end of the unit I can attach either a flat metal disc with felt padding and a leather pad over the top. Then I have two other flat rubber padded discs that I can place silicon papers on. I have to use a spray glue that comes in an spray can. I found myself using a 400 grit on one, and a 600 grit on the second.

I also decided to bring home a double sided arbor that I placed expando type wheels on. This let me have the ability to have another 80 and 220 grit silicon carbide papers as well.

Here is my start up equipment, and I still use them every day.

The basic idea was to the best of my ability have some sort of progression of grits and work them to the best of my ability with this limited equipment that I was limited to because of cost.

This combination worked excellent through my first year of cabbing. Truth is I have added a few additional arbor type set ups. The only real reason is for convenience. I do not do anything any differently in regards to progressions between grits now than when I first started except that now with the additional arbors, I can move easily between a greater variety of papers abrasives.

If you can not invest in an additional arbor as I was able too, then you will simply need to spend a little more time removing and replacing various grits of paper out on the one or two wheels that came with your combo cabochon trim saw unit.

We have had several folks join the forum who are in the beginning stages of setting up shop. Like yourselves, I remember all too well having brought my new toys home, preparing a work area, and bolting the equipment to a workbench. I was eager to get started, but just had limited knowledge about how to cab.

One thing you will find, is that you will be working differently with various minerals. I would like to share the most basic steps with a couple of most basic minerals based on hardness.

Again……. this is very basic and there are a great many types of minerals varying in hardness on MOHS scale of hardness from one to ten. Ten being the hardest.

I thought would use a basic Jasper as well as a run of the mill agate for the following guide.

The jasper being about a 5 in hardness and the agate upwards of about an eight. The difference and reason I decided to use the two is because as an example, an 80 grit will leave heavier scratches or a courser surface on a Jasper than will it on an Agate.

Bypassing the entire process of cutting out your preform, and shaping it we are going to get right into the initial grinding. Although, it is important to note the importance of creating at least a slight dome to the surface of your cab. Otherwise you will not be able to polish the cab completely. A completely flat cab will not polish at the center of it’s surface.

Here are the surfaces of both the Jasper and Agate right off a 80 grit diamond sintered wheel. Your initial course grinding tool may be any number of things. From carborundum, diamond, sintered diamond, or maybe your limited to silicon carbide. No matter…..

The surface is going to be rough and will show lines created by the heavy, course grit. One thing to remember as you proceed through the stages of grinding and sanding as well, is that there is no need to press hard against your wheels or paper. Your just going to wear your wheels out sooner and replace your paper out every other day. You will find yourself spending a lot of wasted money on paper belts that should have lasted a long time.

Let each and every grit grind as it will with hardly any pressure applied. I do not work with diamond paper. I am told this is especially true with it though. Other wise a person will spend about 50 bucks a belt real fast if pressure is applied instead of just letting the diamond cut at it’s own pace. Pressure makes absolutely no difference at all.

Now take a close look at your cab prior to moving on to your next grit. I took the agate cab to a 220 grit silicon carbide belt, and the jasper to a 400. The jasper is softer and find that as with a lot of minerals we can skip a grit sometimes. I do not want to remove any more material than I have too.

Work it your stone nice and easy……

View video one for a short glimpse of the Agate on a 220 grit, and view the second video for a glimpse of the Jasper on a 400 grit.

Here is as good a couple of pics of the surfaces for both the agate after being sanded on the 220 and the Jasper off the 400.

You can already feel the difference with your fingers not to mention see the difference as well. It is a dramatic difference. Make it a habit prior to moving on to your next finer paper to inspect closely for any scratches that stand out. Scratches that are obvious and stand out over the course surface as a whole. The surface of the cab should be consistent. If you see a scratch that stands out, continue with the grit you just finished with until you have achieved a surface without any irregular scratches.

Move on the your next finer grits. I moved on to a 400 for the Agate and and a 600 for the Jasper.

A video if you would like to see a glimpse.

Here are the surfaces once the Agate was removed from the 400 and the Jasper off the 600. Again, look closely for abnormal scratches, and any pitting that may show themselves.

You can if you like, take the Agate to the next finer 600 grit paper if you like. I did not find it necessary. But this was just me. Everyone sorta works a mineral a little differently I think. Lots of variables.

I found that the 400 was fine and I was pleased with the surface of the Jasper after it’s round with the 600.

