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

Welding Line-Form-Repetition

Ward_72Mission: (Project Description)

Create a sculptural form/structure that develops from the linear quality of welded  and fabricated metal. The final form should have a sense of variety and repetition of elements. Add a skin to some or all components of the structure. Develop an aesthetic in the connection of skin to form.

It is expected that a concept be developed that will draw the viewer into a transformed space. A linear form should be the initial aesthetic, creating a structure that defines a new space. Lines, shapes and forms may be curved or straight, yet artist intent must be obvious and well crafted.

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. Documentation is a critical learning habit. Not only does it record growth and provide reflection, it will foster new ideas. 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.

  • Draw as you create.
  • Draw what you create.
  • Photograph as you create.
  • Take notes.

Fabrication:

Form: Beyond line, develop a composition that creates or entraps volume as shapes create form. Do not build a flat 2-dimensional drawing.

  • Welding will be the primary fastening technique.
  • Other fastening techniques are encouraged.
  • Welds should be clean. Relative: no Slag, no whiskers.
  • Use the grinder to clean your welds.
  • Re-weld if needed.

Skin:

Other materials are not only encouraged but expected. Greatly consider how materials are secured to the structure. Develop aesthetics in the way skins are connected and use them wisely and consistently. Look for texture in the materials search for. Add texture with other materials such as tar, acrylics, and resins.

Display:

  • Build a form that can stand on a surface, project off the wall or hang from the ceiling.
  • Choose and design wisely. Aesthetics and good design should be greatly considered.
  • When engineering, developing, and building fastening devices and supports for sculpture, stay away from obtrusive devices that may take away from the concept or aesthetics of the work.

Installation:

  • Make sure the design works.
  • If free standing, make a structure that is self supporting.
  • If the form will be a wall hung piece, a well engineered mounting strategy should be developed to secure the work to a wall.
  • If the form will be a ceiling hung piece, a well engineered mounting strategy should be developed to secure the work to the ceiling.
  • Allow space for fasteners such as screws to be tightened during installation.
  • Test your designs before final installation and critique.

Material/Structure:

Sculpture will be made of bent and welded 1/4 inch metal rod and other metals and “skin” materials introduced by the student.

Scale: (HWD)

A minimum of 30 ft of metal rod will be used for this project. Additional material may be purchased to build the form. Final Dimension of Sculpture: The minimum range to shoot for is 2 ft x 3 ft x 1 ft.

Craft and Aesthetics:

A high degree of craft is expected in the fabrication. If wall or ceiling mounted, remember to allow space for fasteners such as screws to be tightened with ease for installation. This is often missed and installation becomes difficult. The skins should be consistent and foster a cohesive visual conversation to the viewer.

Finish:

A metal finish should be considered for exposed areas. Ends of rod should be well finished/polished with a grinder. A polish, patina or paint may be used. Absolutely, no spray paint in the shop. If spray painting, work outside or in a spray booth. Place a protective material such as newspaper on all surfaces under and around the work area, even the concrete floor. Prep; clean, sand and use a primer before metal is painted. Most metals have an oil on them that will resist paint and surface treatment. It is a good idea to clean the materials before you begin the project. Sanding before cutting and welding will be beneficial.

Tools and Materials:

Safety Glasses
Measuring tape
Welding Eye Protection
Welding Gloves
Welding Leathers (option: thick flannel shirt)
Angel Grinder
Grinding disc, Cut off disc, Flap Disc
1/4 inch rod/ Mild Steel Hot rolled (HR)
1/8 inch rod/ Mild Steel Hot rolled (HR)
Wire: Rebar Wire (good for modeling form or fastening)
Sand paper/ steel wool
Solvents, To clean oil off the metal
Finishing materials, Primer, Sealers/Paint.
Other materials for skin and attaching materials (Wire, string)

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.

Caution:

Protective Gear required: Wear appropriate eye protection, clothing and shoes while welding. UVs from the welders can burn skin and damage eyes, much like the sun, not to mention the metal will be hot after a weld. Use leather welding gloves while working around the metal shop. Assume that metals are “Hot” before picking them up. Be careful when picking them up.

Fumes: Be aware that some metals can be hazardous and some are not compatible with others, In other words lets stick with what we know, steel. When welding, stay away from anything covered in a zinc allow, such as galvanized metals. Galvanized metals can be potentially dangerous, as the zinc will form a thick vapor that is hazardous to our health.

