Введение
Процесс, при котором дубликат металлической скульптуры отливается из оригинальной скульптуры. Литье по выплавляемой модели, также называемое инвестиционным литьем, прецизионным литьем или cire perdue (siʁ pɛʁdy; заимствовано из французского) – это процесс, при котором дубликат скульптуры (часто из металла, такого как серебро, золото, латунь или бронза) отливается из оригинальной скульптуры. С помощью этого метода можно создавать сложные изделия. Самые ранние известные примеры этой техники датируются примерно 6500 годами до н.э. (4550–4450 гг. до н.э.) и связаны с золотыми артефактами, найденными в Варненском некрополе в Болгарии. Медный амулет из Мехергарха, цивилизации долины Инда (Пакистан), датируется приблизительно 4000 г. до н.э. Литые медные предметы, обнаруженные в кладе Нахал Мишмар на юге Израиля, относящиеся к периоду халколита (4500–3500 гг. до н.э.), по данным радиоуглеродного анализа, датируются примерно 3500 г. до н.э. Другие примеры, относящиеся к несколько более позднему периоду, происходят из Месопотамии в третьем тысячелетии до н.э. Литье по выплавляемой модели было широко распространено в Европе до XVIII века, когда процесс литья из кусочков стал преобладающим. Этапы, используемые при литье небольших бронзовых скульптур, в значительной степени стандартизированы, хотя процесс сегодня варьируется от литейной мастерской к литейной мастерской (в современном промышленном использовании этот процесс называется инвестиционным литьем). Вариации процесса включают: "потерянную форму", признающую возможность использования материалов, отличных от воска (таких как животный жир, смола, деготь и текстиль); и "процесс с потерянным воском" (или "литье с потерянным воском"), поскольку форма разрушается для извлечения отливки.
Process by which a duplicate metal sculpture is cast from an original sculpture
Lost wax castingalso called investment casting, precision casting, or cire perdue (siʁ pɛʁdy; borrowed from French)is the process by which a duplicate sculpture (often a metal, such as silver, gold, brass, or bronze) is cast from an original sculpture. Intricate works can be achieved by this method. The oldest known examples of this technique are approximately 6,500 year old (4550–4450 BC) and attributed to gold artefacts found at Bulgaria's Varna Necropolis. A copper amulet from Mehrgarh, Indus Valley civilization, in Pakistan, is dated to circa 4,000 BC. Cast copper objects, found in the Nahal Mishmar hoard in southern Israel, which belong to the Chalcolithic period (4500–3500 BC), are estimated, from carbon 14 dating, to date to circa 3500 BC. Other examples from somewhat later periods are from Mesopotamia in the third millennium BC. Lost wax casting was widespread in Europe until the 18th century, when a piece moulding process came to predominate. The steps used in casting small bronze sculptures are fairly standardized, though the process today varies from foundry to foundry (in modern industrial use, the process is called investment casting). Variations of the process include: "lost mould", which recognizes that materials other than wax can be used (such as tallow, resin, tar, and textile); and "waste wax process" (or "waste mould casting"), because the mould is destroyed to remove the cast item.
Lost wax castingalso called investment casting, precision casting, or cire perdue (siʁ pɛʁdy; borrowed from French)is the process by which a duplicate sculpture (often a metal, such as silver, gold, brass, or bronze) is cast from an original sculpture. Intricate works can be achieved by this method. The oldest known examples of this technique are approximately 6,500 year old (4550–4450 BC) and attributed to gold artefacts found at Bulgaria's Varna Necropolis. A copper amulet from Mehrgarh, Indus Valley civilization, in Pakistan, is dated to circa 4,000 BC. Cast copper objects, found in the Nahal Mishmar hoard in southern Israel, which belong to the Chalcolithic period (4500–3500 BC), are estimated, from carbon 14 dating, to date to circa 3500 BC. Other examples from somewhat later periods are from Mesopotamia in the third millennium BC. Lost wax casting was widespread in Europe until the 18th century, when a piece moulding process came to predominate. The steps used in casting small bronze sculptures are fairly standardized, though the process today varies from foundry to foundry (in modern industrial use, the process is called investment casting). Variations of the process include: "lost mould", which recognizes that materials other than wax can be used (such as tallow, resin, tar, and textile); and "waste wax process" (or "waste mould casting"), because the mould is destroyed to remove the cast item.
