1 Creating a clay bed
with keys, casting and vent channels
2 Silicone rubber
applied onto the surface is able to retain an accurate print of the original in its negative version. 2 or 3 layers of silicone will be applied to obtain a thickness allowing manipulation.
3 Finished first half
allows applying silicone rubber on the second half to complete the negative capture of the entire statue
4 Fiber glass mother mould
keeps the rubber safe and in place. Keys are created so the 2 halves can be separated and accurately reunited as needed
5 Silicone mould
once the original was extracted. Optical illusion would let us believe we are looking at a 'positive' version of the statue yet, the silicone holds its negative form
6 Casting wax
to obtain a hollow replica of the original piece. The mould is filled to the rim with molten wax, then turned up side down so the wax can flow out leaving us this a hollow model
7 Extracting the replica
also called 'foundry model' or 'casting model'. The 'Lost Wax' casting method allows me to prefer my models to be as thin as possible because casting thin is a sure sign of quality
8 Correcting and refining
allows the model to be freed from all possible flaws or imperfections
Silicone mould for a Cire Perdue foundry Model
A good mould gives me a good 'foundry model' that is, the identical (+/-) replica in wax of my original statue. Having a mould allows me to either to create editions (never more than 6 for exclusivity sake) or have a 'back up' if something goes wrong with my any of the casts.
2 halves mould
My favorite materials are: silicone rubber for the inside, glass fiber and polyester for the outer shell which I call 'Mother Mould' because it contains and protects the soft inner mould made of silicone rubber. Both are costly materials and smell funny but I obtain a mould of great quality for its light weight, its durability and almost indestructibility.
When done correctly, my mould will provide me with is the exact replica of my original model.
Most moulds are made of at least 2 halves and, during construction, I create special key's' so that I can disassemble my its parts and reconstruct them accurately.Also during construction, a precise net of feeders (material coming in) and vents (air coming out) is created.
Often, because of the complexity or intricacy of the form, I need to cut my original sculpture and mould some of its 'part' separately.
Wax Casting, correcting and refining the Foundry Model
The refining of the model can take up to 3 to 4 weeks, depending of the complexity involved.