FALL 2011 Syllabus TE 390.1; Casting Techniques

TE 390.1 Casting Techniques; FALL 2011

Location: 430F

Monday 2:00 pm – 6:00 pm

Instructors: Andrew Wilhelm, Betsy Alwin

contacts: sngldbltrpl@hotmail.com / betsyalwin@hotmail.com

Class Overview

The focus of our projects will be the processes and techniques of metal casting. Though we will concentrate primarily on casting bronze, the means by which we realize the finished projects will introduce processes of modeling, mold making and finishing that will carry over into your future studio practice. Our discussion will involve the history of such practices and their place in contemporary art.

The techniques and terminology of casting bronze have not changed much since the alloy was discovered and developed nearly 6000 years ago. The method of “cire perdue” (lost wax) is an ancient method developed in ancient Egypt. Bronze was the chief cast material by which tools and weapons were manufactured and developed during the Bronze Age (3,500 – 1,500 B.C.) Bronze became popular for monuments and statuary, a more versatile and durable alternative to stone carving. As a modern and contemporary art material, bronze has been traditionally used to cast some very untraditional forms and objects.

We will cover several processes of the lost wax technique, concentrating on proper molding techniques, investment, casting and finishing techniques. You will be encouraged to explore new forms and ideas in casting, considering both the possibilities and limits of the material.

Course Objectives:

• Learn and develop mold making techniques
• Practice and understand methods of casting metal: proper use of materials, equipment, and safety.
• Explore and discuss historical and contemporary examples.
• Realize two finished projects in metal.

Required Materials:

Most of the materials you will need for this class will be provided or will be available for purchase from the Sculpture shop.

• All casting wax will be provided as well as venting / gate wax.
• If you require rubber for molds you may purchase rubber by weight from the shop. Be sure to weigh the material used and pay for it immediately.
• You will be charged by the weight of your bronzes and the size of the flask used. Please consider this when planning your projects. If you decide not to keep your bronze you must still pay a fee for the casting materials.

You are required to purchase and keep on hand the following:

• Respirator with filters rated for particulates-(P100).
• Leather boots or shoes for casting.

These two items are for safety. Fully familiarize yourself with the MSDS provided in the shop. The foundry and investment materials contain silica sand. Silica dust irritates the respiratory system and with exposure can cause an illness called silicosis. While working with these materials or in this area you MUST wear your respirator. If you have asthma or other respiratory problems that limit your use of a respirator, please talk with one of the instructors immediately.

Student responsibilities and grading:

Your grade will be assessed in the following manner:

• 30% Class participation (attendance, participation in discussions and team pours)
• 25% First assignment (the amount of time, effort and attention spent / quality of finished project, timely completion)
• 45% Second project (the amount of time, effort and attention spent / use of demonstrated mold-making skills, quality of finished project, timely completion)

We cover a large amount of important information quickly in demonstrations and discussions. You are responsible for any information or demonstrations you miss due to illness or emergency.

Please refer to Cooper Union’s attendance policy. More than two absences will result in one lower letter grade. Three absences may result in mandatory withdrawal of the class. Lateness will not be tolerated. Two late arrivals to class will result in one absence, and will result in one lower letter grade. If you must leave the class early for any reason during the semester, please inform the instructors in advance of the class. Leaving the class early without being excused by the professors in advance will count as an absence.

Because the pours and investments require teamwork, attendance is essential. Casting is a time intensive process. The scheduling of investments and pours require steadfast deadlines for mold making and waxwork. It is common to underestimate the time needed for the process of completing a bronze work. You will make mistakes along the way; this is normal in the learning process. PLAN YOUR TIME WISELY.

Expect to spend at least six hours a week outside of class for your projects.

Late projects policy: All students in the class are expected to participate in critique whether or not they have completed their own assignments on time.

Each day that a project is late the letter grade will be dropped by one third. Students must make an appointment with the instructors to evaluate late projects.

Please speak with the instructors in advance if there are any extenuating circumstances regarding late projects.

GRADING SCALE:

A range: Outstanding performance: commitment to the quality and development of concepts and of work completed, timely completion of all assignments, significant dedication of work outside class time (good balance of time spent proportional to the level of project), highly engaged class participation.

B range: Above average performance: Good quality of work completed, timely completion of assignments, consistent amount of hours outside class time spent to finish project, active class participation.

C range: Average performance: completing all assignments, some hours outside of class time spent on projects, requisite attendance and participation.

D range: Below average performance: completing assignments excessively late and/or minor commitment to the quality of work completed, minor participation and/or excessive lateness, work time spent outside of class not proportional to the scale of project.

F range: Failure: Incomplete projects and/or excessive lateness and/or absences, little commitment to work done outside of class.

Note on finished projects:

Though ambitious projects are welcome, you will not be graded on the scale of your projects per se. You will be graded on your ability to finish what you have begun, management of class time and outside class time, the development of your concepts and ideas through the material, the level and quality of finish you bring to your projects, and the presentation of finished projects in critique.

Course Outline: Subject to change

September 12, week one * there will be a $25 charge for withdrawal after the 18^th.

Introduction.

Slide show.

Foundry orientation.

Demonstration: Wax modeling. Other model materials. Direct sprueing

Investing a centrifuge flask. First assignment: Two Week Project

September 19, Week two

Tour Modern Art Foundry, Queens. MEET AT MAF 9:45 AM

Meet with Andy or Betsy during week for help with projects.

Work on wax pieces, direct sprue systems. Purchase respirators.

September 26, week three

Waxes due. Group investment session. Have respirators for class. Wear work clothes.

Load investments into kiln. Prepare metal for next week. Burn-out over weekend.

October 3, Week four

Pour First project. Devest after pouring. De-gate and recycle cups and sprues. CLEAN UP! Begin working on 2nd project Idea/Drawings

October 10, Week five

QUICK CRITIQUE FIRST ASSIGNMENT

Mold-Making techniques. Casting wax and other materials.

2^nd project ideas.

October 17: Week six

Bronze finishing techniques.

Work on molds for 2^nd project.

October 24, Week seven

Critique 2^nd project. Begin ideas for final project

Sand casting demonstration.

October 31: Week eight

Final project ideas. Indirect sprue systems.

November 7, Week nine

Body casting techniques

Work on final projects

November 14, Week ten

Work on sprue systems

Invest by Thursday night; burn-out over the weekend

November 21st, Week eleven

POUR-Cast final projects. Bring all safety equipment and proper work clothing to class!

Nov. 24th-27th-HAPPY THANKSGIVING! THE SHOP WILL BE CLOSED OVER THE WEEKEND. PLAN ACCORDINGLY

November 28th , Week twelve

Demonstration: Alternatives to toxic methods of casting: FGR and Aquaresin™

Chasing / finishing / welding / technical

December 5th, Week thirteen

Demonstration: Casting techniques in the studio (when you don’t have a foundry)

Work on final project

December 12th, Week fourteen

Individual review of projects / work day

December 19^st: FINAL CRITIQUE. Location TBA.

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.