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"Sunnyside Up" ©2006
Photo: Mel Schockner
"Bronze . . . From Clay to Collector"
| Many have asked about my process from the beginning to the finished bronze. To share the actual creative process with you would be much like asking you to watch grass grow. |
| What you are about to learn is much more fun! |
| What is Bronze? |
| Bronze is an alloy of 95% copper, 4% silicon and 1% manganese with traces of other elements such as iron. Silicon bronze has been the bronze of choice for fine art castings since its development in the 1920's. It is corrosion-resistant, strong, resilient, and formable and weld able. Also known as "hot-cast" bronze, a fine art "lost-wax" casting of silicon bronze is created through many labor-intensive steps, a technique that has been used for thousands of years./td>
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| Bonded Bronze. Sculpture so labeled is not, in fact, bronze, but a mixture of plastic, resin and bronze powder. The surface is a skin of resin into which bronze powder has been blended. |
| Bonded Marble is resin with marble powder. With a low-luster white surface, it is subtle and quite beautiful. Bonded Bronze and Bonded Marble are hand-cast, hand-finished, lighter-weight, and less-expensive alternatives to bronze. |
| Pewter, an alloy of nickel and silver, is another less-costly alternative. |
| Precious Metals, Platinum, Karat Golds, and Sterling Silver require similar casting procedures to Bronze. |
"Sunnyside Up" ©2006
Photo: Mel Schockner
Why is Bronze so expensive?
| Bronzes are crafted by hand, one at a time, using the lost wax casting method, a technique that has been used for thousands of years. While many sculptors hire a full service foundry, I have more control over quality by being a general contractor. I hire my hand selected specialists in Colorado, USA. I invite you to learn the procedures as you follow the many steps in the many highly skilled hands ahead: |
Specialists before the Foundry... |
| Step 1: The ORIGINAL |
Person 1: The SCULPTOR |
Step 2: The MOLD
Part One: The Rubber
Part Two: The Jacket |
Person 2: The MOLD MAKER |
Step 3: The WAX
Part One: The Wax Pour
Part Two: The Wax Removal |
Person 3: The WAX POURER |
| Step 4: The WAX CHASE |
Person 4: The WAX CHASER |
| Step 5: The WAX INSPECTION!! |
Person 1: The SCULPTOR |
Specialists at the Foundry ... |
| Step 6: The WAX SPRU |
Person 5: The SPRU Person |
| Step 7: The SHELL |
Person 6: The SHELL Person |
| Step 8: The WAX is LOST!! |
Person 7: The WAX MELT Person |
| Step 9: The BRONZE POUR |
Persons 6, 7, 8: FOUNDRY Persons |
| Step 10: The SHELL Removal |
Person 8: The FOUNDRY Person |
Specialists after the Foundry ... |
| Step 11: The RAW BRONZE CHASE |
Person 10: The METAL CHASER |
| Step 12: The BRONZE INSPECTION!! |
Person 1: The SCULPTOR |
| Step 13: The BASE* |
Person 11: The BASE MAKER* |
| Step 14: The PATINA |
Person 12: The PATINEUR |
| Step 15: The PHOTOGRAPHY |
Person 13: The PHOTOGRAPHER |
| Step 16: The CUSTOM BOX/CRATE |
Person 14: The SHIPPER/CRATER |
*If a BASE is required, add the following steps and specialists as necessary.
The work order may be slightly different depending on the type of base designed. |
Step 1: The SHEET BRONZE BASE
Part One: Shear & Deliver Plate
Part Two: Waterjet the shape
Part Three: Finish for Patina |
Person 1: The SUPPLIER
Person 2: The WATERJET PERSON
Person 3: The BASE PERSON |
| Step 2. The WOODEN BASE |
Person 3: The WOOD TURNER |
Step 3. The STONE BASE
Part One: Cut & Finish
Part Two: Drill Holes |
Person 4: The STONE CUTTER |
| *If a base is not required, delete Step 13. |
And finally, Person 1, The Sculptor, checks everything. |
Step 19. INSPECT BRONZE
Part One: Wax the bronze
Part Two: Label and/or Felt base |
Person 1: The SCULPTOR |
The sculpture is now ready to ship. The sculptor suggests several presentations or pedestals. From these, the Collector selects one, and hires a contractor to complete the installation. When selecting a site, please keep in mind that the most pleasing light on a sculpture moves in a right/left or left/right direction around the front of the piece. The Collector has made a special addition to his or her life. Your hand made bronze sculpture will endure for many generations.