Now I want to do a real fine paper combined with some tin oxide paste. You can use this step like I am showing on a circular wheel or you can do the same with a flat disc that we talked about earlier included with most combination cabbing machines.

This video gives a glimpse of me using a somewhat worn 600 grit paper with the oxide paste. I took the Agate and Jasper through this step. The final sanding step to polishing.

I spent quite a bit of time on this step. More so with the Agate than the Jasper. Again, only because the Agate is softer.

Here are the two stones after some time on this step. The Agate is a bit easier to see the changes in. Only because of the quality of the pictures. Hard to show like I would like to have been able too.

Now we are ready to hit the polishing pad. I have talked before about the use of building up friction while polishing in order to create heat so as to sorta melt the oxides into the stone. This can result in a great shine.

For this tutorial, I would like to have you disregard that theory, and consider working with it as you become more comfortable with the polishing process. There are considerations like cracking of your cab due to the heat.

Continuing with the basics, we will treat the oxide polish just like any other abrasive step.

Take a look at this video clip. It shows the application of the oxide paste to a leather pad. Once I applied the paste as shown in the clip, I leave the wheel running long enough to dry out the paste on the leather polishing pad.

What this does is turn the polishing step into more of an abrasive step. It is dry not wet. Polishing with your oxide as a wet paste on the pad has it’s place too. For this short guide, I am using it dry.

What I am going to do is continue on through the final phase, the polishing phase, but I am using the paste in the same way as I did any other step prior. Letting the abrasive polish in this case in accordance to it’s own grit. Not pressing hard. Letting the oxide polish as it will naturally in accordance to the oxides grit ability. Nice and easy……

Here is a short video clip showing this step. Nice an easy.. Gradually pressing just a little more. Not a lot. Pressing just a little more, but not enough to let the stone develop any heat. Another short video showing the same.

For what it’s worth, these two clips give the impression that the polishing pad is moving sort of slow. In fact it is moving rather fast. I find better results with a faster moving pad than a slow one. I don’t know why the video gives the impression it moves so slow, but I would guess that in fact it moves about twice as fast as it appears in the clips.

Finally, we can see a pretty nice finish on the two cabs we started with. Neither of these have been beveled or had the edges rounded. This short tutorial was just to show basic grinding, sanding and polishing. Another blog entry will be along shortly showing how to complete these cabs in preparation for your bezel and or metal clay type settings.

The truth is that there are variations of these steps. You can find yourself using a worn 400 grit belt instead of a new 600 grit belt as an example. There are many variations, but the end result and the basic process is the same. That is to work through a series of different abrasives that will bring your cabochon to a desired state that you believe will allow you to move from sanding to polishing. Remember too that it is not uncommon to realize that you have to repeat a step. This is discovered as you spend more time sanding. It is a learning process. Just keep at it and have fun.

If you would like to see something specific in the form of a tutorial or guide, please feel free to request it.

Hope you enjoyed this!

I decided to practice what I preach from a previous blog entry, and will design my first piece more around the design / shape of the stones. Then work second with the shape of the silver clay setting.

Of course I have a bit of an advantage as I am able to design my first piece around any shape and type of stone I desire. Again a big advantage to working with a lapidary if you are designing custom gemstone jewelry or other gemstone related artwork.

A book that was loaned to me is really helping a whole lot.

One thing that I had not thought about and wonder, is if the instructor will be bringing bezel tape for nice proper settings. I am thinking that as a beginning class it will be pretty basic, and likely will be glad I brought my own.

Being my first time, did not want to get too complicated and yet I want to take advantage of the hands on instructions as well as utilizing the bezel tape, as I foresee using the bezel tape in all my future metal clay work.

A book titled “Metal Clay” by Jackie Truty.

It shows how the tape will be set into the clay. Then if the stone is a little bit too short in height, material can be added under it to bring it up to working height in regards to rolling the tape properly over the beveled edge of the stone.

Here are the matching stones that I would like to use in my first setting.

Here is somewhat how the stones will be set in the metal clay setting. I am going to try a double setting my first try! These two stones are matched in the sense that the spider webbing effect of the Jasper was lined up and cut from the same piece so that when the stones are set, although separate, will match and hopefully look unique.

As my stones are now, they are just a bit too high in comparison to the height of the bezel tape. Especially by the time the tape is pushed down into the clay prior to drying in the kiln.

I will take just a hair off the bottom to make them set properly.