tooling up for a symposium

["Erik Stainsby" <stainsby@xxxxxxxxx>]

Greetings All,

Must say I'm very happy to have come across this list. I'm
working in Vancouver, BC, and the community here is
smallish, and hard to "get into" (albeit, once the bridge is
built, people are very generous with their knowledge).

I have been selected for a marble-carving symposium this
summer in the neighbouring municipality of Richmond. There
will be five pieces in process, each from blocks of white
marble (I'm sorry I don't know the source of th estone at
this point). The blocks are reputed to be two-foot square by
six-foot high.  Fortunately I need only produce a finished
work at the end of the seven weeks; others will lead  the
discussions and formal classes.  The setting will be a park
in the city core, under trees, between the museum and the
Library.  There is ample power and water available.

Now for the (potentially) embarrassing admissions.  I'm
quite new to stone, only ben dabbling about five years. The
largest piece I've done to date is a 200 pound piece of
alabaster.  I have some 200-lbs-ish pieces of carerra and I
have worked up a 50-lbs piece of carerra with hand tools
only (it took eight months).

Clearly the symposium organizers think I Ihave the design
and execution skills necessary, but I have another issue as
well: I must work at my "straight job" throughout the seven
weeks of the symposium (computers).

I have a great deal of experience with tools, and
"production" oriented work flows.  I was qualified as a
journeyman in sheet metal trade before I switched to working
in computers. I also have an extensive background in
draughting and architectural design.  I guess what this
paragraph is meant to convey is that I am not a young fool,
per sé, but an older fool with some modicum of tool-use
savvy.

I have just purchased a Cuturi U setup and a compressor, et
al., and plan to work up the carerra pieces as familiarizing
myself with the tool. I also have a diamond wheel for relief
cuts, and a hammer-drill and wedges for splitting.

That was an an awful lot of exposition. Thank you to those
who waded through it all.

Now to my questions:

1)  dust control with the diamond wheel:  I have an electric
5" angle grinder -- I am thinking that rigging a small tube
with a water-feed would help to control the amount of
air-borne dust. However, being an electric tool, there is
then the risk of electrical grounding and shock.

Is the benefit of suppressing the dust, and cooling the
blade (ergo, longer tool life) worth the management of the
elctrical hazard?

Would it be worth my time to get an air-powered grinder for
"wetwork"?

What sort of life expectancy should I anticipate for a
brass-bound diamond wheel in clean marble?

2) shaping carbide tipped tools:  the local Cuturi vendor
tried to sell me a "green wheel" for reworking the carbide
tips on my bench grinder.

What is the composition of such a wheel? Does it provide any
advantage over the aluminum oxide types?

As to the geometry of the tips, what do you consider optimal
angles for point, chisel, gradina when using with air-tools?

3) removing large pieces from the top of a 6-foot standing
figure:

My composition is likely to be a standing figure, and it
will not be possible to lay it down while working.  How do
you recommend getting useable blocks off from above the
shoulders/beside the head? Boring through from back to front
where neck meets shoulder, then using wedges vertically
beside the head and horizontally above the shoulder seems a
bit dicey, but is what I have seen illustrated in texts.
Opinions?

I estimate these potential blocks could be as much as three
hundred pounds apiece:  any ideas about managing them at the
moment of them coming free?  I'd hate to lose a toe ...

4) what are the tools you prefer for surface finishing? On
smaller pieces I have used rifflers and emery cloth, usually
wet.  In metal work I often used flap wheels and followed up
with a cotton buff and jewelers' rouge.  Eventualy I expect
to work some granite as well, and understand that "diamond
paste" is normal there; would it be used on marble as well?

That is the extent of my fantastical foray into the
community on this list.  Again my thanks to any who have
read so far.  It is worthy of you to be so generous with
your time.

As is customary, let me also invite any opinions on issues
which I may have completely over looked.  I'm sure there are
many, and I would love to hear about them.

And if anyone knows of a good method of enlisting volunteer
labour for the early stages of this sort of project, I could
use the tips.  I have to accomplish this feat in seven
weeks,  while working a full time job for the first four.  I
will definitely need some assistance!

Kindest regards,

    Erik Stainsby
    stainsby@xxxxxxxxx