Процесс
Отливки могут быть сделаны из самой восковой модели, прямым методом, или из восковой копии модели, которая не обязательно должна быть из воска, косвенным методом. Это этапы для косвенного процесса (прямой метод начинается с этапа 7):
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Изготовление модели. Художник или модельер создает оригинальную модель из воска, глины или другого материала. Воск и масляная глина часто предпочтительнее, поскольку эти материалы сохраняют свою мягкость.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Изготовление формы. Из оригинальной модели или скульптуры делается форма. Жесткие внешние формы содержат более мягкую внутреннюю форму, являющуюся точным негативом оригинальной модели. Внутренние формы обычно изготавливаются из латекса, полиуретановой резины или силикона, поддерживаемого внешней формой. Внешняя форма может быть изготовлена из гипса, но также может быть изготовлена из стекловолокна или других материалов. Большинство форм изготавливаются как минимум из двух частей, и между частями при сборке помещаются направляющие ключи для точной сборки формы. Если из модели выступают длинные тонкие элементы, их часто отрезают от оригинала и отливают отдельно. Иногда для воссоздания оригинальной модели требуется несколько форм, особенно для больших моделей.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Воск. Когда форма готова, в нее заливают расплавленный воск и вращают, пока равномерное покрытие, обычно толщиной около 3 мм (1/8 дюйма), не покроет внутреннюю поверхность формы. Это повторяется до достижения желаемой толщины. Другой способ – заполнить всю форму расплавленным воском и дать ему остыть, пока на поверхности не образуется слой желаемой толщины. Затем остаток воска снова выливают, форму переворачивают, и восковый слой оставляют остывать и затвердевать. При этом методе сложнее контролировать общую толщину воскового слоя.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Удаление воска. Эта полая восковая копия оригинальной модели извлекается из формы. Модельер может повторно использовать форму для изготовления нескольких копий, ограничиваясь только ее долговечностью.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Доводка. Каждая полая восковая копия затем подвергается "доводке": нагретым металлическим инструментом убираются следы от линии разъема формы или облоя, где соединялись части формы. Воск обрабатывается для скрытия любых дефектов. Воск теперь выглядит как готовое изделие. Отдельно отлитые восковые части теперь можно нагреть и прикрепить; литейные цеха часто используют ориентировочные метки для указания точного места их установки.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Литейные каналы. Восковая копия оснащается древовидной структурой из воска, которая в конечном итоге обеспечит пути для течения расплавленного металла и выхода воздуха. Тщательно спланированные литейные каналы обычно начинаются сверху с восковой "чаши", которая прикрепляется восковыми цилиндрами к различным точкам восковой копии. Литейные каналы не обязательно должны быть полыми, так как они будут расплавлены на более позднем этапе процесса.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Шлам. Восковая копия с литейными каналами погружается в суспензию из кремнезема, затем в песчаную штукатурку или сухой кристаллический кремнезем с контролируемым размером зерна. Комбинация шлама и песка называется материалом для керамической формовой оболочки, хотя она и не состоит буквально из керамики. Эта оболочка высыхает, и процесс повторяется до тех пор, пока покрытие толщиной не менее полудюйма не покроет всю деталь. Чем больше деталь, тем толще должна быть оболочка. Только внутренняя часть чаши не покрывается, а плоское дно чаши служит основанием, на котором деталь стоит во время этого процесса. Сердечник также заполняется огнеупорным материалом.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Выжигание воска. Керамическая оболочка с покрытой деталью помещается в печь, где тепло затвердевает кремнеземистые покрытия в оболочку, а воск плавится и вытекает. Расплавленный воск можно собрать и повторно использовать, хотя его часто просто сжигают. Теперь от оригинального произведения искусства остается только негативное пространство, ранее занимаемое воском, внутри затвердевшей керамической оболочки. Литейные каналы, вентиляционные трубки и чаша также теперь полые.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Проверка. Керамическая оболочка охлаждается, затем проверяется, свободно ли вода протекает через литейные каналы и вентиляционные трубки. Трещины или утечки можно заделать толстой огнеупорной пастой. Для проверки толщины в оболочке можно просверлить отверстия, а затем заделать их.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Заливка. Оболочка повторно нагревается в печи для затвердевания заплаток и удаления всех следов влаги, затем помещается чашей вверх в ванну, заполненную песком. Металл плавится в тигле в печи, а затем аккуратно заливается в оболочку. Оболочка должна быть горячей, иначе разница температур ее разрушит. Затем заполненные оболочки охлаждаются.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Извлечение. Оболочка разбивается молотком или подвергается пескоструйной обработке, освобождая грубую отливку. Литейные каналы, также точно воссозданные из металла, отрезаются для повторного использования в другой отливке.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Доводка металла. Как и восковые копии, отливка обрабатывается до удаления следов процесса литья, чтобы отливка выглядела как оригинальная модель. Ямки, оставленные воздушными пузырями в отливке, и обрубки литейных каналов затачиваются и полируются. До использования кремнеземистых форм, они изготавливались из различных других огнеупорных материалов, наиболее распространенным из которых был гипс с добавлением раствора и глины. До использования резиновых форм использовался желатин.