Research:

Lee Bontecou
Eric Stephenson
Alexander Calder
Robert Klippel
Lynn Chadwick
Sol Lewitt
James Turell
Rebecca Horn
Antony Gormely
Rachel Whiteread
Richard Serra
Joseph Beuys
Bruce Nauman
Tony Cragg
Piet Mondrian

Project Gallery

Texture Switch

Bader2

Mission: (Project Description)

Within this project, we will bring into question the “skin” of an object, and how alterations to it, alters our own perceptions of the object.  Many artists, such as, Meret Oppenheim, Lucas Samaras, and Joseph Beuys, have pursued this concept creating works that question or negate an objects original function.  The simple manipulation of a surface can allow strong conceptual narratives to develop, speaking to a greater importance beyond the original object.

Transform: v.  1 make a thorough or dramatic change in the form, appearance, character, etc.

Mission:

  • Bring to class three (3 dimensional) objects.
  • Object should not be smaller than 12 inches or larger than 24 inches.
  • A class discussion of objects will occur.
  • Consider the objects conceptual importance relative to its potential transformation.
  • Select one object from the initial three. Select the object with a strong visual presence.
  • Students should select one material in which to cover the chosen object.  This material should be an antithesis to the original object, or draw into question the function or accepted meaning of the object.
  • Repetition and a obsessive development of the surface is a critical component of developing this project. Choose a material that will draw emphasis to this concept.
  • Objects must be completely covered by the chosen material. Students should focus on the obsessive nature involved in covering the objects.

Project Vocabulary: 

Pattern
Texture
Variety
Rhythm
Direction
Movement
Repetition
Contrast
Natural Texture
Visual Texture
Worked Texture

Writing Assignment:

Use the vocabulary on the previous list along with other elements and Principles of Design to describe and interpret your work. The writing assignment should include your critique on the content and context and how these factors contribute to the concept of the work you have created. A general description of formal qualities should be addressed as they pertain to the concept, yet a stronger focus on content, context, and of course the idea (Concept) will foster a stronger discussion.

  • Look at the work analytically.
  • Remove yourself from the work to create new perspectives.
  • Be attentive to your gut reactions to the work.
  • Make notes of your observations” as reference. (In your sketch book)
  • Insert an image or sketch of your work within the word or pages document.
  • Content: Three to four paragraphs of text should be written before adding images.
  • Note: A paragraph is made up of three to five sentences.

Tools and Materials:

  • Eye Protection/Safety Glasses
  • Sketch Book
  • Utility Knife
  • Hobby knife
  • Dust Mask/Particulate Respirator
  • Safety Glasses
  • Focus Object
  • Materials for skin
  • Mixed media
  • Adhesives or other fastening materials
  • Rubber or Latex gloves (optional)

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 surfaces and skin transformations
  • Aesthetic qualities
  • Sensibility to form: Good design, clean aesthetics
  • Integrity of the artist to their craft
  • Concept from objects

Evaluation:

  • Work ethic: Participation in and out of class
  • Scheduling: Students stay on task, project finished by deadline, critique.
  • Craftsmanship and aesthetics.
  • Attention to detail and craft involved in the development of the object’s “skin” will be taken into consideration during grading and critique.  Therefore, ample time should be devoted to the completion of the project.

Caution:

This process may use chemicals and materials that might be dangerous for some people. Read the MSDS (Material Safety Data Sheet) for questionable materials. A respirator should be used when materials off gas or fume. A dust mask may be used rather than a respirator. The respirator will provide better protection.

Research/Inspiration: 

Project Gallery

Wood Carving: Merging Early and Contemporary Icons

FelliniwebMission:

In this project create a wood carved mask that visually merges early and contemporary icons. The mask should take on a combination of both icons chosen. The main material will be wood, other materials can be used to embellish the form. Try to use materials that are a part of our current culture. Accumulated objects or components of devices we use might be good resource. A visit to the salvage yards will be a good resource as well.

Guidelines:

  1. Build and carve a mask which merges an icon form the past and an icon from the present.
  2. Process: The finished sculpture should be built through the use of wood lamination and carving.
  3. Wood purchased or found for this project should have No nails or Staples, If you find them in the wood remove them and have the instructor approve before cutting with saws or equipment. Non chemically treated wood only. Suggested material is two by fours, but obviously there are other sizes that may work to your advantage.
  4. Scale: A minimum of 1.5 ft in one dimension (HWD). A good starting point would be purchasing or having on hand two 8 ft two by fours.
  5. Finish: You may decorate your carved mask in accord with your selected icons.
  6. Students are strongly encouraged to combine or evolve the project using other materials and media to complete the finished form. Take chances.

