Professional Documents
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- CARVING A RING-
COPYRIGHT: 2009 - 2016 BY JANET ALEXANDER RUIDOSO NM. THIS DOCUMENT OR ANY PART THEREOF, MAY NOT BE
REPRODUCED OR TRANSMITTED IN ANY FORM BY ANY MEANS, ELECTRONIC, OR MECHANICAL, INCLUDING PHOTOCOPYING,
RECORDING, STORAGE IN AN INFORMATION RETRIEVAL SYSTEM, OR OTHERWISE, WITHOUT PRIOR WRITTEN PERMISSION
FROM J ANET A LEXANDER .
JEWELRY SUPPLIERS
Otto Frei 800-722-3456 www.ottofrei.com
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SUPPLY LIST
Ball Burs
Drill Bits
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1 C-Clamps
A Piece of Wood
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Cut #0 Coarse
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Otto Fri#133-981
Degree Gauge
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X-Aacto™ Knife
Talcum Power
In a small container
Tracing Paper
Masking Tape
Pill Bottle
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Close-up eyeglasses
Lent-Free Towel
Wax Polish
TOOL BASICS
This section discusses using the basic tools for beginning wax carving.
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The top of the gauge shows measurements in inches and the bottom of the
gauge shows measurements in millimeters.
The line which travels vertically across both inches and meter measurements is
the line used for reading the gauge.
The millimeter gauge has of two parts which slide apart from each other opening the millimeter’s jaws. The small
knob on the side of the millimeter is a thumb rest making it easy for the user to open and close the jaws.
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While measuring a stone for setting, always measure it across the widest part of the stone, the Girdle.
Tip: If the hardware store only has a gauge with square tips, then file the tips down to points using a hand
file. Keep the gauge closed while filing. Do not file inside the measuring area or the gauge will not measure
correctly.
To scribe a line into the wax, place the bottom tip of the gauge on the side of the wax to use as a pivot point then
slide the top tip across and into the wax.
Rest the bottom tip on the side of the wax. Slide the gauge along the side
lightly digging the top tip into the wax.
Do not allow the bottom tip to cut into the wax or you will have lines you
do not want.
Complete over and over making the line deeper.
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Tip: Smear talcum powder into the scribed line to see it more clearly.
FILE BRUSH
Clean any wax stuck on the file using a file brush. Drag the brush’s bristles across the file in the same direction of
the cuts in the file to clean out the wax. Also, if a bur has wax stuck in it, clean it with this brush.
Tip: If using another brand of wax, check its finish for tiny holes, bubbles, and deformities as these have a
great impact on how well your model finishes. If there are tiny holes in the finish, it is impossible to polish it and
your casting shows these fine holes.
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Using the ring tubes gives a head start on carving a ring. Choose a wax that matches the side view of your design.
If for example you are carving a ring band, then start with the round tube with the hole in the center. If you are
carving a ring that will hold a stone or has a high-top then choose the flattop ring wax.
Tip: Depending on the ring size, choose the ring tube which allows room to carve out the ring size from
the center.
If sizing the ring to a large size, for example to the black line then
there would not be enough wax for the ring shank.
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I use two modified dental tools. This one draws lines into the wax.
I use this tool for scraping its tip across the wax carving areas or by using its belly to smooth the wax.
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Place the jaws around the ring, one jaw on the inside of the ring and one on the outside. The gauge measures in
millimeters and shows a measurement of the ring’s thickness.
CARVING A RING
Complete the following steps for carving a ring in wax and creating a setting for a six-millimeter round stone. We
will be using Matt™ Ring Tube, color green, with the flattop.
Tip: Place a towel in your lap to catch the wax shavings or the wax should you drop it.
The Steps:
1. Measure 10.5 mm from the edge of the ring wax end. Since we are setting a 6mm round stone, we are adding
2mm for each side making sure there is plenty room for the prongs and lead way for mistakes.
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Tip: Smear talcum powder into the scribed line in order to see it more clearly.