Casts can be made of the wax model itself, the direct method, or of a wax copy of a model that need not be of wax, the indirect method. These are the steps for the indirect process (the direct method starts at step 7):
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Model making. An artist or mould maker creates an original model from wax, clay, or another material. Wax and oil based clay are often preferred because these materials retain their softness. Mouldmaking. A mould is made of the original model or sculpture. The rigid outer moulds contain the softer inner mould, which is the exact negative of the original model. Inner moulds are usually made of latex, polyurethane rubber or silicone, which is supported by the outer mould. The outer mould can be made from plaster, but can also be made of fiberglass or other materials. Most moulds are made of at least two pieces, and a shim with keys is placed between the parts during construction so that the mould can be put back together accurately. If there are long, thin pieces extending out of the model, they are often cut off of the original and moulded separately. Sometimes many moulds are needed to recreate the original model, especially for large models. Wax. Once the mould is finished, molten wax is poured into it and swished around until an even coating, usually about 3 mm (1/8 inch) thick, covers the inner surface of the mould. This is repeated until the desired thickness is reached. Another method is to fill the entire mould with molten wax and let it cool until a desired thickness has set on the surface of the mould. After this the rest of the wax is poured out again, the mould is turned upside down and the wax layer is left to cool and harden. With this method it is more difficult to control the overall thickness of the wax layer. Removal of wax. This hollow wax copy of the original model is removed from the mould. The model maker may reuse the mould to make multiple copies, limited only by the durability of the mould. Chasing. Each hollow wax copy is then "chased": a heated metal tool is used to rub out the marks that show the parting line or flashing where the pieces of the mould came together. The wax is dressed to hide any imperfections. The wax now looks like the finished piece. Wax pieces that were moulded separately can now be heated and attached; foundries often use registration marks to indicate exactly where they go. Spruing. The wax copy is sprued with a treelike structure of wax that will eventually provide paths for the molten casting material to flow and for air to escape. The carefully planned spruing usually begins at the top with a wax "cup," which is attached by wax cylinders to various points on the wax copy. The spruing does not have to be hollow, as it will be melted out later in the process. Slurry. A sprued wax copy is dipped into a slurry of silica, then into a sand like stucco, or dry crystalline silica of a controlled grain size. The slurry and grit combination is called ceramic shell mould material, although it is not literally made of ceramic. This shell is allowed to dry, and the process is repeated until at least a half inch coating covers the entire piece. The bigger the piece, the thicker the shell needs to be. Only the inside of the cup is not coated, and the cup's flat top serves as the base upon which the piece stands during this process. The core is also filled with fire proof material. Burnout. The ceramic shell coated piece is placed cup down in a kiln, whose heat hardens the silica coatings into a shell, and the wax melts and runs out. The melted wax can be recovered and reused, although it is often simply burned up. Now all that remains of the original artwork is the negative space formerly occupied by the wax, inside the hardened ceramic shell. The feeder, vent tubes and cup are also now hollow. Testing. The ceramic shell is allowed to cool, then is tested to see if water will flow freely through the feeder and vent tubes. Cracks or leaks can be patched with thick refractory paste. To test the thickness, holes can be drilled into the shell, then patched. Pouring. The shell is reheated in the kiln to harden the patches and remove all traces of moisture, then placed cup upward into a tub filled with sand. Metal is melted in a crucible in a furnace, then poured carefully into the shell. The shell has to be hot because otherwise the temperature difference would shatter it. The filled shells are then allowed to cool. Release. The shell is hammered or sand blasted away, releasing the rough casting. The sprues, which are also faithfully recreated in metal, are cut off, the material to be reused in another casting. Metal chasing. Just as the wax copies were chased, the casting is worked until the telltale signs of the casting process are removed, so that the casting now looks like the original model. Pits left by air bubbles in the casting and the stubs of the spruing are filed down and polished. Prior to silica based casting moulds, these moulds were made of a variety of other fire proof materials, the most common being plaster based, with added grout, and clay based. Prior to rubber moulds gelatine was used.
