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

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

Scratch Block Molds – Casting Forms in High Relief

Sheen Square72In this project the student will learn the process of developing a “Relief” metal casting using a Scratch Block, a sand block bonded with resin, to create a the negative or inverse of a final relief sculpture. Metal will be poured in the scratch block to create the finished form. The metal relief sculpture will be finished, chased using metal working tools. Then a dioxide and wax will be applied to the surface. And finally a strategy must be developed to display the relief form.

  1. Carve a relief form/composition into the scratch block. Your composition is open to your imagination. Develop a composition of your own design or from observation. Stay away from trite or cliche logos. Sketch your composition in your sketchbook in advance so that the image will fit the format.
  2. The forms should be developed off the back panel so that the objects are sculptural, three dimensional. This sculptural quality should utilize undercuts to create shadows as well as subtle transitions from dark to light foreground and background. Basically the forms should protrude off the panel or frame creating contrasting values, strong and subtle highlights and shadow.
  3. The relief form/composition in the scratch block is now considered a “Mold”. Metal will be used to fill the mold to create a “Casting”.
  4. Group Engagement: The form will be cast in metal using the foundry. A pour crew will be developed from the class to execute the metal pour.
  5. Chasing the form: Finish the form in its metal state in preparation for surface treatment. You will be using metal finishing tools: electric and pneumatic grinders, files, sand paper, steel wool, and other polishing tools.
  6. Apply a patina to the form by adding a Dye-oxide to color the form. Steel wool can be used to polish highlights on the form. Wax may be used to seal the form from further oxidation.
  7. Develop a mounting strategy to present the piece on the wall or other form of presentation for critique. Try to develop a system that is un-obtrusive or does not overwhelm your composition. Keep It Simple, Less is more.

Note: 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 rubber gloves and a dust mask while using chemicals and chemically treated sand.

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. Wear proper clothing if you intend to assist in the pour. No poly or poly blend clothing. 100 % Cotton clothing, leather covered shoes, safety glasses, Leathers and safety shields are required for this process.

Materials needed for this project:

  • Sand resin scratch block
  • Tools for scratching into sand mold, Metal tools work well.
    Steel wool
  • Foundry gear
  • Metal: Aluminum will be used for this project.
  • Two part adhesive (Epoxy)
  • Materials for mounting or presentation strategy.

Cost:

If you wish to keep your sculpture, You are required to pay for the metal. Your aluminum piece will cost $4.00, if you wish to keep it.

Note: It is important to remember that to get a right reading image you should create any text and your image in a mirror image format on/in your mold. Be conscious in developing your relief sculpture, forms that you wish to fall back in the finished image area should project forward in your mold. Areas that you desire to protrude forward should fall back in your mold. It might fair you well to build a simple model (clay) of the desired forms to assist in developing these concepts and to have something to work from.

Student Gallery