Overview: 

This project should include a design that incorporates wood lamination and carving. No metal fasteners, such as nails and screws should be used in the lamination process of this project. Nails, screws and other metal fasteners can damage chisels, equipment blades and other carving tools. The design should be built in a manner that presents a relevant conclusion to the subject, two chosen icons. Your mission is to build a form that acts as a symbol in resolve of  your creativity towards the concept.

Engage, Invite, excite, challenge, your audience to react to your work.

Function, Engineering and concept: An understanding of the material, process, and concept should be a major concentration for this assignment.

Materials to purchase or acquire for this project.

2-3  two by fours: Pine or cedar is a soft wood that can be easily carved.
Ratcheting Straps (2)
Sand paper
Wood rasps, Chisels
Wood Glue
Finishing materials
Paints and Sealers

Safety:

Wear appropriate eye protection, clothing and shoes while working with wood equipment.
Wood shop tools can be very sharp.
Be aware of peers working near and where you are aiming your tools.
Do Not Use “Treated Wood” in the studio. Stay away from a treated lumber. Some lumbers have arsenic as a treatment.

 Writing Assignment:  

As a beginning level course, the student is responsible for developing and presenting a typed research paper of their work for this assignment. The final document should include a description of themes/concepts the artist is addressing, descriptions of how the artist uses imagery, materials and material qualities to address their themes, images of the artist’s works and other supportive documentation. The processes and techniques the artist utilizes to create their work may also contribute to the research.

Writing Assignment Guide Lines:
Below is a brief outline of format and what is expected in your writing assignment.

  1. Cover sheet:
    1. “Your Name”
    2. Research Title
    3. Sculpture 1
    4. “Semester and Year”
    5. “Instructor’s Name”
  2. Body: (500 words +)
    1. Introduction Paragraph
    2. Your research
    3. Images of your work
    4. Summary
    5. Bibliography: Cited text and images.
  3. Images
    1. Images can be printed within the body text
    2. Images can be printed on pages after the body text
    3. If you have trouble placing images in your Document, Please see me.

Sketch Book: Merging early and contemporary icons.

1.  Find and print- 10 images- early masks
2.  Find and print-10 images- contemporary masks
3.  Add images to sketchbook
4.  Generate 6 full pages of sketches, combining early and contemporary masks.

Processes

1.  Select sketches to model your concept in clay
2. Wood lamination with 2×4’s and other wood materials
3. Begin Carving: This may be an additive and subtractive process.
4. Design and fabricate a method to wear the mask. Welding and other methods may play a part here.
5. Paint and embellishments
6. Consider the antiquity of your form is this a new mask or does it have a sense of history.
7. Dance and Performance: Develop an interpretive performance: Solo or Group engagement

Research and Inspiration:

Anthropomorphic(having human characteristics)
Thai Masks
African Masks
Bundu helmet mask
Lewa spirit mask
Mumuye mask
Biombo helmet mask
Luba Style Mask with Brass Made in Ghana
Djibouly Mask Made in Mali
Aztec mask
Northwest Coast Masks: Native American mask
Venetian Masks
Japanese Masks
Jake and Dinos Chapman
Ron Mueck
501st Legion “TK Project” Stormtrooper Helmets
AJ Fosik

Videos:

Sharpening wood carving tools

Wood Transformation

05MarquezStudent_2013

Premise:

In this project the student is asked to create a sculptural form from wood material. The form does not necessarily need to look like a specific thing. It may be non-objective if desired. If the goal is to create a representation of a real object, a model should be made available. As a basis 2×4 material may be purchased. Students are expected to acquire their own materials for the project.

Scale:

A composition of two feet in one direction is expected.

Sketchbook Assignment:

Sketches of your chosen object should be rendered before and during sculpting. A minimum of four pages should be dedicated to this sketching component. In addition, find four wooden sculptures that inspire you. Printed images of these sculpture or objects should be placed in your sketch book. Your sketch book will be graded along with your project.

Wood Shop:

Before cutting any materials in the wood shop, Make sure all staples and metals are removed from the wood material. Make an extra effort to affirm that no screws or nails remain in purchased or reclaimed wood.

Using the table saw, trim the rounded corners from each 2×4 and other milled wood. This will assist in hiding seems when wood is laminated together.

Each students must use the band saw, reciprocating saw/jig saw, table saw, drill press and compound miter saw in the forms construction. Hand tools should be used as well, files rasp, grinders etc.

Finish:

The forms may be painted. Remember, paint does not necessarily make wood look like something else. If one can see wood grain through the paint then, the form still looks like it’s made from wood. Other surface treatment method may be used with instructor approval.

Glue, nails, screws, or any other means may be used to attach the wood forms together if needed. Challenge the norm, what other material can be used to fasten this material together. Remember, make an extra effort to affirm that no screws or nails remain in wood before sawing the material.