Ювелирные изделия и мелкие детали
Методы, используемые для мелких деталей и ювелирных изделий, несколько отличаются от методов, используемых для скульптуры. Восковые модели получают либо путем литья под давлением в резиновую форму, либо путем ручной резьбы. Воск или воски прикрепляют к литнику и фиксируют на резиновой основе, называемой "базой для литников". Затем металлическая колба, напоминающая короткий отрезок стальной трубы высотой и шириной от 3,5 до 15 сантиметров, надевается на базу для литников и восковые модели. Большинство баз для литников имеют круглое ободок, который фиксирует колбу стандартного размера, удерживая ее на месте. Инвестиционный материал (жаропрочный гипс) смешивается и заливается в колбу, заполняя ее. Он затвердевает, а затем выжигается, как описано выше. Литье обычно производится непосредственно из печи центробежным или вакуумным способом. Метод литья по выплавляемой модели может использоваться с любым материалом, который способен гореть, плавиться или испаряться, оставляя полость формы. Некоторые производители автомобилей используют метод литья по выплавляемой пене для изготовления блоков двигателей. Модель изготавливается из пенополистирола, который помещается в литейную колбу, состоящую из верхней и нижней частей, которая затем заполняется формовочным песком. Пена поддерживает песок, позволяя создавать формы, которые были бы невозможны, если бы процесс зависел только от песка. Металл заливается, испаряя пену своим теплом. В стоматологии золотые коронки, вкладки и накладки изготавливаются методом литья по выплавляемой модели. Первым о применении метода литья по выплавляемой модели для изготовления литых вкладок сообщил Таггарт. Типичный золотой сплав содержит около 60% золота и 28% серебра, а остальное – медь и другие металлы. Для успешного изготовления этого типа реставрации требуется тщательная подготовка зубов, снятие оттисков и соблюдение лабораторной техники. В стоматологических лабораториях также изготавливают другие изделия таким способом.
The methods used for small parts and jewellery vary somewhat from those used for sculpture. A wax model is obtained either from injection into a rubber mould or by being custom made by carving. The wax or waxes are sprued and fused onto a rubber base, called a "sprue base". Then a metal flask, which resembles a short length of steel pipe that ranges roughly from 3.5 to 15 centimeters tall and wide, is put over the sprue base and the waxes. Most sprue bases have a circular rim which grips the standard sized flask, holding it in place. Investment (refractory plaster) is mixed and poured into the flask, filling it. It hardens, then is burned out as outlined above. Casting is usually done straight from the kiln either by centrifugal casting or vacuum casting. The lost wax process can be used with any material that can burn, melt, or evaporate to leave a mould cavity. Some automobile manufacturers use a lost foam technique to make engine blocks. The model is made of polystyrene foam, which is placed into a casting flask, consisting of a cope and drag, which is then filled with casting sand. The foam supports the sand, allowing shapes that would be impossible if the process had to rely on the sand alone. The metal is poured in, vaporizing the foam with its heat. In dentistry, gold crowns, inlays and onlays are made by the lost wax technique. Application of Lost Wax technique for the fabrication of cast inlay was first reported by Taggart. A typical gold alloy is about 60% gold and 28% silver with copper and other metals making up the rest. Careful attention to tooth preparation, impression taking and laboratory technique are required to make this type of restoration a success. Dental laboratories make other items this way as well.
