Hot Metal Casting: Lost Wax Process

Perry_Beauty is in the Eye of the Beholder_2008Mission: (Project Description)

Hollow lost wax casting method: A unique wax pattern will be developed using plaster and rubber molds. The wax pattern will be taken through the “Lost Wax Process” to create a unique bronze or aluminum sculpture with a patina or alternative finishing method. Individual students have a choice to cast a wax form presented from a previous course or to create a new hollow casting for this project. A hollow lost wax casting method is the only technical criteria. If a new casting is to be produced, you are encouraged to create a composition and concept that pushes the envelope of this level course.

This project will challenge and further introduce the student to the processes of casting metal. A traditional investment material of plaster, silica sand and silica flour will be used for this project. The student should show an understanding of the methods listed below. A metal form will be cast and finished by the student.

Assignment:

For this assignment you are asked to build a 3- dimensional sculpture using at least three different wax elements. Wax welding will be used to bring these forms together in a well developed composition. You are encouraged to develop a sculpture that projects this level course. Create a form that suggest a concept that will engage your audience. Keep in mind that you should make some formal and technical decisions about visual balance, weight, interior and exterior form, proportion and other elements of design.

• Create a wax pattern. Plaster and rubber molds may be utilized.
• Include a hollow form in the composition.
• Assemble wax composition pattern from multiple wax objects.
• While building, consider casting methods and techniques, air traps, venting strategies.
• Create wax gating and runners from plaster molds.
• Create string vents.
• Gate, vent and prepare wax pattern to be cast.
• Prepare investment flask and chicken wire support.
• Invest wax pattern in Plaster/Silica Sand/Silica flour Investment mold.
• Wax will be burned out in kiln, This s a three day process. Plan for this in advance.
• Cast object in metal: This will be a team coordinated effort.
• De-invest pattern from investment mold.
• Remove gating from the casting.
• Metal Finish: Fasten or weld if necessary, chasing, grinding and filing.
• Metal Finish: “Patina”, chemical treatment of metal surface.
• Seal the form in wax or other finish.

Reliquary Component: (Optional)

Build a reliquary for your final chosen object. This reliquary can take on many forms but should house your form with absolute intent. The marriage between object and reliquary should make sense and have a good balance to focus the audience towards your work. Again craft is very important. Below is a list of types of reliquary objects and materials acceptable for the project.

• Wood: Sculpted, hollowed out, or fabricated wood structures
• A well designed/crafted crate may be fabricated as well.
• Plaster, plastic or wax castings of the body or other objects.
• Note: Plaster can be sculpted cast and  hollowed out to hold an artifact.
• Installations: Consider the idea that a reliquary is much like a shrine
• Metals fabrication/containers
• Glass
• Plastics
• Books: Sculpted, hollowed out, or fabricated structures
• Paper, books, and cardboard:

It is expected that the concept and fabrication of the reliquary and the marriage to the object, be convincing. Challenge yourself to meet the aesthetic and craft related to your object or concept and to the echelon of this course.

Craft:

Set yourself up for success. Craftsmanship should be strongly considered in developing a “good” pattern. Strive for craftsmanship even in the gating system. These considerations will make de-gating and finishing a much easier task once the form is in metal. Take care and don’t rush the process and the process will work for you rather than against you.

Hot Wax:

Wax is very hot, be careful in handling molds during casting and when welding wax. Red casting wax temperature should be between 250 and 300 degrees F.  Do not let wax smelter get too shallow. If there is no wax to fill it, turn it off. Wax should be left on continuously during our use. If you are the last one in the studio and leaving for the day, turn it down to 250 degrees F.

Alternative Materials:

Other material may be explored with instructor approval.

  • Natural Materials (Use your imagination)
  • Cotton cloth
  • Wood
  • 3d printed PLA and ABS

Larger Forms and Post Fabrication:

Scale: The sculpture scale is limited to the designated size in which the foundry can accommodate for this class. Plan ahead, measure the size of the burn-out kiln before you create a mold that will be too large for the kiln interior volume. Forms can be post fabricated. Think ahead. Think Modular. Design larger forms with smaller components that can be cast and fastened together to create the final larger form. Post fabrication techniques includes tap and die, screwing, bolting, keyed, welding, etc.