Proudly made in Colorado, USA. |
"Sunnyside Up" ~ The Clay Original ©2006
Step One: The ORIGINAL ~ Person One: The SCULPTOR
| The "ORIGINAL" can be made of clay, wax, stone, wood, steel, or whatever the sculptor used to create the original model. |
| Modern mold rubbers are compatible with clays that are oil-based and sulphur-free. For life-sized pieces I prefer Chavant Le Beau Touche' light green, because it handles much like my favorite water-based clay which is not compatible with mold rubbers. For 1:6 scale miniatures, I model originals directly in wax. In turn, that wax original is molded, using a similar process to what you are about to see. |
| I drive the finished clays from my home in Chesterfield, Missouri, to my mold maker in Buena Vista, Colorado. |
| A dear friend and teacher, Jaye Gregory, once told me, "Joy, you are not 17 any more. You do not have time to learn how to make an excellent mold. Find a good mold maker." She gave me very good advice. |
| Since 1996, I have followed a good mold maker from Denver to Golden, to Salida, and then to Buena Vista, CO. I have watched Annette develop from a good mold maker into a fabulous mold maker and I am grateful to her. You will see her shortly making the mold for "Sunnyside Up." |
"Sunnyside Up" ~ The Original clay. Annette and the first coat of rubber.
Step Two: The MOLD ~ Person Two: The MOLD MAKER
| Part One: The RUBBER, First Coat, View One |
| The best mold, from which numerous waxes can be pulled, (and thus numerous bronzes may be cast) is made of Silicon Rubber. When a sculpture is larger than palm-sized, the mold is made of two parts: One, The Rubber, and Two, The Jacket. |
| Part One: Layers of silicon rubber are applied to the Original Sculpture over the course of several days, allowing the layers of rubber to cure between coats. |
| The First Coat of Rubber is the FIRST CRITICAL STEP in replicating my original surfaces. The First Coat MUST be applied with utmost care to avoid bubbles and voids in undercuts. |
"Sunnyside Up" ~ The Original clay and the first coat of rubber
Step Two: The MOLD ~ Person Two: The MOLD MAKER
| Part One: The RUBBER, First Coat, View Two |
| A small brush accesses details. |
"Sunnyside Up" ~ Ready to be divided
Step Two: The MOLD ~ Person Two: The MOLD MAKER
| Part One: The RUBBER, First Coat, Complete |
"Sunnyside Up" ~ Mold, Rubber Divided and Complete
Step Two: The MOLD ~ Person Two: The MOLD MAKER
| Part One: The RUBBER Divided, View One |
| The mold is divided to allow the two sections to be handled more easily in all future steps. |
"Sunnyside Up" ~ Mold Rubber Divided and Complete
Step Two: MOLD ~ Person Two: MOLD MAKER
| Part One: The RUBBER Divided, View Two |
| The mold is now ready for Part Two: The Jacket. |
"Sunnyside Up" ~ Jacket Complete
Step Two: The MOLD ~ Person Two: The MOLD MAKER
| Part Two: The JACKET Complete, View One |
| The Jacket is formed around the flexible, rubber mold for support. The Jacket, which is made of fiberglass reinforced plaster or Hydrocal, prevents distortion after the Original Sculpture has been removed. Three-dimensional sculptures usually require multiple-piece molds as shown in this finished mold of "Sunnyside Up" with the dog's ear to the left. |
| The Jacket clearly shows the division of front to back, with bolts and nuts holding it together. |
| The learning process for making an excellent multiple piece rubber mold can take years. A novice should hire a professional, or make a plaster waste-mold of the original and make a plaster cast. From this, a rubber mold can be made without risk of "losing" the original. The higher the quality of the mold, the more time and money will be saved in production. |
"Sunnyside Up" ~ Jacket Complete
Step Two: The MOLD ~ Person Two: The MOLD MAKER
| Part Two: The JACKET Complete, View One |
| The Jacket is formed around the flexible, rubber mold for support. The Jacket, which is made of fiberglass reinforced plaster or Hydrocal, prevents distortion after the Original Sculpture has been removed. Three-dimensional sculptures usually require multiple-piece molds as shown in this finished mold of "Sunnyside Up" with the dog's ear to the left. |
| The Jacket clearly shows the division of front to back, with bolts and nuts holding it together. |
| The learning process for making an excellent multiple piece rubber mold can take years. A novice should hire a professional, or make a plaster waste-mold of the original and make a plaster cast. From this, a rubber mold can be made without risk of "losing" the original. The higher the quality of the mold, the more time and money will be saved in production. |
"Sunnyside Up" ~ Mold Front, Head to Right.
