In an earlier blog I wrote about using waterstone grinding sticks to shape my pieces of work.
In that article I wrote about using them wet, and creating a slurry. This helps to grind down both the stone and the stick and creates smooth compound- and transition-curves in the least possible time.
But on a recent workpiece, a remembrance poppy, I needed to highlight only the raised detail of the faces and wanted to leave the concave areas unpolished, though not rough.
So, once the petals were formed by using first a large grinding wheel, then a small one, I used small sticks (~3 mm square) to gently grind down the whole piece at 600, 1000 and then used a large stick of 8000 on the raised areas. This left the depressions with a silvery-white satiny patina in the concave areas, and the ridges with a semi-polished finish. Perfect!
So always be on the lookout for how to produce a different finish, or using your tools in a different way – it can pay dividends!
There are additional pictures of the poppy in the Recent Work section.
This month I’m urging you to try cutting and grinding your pieces thinly. Why? Because then you see the beauty of the form and, if using translucent material, you also see the inner beauty of the stone as well.
I only tried this because I was asked to carve a remembrance poppy. It’s what I love about commissions – they take me in directions I probably wouldn’t otherwise try!
I thought about the form of the poppy for a while, looked at many pictures of the flowers (I try to base my work on a particular example where applicable), saw that the Remembrance Day poppies made out of paper and plastic are an over-simplification of the flower and knew I could improve on them by making each of the petals from a different piece of highly translucent nephrite, Cowell in this case, and fitting them together in a wooden centre, or stock.
You’ll see in the picture below I chose to carve a young flower, where the delicate petals are somewhat corrugated and still opening and smoothing out. It seemed fitting in the context.
After slabbing the stone and trimming it to size and shape I used my 75 mm diameter coarse wheel to begin to thin the stone.
Following this I used a smaller and finer 20 mm wheel in my Dremel to grind out the ridges on both sides. It meant lots of looking through the stone to check I was grinding in the right places but worked a treat. If carved carefully you hardly see the ridges in transmitted light.
The more-or-less finished petal is shown in side-profile in the picture below. The petal is about 1 mm thick and combines the beauty of the stone in both reflected and transmitted light.
And before I finish, I should add that Chinese carvers have been producing pieces to show off the inner beauty of the stone in just this fashion for thousands of years. So it’s not new, except to me! My next plan is to combine this new-found carving "freedom" in a Maori carving context. Hmm, now to think of a suitable design?!
This month's blog is a bit of a cop-out as it is so easy. But I don't apologise for that - I want to show off some of the beautiful facets of nephrite. It's not always the highly translucent stone which grabs my attention. Nor is it the stone that takes the best polish. The beauty comes at different scales and times. First, just looking at the rough rock can show lots of interesting features and colours. Then when the rock is cut or slabbed it shows different aspects of beauty. And as I carve it, using finer and finer grades of grit, the features I may appreciate most are the imperfections - the odd crystals or veins, the little splashes of different colours, the texture and more. I could go on and on. But won't for a change!
Below are a series of pictures, some taken with a 15x macro lens and others with a 30x phonescope attachment on my phone to give greater magnification. They show up many of the finer features I mention above.
I hope you've enjoyed the close look at a few pieces of nephrite and agree with me that the beauty is more than skin-deep! Each piece of stone rewards taking a handlens to it.
To produce rings, the easiest and most accurate method is to begin with a core bit which is just a mm or two smaller than the required inside diameter of the ring. You core out the centre/hole and then remove the ring from the piece of stone, either with another core bit a couple of mm over the finished size you want, or with your trim blade.
After that you grind out the inside to close to the final diameter, using your Vernier Caliper to make sure you don’t go too far, and then grind down the outside so the ring is neither too thick nor too thin. The only way to define what is the right thickness is experience, aka trial and error – too thick and they are uncomfortable to wear and too thin and they will break easily.
When grinding out the inside of a ring, near enough isn’t good enough. The required internal diameter was 20.68 mm and a steel rule just doesn’t cut the mustard. I used my Vernier Caliper, which is accurate to 0.2 mm to measure the hole in many directions.
But how to grind out the centre hole to such an exact size? Having thought of using mini-expanding drums with spiral diamond bands, and discarded the idea because they were too coarse, and diamond files because they would be too inaccurate (the hole needs to be as close to circular as possible), I finally decided on using a ½” sanding mandrel which had a slit in it for the end of the paper. This was mounted in my point carver chuck.
