CASTING Health & safety

Always wear stout shoes and a suitable apron (leather or suede). Hair must be tied back securely. The mould must be SECURED on the hearth. Never stand on the pouring side of someone who is casting: This is in case the molten metal overshoots the pouring hole. Try not to get your face too close to the mould as you pour: In case hot metal shoots back out. The casting remains hot for some time after the pouring process. You must resist the temptation to open it up before it has cooled down. Ensure you have a supply of cold water and fire extinguisher nearby. Never pour into a damp, or wet mould: The moisture will turn to steam and can force the molten metal back out. Ensure your cuts are not too close to the edge walls of the cuttlefish: Molten metal could shoot through the walls of the cuttlefish. Student signature: Cuttlefish Cuttlefish bone is used for casting small pieces. Small items can be pressed into the Bone. However, most people carve an image directly into the bone. It is an inexpensive method of production (approximately 2.00 plus VAT per bone). To get a sharp image it is really only possible to use each bone once as the relief becomes scorched. Due to the texture of the cuttlefish you can produce some interesting effects. It is not suitable for making items that have undercuts. Date:

Process: Freehand carving 1. Cut off the top and bottom. 2. Cut the bone in half lengthways.

Imogen Waitt (May, 2010)

3. Rub the pieces on coarse sandpaper, or against each other in a circular motion to make perfectly flat surfaces. 4. Using wax modelling tools, a probe or scalpel blade, carve an indentation for the desired form. Remember that the depth of the cuts equals the thickness of the final piece. Position your design about from the larger end. 5. Carve a sprue funnel in both sides (and make sure they match up). At this point you can scratch small vents upwards, leading away from your design to allow gases to escape. There is some debate as to whether this is necessary when using cuttlefish as they are more porous than French clay. 6. If you want to emphasise the grain pattern of the cuttlefish, stroke the cuttlefish with a soft dry brush. The material between the grain ridges is soft and will quickly fall away. 7. Strap the mould together securely with masking tape or binding wire. 8. Position the mould on the hearth securely supported with fire bricks. 9. Melt the metal in a crucible (add a small amount of flux first to help it flow). 10. Keep the blowtorch on the crucible as you tip the molten metal into the mould. 11. Try not to get the molten metal too hot as this can create a very grainy casting. 12. Be patient do not attempt to open the mould until you are sure the casting is cool enough to handle.

Imogen Waitt (May, 2010)

French Clay With this method we press the object to be copied into French clay that has been forced into an aluminium tube. Once the object is firmly in place, a second piece of tube is placed over the first one and more French clay is packed into it. The tube is then split open, a pouring hole and a number of sprue holes is carved into the clay. This will allow gases to escape and ensure the metal can run) The two aluminium tubes are then placed carefully back together before the casting is performed. The main manufacturer is Delft and the kit costs about 50.00 plus VAT.

Imogen Waitt (May, 2010)