Kiln: You should keep a three inch perimeter around your mold away from the kiln interior wall to allow an even distribution of heat around the mold. Allow 6 inches of space for height. Shelving or kiln brick should be used to support your mold off the kiln floor. Kiln should be vented to allow moisture and carbon to escape.

Clean-Up Reminders:

Wax Work:

Cover the table surface when using wax: Use thick plastic, metal or cardboard to cover the tables and work areas. If these are unavailable cover your work area with newspaper.

Plaster Work:

Use newspaper to protect the table surfaces.

Investment:

A traditional investment material of plaster, sand and silica flour will be used for this project. To assist in clean up a layer of cardboard may be placed under your investment flask. Clean up accordingly, removing waste to dumpster behind sculpture.

Metal pour:

As a team you all will be in charge of coordinating and implementing metal pours. Primarily, your instructor will be available to assist in some process and technical questions and to observe. All pours should be scheduled during class times.

De-Investing:

When de-investing, remove the waste material to the dumpster. This material gets too heavy for one person to clean up. A metal garbage can, hand truck or cart may be used to transport the material to the dumpster. Just remember, If you make a mess, clean it up!

Wear appropriate clothing during foundry pours.

• Cotton clothing, pants and shirt.
• Leathers or Fire resistant suits
• Safety Glasses
• Safety shield
• Hard Hat-welding cap
• Leather covered shoes (Steel toed preferred)
• Leather chaps or leggings
• Leather spats
• No Poly blends, No Pleather: These can be extremely flammable near the pouring activities.

Tools and Materials:

• Eye Protection/Safety Glasses
• Dust Mask/Particulate Respirator
• Sketch Book
• Clay Tools
• Hot knife or soldering tool
• Hobby knife
• Fettling knife
• Trimming Tools (Various sizes)
• Loop, wire and ribbon tools
• Wooden modeling tools
• Needle Tool
• Wax smelting pot
• Wax
• Wax tools
• Materials for cast pattern
• Mixe media
• Adhesives, fastening materials
• Wood
• Wood Shop
• Metal
• Rubber or Latex gloves• Metal: Aluminum, Bronze, Iron
• Casting Foundry/Furnace
• Welding Eye Protection
• Welding Gloves
• Angel Grinder
• Grinding disc
• Cut off disc
• Flap Disc

Type of facilities and furnace will designate what casting metals will be used.

Create a label for your project with these specifics:

• Name:
• Dimensions: HWD
• Materials:
• Metal casting weight:
• Year Complete:
• Course:

Tape your label to your project. Use masking tape so that it will not harm your project.

Objectives:

  • Method: Planning, Cutting Safely, Building techniques and strategies
  • Material Characteristics:
  • Three-Dimensional Pattern and mold Making
  • Volume: HWD
  • Fabrication techniques: Wax and metal casting fabrication, Object creation
  • Mold Gating/Sprue Methods
  • Hot Metal Casting Process
  • Successful Casting
  • Metal Fabrication techniques: Post Casting fabrication, Object Installation
  • Structural and Aesthetic qualities
  • Finishing Techniques: Heat and chemical surface treatments
  • Sensibility to form: Good design, clean aesthetics
  • Integrity of the artist to their craft
  • Conceptual development

Evaluation:

  • Work Ethic: Participation in and out of class
  • Scheduling: Students stay on task, project finished by deadline, critique.
  • Well Engineered and Functional mold
  • Craftsmanship and aesthetics: Well crafted mold with well crafted “Clean”castings.
  • Post Fabrication and Insatlation
  • Conceptual development

Caution:

Chemicals and fumes: This process uses chemicals and materials that might be dangerous for some people. Read the MSDS (Material Safety Data Sheet) for questionable materials. Use a respirator and rubber or latex gloves while using chemicals. A dust mask may be used rather than a respirator. The respirator will provide much better protection. Be aware, if you notice an allergic reaction such as skin irritation as a result of use of  any materials used, please inform the instructor.

Hot Wax: This project will incorporate hot wax and wax welding tools. Be careful for yourself and when working around others. Safety and a disciplined studio etiquette should be followed during all studio activities. Hot tools will burn, be careful to not place them on any surface that will burn or melt. Be aware of people working around you. Turn off or unplug tools when leaving unattended.