I decided on 600 grit Wet & Dry (W&D) paper which would give me a slow grind as I rotated the rings across the paper. And of course there was a slow drip of water on the work to stop it getting hot.
I had to do some additional filing to remove the harder spots in the rock, then went up through the finer grades of W&D until it was polished. They came up well.
The sanding mandrels can easily be overlooked when carving but they certainly pull their weight at times like this!
As a carver making pieces through the subtractive art process you need patience. The stone will only let you work it at its own pace. Push it and you’ll break something, go too far or cause excessive wear to your tools and equipment. There are few short-cuts!
But whilst computers allow better and better layout for documents and drawings to finer tolerances, it is difficult for us to come up with perfection every time. This doesn’t make us old-fashioned! You’ll improve with practice but strive for perfection in your work every time. Below are some suggestions towards improving the neatness of your work:
And then there is balance, which can be looked at in two ways: a piece has to look good as well as hang correctly. So spend time making a beautiful-looking design, and then make it sing! Follow the old adage, “slow but sure”, stay alert and you will be unlikely to have too many rejects.
I had a recent commission from a friend to make four nephrite pieces: two fairly small bi’s and two small pendants. It was certainly within my abilities, but it’s been a while since I carved pieces of this size and frankly, getting everything just right proved to be less easy than I remembered.
The friend asked for the bi’s to be 3 mm thick, and with a particular sized hole in the centre. Having found a suitable piece of stone for them all, I slabbed it and trimmed out the four pieces. The holes were a breeze! But grinding down the slabs to the correct thickness proved a bit of a slog. I was reminded (!) that I needed to be very careful not to grind down my fingernails.
I went through many sheets of Wet & Dry paper at 100, 240 and especially 600 grit. As I did so I played with the parameters – pressure as light as possible, the right amount of water to keep everything cool, turning the pieces regularly and using the whole width of the paper on the laps to make them last as long as possible and keep the price down. It took much longer than I expected! Very often during the process of thinning down the slabs the pieces became slightly wedge-shaped, which needed to be corrected by exerting pressure on one part to get the faces parallel again.
Then I had the task of grinding down the edges at right-angles to the front and back faces. So often, as I turned the pieces I’d introduce a slight angle through uneven pressure and off it would go again in one plane or the other, causing me to have to correct and re-grind them at the correct angle.
The important thing was to get the angles right just before I hit the required sizes. No pressure!
But eventually, and with some relief, I got them to just a bit over the required thicknesses, and the pre-polishing and polishing went like a dream.
I enjoyed the opportunity to make some “simple” pieces again, but hopefully with greater ease, in less time and with a finesse that was previously lacking.
The morals to this insignificant story are:
The picture this month is of yet more items I needed to replace from our move back to Australia (the originals came from Canada and were made of pine bark and wood and could not be brought in). These are loose representations of the originals and duly took their place as extras in my wife’s Nativity scene a few days ago.
I enjoyed creating the trees in a Group of Seven style (seven Canadian artists who broke away from the practice of painting Canadian trees and landscapes to look like those in England in the early 20th Century, utilising a really bold colour palette and often strong brush strokes).
Having missed Christmas with this post, at least I am not too late to wish you a happy, healthy and peaceful New Year, and hope you will make much progress with your carving in 2020.
In my July 2019 blog on Paua inserts I mentioned using epoxy glue to stick the pieces of shell to dopsticks. I also wrote that I’d not found any suitable sealing wax for my purposes and would like to try it.
Then I came across a company in Melbourne (Kustom Haus) which offered “Traditional” (ie brittle) wax which suited my needs. They also sell modern, rubbery stuff, which is no use to me.
The company supplies small sticks of wax which have wicks to aid the melting, a bit of a luxury really, but I wanted to try out the technology before recommending it. Since then, whilst nosing around on the internet I see it is possible to find blocks of dopping wax, and I will look into that at some stage.
One extra piece of equipment I bought from Kustom Haus was a small melting spoon. I collected all the drips and pieces of used wax off the dopsticks and melted it down in the spoon. To achieve this I used a small gas lighter underneath the stainless steel spoon and the wax melted in a minute or two. Then I dipped the end of the stick in the liquid wax, got it to the right shape and size of blob (sorry, I have to use technical jargon occasionally) and stuck it to the piece of stone or shell.