Step Three: The WAX ~ Person Three: The WAX PERSON
| Part One: The WAX POUR, Coat One |
| The Wax Person, in more cases than not, is an individual who specializes in pouring waxes. I am fortunate in that my mold maker has chosen to also pour my waxes. She is an expert at both procedures. |
| Liquid Wax is brushed, ladled or poured into the warmed mold. Note the ear with a thin coat of wax at the lower right of the mold. |
| The First Coat of Wax is the SECOND CRITICAL STEP necessary to replicate my intricate grooved surfaces; the wax and the mold must each be an ideal temperature so that the wax slides into each little groove resulting in minimum air bubbles. |
Annette drains the second coat of wax from "Sunnyside Up".
Step Three: The WAX ~ Person Three: The WAX PERSON
| Part One: The WAX POUR, Coat Two |
| Pouring wax is a active process that must be well timed between coats to assure that the layers adhere to each other. After the second coat, notice the wax is slightly heavier on the ear above Annette's hand. |
"Sunnyside Up" ~ Mold Front, Wax Pour Complete.
Step Three: The WAX ~ Person Three: The WAX PERSON
| Part One: The WAX POUR Complete |
| The wax of the front half of "Sunnyside Up" has been trimmed and is cooling. Note the final thickness of the ear at the lower right section of the wax. |
"Sunnyside Up" ~ Right half of the front Jacket removed
Step Three: The WAX ~ Person Three: The WAX PERSON
| Part Two: The WAX BIRTH, View One |
| After the wax pour is complete, the right half of the rubber is exposed. The Jacket must be completely removed from the rubber in order to remove the wax. |
"Sunnyside Up" ~ Here he comes!
Step Three: The WAX ~ Person Three: The WAX PERSON
| Part Two: The WAX BIRTH, View Two |
| Great care must be taken to neither break the wax, nor rip the rubber while removing The Rubber. |
"Sunnyside Up" ~ Ahhhhh ... a GOOD Wax!
Step Four: The WAX is BORN ~ Person Three: The WAX PERSON
| Part Three: Admire the Wax! |
| Next Steps for Annette: Carefully fit the mold back together and store properly. |
"Sunnyside Up" ~ Wax Chased, Both Halves.