Текстиль
В этом процессе как воск, так и текстиль заменяются металлом в ходе литья, при этом тканевое упрочнение позволяет создать более тонкую модель, что снижает расход металла при заливке формы. Свидетельством этого процесса служит рельеф текстиля на обратной стороне изделий, который иногда называют методом "утраченного воска и текстиля". Этот текстильный рельеф заметен на золотых украшениях из погребальных курганов южной Сибири, принадлежавших древним кочевым племенам, например, на характерной группе ажурных золотых пластин, хранящихся в Эрмитаже в Санкт-Петербурге. Подобная техника могла применяться и при изготовлении некоторых овальных брошей эпохи викингов, о чем свидетельствуют многочисленные экземпляры с отпечатками ткани, такие как найденные в Кастелтауне (Шотландия).
In this process, the wax and the textile are both replaced by the metal during the casting process, whereby the fabric reinforcement allows for a thinner model, and thus reduces the amount of metal expended in the mould. Evidence of this process is seen by the textile relief on the reverse side of objects and is sometimes referred to as "lost wax, lost textile". This textile relief is visible on gold ornaments from burial mounds in southern Siberia of the ancient horse riding tribes, such as the distinctive group of openwork gold plaques housed in the Hermitage Museum, Saint Petersburg. Such a technique may also have been used to manufacture some Viking Age oval brooches, indicated by numerous examples with fabric imprints such as those of Castletown (Scotland).
Скульптуры из стекла
Процесс литья по выплавляемой модели также может использоваться при создании литых стеклянных скульптур. Изначально скульптура изготавливается из воска. Затем скульптура покрывается формовочным материалом (например, гипсом), за исключением дна формы, которое должно оставаться открытым. После затвердевания формы скульптура, заключенная внутри, удаляется путем нагрева дна формы. Это приводит к выплавлению воска (воск "теряется") и разрушению исходной скульптуры. Форма помещается в печь вверх дном, сверху устанавливается воронкообразный стакан, наполненный небольшими кусочками стекла. Когда печь нагревается до температуры 1450–1530 градусов по Фаренгейту, стекло плавится и стекает в форму. Время отжига обычно составляет 3–5 дней, а общее время пребывания в печи – 5 дней и более. После извлечения формы из печи формовочный материал удаляется, обнажая скульптуру внутри.
The lost wax casting process may also be used in the production of cast glass sculptures. The original sculpture is made from wax. The sculpture is then covered with mold material (e. g., plaster), except for the bottom of the mold which must remain open. When the mold has hardened, the encased sculpture is removed by applying heat to the bottom of the mold. This melts out the wax (the wax is 'lost') and destroys the original sculpture. The mold is then placed in a kiln upside down with a funnel like cup on top that holds small chunks of glass. When the kiln is brought up to temperature (1450 1530 degrees Fahrenheit), the glass chunks melt and flow down into the mold. Annealing time is usually 3–5 days, and total kiln time is 5 or more days. After the mold is removed from the kiln, the mold material is removed to reveal the sculpture inside.
Черное море
Золотые костяшки, бусы и браслеты, найденные в могилах болгарского Варненского некрополя, датируются приблизительно 6500 лет назад. Считается, что они являются одними из самых древних известных изделий из золота, а также самыми старыми объектами, изготовленными по технологии литья по выплавляемой модели. Более поздние примеры из северо-восточной Месопотамии и Анатолии включают Великий курган в Гордионе (конец VIII века до н.э.), а также другие типы урартских насадок для котлов.
Cast gold knucklebones, beads, and bracelets, found in graves at Bulgaria's Varna Necropolis, have been dated to approximately 6500 years BP. They are believed to be both some of the oldest known manufactured golden objects, and the oldest objects known to have been made using lost wax casting. Much later examples from northeastern Mesopotamia/Anatolia include the Great Tumulus at Gordion (late 8th century BC), as well as other types of Urartian cauldron attachments.
