< PERMANENT PATTERNS
INTRODUCTION TO MATERIALS FOR PERMANENT MASTER PATTERNS
All the materials used to make lost patterns are also potentially suitable for use as permanent patterns, so if a sculptor starts work on a wax model with the idea of creating a ‘one off’ direct cast, and then decides they want more copies, there is no difficulty involved – the artist simply asks the founder to make a rubber mould of their completed wax pattern. Some soft or fragile pattern materials including some waxes or polystyrene may be damaged during rubber moulding, however the image of the pattern that is impressed into the mould should at the very least, remain true to the original.
Most of the materials discussed in the following pages are both familiar and traditional to sculpting, though there is plenty of precedent for stepping outside of the norm. The French artist, Edgar Degas (1834-1917) for instance, though best known for his Impressionist paintings, also made a number of small scale sculptures (most of which were probably intended for his own reference). That Degas did not view his sculptural exploits as exhibitable artworks is confirmed by the manner of their construction. Degas freely used materials such as clay, plastic modelling material, plaster and cloth. Later, radiographic investigations revealed a use of underlying armature supports made up from items as diverse and unlikely as a salt shaker, knitting needles, lead pipe, matches, cork and sponge. These sculptures were modelled with no thought for their longevity, or use as foundry patterns in a casting process. As a result, the sculptures were very nearly lost, but for their timely discovery and removal to the Hébrand foundry in Paris soon after the artist’s death [ref].
The Hébrand foundry employed one of the most gifted founders of his generation – Albino Palozzolo. Soon after the end of the First World War, Palozzolo supervised the translation of these fragile works into permanent bronzes via the use of GELATINE reproduction moulds. It is because of Palozzolo and others diligent craftsmanship, that many today able to admire what many critics consider to be among the finest figurative sculptures of the twentieth century.
Pablo Picasso (1881-1973), also used adventurous and unlikely materials in his sculpture making, though unlike Degas the evidence shows that this was as a rather more considered decision on the artist’s part – Picasso certainly intended many of his sculptures to be cast into metal. Records show that sculptures like ‘The Goat’ (1950) were constructed over an underlying framework of everyday objects – in this case, earthenware pots, tubes of metal, and a basket (which was used to define the form of the Goat’s belly). Picasso then consolidated the frame work with a plaster of Paris skin, thus making the founding process an altogether more straightforward task.
Degas’s sculptural talent is beyond dispute, however, were a modern founder to be presented with artwork constructed in a similar manner, the challenges would be not much less than those faced by Albino Palozzolo, nearly one hundred years ago. Despite the ready availability of modern rubbers which can cope with almost any conceivable moulding situation, the simple fact remains that a well constructed and presented master pattern greatly helps foundry staff to produce well executed and fine bronzes.
To some extent, modern rubber and plastic moulding materials have encouraged a degree of complacency and corner cutting in the artist’s studio. Sculptural patterns that might have been refused by a foundry fifty years ago as being of an unacceptable techical standard for casting, are today considered run of the mill. It is perhaps a reflection of declining standards of making in sculpture that a well executed master pattern is almost so unusual today that a correctly prepared piece of studio pattern work often draws a great deal of positive attention from foundry staff.
Making a suitable master pattern depends partly upon artist’s choice of appropriate sculpting materials. Of course much of the decision making here rightly has to be the sculptor’s. No worthwhile founder would seek to interfere with any artist’s creative or experimental instincts, but it is important for sculptors intending to use a foundry process to at least acknowledge the difficulties faced by the founder and recognise the technical limitations, as well as the possibilities of their chosen sculptural material.
The materials discussed in the following pages commonly present themselves as being suitable for foundry patternmaking, though this is by no means an exhaustive list.
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