Challenge yourself in how you might subvert the inherent qualities of the material.

What does it take to push something visually beyond what it initially begins as?

Note: Do not use other material to sculpt the object or its components. Focus on utilizing wood as the main source of material for the construction of the form.

Inspiration:

Project Examples:

Body Art: Plaster Casting and Mixed Media

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Prologue:

The human body and its components allow us to understand facets of identity such as gender, sexuality, race, and ethnicity. Slight gestures can represent emotion, mood, and intent. Subtle and extreme alterations of the body, such as hair, skin, and clothing can suggest alignment with or rebellion against social conventions and to express ideas to others. Many artists explore visual expression through representations of the body and by using their own bodies in their creative process. The poetry of bringing objects together to suggest or make strong statements can sometimes be elusive. Not only does one need the right objects to build a dialogue, a keen observation of craft is important in developing a poetic voice that does not distract the artist intent.

Mission: (Project Description)

Create a sculptural form using elements from the human body and at minimum one other form. A cast component, plaster or other material, of the body will be a basis for their research. Other materials are not only encouraged but expected in the final solution. The project should meet the following criteria:

  • Must use cast body element in final composition.
  • Cast body element may be intentionally altered.
  • Must use other materials (Mixed media).
  • Develop a poetic intent.
  • What is the work about?
  • Develop an artist statement.

Challenge yourself and the project.

Project grades gain much from the thought and “Effort” put into them, not to mention pushing the envelope. Common references include hands and feet, this is the norm. Challenge this project by developing another component or area of the body.

This project should include a concept that incorporates the body or a component of the body along with other materials. The design and fabrication should be built in a manner that illustrates your concept, experimentation, craftsmanship, and a cohesive aesthetic.

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. In addition, find a minimum of four sculptures or objects, referencing the body, that inspire you. Printed images of these sculptures or objects should be placed in your sketch book. Your sketch book will be graded along with your project.

Strategies and Techniques:

  • Research: Contemporary and historical “Body art”, across cultures.
  • Collect: Print and collect imagery and text for your research. (Place images in your sketchbook.)
  • Brainstorm the possibilities. Make a list in your skeet book!
  • With what body part will you develop your concept.
  • Explore the idea of multiples.
  • Sketch ideas in you Sketchbook. 5 pages of various ideas required.
  • Mold Making: Mold material: Flexwax 120. Team effort. (3 per team works well)
  • Casting: Plaster casting of your body component or cast in another material.
  • Experiment: Plaster carving, cutting, fitting and affixing materials.
  • Mining materials: Find materials and components to add to your castings.
  • Other techniques: welding, wood, sewing and other fabrication methods should be considered
  • Research and observe fabrication aesthetics and methods.
  • Learn how things work and how connections are made.
  • Dreaming, concocting, drawing developing: (Sketches)
  • Experimentation, Experimentation, Experimentation
  • Connections to the body: How do components attach, from the inside/on the outside?
  • Making Sense: Make it believable.
  • Finish: Less is more: Student should consider allowing the material to show off its austere-simple aesthetics. If paint is used, it should be used strategically to enhance the concept/aesthetic. KIS, Keep it simple.

Craft:

Functional Aesthetics: Goals: Engineering and concept, clean form, well crafted fabrication and technique, uniform aesthetic, a command over the material: Excellent Craftsmanship should be a major goal. Bad craftsmanship can weigh heavily on the success of a project. Focus on a refined form. Bad craftsmanship will easily distinguish A/B work to a C or below. Make your fabrication skills count, projects should not fall apart during critique or grading.

Tools and Materials:

• Sketchbook
• Plaster
• Scraping, carving tools
• Dust Mask/Particulate Respirator
• Safety Glasses
• Objects for pattern, Body
• Mold materials
• Wood (optional)
• Wood Shop
• Metal (optional)
• Adhesives, fastening devices
• Rubber or Latex gloves (optional)
• Welding Eye Protection
• Welding Gloves
• Angel Grinder
• Grinding disc
• Cut off disc
• Flap Disc

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 form using the human body
  • Mold Making Process: Wax (Flex wax)
  • Casting Plaster
  • Fabrication techniques: Pre and Post Casting fabrication, Object Installation
  • Structural and Aesthetic qualities
  • Finishing Techniques
  • Sensibility to form: Good design, clean aesthetics
  • Integrity of the artist to their craft

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 while using chemicals such as plaster. A dust mask may be used rather than a respirator. The respirator will provide better protection.

Artist Inspiration:

Project Examples:

Mold Making: Encapsulated Rubber Molds

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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