2. Cut on the outside edge of the line using a hand miter saw so the wax piece is square.
Watch Out: It is impossible to cut exactly on the lines. Make sure to cut at least 1/8” outside the
lines. It is easier to file down to a line than to add wax to fill to the line.
3. Measure the cut ring blank’s width making sure it is a little bit wider than needed.
4. Smooth the wax using the Exacto Knife by tilting the knife and dragging it towards your thumb while you hold
the wax with the other hand.
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Make sure you don’t put too much pressure on the wax, or the
shank could break.
If the knife causes “chatter marks,” small lines from the knife
skipping across the wax, then turn the knife at a 90degree angle to
the lines and drag the knife down the chatter lines.
If the chatter lines are too deep, then use a fine-cut flat file and
then file them away.
5. Smooth the wax with the dental tool by rubbing the belly of the tool across the wax smoothing out the flat
parts.
Smooth the flat areas and file marks with the modified dental tool.
Work around the whole ring slimming down the thickness and shaping it
until you finished.
Make sure you don’t put too much pressure on the wax, or the shank could
break.
6. Thin the underside of the top of the ring to keep porosity away, use a ball bur to thin it out.
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Measure the thickness all over the model with the Degree Gauge.
Try to make the ring the same thickness all over the ring. This
helps reduce the weight, and keeps the ring from having porosity.
Make sure to keep enough wax for the stone to set into. If
mounting the stone using prongs then make the wax no thinner
then 1.5mm). If setting the stone’s girdle into the metal as a flush
mounted setting, then it should be at least 2.5mm thick.
Tip: A note about porosity. Porosity is small holes in the metal cast model. Improper spruing, thick metal
areas, not enough metal used in the casting process, or bad reused metal causes porosity. When molten metal
solidifies it shrinks. When it shrinks, it either pulls more metal from the sprues, or if it can’t, it will pull in air
causing porosity. In an ideal casting, the model should solidify first, and as it shrinks, it pulls the molten metal from
the sprues. Then as a sprue solidifies and shrinks, it pulls molten metal from the button. The button solidifies
pulling in air as it shrinks. In a perfect casting, all porosity should be in the button.
Carve the wax so it has an even thickness all over by hollowing the backside and undersides of a
model.
Always attach the sprue to the thickest part of the wax. This allows the molten metal to pull
more metal from the sprue as it solidifies.
The sprue should always be the same thickness as the metal it is attaching to.
Keep the sprue as short as possible, but no shorter than ½”. A long sprue can solidify before
filling the mold.
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Never place the sprue so the metal must travel backwards while casting. Check the placement by
holding the sprue attached to the wax model upside down; visually look at the model making
sure that nothing is pointed upward.
Smooth and taper all sprue joints to the model. Create curves in the sprue joint so that there are
no harsh corners for the molten metal to pass through. The metal must have an easy path of
least resistance into the mold.
Make the button the same weight as the model. The button performs two functions; it adds
extra weight pushing the metal into the mold and solidifies last so the sprue can pull more metal
from the button.
If Vacuum casting, hold the torch on the button for a while to keep it molten while the rest of the
metal solidifies.
For fine filigree castings, cast with the flask at a higher temperature.
7. Mark the shank for metal content and your initials, logo, or maker’s mark into the inside ring shank.
8. Polish the outside of the ring with wax polish and a lint-free T-shirt.
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Dab the Wax Brite onto the wax and allow it to soak into the wax for a
few minutes.
Using the lint-free rag, rub the wax into a polish. Rub harder where
there is a scratch, polishing it out of the wax.
9. Place ring in protective place to keep it safe. A good place to store it is in an empty plastic pill jar until ready to
cast.
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Janet has a BFA in Metals from the University of North Texas and has
studied metal working with several Master Jewelers. She has GIA
certification in diamond grading and stone setting. Additionally, she
has certification in Precious Metal Clay with Rio Grande, Crossover
Certification with Art Clay, and is a PMC Connection Senior Instructor
and Technical Advisor for the PMC Connection.
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