Южная Азия
Самый старый известный образец применения технологии литья по выплавляемой модели для меди датируется 6000-летним (ок. 4000 г. до н.э.) медным амулетом в форме колеса, найденным в Мехергархе, Пакистан. Две медные фигурки, обнаруженные на хараппском поселении Лотал в округе Ахмедабад штата Гуджарат, и браслеты, изготовленные методом литья по выплавляемой модели, типичны для северо-восточного Таиланда.
The oldest known example of applying the lost wax technique to copper casting comes from a 6,000 year old (c. 4000 BC) copper, wheel shaped amulet found at Mehrgarh, Pakistan. two copper figures found at the Harappan site Lothal in the district of Ahmedabad of Gujarat, Bangles made by the lost wax process are characteristic of northeast Thailand.
Египет
Египтяне практиковали технику литья по выплавляемой модели (cire perdue) с середины 3-го тысячелетия до нашей эры, что подтверждается раннединастическими браслетами и золотыми украшениями. Изделия с вставными носиками для сосудов-лейников (медные водоносные сосуды) из Четвертой династии (Древнего царства) были изготовлены методом литья по выплавляемой модели. Полые отливки, такие как статуэтка из Лувра, найденная в Файюме, появились в период Среднего царства, за ними последовали цельнолитые статуэтки (например, сидящая кормящая мать из Бруклина) Второго переходного периода / раннего Нового царства. Полые отливки становились более детализированными и продолжали использоваться в XVIII династии, что демонстрирует черная бронзовая статуэтка коленопреклоненного Тутанхамона (Музей Университета Пенсильвании). Техника литья по выплавляемой модели применялась в массовом производстве в Поздний период и в греко-римское время, когда отливались фигуры божеств для личного поклонения и в качестве приношений в храмах. Это была важная технология обработки металла, широко использовавшаяся в древнем Средиземноморье, особенно в классический период Греции для создания крупномасштабных бронзовых статуй, а также в Римской империи. Прямые имитации и местные вариации восточных, сиро-палестинских и кипрских фигурок встречаются на Сардинии в эпоху поздней бронзы, с местным производством фигурок с 11-го по 10-й век до нашей эры. Этрусские образцы, такие как бронзовый антропоморфный ручка из коллекции Бокки (Национальный археологический музей Адрии), датируемые 6-5 веками до нашей эры, были изготовлены с использованием техники литья по выплавляемой модели. Большинство ручек из коллекции Бокки, а также некоторые бронзовые сосуды, найденные в Адрии (Ровиго, Италия), были изготовлены этим методом. Геометрические бронзовые изделия, такие как четыре медные лошади собора Святого Марка в Венеции (вероятно, II век), являются другими яркими примерами статуй, отлитых из нескольких частей. Примеры работ, выполненных с использованием техники литья по выплавляемой модели в Древней Греции, сохранились в небольшом количестве из-за распространенной практики переплавки изделий в более поздние периоды для повторного использования материала. Большая часть свидетельств о существовании этих изделий поступает с затонувших кораблей. С развитием подводной археологии артефакты, утраченные в море, стали более доступными для изучения. На некоторых поселениях эпохи поздней бронзы на Кипре были найдены отлитые из бронзы фигуры людей и животных. Примером является мужская фигура, обнаруженная в Энкоми. Три предмета с Кипра (хранящиеся в Музее Метрополитен в Нью-Йорке) были отлиты по технологии литья по выплавляемой модели в XIII и XII веках до нашей эры: ободок амфоры, треножник с прутьями и литой треножник. К другим ранним примерам, демонстрирующим сборку отлитых по выплавляемой модели частей, относятся бронзовая голова Аполлона из Чатсворта и бронзовая голова Афродиты из Саталы (Турция) из Британского музея.