Foundry: This project will incorporate the use of the foundry and “Extremely Hot Metal”. Safety and a disciplined studio etiquette should be followed during metal pours and all studio activities.

Note: Ceramic Shell and other casting methods may be used as an alternative to this project, with instructor approval.

 

You tube Video:

Wax Gating for Lost Wax Process: Hollow Patterns 

Research/Inspiration:

U-Ram Cho
Kris Kuksi
Christian Marclay
Tim Hawkinson
Andrew Werby
Louise Bourgeois  PBS
Jessica Joslin
Kathie Olivas and Brandt Peters
Elizabeth King
Ron English
Steve Dilworth
Sophie Kahn
Becky McDonah
Christopher Conte
Ashley Wood

Project Gallery

Exquisite Corpse: Artifacts

hildesheim_corpse2010_72Exquisite corpse or Cadavre exquis is traditionall a drawing technique where a bank of words or images are collected and then assembled to create a finished composition.  In this project we will explore this surrealist idea in an assemblage of components to create as “Exquisite corpse” sculptural artifact.

Mission: (Project Description)

 In this project the student is asked to create five artifacts from the inventory of objects created from previous mold making assignments. Students are allowed to to melt, cut, deconstruct and transform existing objects and reassemble them into unique sculptural forms/figures. The final form may be prepared as if to be cast in metal using teethe gating method for traditional investment lost wax method. Other materials may be added. Attentions should be given on how additional materials are fastened to the wax objects. Note wether objects will remain as  original material or be cast pin metal.

Sketchbook Assignment:

Sketches of your ideas should be rendered before and during sculpting. A minimum of five pages should be dedicated to this sketching component. Draw as you create. Draw what you create. Take notes. Printed images of inspirational sculptures or objects should be placed in your sketch book as well. Your sketch book will be graded along with your project.

Scale:

A 9 to 10 inch object should be the goal of the wax component of this assignment. Five compositions that explore this process is expected. Students are encouraged to develop more than five composition. Focus on strategies and structures that will hold together. A functional wax welding technique is critical for patterns to hold together. Slush larger forms, wax forms larger than a 2 inch thickness should be cast hollow.

Engineering:

Focus your attention on how things go together. Craft is important to allow this form to be ready for the lost wax casting method. Tactics on connecting parts to one another should be a major factor while choosing and making the object as a whole. Structure and how the form stays together compositionally will be held under strong critique.

Material/Structure:

Wax and other components. Wax welding will be explored for this project. Other materials to hold form together will also be a necessity: wire, mechanical fasteners, adhesives, and innovation…  Students are encouraged to add other materials/ components to the form. Yet 60 percent of the form should be constructed of components made from molds produced in this course.

Reliquary Component:

Build a reliquary for your final chosen object. This reliquary can take on many forms but should house your form with absolute intent. The marriage between object and reliquary should make sense and have a good balance to focus the audience towards your work. Again craft is very important. Below is a list of types of reliquary objects and materials acceptable for the project.

• Wood: Sculpted, hollowed out, or fabricated wood structures
• A well designed/crafted crate may be fabricated as well.
• Plaster, plastic or wax castings of the body or other objects.
• Note: Plaster can be sculpted cast and  hollowed out to hold an artifact.
• Installations: Consider the idea that a reliquary is much like a shrine
• Metals fabrication/containers
• Glass
• Plastics
• Books: Sculpted, hollowed out, or fabricated structures
• Paper, books, and cardboard:

It is expected that the concept and fabrication of the reliquary and the marriage to the object, be convincing. Challenge yourself to meet the aesthetic and craft related to your object or concept and to the echelon of this course.

Tools and Materials:

• Eye Protection/Safety Glasses
• Sketch Book
• Clay Tools
• Hot knife or soldering tool
• Hobby knife
• Fettling knife
• Trimming Tools (Various sizes)
• Loop, wire and ribbon tools
• Wooden modeling tools
• Needle Tool
• Dust Mask/Particulate Respirator
• Safety Glasses
• Wax smelting pot
• Wax
• Wax tools
• Materials for cast pattern
• Mixe media
• Adhesives, fastening materials
• Wood
• Wood Shop
• Metal
• Rubber or Latex gloves

Create a label for your project with these specifics:

• Name:
• Dimensions: HWD
• Materials:
• Year Complete:
• Course:

Tape your label to your project. Use masking tape so that it will not harm your project.

