The surface of this second clay model is slightly scraped away. When this second model is returned to the mold, there is a gap between the model and the mold. This gap is where the wax will be poured. The final bronze will be of the same thickness as the gap that is created by the scraping. After closing the mold around the clay model, hot wax is poured into the gap between the model and the mold. A network of wax pipes, called sprues and gates , is attached to the wax-covered model. These pipes first will allow the wax to escape as it melts.
The original sculpture must remain stationary during the mold making process. To accomplish this, half of the sculpture is nestled into a base of soft plasticine clay; the other exposed half is painted evenly with a clear, viscous rubber. Polyurethane rubber is best for single or small editions while larger editions require silicone rubber.
When the half painted with rubber dries, a protective and rock hard "mother mold" made of reinforced plaster is built around the pliable rubber. The sculpture is then turned over, and the process repeated. When the second side is complete, the mold is opened and the original removed from within.
The rubber is rejoined with the other half, rendering an exact "negative" image of the sculpture in rubber. The mold is often done in several sections to facilitate proper and even flow during the actual bronze pour.
The original sculpture is now used exclusively as a reference point. From the "negative" rubber mold, a wax "positive" must be created. Slushing is repeated three times using cooler wax each time to avoid melting the previous coat.
When the mold is opened and the rubber peeled away, an almost perfect wax reproduction is removed. Artists are very involved at this juncture, checking the integrity of the wax and, after approving it, signing the piece.
After the wax is chased and approved by the artist, the piece is then advanced to "Spruing" or "Gating. These channels are also made of wax. Later in the casting process, the space occupied by sprues or gates become runways through which the metal flows and trapped gas escapes. An armature or understructure for the sculpture is created from steel, wood and wire. The clay is applied to the armature and modeled into the desired sculpture.
The perfected sculpture is ready to be molded and can be cut, simplifying the form. On a figure, the head and arms may be removed and molded separately.
Next, a plaster or resin shell known as the mother mold is built around the rubber to hold its's original position. The shell is removed and the rubber is cut, gently peeled off, and returned to the mother mold. The rubber is a perfect negative of the original.
Ph: kristen visbalsculpture. The artist gently cuts a rubber mold off the clay model. The rubber is removed and seated in the plaster shell. Hot wax is painted and the excess wax is trimmed before fitting the mold halves together in preparation for the final "slush" of wax. The parts of a chased wax pattern are fit together before the final "wax check".
The artist pours molten bronze into a silica mold sunk into a sandbed. Log In. Follow Us On:. The History of Lost Wax Sculptures in India In the olden days, castings in India were often made in pure copper, but bronze an alloy consisting of copper and other metals quickly became the preferred material for statuary, as it is stronger and more tensile.
First, a well-detailed solid wax model of the figure is created. The sculpture is then filed and buffed to remove scratches and give it a shine.
Share Post: email. Discover Artistic Luxury like never before on Artisera! Subscribe to Our Newsletter.
0コメント