Step Four: The WAX CHASED ~ Person Four: The WAX CHASER
| The WAX CHASER chases, or fixes, seams, bubbles and edges, imperfections in the raw wax, making it as close as humanly possible to the surface of The Original sculpture. |
| Many sculptors with foundry friendly surfaces hire a professional wax chaser. Early on, I found that the intricate surfaces that everyone likes are NOT easy to chase. I tried professionals and learned that in order to retain as much of my original surface as possible, I must personally chase each wax of my figures. Chasing wax is a tedious, multiple hour procedure. It is the least favorite part of creating my work. |
| The finished wax is a POSITIVE replica of The Original clay, in two parts. |
Step Five: SCULPTOR INSPECTS!!!!! |
"Sunnyside Up" ~ Wax Front, Sprued
Photo courtesy of Gary Pitcher, Dragon Castings
Step Six: The WAX SPRUES & VENTS ~ Person Five: The SPRUE PERSON
| A sprue person at the foundry, attaches large wax tubes, also known as sprues, which provide channels for the molten bronze to enter the wax sculpture. Small red wax vents are attached to allow air to escape. A wax cup attached below will channel the molten bronze into the sculpture. |
| One wax duplicate, as shown above, is required for each bronze to be cast. |
"Sunnyside Up" ~ The Sprued Wax, Front Underside
Photo courtesy of Gary Pitcher, Dragon Castings
Step Six: The WAX SPRUES & VENTS ~ Person Five: The SPRUE PERSON
| Note the hollow wax and three small red vents on the ear. When bronze ultimately replaces the wax, the bronze will also be hollow. |
| Next Step, SHELL! |
"Sunnyside Up" ~ Front Shell Complete
Photo courtesy of Gary Pitcher, Dragon Castings
Step Seven: The CERAMIC SHELL ~ Person Six: The SHELL PERSON
| The Ceramic Shell is formed by repeatedly dipping the sprued wax into a vat of liquid ceramic. It is dipped and thoroughly dried about eight times until the shell is the desired thickness. |
| The Ceramic Shell is the THIRD CRITICAL STEP in replicating my intricate surfaces. The mixture must be perfect to lesson the possibility of surface bubbles, or dreaded flashing. Flashing is where the shell may crack, forming a fan of bronze perpendicular to the surface during the bronze pour. My work has not experienced flashing since I have had the good fortune of working with a very small caring foundry. |
"Sunnyside Up" ~ Rear Shell Complete.
"Life's a Ball" front is vertical in left background.
Photo courtesy of Gary Pitcher, Dragon Castings
Step Seven: The CERAMIC SHELL ~ Person Six: The SHELL PERSON
| The ceramic shell, is the THIRD CRITICAL STEP in replicating my intricate surfaces. I have the good fortune of working with a very small foundry with persons who care a great deal about their quality. I am very lucky. |
"Sunnyside Up" ~ Where's the Wax???
Photo courtesy of Gary Pitcher, Dragon Castings
Step Eight: The WAX LOST! ~ Person Seven: The WAX MELT PERSON
| The Ceramic Shell is inverted and heated in an oven, causing the wax to melt out. Hence the term, "LOST WAX." |
| Yikes! The Ceramic Shell is now all that is left in order to create the bronze cast! |
"Taking the Temperature"
Photo courtesy of Gary Pitcher, Dragon Castings
Step Nine: The BRONZE POUR ~ Person Seven: DRESSED to POUR!
| Bronze is heated in a furnace to approximately 2250° Fahrenheit. |
"Sunnyside Up" ~ A Team of Three
Photo courtesy of Gary Pitcher, Dragon Castings
Step Nine: The BRONZE POUR ~ A Team of Three: Persons 7, 8 & 9
| When the ceramic shell is cool, it is taken to a securely walled "sand box." Sand supports the shell to protect it from breakage during the bronze pour. The NEGATIVE space in the ceramic shell will become the POSITIVE bronze cast. |
Molten Bronze is Poured into the Front Shell of "Sunnyside Up"
Photo courtesy of Gary Pitcher, Dragon Castings
Step Nine: The Molten Bronze ~ Persons Seven, Eight & Nine
| Molten Bronze is poured into the cup of the prepared Ceramic Shell. Sand supports the critical Ceramic Shell to protect it from breakage during the bronze pour. The NEGATIVE space in the Ceramic Shell will become the POSITIVE bronze cast. When the bronze is cool, the shell is broken away. The bronze is then blasted with tiny beads to remove the Ceramic Shell. Sprues and vents are sawed off. At this time the cast is called a "raw metal." |
"Sunnyside Up" Raw Metal, from the bottom
Photo courtesy of Nancy Palm, Metal Chaser Extraordinaire!
Step Ten: The RAW METAL. Photo One.
