|
 |
|
Wax gates and runner system are then fused onto the wax duplicate. After dewaxing, the runner system channels
the molten metal into the mold cavity. |
 |
| The artist supplies The Crucible Foundry with
an Original. This original may be composed of almost any non porous modeling material, such as clay, stone, plaster, wood, or wax etc. |
 |
|
It is recommended that a rubber mold be made, although an original in wax can be direct cast. The liquid rubber compound is poured at room temperature over the original where it flows into and covers every surface detail. Then a plaster mother mold is formed over the rubber to maintain its shape. |
 |
| The wax set up is coated several times with
a liquid, ceramic slurry and stoccoed with various mesh sized sand to
build up the thickness until the piece is encased in a strong shell. |
 |
|
The ceramic shell is inverted and heated to melt out the wax. The shell is then fired in a furnace and
preheated in preparation for casting. |
 |
|
After the rubber dries, the original is removed and molten wax is poured into the rubber mold to produce a wax duplicate.
|
 |
|
Casting is done by pouring molten metal into the hot ceramic shell. When cooled, the ceramic shell is chipped
off and the runner system is removed. |
 |
|
Each gate contact is removed and re-textured to restore it to the original surface finish. For a final finish, the sculpture may be polished or patinated as desired. A patina is a chemical or a combination
of chemical etching procedures to produce brown, red, blue or green
hues on the finished metal surfaces. |
