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On smaller pieces, I just use hand tools, but on bigger ones, I rough out with power tools, and then finish by hand. When doing an abstract, I generally follow the existing shape of the rock to start, which, in turn, leads to other designs and directions. The coloration will also affect what designs are incorporated. I find this stage the most fun, because shapes just seem to jump out on their own, that seemingly, need to be released, and the results are often an interesting surprise. |
| For this stage, I use a 5” hand-held grinder with a diamond-tipped wheel, or a conestone. As you can imagine, a good respirator is mandatory! The dust is everywhere, so I work mainly outside. Fortunately, I live in the country, so the noise and dust doesn’t present a big problem. If it’s necessary to remove large amounts of stone, I will also use a hammer and chisel. As I begin putting in more detail, I will switch to a pencil grinder, with a variety of tungsten-carbide tips. Next, I work the piece over with hand tools to smooth out all the rough areas. These include files, and rasps. | |
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The next stage, sanding, is the least enjoyable as it can be monotonous and tedious. Patience will usually bring a pleasing result, however. I start with a power sander, if I can, then working down by hand, with progressively finer grits, until I can use steel wool and scouring pads. When all lines have been removed, it’s time for the final finish. This is where all the pain and perseverance pays off, because the colours will come alive, and a glass-smooth finish is very pleasing to touch. So, the last step is to place the carving in an oven for about 15 min., (removes any moisture), and then apply a coat of paste floor wax (or beeswax). This is an exciting time, as one often never knows exactly what colours are going to come out till now. I follow with two more coats of wax, and then let cool. Once cool, I buff with a rag to a high sheen. This finishing technique applies to all the stone that I do, except Alabaster, which doesn’t require heating, and only needs mineral oil, rather than wax. It is also the only stone that shouldn’t be left outside in the weather, as it is composed of gypsum, and will flake off. |
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The procedure in doing a figurative piece varies only in that to begin with, I will usually draw a rough outline of what I’m going to carve onto the rock face. This is mainly just to get all the proportions right. I then generally work from a photo or series of photos. Sometimes it works and sometimes it doesn’t. It’s best to start with good quality stone (like that from Brazil), because if it isn’t, the piece could break halfway through the process, and then all you can do, is start over. It’s not like you can glue things back together, so, in this sense, abstract has it over figurative. Marble and serpentine are much harder than the likes of soapstone, alabaster, and pyrophyllite, so therefore require more time and energy to finish, but the end result can be quite stunning. I love the way marble will hold a nice crisp line. They don’t scratch up as easily as the others do either. I try to get as much marble and serpentine in the wild locally, as I can, and the rest I buy from a distributor who brings it in primarily from Brazil. I price my work according to the cost of material, and the amount of time I’ve put into it. |
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