< MOULD STRIPPING
WAX RETOUCHING
Common defects seen on newly stripped wax patterns include SEAM LINES (residual indication of the mould’s sections), and evidence of the various funnels and vents used to pour in molten wax and core mix. Being a ‘sensitive’ and ‘searching’ material, wax finds it’s way easily through the joins of the mould’s rubbers, raising slight ridges on the wax pattern surface. Where mould’s rubbers and cases have been poorly registered, these seam lines will be more prominent, often showing up as FINS or FLASHING on the wax pattern’s surface.
Other minor defects such as PIN HOLES and small AIR BUBBLES must also be retouched. Working with a variety of hand tools and a heat source (gas/spirits burner or adapted soldering iron), the founder works the wax copy, closely following the forms and textures of the original master pattern, to which they constantly refer. The waxworker may also apply a fine metallic powder or other indicator to selected parts of the wax, highlighting areas of exceptional detail. Highlighting with powders will not have any adverse effect on either the wax, or the subsequent metal cast.
It is usual practice for the foundry to do the initial retouching work on a wax, in advance of the artist’s inspection – much of the work here is procedural rather than ‘creative’, though some sculptors prefer to work their wax patterns in person, without the founder’s intervention. Artist’s who work their own wax patterns usually do so either at the foundry (if facilities are available), or if the wax is readily transportable, in the familiarity of the studio. Provided the master pattern was constructed to a high standard, and the reproduction mould and wax pattern well executed, the amount of work required to bring a wax up to standard should be minimal. Whilst minor adjustments to the wax’s surfaces are possible at this point, it is not usually considered practical or safe to make significant alterations at such a late stage.
INSPECTING THE WAX PATTERN >
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