Objectives:

  • Method: Planning, Cutting Safely, Building techniques and strategies
  • Material Characteristics:
  • Three-Dimensional Pattern Making
  • Volume: HWD
  • Fabrication techniques: Wax casting fabrication, Object creation
  • Structural and Aesthetic qualities
  • Finishing Techniques: Heat and chemical surface treatments
  • Sensibility to form: Good design, clean aesthetics
  • Integrity of the artist to their craft

Evaluation:

  • Work ethic: Participation in and out of class
  • Scheduling: Students stay on task, project finished by deadline, critique.
  • Well Engineered and Functional mold for long term use.
  • Craftsmanship and aesthetics: Well crafted mold with well crafted “Clean”castings.

Caution:

This process uses chemicals and materials that might be dangerous for some people. Read the MSDS (Material Safety Data Sheet) for questionable materials. Please use a respirator and rubber or latex gloves while using chemicals. A dust mask may be used rather than a respirator. The respirator will provide better protection.

This project will incorporate hot wax and wax welding tools. Be careful for for yourself and when working around others. Safety and a disciplined studio etiquette should be followed during all studio activities.

Research/Inspiration:

U-Ram Cho
Kris Kuksi
Christian Marclay
Tim Hawkinson
Andrew Werby
Louise Bourgeois  PBS
Jessica Joslin
Kathie Olivas and Brandt Peters
Elizabeth King
Ron English
Steve Dilworth
Sophie Kahn
Becky McDonah
Christopher Conte
Ashley Wood

 

Project Gallery

Sculpting the Human Head/Body

Fickle_72Prologue:

The bust has been used for centuries to honor, memorialize, characterize and distinguish identities of culture. As a social political tool, as many forms of art have been and will be, the face and bust have been used to provide as an instrument of social control and propaganda. For ourselves and prosperity art through human form has been a link to the identities of personalities of the past. History, mythology, and other stories are hinted and revealed by these simple yet complex forms. We have a compulsive draw towards the replication of identity through various mediums, to empower a material to conjure a sense of preservation.

Mission: (Project Description)

In this project the student will be asked to create a replication of the human head/bust or figure, to recreate a realistic form in clay from observation. The form must appear relatively realistic. (Makes sense, right?). A additive/subtractive method will be used. References are suggested below. Students must attend class for faculty instruction, support, observation, and in process critique.

The final form will be developed further. The student may choose the next component of the assignment. The next steps way heavily on the materials used in the initial fabrication of the form. Plan ahead for the final materials and results expected from this assignment. Each option below must be discussed with the instructor. Option 1 is equal to one project. Option 2 is equal to one project. Option three is equivalent to three projects. These equivalents are relative. The development of the student proposal may expand the time needed for these base options.

Option 1: Ceramic Model/ Fired Ceramic/ Finished Ceramic Form

  • Student should research, modeling the human figure.

  • An armature will be built for the form.
  • The form is modeled in a ceramic material conducive to low shrinkage.
  • Form will be graded in clay (wet, green, or bone dry)
  • Student should research, prepare the piece for firing
  • The form will be split and hollowed to reduce damage.
  • The form will be scored and slipped back together.
  • The surfaces will be refinished in accord to aesthetic
  • Student and faculty will organize firing.
  • Final form will be graded in clay (wet, green, or bone dry)
  • The form will be be fired in accord with the ceramic clay body used.
  • A finish will be applied.

Option 2: Clay Model/ Mold/ Cast Plaster or Alternative Material/ Finished Form

  • Student should research, modeling the human figure.
  • An armature will be built for the form.
  • The form will be modeled in a clay material conducive to a plaster mold.
  • The form will be graded in clay (wet/green)
  • A multi-part plaster mold will be made from the clay original.
  • A form will be cast from the mold
  • The surfaces will be refinished in accord to aesthetic.
  • A finish will be applied.

