First Assignment: Texture in Translation

FIRST PROJECT:

Texture in Translation

The goal of this project is to explore the possibilities of bronze surface treatment. As demonstrated in the introductory slide show, bronze has been manipulated in a variety of ways to depict almost any sort of material – from fabric to stone, wood, and water - naming a few. Perhaps more interesting than the direct replication of such materials into bronze are the instances when textures become the carriers of meaning, transforming the object rather than merely restating it.

There are, of course, limitations to how a durable, hard metal surface can suggest certain textures; how might it be possible for it to depict abstract visual cues such as “softness” or “warmth?” The shape and scale of the object you choose to cast are therefore only parts of the conceptual equation. It is imperative to consider stylization, pattern and relief as well as the finishing process and patina.

Your objective is to use texture to transform an object in bronze. This object can be representational, abstract or non-representational. You may use a variety of methods to approach texture: direct translation through casting a texture and applying it to the object, modeling a texture with your hands or using a specific tool to create / modify a surface. In any case, your technique must be developed and applied to your model or to the wax positive.

Sketches due: January 24th

Waxes due: February 7th

Sprue systems and investment due by February 10th

Cast: February 14th

Critique of first assignment: March 7th

Artist examples: Robert Gober, Erika Verzutti, Malia Jensen, Reuben Kadish,

Marc Quinn, Lynda Benglis, August Rodin, Giacometti

Modern Art Foundry!

Last week we had the unique opportunity to take a tour of Modern Art Foundry in Queens, NY. Jeff Spring, 3rd generation owner and operator, gave us a run down on each step of the casting process. Modeling, mold making, wax work, gating, investment, pouring, chasing and finishing - each carry equal weight in the development of a successful work. What is so amazing is that the processes they use aren't any different than those we use at Cooper Union, just sometimes scaled up a few hundred pounds!!

Mold making pointers 2.0

Casting Strategies: An intensive course in safe and efficient methods of rubber mold making.

Introduction: The ability to make molds is one of the most valuable and useful skills an artist can possess. Molds allow for the production of multiples and the knowledge of how to make proper molds will open up a wide range of material possibilities for artists.

Flexible molds enable the casting of complex positives and, when made properly, can yield many more cast editions than a plaster mold. There are many different types of rubber compounds that allow you to cast a variety of materials within them – from plaster to wax to rubber itself. A good resource for detailed information on types of rubber and their applications can be found at the Compleat Sculptor (90 Van Dam St. NY) and on the Polytek or Smooth-On websites.

Mold making is a time-intensive endeavor. Here are some basic guidelines to follow when making flexible molds:


¸ Have patience and time. Successful molds take time (usually more time than you think, so plan ahead!) There is no point in spending the time to make a mold that fails because you rushed it.

¸ Use the flexible material that is appropriate for your application. Rubber compounds come in different grades of hardness. There are pourable types and brushable types. There are kinds that can withstand higher temperature casting materials and / or react differently to certain casting compounds.

¸ Read and follow the MSDS. ALL materials come with a Material Safety Data Sheet. These can always be found easily online. The MSDS gives you important information about the safe handling and possible hazards of working with a material. Always wear gloves when working with rubber compounds and any other appropriate safety apparatus directed by the MSDS

¸ Seal your positive when necessary. This is usually something like shellac or polyurethane, but you should always check the material handling specifications that come with your mold materials and know what works best with the material of your positive.

¸ Use Klean Klay or another sulphur-free dam material when using most rubber compounds to make a mold. Water based clay will inhibit curing of some rubbers.

¸ Use the specified release agent for your type of rubber. Never use Vaseline or grease as you would for plaster or other materials.

¸ Be sure to have a plan for keying and making mother-molds. Mother molds consist usually of plaster and create a shell to help your rubber mold from distorting. They also save money by allowing you to make thinner walled rubber molds. You must eliminate all drastic undercuts with the rubber mold before applying a mother-mold.

Mold making pointers

COMPANION TECHNICAL GUIDE: Casting with Plaster: Techniques check list
(also see Rubber Mold making post)

Making a plaster positive from a plaster or wood mold:

¸ Seal porous surfaces with shellac (thinned with alcohol 50/50) 3 COATS (dry in between)
¸ Be sure mold is well supported
¸ Use clay to dam edges of mold
¸ Use release agent on your mold so plaster does not stick to it
¸ For large molds, keep plaster light by reinforcing it with burlap or cheesecloth
¸ Don’t wait too long (a day is too long) between batches – plaster will have a seam or break
¸ De-mold after plaster has gone through its exothermic reaction (after it has gotten hot and then cools down)
¸ CLEAN UP - GOOD HOUSEKEEPING!!

Making plaster positive from a plaster mold:

¸ Seal original object to be cast if needed with shellac (thinned with alcohol 50/50) (dry in between coats – 3 coats)

¸ determine PARTING LINES of your object. Determine the number of pieces of mold to avoid undercuts.

¸ create dam wall in clay along the parting line. Clay wall will support lip of plaster
¸ put keys into clay

¸ apply RELEASE AGENT to object’s area to be cast

¸ cover object and dam wall lip with a SPLASH COAT. Blow on splash coat to push it against object and eliminate air bubbles.

¸ Wait for plaster to thicken slightly. Apply thickened plaster to top of face coat. shape into smooth dome.

¸ After exothermic reaction takes place, carefully remove clay from object and plaster. Build new dam wall if needed DO NOT REMOVE POSITIVE.

¸ Be sure to use MURPHY’S OIL SOAP AS A RELEASE TO SEPARATE PLASTER FROM NEW PLASTER

¸ When mold is finished, coat interior with Murphy’s oil soap to release plaster cast.