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Lost-wax casting – also called investment casting, precision casting, or cire perdue (French: [siʁ pɛʁdy]; borrowed from French) [1] – is the process by which a duplicate sculpture (often a metal, such as silver, gold, brass, or bronze) is cast from an original sculpture. Intricate works can be achieved by this method.
Much of the wax used in investment casting can be reclaimed and reused. [2] Lost-foam casting is a modern form of investment casting that eliminates certain steps in the process. Investment casting is so named because the process invests (surrounds) the pattern with refractory material to make a mould, and a molten substance is cast into the ...
The lost-wax casting technique Robinson developed is a modified version of the bronze casting technique. It involves creating a plaster mould which is filled with molten wax. The mould is then removed (and can be reused) and the wax is encased in a heat-resistant covering and placed in the kiln.
Solid casting does not use a clay core but instead a solid piece of wax to create the mould; hollow casting is the more traditional method and uses the clay core. [1] The first task in the lost wax hollow casting process consists of developing a clay core which is roughly the shape of the final cast image.
The lost wax process originated in ancient Mesopotamia. The earliest known record of lost-wax casting is a clay tablet written in cuneiform in the ancient city of Sparta, Babylon, which specifically records how much wax is needed to cast a key. [6] The earliest-known castings in the global archaeological record were made in open stone molds. [7]
In 2006, Milne created "Knitted Glass", incorporating the techniques of knitting, lost-wax casting, mold-making, and kiln-casting.As Milne describes in, "Knitting wasn't yet cool...": [9] The process involves (A) knitting the original art piece using wax strands, (B) surrounding the wax with a heat-tolerant refractory material, (C ) then removing the wax by melting it out, thus creating a mold ...
The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create ...
Skoogfors often used the lost-wax casting process. [3] He was introduced to lost-wax casting in metal by Ruth Radakovich and Svetozar Radakovich. [1] This process enabled Skoogfors to create more sculptural forms. He also used fusing, reticulation and chasing techniques in his work.
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