Option 3: Clay Model/ Rubber Mold / Multiple Material Castings/ Finished Forms

  • Student should research, modeling the human figure.
  • An armature will be built for the form.
  • The form is modeled in a clay material conducive to a rubber mold.
  • Final form will be graded in clay (wet/green)
  • A multi-part rubber/ plaster mold will be made from the clay original.
  • The mold will be graded on aesthetic and functionality.
  • Forms will
    be cast from the mold.
  • A plaster will be cast from the mold.
  • The plaster will be finished within/as a composition
  • A wax form will be cast from the mold to create a metal casting.
  • The form will be gated, invested and cast in metal.
  • Foundry Process: Lost wax process.
  • Student and faculty will organize burnout.
  • The mold will be filled with  metal.
  • The form will be de-invested and de-gated.
  • The surfaces will be refinished in accord to aesthetic.
  • A finish will be applied.
  • Type of facilities and furnace will designate what casting metals will be used.

A great amount of effort should be placed on crafting the materials that they visually simulate the aesthetic and objective of this assignment. Materials, shapes and forms should transition from one to the other in a convincing manner.

Overview: Challenge yourself and the project. 

Project grades gain much from the thought and “Effort” put into them.This project is traditionally based. Sensitivity to the model and technique, observation, and measuring are key to creating a likeness that satisfies this challenge. A word of advice, a three dimensional model will greatly inform how one models this form. It will make it easier to see the true form. Two dimensional models, i.e. photos, are less likely to give the amount of detail found on a real model.

To do list and Techniques:

  • Play: Experiment Session:
    • Sketching.
    • Quick gesture modeling:
    • Learn to work the clay.
    • Clay modeling, rolling in hand and fingers, molding, attaching, trimming, cutting, scraping, Use available tools, hand made tools. A variety of tools should be experimented with.
  • Choose: Choose a model.
  • Research:
    • Observation of model
    • Techniques
    • Measuring
    • Sketches
    • Practice on individual components
    • Small models in clay.
  • Collect:
    • Print and collect imagery and text of your research.
    • Human Anatomy
    • Strategies
    • Styles.
  • Making Sense: Make it believable.
  • Prefinish: Form is critiqued in green state and at leather hard stage.

Goals:

  • Well crafted form
  • Developed technique
  • Uniform aesthetic
  • A command over the material:
  • Excellent Craftsmanship should be a major goal for all processes explored.

Tools and Materials:

  • Sketchbook  (Hard bound, 9 in. by 12 in. or larger recommended)
  • Clay
  • Clay sculpting tools
  • Clay tools
  • Scraping tools
  • Burnishing tool (Spoon)
  • Texturing, scoring tool (Fork)
  • Metal Ruler (cork backing preferred): 24 in. or 36 in.
  • Calipers
  • Seamstress tape
  • Armature material
  • Safety Goggles/Glasses/ Eye Protection
  • Drawing Pencils and Erasers
  • Measuring tape
  • Utility Knife w/extra blades and X-Acto knife w/blades
  • Adhesives and Masking tape
  • Adhesive Bandages
  • Variety of Pliers and Wire Cutters
  • Plasticine Clay (Soft)
  • Sharpies
  • Mold Max 30: One gallon kit to 5 gallon kit may be needed
  • Wood and MDF
  • 3-5 gallon plastic bucket and other mixing containers
  • Paint (optional)
  • 4 1/2 inch Angle Grinder w/grinding, cutting and flap disc
  • Leather covered work boots/shoes (Stay away form Synthetics or Poly blends)
  • Leather Welding Jacket (Stay away form Synthetics or Poly blends)
  • Leather work gloves/welding gloves
  • Welding Helmet (Shade 9+)
  • Shade 5 Welding Glasses( for oxy-acetylene)

Books and Resources:

Create a label for your project with these specifics:

• Name:
• Dimensions: HWD
• Materials:
• Metal casting weight:
• Year Complete:
• Course:

Tape your label to your project. Use masking tape so that it will not harm your project.