The Egyptians were practicing cire perdue from the mid 3rd millennium BC, shown by Early Dynastic bracelets and gold jewellery. Inserted spouts for ewers (copper water vessels) from the Fourth Dynasty (Old Kingdom) were made by the lost wax method. Hollow castings, such as the Louvre statuette from the Fayum find appeared during the Middle Kingdom, followed by solid cast statuettes (like the squatting, nursing mother, in Brooklyn) of the Second Intermediate/Early New Kingdom. Hollow castings become more detailed and continue into the Eighteenth Dynasty, shown by the black bronze kneeling figure of Tutankhamun (Museum of the University of Pennsylvania). Cire Perdue is used in mass production during the Late Period to Graeco Roman times when figures of deities were cast for personal devotion and votive temple offerings. It was a major metalworking technique utilized in the ancient Mediterranean world, notably during the Classical period of Greece for large scale bronze statuary and in the Roman world. Direct imitations and local derivations of Oriental, Syro Palestinian and Cypriot figurines are found in Late Bronze Age Sardinia, with a local production of figurines from the 11th to 10th century BC. Etruscan examples, such as the bronze anthropomorphic handle from the Bocchi collection (National Archaeological Museum of Adria), dating back to the 6th to 5th centuries BC, were made by cire perdue. Most of the handles in the Bocchi collection, as well as some bronze vessels found in Adria (Rovigo, Italy) were made using the lost wax technique. Geometric bronzes such as the four copper horses of San Marco (Venice, probably 2nd century) are other prime examples of statues cast in many parts. Examples of works made using the lost wax casting process in Ancient Greece largely are unavailable due to the common practice in later periods of melting down pieces to reuse their materials. Much of the evidence for these products come from shipwrecks. As underwater archaeology became feasible, artifacts lost to the sea became more accessible. Some Late Bronze Age sites in Cyprus have produced cast bronze figures of humans and animals. One example is the male figure found at Enkomi. Three objects from Cyprus (held in the Metropolitan Museum of Art in New York) were cast by the lost wax technique from the 13th and 12th centuries BC, namely, the amphorae rim, the rod tripod, and the cast tripod. Other, earlier examples that show this assembly of lost wax cast pieces include the bronze head of the Chatsworth Apollo and the bronze head of Aphrodite from Satala (Turkey) from the British Museum.
Восточная Азия
В Восточной Азии существует значительная вариативность в использовании метода литья по выплавляемой модели. Метод литья для изготовления бронзы до ранней фазы Восточной Чжоу (770–256 гг.) почти повсеместно представлял собой литье в секционных формах. Начиная примерно с 600 г., наблюдается явный рост использования литья по выплавляемой модели в центральных равнинах Китая, впервые зафиксированный в культурной сфере Чу. Однако дальнейшие исследования показали, что это не совсем так, поскольку стало ясно, что метод литья в кусовых формах был основной техникой, используемой для изготовления бронзовых сосудов в Китае. Метод литья по выплавляемой модели не появился в северном Китае до VI века до н.э. В Японии литье по выплавляемой модели известно как рогата и датируется периодом Яёи, ок. 200 г. до н.э. Сложная канделябр из Глостера (1104–1113 гг.) была изготовлена из цельной восковой модели, после чего была разработана сложная система литников и вентиляционных каналов, прежде чем модель была заключена в форму. С помощью литья по выплавляемой модели изготавливались типичные для региона золотые проволоки и изящные проволочные украшения, такие как тонкие серьги. Этот процесс применялся в доиспанское время в культурных зонах Муиска и Сину в Колумбии. Две формы для литья по выплавляемой модели – одна целая и одна частично разбитая – были обнаружены в шахтной и камерной гробнице в верде Пуэбло-Тападо, в муниципалитете Монтенегро (департамент Киндио), датируемые приблизительно доколумбовым периодом. Метод литья по выплавляемой модели появился в Мексике только в X веке и впоследствии использовался в западной Мексике для изготовления широкого спектра форм колоколов.
There is great variability in the use of the lost wax method in East Asia. The casting method to make bronzes till the early phase of Eastern Zhou (770 256 ) was almost invariably section mold process. Starting from around 600 , there was an unmistakable rise of lost wax casting in the central plains of China, first witnessed in the Chu cultural sphere. Further investigations have revealed this not to be the case as it is clear that the piece mould casting method was the principal technique used to manufacture bronze vessels in China. The lost wax technique did not appear in northern China until the 6th century BC. Lost wax casting is known as rōgata in Japanese, and dates back to the Yayoi period, c. 200 BC. The intricate Gloucester Candlestick (1104–1113 AD) was made as a single piece wax model, then given a complex system of gates and vents before being invested in a mould. Lost wax casting produced some of the region's typical gold wire and delicate wire ornament, such as fine ear ornaments. The process was employed in prehispanic times in Colombia's Muisca and Sinú cultural areas. Two lost wax moulds, one complete and one partially broken, were found in a shaft and chamber tomb in the vereda of Pueblo Tapado in the municipio of Montenegro (Department of Quindío), dated roughly to the pre Columbian period. The lost wax method did not appear in Mexico until the 10th century, and was thereafter used in western Mexico to make a wide range of bell forms.
