24 sequence photos from start to finish
flag wall-art • 18.75"x 5"x 2" • 3.5 lbs • Brazilian soapstone • original artwork by Gary DuBois
To inquire about this item, contact: stonetablestudio@gmail.com (859) 314-8407
1 The original slab was a scrap piece of Brazilian soapstone countertop. Here I've cut a rough silhouette to match my flat template.
2 I rough out the basic shape, to give me a sense of where things go in three dimensions.
3 Once I have the flag's shape worked out, I prepare the backing plate, which is needed for the keyhole slot hanging mechanism. It also functions as a spacer to hold the flag a little bit away from the wall.
This backing plate is made from a scrap of sturdy ceramic floor tile.
4 Using a rotary tool, I prepare the various slots and holes, to ensure everything stays put.
5 You can see the alignment of the various holes and slots. Some are holes for "cleats" which help secure the backing plate to the sculpture. Some are slots, allowing the sculpture to slip onto the wall-anchor bolts, and slide down for a secure fit on the wall.
6 Now the flag's shape is mostly finalized.
7 It is a bit of a challenge to plot the precise placement of each star and stripe over a curved surface. I found it helpful to wrap a 3-D pattern all the way around the curves. With such precise geometrical patterns in the American flag, everything has to be correct, or it looks off.
8 To allow me to trace the lines like a stencil, I cut out portions of the pattern.
9 Since the pen markings will disappear when the finish is applied, I lightly score the lines into the stone.
10 Once the markings are all done, I glue the mounting plate onto the back of the sculpture.
11 Here I'm heating up the soapstone, in preparation for applying a hot beeswax finish.
12 As the beeswax is rubbed onto the hot stone, it melts and seeps into the stone's pours.
13 After letting the wax cool, it is buffed to a fine satin sheen. (A high gloss finish can be achieved by leaving the wax to cool undisturbed. But in this case I wanted a satin finish, so I wiped off most of the wax while it was still warm.)
A stone's finish allows you to see the true colors and details of the stone. Like clearing a window into the stone. Isn't it beautiful?
14 Using a fine T-shaped burr, I carefully mark the boundaries of the stripes …being careful not to mix up which sections are white, and which parts are to be left dark.
The beeswax finish is easily marred, so I must carefully remove dust and debris, to keep the surface clean and pristine while carving.
15 Once my boundaries are defined, I carefully "color between the lines", roughening the stone with a small ball-tip rotary burr.
Regardless of the color of the stone, roughened stone appears basically white. Polished (or wet) stone shows its true color. Dark stone can create a striking contrast between polished and roughened surfaces.
16 For engraving the details of the stars I use a very small T-shaped burr.
17 For some of the detail work I use hand tools, for more control.
18 I'm happy with the placement and curve of the stripes, even under the curl. It can be tricky knowing how to shape and angle the path of the stripes on the underside of the curl, since the stouter shape of the actual stone can end up betraying the intended illusion of "thin, flowing fabric"
19 Done!
20 Once I've modified my display easel for this new piece, I am able to mount it vertically, as designed.
To mount on a wall:
Insert two screws or bolts into the wall, spaced 7" apart (center to center), one above the other. Allow screws to protrude est. 1/4".
Capture the mounting screws in the keyhole slots, and slide the sculpture down (est. 1") until the mounting screws rest at the top of the containment slots. Adjust screw depth as needed, for best fit.
The weight of the sculpture (3.5 lbs) is born by the sculpture itself; the backing plate merely contains it.
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