Objectives:

  • Sculpting the human figure
  • Presentation strategy
  • Method: Planning, work ethic, building techniques and strategies
  • Material Characteristics:
  • Three-Dimensional Pattern Making
  • Mold Making Process: Lost wax/Sand casting-Cope and Drag
  • Volume: HWD
  • Mold Gating/Sprue Methods
  • Hot Metal Casting Process
  • Successful Casting
  • Fabrication techniques: Post Casting fabrication, Object Installation
  • Structural and Aesthetic qualities
  • Finishing Techniques: Heat Treated Patina
  • Sensibility to form: Good design, clean aesthetics
  • Integrity of the artist to their craft

Caution:

Chemicals and fumes: This process uses chemicals and materials that might be dangerous for some people. Read the MSDS (Material Safety Data Sheet) for questionable materials. Please use a respirator and rubber or latex gloves while using chemicals and chemically treated materials. A dust mask may be used rather than a respirator. The respirator will provide better protection.

Foundry: This project will incorporate the use of the foundry and “Extremely Hot Metal”. Safety and a disciplined studio etiquette should be followed during metal pours and all studio activities.

 

Research and Inspiration:

Project Gallery

Mold Making: Encapsulated Rubber Molds

ES_long72

Mission: (Project Description)

In this project the student will be introduced to the process of encapsulated mold making. Rubber will be used as an interior jacket to collect surface and surface detail. A plaster exterior mother mold will be used to establish structure for the flexible mold. Rubber is an elastic material that can pick up very minute detail. Its flexible quality allows it to be pulled and stretched to cast challenging objects that can not be cast from a more rigid material. The mold material can be used numerous times with many different materials, respectively.

Objective Guidelines:

In this project the student will be asked to create one encapsulated mold of an object that are student found or instructor determined difficulty and scale. A well crafted mold and it’s ability to function (creates clean multiples) will be the main objectives.

Scale:

Objects that fit in the palm are fair game for this assignment. See the instructor approval of larger forms. Rubber materials may be purchased by the student if forms require more rubber material.

Collecting and inventory:

Bring in objects to choose from. Complex forms, miniatures, toy parts, jewelry, small machine parts, containers, etc.

Pour Spout:

MUST BE IN PLACE for usability: This has to be a functional mold for plastic and wax. A pour hole must be planned and in place before rubber processes and materials are in motion.

Craftsmanship:

The objective here is to create well crafted-functional mold. Pay attention to the aesthetics involved in this process.

Sketchbook Assignment:

Draw your objects, develop plan view drawings that will assist in creating the mold. Plan pour hole, with flanges. Plan for mold keys in rubber jacket and mother mold.

Material/Structure:

Rubber and plaster components should work well together, So that they do not damage one another while in process.

Encapsulated Rubber: Process Steps:

Two part Mother Mold/Two part Rubber Jacket:

  • Find horizon line of pattern object
  • If pattern is porous, apply sealing agent
  • Pour spout (funnel) must be planned and added in the next steps
  • Venting for casting material must be planned and added in the next steps
  • Note undercuts, voids and trouble spots in pattern, “clay_up” to accommodate
  • Build “clay-up” to object horizon line on work board
  • Manage undercuts, voids and trouble spots in pattern, “clay_up” to accommodate
  • Leave margin for rubber flange/keys, plaster mother mold and keys
  • Keys may be placed/cut in clay up at this point (for Rubber and Plaster)
  • Cover object with plastic and clay blanket (1/4 inch thickness)
  • Build “Flange” at top of Pour spout (funnel)
  • Build “Jacket” keys on clay blanket if needed
  • Release agent may be applied to clay (Petroleum jelly, Oil soap)
  • Clamp coddle boards around clay up and pattern
  • Seal potential leeks, seams
  • Mix plaster to ready
  • A flick coat of plaster should be applied if detail is compromised
  • Pour plaster over pattern blanket area
  • Level to one inch over highest part of pattern
  • Tap sides of coddle boards to evacuate air in plaster
  • Allow to harden
  • Remove coddle boards
  • Remove plaster mother mold half
  • Determine deepest area of mother mold
  • Establish a pour hole (Funnel for rubber)
  • In other deep areas of mother mold, venting will need to be established (Straw vents)
  • Apply release agent to plaster (Petroleum jelly, Oil soap)
  • Add venting and funnel
  • Remove clay blanket and plastic
  • Note clay weight for future reference (Rubber material may be determined by this)
  • Note clay volume for future reference (Rubber material may be determined by this)
  • Keys for rubber should be placed/cut in “clay up” at this point
  • A trench around the pattern works well (loop tool)
  • Clean any debris from pattern and clay areas
  • Apply release agent to pattern
  • Replace plaster mother mold half with venting and funnel
  • Replace coddle boards
  • Secure mold (Straps)
  • Seal potential leeks, seams
  • Determine amount of rubber material needed
  • Prepare rubber by product direction
  • Pour into funnel until vents and funnel are level
  • Allow to settle, add more if needed,
  • Allow to cure
  • Flip first half of mold with pattern and clay up
  • Remove clay up
  • Do not separate pattern and rubber from mother mold
  • The first mother mold half will preside as the basis for the second half
  • Keys should be placed/cut into plaster at this point if not previously placed/cut
  • Follow steps from above for second half