Косвенные доказательства
Некоторые ранние литературные произведения упоминают литье по выплавляемой модели. Колумелла, римский писатель I века н.э., в трактате «О сельском хозяйстве» упоминает переработку воска из ульев, возможно, для литья, как и Плиний Старший, который подробно описывает сложную процедуру изготовления пунического воска. Одна греческая надпись относится к оплате мастеров за работу над Эрехтейоном в Афинах (408/7–407/6 гг. до н.э.). Модельеры могли использовать глиняные формы для создания терракотовых негативов для литья или для получения восковых позитивов. Плиний также упоминает использование свинца, который, как известно, облегчает заполнение расплавленной бронзой всех областей и деталей сложных форм. Квинтилиан описывает литье статуй по частям, для которых формы могли быть изготовлены с использованием технологии литья по выплавляемой модели. Сцены на кубке Берлинской литейной мастерской начала V века до н.э. изображают процесс создания бронзовых статуй, вероятно, косвенным методом литья по выплавляемой модели.
Some early literary works allude to lost wax casting. Columella, a Roman writer of the 1st century AD, mentions the processing of wax from beehives in De Re Rustica, perhaps for casting, as does Pliny the Elder, who details a sophisticated procedure for making Punic wax. One Greek inscription refers to the payment of craftsmen for their work on the Erechtheum in Athens (408/7–407/6 BC). Clay modellers may use clay moulds to make terracotta negatives for casting or to produce wax positives. and describes Pliny also mentions the use of lead, which is known to help molten bronze flow into all areas and parts of complex moulds. Quintilian documents the casting of statues in parts, whose moulds may have been produced by the lost wax process. Scenes on the early 5th century BC Berlin Foundry Cup depict the creation of bronze statuary working, probably by the indirect method of lost wax casting.
Индия
Метод потерянного воска хорошо задокументирован в древних индийских литературных источниках. Шилпа-шастры, текст периода Гупта (ок. 320–550 гг. н.э.), содержит подробную информацию о литье изображений из металла. Вишнусамхита V века н.э., приложение к Вишну Пуране, прямо упоминает моделирование воска для изготовления металлических предметов в главе XIV: «если изображение должно быть сделано из металла, его сначала следует изготовить из воска». Глава 68 древнесанскритского текста Манасара-Шилпа подробно описывает литье идолов из воска и называется Мадуччхиста-Видханам, или «метод потерянного воска». Текст Манасолласа XII века, предположительно написанный королем Сомешварой III Западной империи Чалукья, также содержит подробное описание метода потерянного воска и других процессов литья, включая оригинальные работы и скопированную информацию из других источников, таких как Mappae clavicula и Эраклий, De doloribus et artibus Romanorum.
The lost wax method is well documented in ancient Indian literary sources. The Shilpa Shastras, a text from the Gupta Period (c. 320–550 AD), contains detailed information about casting images in metal. The 5th century AD Vishnusamhita, an appendix to the Vishnu Purana, refers directly to the modeling of wax for making metal objects in chapter XIV: "if an image is to be made of metal, it must first be made of wax." Chapter 68 of the ancient Sanskrit text Mānasāra Silpa details casting idols in wax and is entitled Maduchchhista Vidhānam, or the "lost wax method". The 12th century text Mānasollāsa, allegedly written by King Someshvara III of the Western Chalukya Empire, also provides detail about lost wax and other casting processes. that includes original work and copied information from other sources, such as the Mappae clavicula and Eraclius, De dolorous et artibus Romanorum.
Америка
Испанский писатель Релей (1596) в кратком описании упоминает об отливке у ацтеков.
The Spanish writer Releigh (1596) in brief account refers to Aztec casting.