The theory is pretty simple – to avoid grinding away your nails and burning your fingers on a small piece of work, you stick the stone or shell to a piece of dowelling, match or tooth-pick using the sealing wax.
You can then roll the stick between your fingers for a regular curved finish, or shape the work however you like. Depending on the stone or shell, you might not need to use 240 grit Wet & Dry on your lap, but only begin at 600, and go to 1000.
Some people add a lot of wax to their dopsticks to better hold the work. That’s up to you.
The main benefit to using sealing wax over epoxy is that when the workpiece falls off the dop you don’t have to wait for the glue to harden before getting back to work. You can just heat up the wax on the dopstick slightly, make sure the work is dry and warm (some people warm their workpieces slightly to make a better bond), and stick them together again. And off you go!
A few reminders to save you some time:
And that is about it. It’s that simple!
This month I’ll give you a few tips on marking out circles on rock.
Firstly, you’ll need a compass with an attachment to hold pens. They are inexpensive and available from most stationers.
Take the dry, grease-free, smooth-faced slab of stone you want to mark the circle on. Stick a piece of masking or electrical tape on the rock in the approximate centre so you can place the compass point on it and it won’t slip. Then jiggle the tip around until you get the best fit for the circle.
Mark the circle with a permanent spirit marker. Test the marker first and see if it washes off easily – some “permanent” markers work on clothing and paper but will wash off as you work the stone. So make sure you use one that is fit for purpose.
If you are removing the centre of the circle, this can easily be achieved with a core bit or grinding it out with burrs.
Now, having done this, the hole is quite likely to not be perfectly central in the circle any more, so sand down the face and having temporarily plugged the hole with a small piece of dowelling, remark it.
And off you go! You can remove the excess stone with your trim saw, by grinding it off using a coarse lap, or coarse belt for your expandable drum sander. Easy!
I’ve been planning to carve more Aussie icons for a long time but following my acquisition of some lovely Cowell from the mine on the Eyre Peninsula in February, and my desire to increase the local market for nephrite to help both Aussie carvers including myself, and the mine’s owners, I had a strong reason to finally do something about it. Enter my kangaroos.
I began by drawing a 'roo on paper and cutting it out as a stencil. I marked the chosen piece of stone with the outline with a spirit marker.
I then cut out the small block of Cowell, marked the outline on both front and back faces and trimmed it to the outline as close as I dared with power tools. At some point I became fed-up with having to re-ink the outline and decided to use paint instead. This conveniently helped to preserve the stencil as well as being much easier to see when the stone was wet – I used white paint.
Then it was down to diamond files to make sure the edges were square between the front and back faces and not rounded. It’s good to use a file card to clean out the rock flour from between the diamonds because it grinds more quickly. Once I had the shape I wanted, I used the trim-saw blade to slit the block into two thin ‘roos and a thicker one (the block wasn’t quite thick enough for four thin ones unfortunately).
I sanded down the flat faces on my laps with 120 grit and going through 240 to 600. I cleaned up the edges with diamond files at 100 and 240, and then used grinding sticks for 600 and 1000. On tight corners I used the Emery paper as discussed in last month’s blog and Wet & Dry as well. I cleaned up the faces with 1000 grit paper on a lap and then continued with 6000 grinding sticks and 50,000 grit diamond polishing paste on my leather polishing wheel.
They took longer than I expected I admit, but hey, we live and learn don’t we?
How to mount them, I pondered? The thick piece deserved a good cord and I drilled two intersecting holes in the top of the stone to give a wide and stable mounting so it doesn’t swing around too much. The thinner kangaroos I decided would be brooches, and needed a strong pin mounted in the back as they are quite heavy. I thought about using sterling silver wire, but found it was either too thin and flexible, or too thick and would damage the clothing the brooch was attached to. So I thought, go simple, and used a 33 mm long safety pin, mounted in an epoxy glue-filled slot cut in the back face of the piece.
So there is one idea for you. There are many other Aussie icons suitable for turning into pendants, brooches, earrings and so on. And don’t our Aussie customers deserve to wear something Australian? Start your engines, carvers!!
On this page I intend to add monthly updates on aspects of jade carving. I also plan to invite more experienced carvers to offer a "master-class" on a particular subject of their choice. With this I hope to enthuse both the novice and the expert in this ancient and beautiful art-form/craft. And comments are welcome!