Reminders:

  • Apply release agent to pattern
  • Seal potential leeks, seams
  • Review, Review, Review: Review that processes have been completed
  • Gently separate mold halves at seam line
  • Remove pattern and prep for use

Tools and Materials:

• Eye Protection/Safety Glasses
• Sketch Book
• Clay Tools
• Fettling knife
• Trimming Tools (Various sizes)
• Loop, wire and ribbon tools
• Wooden modeling tools
• Needle Tool
• Calipers
• Canvas (approximately 2ft x 2ft)
• Plasticine (Oil Based clay)
• Clay -Water Based clay (Optional)
• Wax tools
• Dust Mask/Particulate Respirator
• Pattern
• Mold materials: Plaster and Two part Rubber compound (Pourable)
• Release agent: Petroleum jelly
• Release agent: Silicone spray
• Release agent: Oil soap (Optional)
• Drinking straws for vents
• Clamps (4)
• Materials for coddle boards)
• Wood Shop
• Measuring Tape
• Meal Ruler
• Rubber or Latex gloves (optional)
• Ratchet Straps, rubber straps

Create a label for your project with these specifics:

• Name:
• Dimensions: HWD
• Materials:
• Year Complete:
• Course:

Tape your label to your project. Use masking tape so that it will not harm your project.

Objectives:

  • Method: Planning,  techniques and strategies
  • Material Characteristics: Plaster and tin-cured silicone rubber compounds
  • Mold Making Process: Encapsulated Rubber Molds
  • Volume: HWD
  • Mold Gating/Sprue Methods
  • Wax Casting Process
  • Successful Casting
  • Fabrication techniques: Mold fabrication, Object duplication
  • Functional and Aesthetic qualities
  • Sensibility to form and craft: Good design and Clean aesthetics
  • Integrity of the artist to their craft

Evaluation:

  • Work ethic: Participation in and out of class
  • Scheduling: Students stay on task, project finished by deadline, critique.
  • Well Engineered and Functional mold for long term use.
  • Craftsmanship and aesthetics: Well crafted mold with well crafted “Clean”castings.

Caution:

Some materials used in this project are toxic. Please observe the Material Safety Data Sheet (MSDS) of materials that you will be exposed to. Be aware, if you notice an allergic reaction such as skin or eye irritation as a result of use of these materials, please inform the instructor and seek health services. Eye protection and rubber gloves are mandatory during the use of these materials. Some materials have MSDS information online. Work in a well ventilated area.

Uses:

  • Wax patterns: Wax castings in preparation for lost wax casting.
  • Plastic casting: Prototypes or finished castings.
  • Resin casting: Prototypes or finished castings.
  • Ceramic: May have some ceramic applications.

Supplemental Videos: YouTube Demos: marquezart.com

For a quick preview or review of this process please visit the YouTube channel  marquezart.com:

This series of supplemental videos are time lapsed to give an overview of the four part encapsulated rubber mold making process. They serve to assist in learning the process as a component of demonstrations in a tutorial setting. Some simple mold making experience is suggested before taking on this challenge. There is much to learn from experience.

Actual mold making time for a four part encapsulated rubber mold will vary with the pattern and mold maker experience. This particular mold took approximately four days once you consider waiting times for materials to cure.

Project Gallery