Person Nine: The FOUNDRY PERSON
| Straight from the foundry! When the bronze is cool, the ceramic shell is broken away. The bronze is bead blasted to remove the shell. Sprues and vents are sawed off. The cast is now a "raw metal. |
| Note the square bronze sprues, that were formerly wax sprues, through which metal flowed into the body of the dog. Masking tape holds four plugs that were taken from the rear feet and the front wrists and were cast separately to provide added ventilation for the ceramic slurry to dry properly inside the tightly enclosed foot areas of this piece. |
"Sunnyside Up"
Raw Metal in Two Halves and Four Plugs, ready to be welded.
Photo courtesy of Nancy Palm, Metal Chaser Extraordinaire!
Step Ten: The RAW METAL. Photo Two.
Person Nine: The FOUNDRY PERSON
| Next step: Chase that Metal! |
"Sunnyside Up" Raw Metal, Minus Sprues.
Photo courtesy of Nancy Palm, Metal Chaser Extraordinaire!
Step Ten: The METAL CHASE. Photo One.
Person Ten: The METAL CHASER
| Sprues have been cut off of the bottom. The belly of "Sweet Roll" is in the background. |
"Sunnyside Up" Raw Metal, front half.
Photo courtesy of Nancy Palm, Metal Chaser Extraordinaire!
Step Ten: The METAL CHASE. Photo Two
Person Ten: The METAL CHASER
| Note the V-shaped vent on the lower edge of the ear. This vent allows air to escape from the shell into the vent so that bronze pours into all portions of the ear. The reason for a vent is it is easier to cut off and repair a small vent area than to rebuild and retexture an ear that has not fully poured. |
"Sunnyside Up" Raw Metal, front foot. "Stuff Happens, One"
Photo courtesy of Nancy Palm, Metal Chaser Extraordinaire!
Step Ten: The METAL CHASE. Photo Three
Person Ten: The METAL CHASER
| The extra metal under this paw is called shrink. Somehow it occasionally happens in areas that are very close to together, where heat does not dissipate as easily as on a large open surface, such as a belly. |
"Sunnyside Up" Raw Metal "Stuff Happens, Two"
Photo courtesy of Nancy Palm, Metal Chaser Extraordinaire!
Step Ten: The METAL CHASE. Photo Four
Person Ten: The METAL CHASER
| The gorges in the metal above this front foot were caused by invisible bubbles that were close to the wax surface before it was dipped into ceramic shell. |
"Sunnyside Up" Front Feet Welded
Photo courtesy of Nancy Palm, Metal Chaser Extraordinaire!
Step Ten: The METAL CHASE. Photo Five
Person Ten: The METAL CHASER
| The plugs have been welded in place and additional corrections made. |
"Sunnyside Up" Rear Half, with Plugs
Photo courtesy of Nancy Palm, Metal Chaser Extraordinaire!
Step Ten: The METAL CHASE. Photo Six
Person Ten: The METAL CHASER
"Sunnyside Up" Rear Half, with Plugs Welded
Photo courtesy of Nancy Palm, Metal Chaser Extraordinaire!
Step Ten: The METAL CHASE. Photo Seven
Person Ten: The METAL CHASER
"Sunnyside Up" Belly Gap - Ready to be Welded Together
Photo courtesy of Nancy Palm, Metal Chaser Extraordinaire!
Step Ten: The METAL CHASE. Photo Eight.
Person Ten: The METAL CHASER
"Pals" ~ Patina, View One: Base, Showing Holes to Secure Dogs
Step Fourteen: The PATINA ~ Person Twelve: The PATINUER
| Master Patineur Dale Cisek applies chemicals to the bronze, which has been heated with a torch to create a permanent color change called patina. The patineur and I decide between two sealants to protect the patina. The traditional method of protection is to apply several thin coats of clear paste wax to the surface, which is then lightly buffed with a soft, clean, pure cotton cloth. This patina should last indefinitely indoors. However, if persons repeatedly touch certain areas, bronze may be expected to eventually shine through. Because today's outdoor atmosphere is more corrosive and carries a higher content of manmade pollutants, a more durable, lacquer metal protector is recommended. G.J. Nikolas & Co., Inc. manufactures lacquer sealants designed specifically for copper and its alloys. These lacquers produce a plastic-looking, high-gloss finish. Therefore, the sculpture is waxed to create the soft look of a traditional patina. |
"Pals" Patina, View Two
Step Fourteen: The PATINA ~ Person Twelve: The PATINEUR
| Although I personally chase each of my waxes and check each finished metal, due to the handmade nature of the casting process, each cast and each patina will be similar, but unique. After all, each is crafted by hand, one at a time. |
| Volumes have been written on the subjects of mold making, casting and patina. I hope you have found this overview interesting and enlightening. Recommended reading: |
| Patinas for Silicon Bronze & The Care of Bronze Sculpture by Patrick V. Kipper Loveland Press ~ 800.593.9557 ~ www.LovelandPress.com |
"Pals" 48"L x 32"W x 15 1/2"H Bronze, ©2006 & 1998
Photography by Mel Schockner
Step Fifteen: PHOTOGRAPHY ~ Person Thirteen: The PHOTOGRAPHER
| While professional photography is not essential for the production of a bronze, it is critical to the presentation of each bronze. Mel Schockner has provided an honest and glorious view of "Pals". I am grateful for his expertise and friendship. |
"Sunnyside Up" ~ 27 1/2"L x 15"D x 8 3/4"H Bronze, Ed. 20 & 2 Artist's Proofs ©2006
Photography Mel Schockner
Step Fifteen: PHOTOGRAPHY ~ Person Thirteen: The PHOTOGRAPHER
| While professional photography is not essential for the production of a bronze, it is critical to the presentation of each bronze. Mel Schockner has provided an honest and glorious front view of "Sunnyside Up". I am grateful for his expertise and friendship. |
"Sunnyside Up" ~ 27 1/2"L x 15"D x 8 3/4"H Bronze, Ed. 20 & 2 Artist's Proofs ©2006
Photography by Mel Schockner
Step Fifteen: PHOTOGRAPHY ~ Person Thirteen: The PHOTOGRAPHER
| While professional photography is not essential for the production of a bronze, it is critical to the presentation of each bronze. Mel Schockner has provided an honest and glorious rear view of "Sunnyside Up". I am grateful for his expertise and friendship. |
"Sunnyside Up" nested in its custom box
Step Sixteen: CUSTOM BOX ~ Person Fourteen: The SHIPPER/CRATER
| When a collector has space to store a custom box for a future move, a life-sized piece is shipped in a custom box. Otherwise, it is bubbled and packed securely to assure perfect arrival. I personally pack smaller pieces in cotton and bubble. |
"Life is Sweet" Securely Nested.
Step Sixteen: The CRATE
Person Fourteen: The SHIPPER/CRATER
| Each LARGE life-sized piece arrives in a custom crate. |
"Pals" ~ Crate, View Two: Ready to Roll!
Step Sixteen: The CRATE ~ Person Fourteen: The SHIPPER/CRATER
| Each LARGE life-sized piece arrives in a custom crate. |
"Pals" ©2006
Photo: Mel Schockner
Step Seventeen: From me, the SCULPTOR To my SPECIALISTS ...
Annette Olson - Mold Maker/Wax Person - Since 1997
Gary Pitcher, Sharon & Dale, Dragon Castings - Since 2001
Nancy Palm - Metal Chaser - Since 1998
Dale Cisek - Patinuer - Since 1997
Mel Schockner - Photographer - Since 1998
Sheree & Jim Lambert, Shippers Supply - Since 1997
Dan Nibblelink, Colorado Waterjet - Since 2001
John Paonia, The Base Shop - Since 2001
John Ward, Master Marble Turner - Since 1996
Sandra Wilmoth, Midwest Marble & Granite - Since 1996
Marty Hassing, Tina & Guy, Summit Jewelers - Since 1999 |
Many thanks too, to
My friend and teacher, Jaye Gregory - Since 1990
My friend and dachshund anatomy mentor, Weldon B. Long - Since 1995
Bill West, AgenCTEK, My Web Guru - Since 1999 |
| and last but not least ... |
| Many thanks to my husband Brian and his mother Jeanne. And, many thanks to my to my collectors. |
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"A good painting [sculpture] to me has always been like a friend. It keeps me company, comforts and inspires."
- Hedy Lamarr |
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