2003 - Volume 1

Smooth Talkin’
WHAT’S NEW IN RUBBER AND PLASTIC www.smooth-on.com

Simply Smashing!

SMASH! Plastic breakaway glass smashes it’s way

The World’s Largest Resin Casting? Possibly. into the guiness book of world records with this scene from
esin Most Definitely. Page 10
Cr ystal Clear R esin? the latest James Bond Movie . . . Page 3

F a ces
e M any Louis
uy
impossible . . .
e5
Th
Of G Pag DragonSkin
Page 6

What Else Is Inside?

• Tripping The Light FOAM - tastic . . . . . . Page 4
• Seeing Where You’re Going: SORTA Clear . . . 6
• Lower Prices On Mold Max Silicones . . . 8

PoYo Putty tm Mix & Apply By Hand • Stretching The Platinum Silicone Line . . . . . . 8
• Casting Options with Flame Rated Matrix NEO . . . 9
• Crystal Clear Resins: Where Do You Want To Go? 12
• TASK Plastics Enhance Sight & Sound . . . 13
• New Additions: TASK 12 & Feather Lite . . . 14
• New Flame Resistant Plastic & Foam . . . . . 15
• Mix It Up: Protect Your Rubber Investment . . . 16
• Model Most Dead: Seminar Fun Facts . . . 17

Goes To • The Pros: Mold Makers & Casters Do It for You . . . 18

Ground Zero
Page 7
 EZ Spray System
• Pour-It On
• Spray-It On •Brush-It On
• Apply By Hand
Smooth-On Has
Your Mold Rubber
ReoFlex Urethane Rubbers
tm

are “next generation” mold

rubbers for casting plaster, The EZ Spraytm Machine
concrete, wax, etc. Available is used around the world to
in “wet” or “dry” consistencies, spray rubber & plastic.
ReoFlex tm rubbers are easy to Make large molds & shells
mix & pour. Hardness options: quickly or many molds
quickly. Coat styrofoam or
20A 30A 40A 50A 60A do meter mixing Save
Softer Harder time, labor & material costs.

Get Your Free

Video Today!
CD-ROM or VHS

Get The Most Out Of

Your Production Mold.
ReoFlex tm is available in
“wet’ or “dry” consistencies
to maximize mold life.

Brush-On 40 tm

Brush-On 50 tm

Brush-On 60 tm

Holds a vertical or
inverted surface
better than any other
mold rubber, yet
reproduces very fine
detail. Molds are
incredibly strong and
o l d Max
are great for production casting of Matrix, gypsum, concrete,etc. M
nes
Silico
Used by restoration pros around the world!

Mix & Apply-By-Hand

YO
tm

PO Mold Putty . . .
The Fastest, Easiest
W ay Yet To Make Molds
No mess silicone putty. Mix by hand
and apply on site. Rubber cures in
New Mold Max Silicones (10A - 40A) feature high tear strength
minutes and has good tear strength.
and are great for production casting of resins, plasters, etc.
Cast resins, Matrix NEO, wax, etc..
Above: Reproducing 300+ year old frame with soft Mold Max 10.
Casting made from Matrix NEO. Perfect Detail Reproduction!

Toll Free: (800) 762-0744

for technical help & your nearest distributor
www.smooth-on.com
Fax. (610) 252-6200 * Easton, PA. 18042 USA

2
 P la s ti c A n d R u b b e r Glass Take
New SMASH! n d 0 0 7 Film.
te s t Ja m e s B o
The Lead In La er.
tt er.
no t ha ve be en be tt Bond film,
Th e ti m in g co ul d st James
“D ie An other Day”, the late ic
Th e pl ot of filmed in an arct
the scenes to be
called for many of sequences
t. Fi lm m ak er s we re looking for action
environmen included ice
e environment” that
to take place in an “ic The only
sc ul pt ur e, ice accessories, etc.
furn itu re , ice e arctic,
: Th e sc en es we re not being filmed in th
problem on.
ios just outside Lond
but at Pinewood Stud ate
wo ul d no t ha ve a chance in the moder d with the
Ice artisans were charge
at e. Sp ec ia l ef fe cts
UK clim orate A Real Breakthrough - James Bond’s car smashes through ice
eating the film’s elab
task of somehow cr own
ted effects using kn palace doors in “Die Another Day”. SMASH! Plastic made this and
“ice palace” and rela other spectacular scenes in the film possible. This scene was a
.
material technologies record-breaker; for details, visit www.guinnessrecords.com
Die Another Day © 2002 Damjaq, United Artists Corporation. All rights reserved.

This being a James Bond film however, meant that elements would be smashed to pieces on a grand scale in
the 007 tradition. Using conventional breakaway plastic products for such scenes could have posed a
problem because they are difficult to work with. Needing to be heated to 350°F/176°C in order to use them,
the working time on these products is short and unpredictable. In addition, the odor is horrific and handling
cured pieces results in a high breakage / waste factor.
Enter SMASH!™
SMASH! Plastic -
It was about that time that
SMASH!™ Plastic breakaway
glass made its way onto the
special effects scene, and Bond
effects artisans put it to
immediate use. SMASH!™ is
easy to use and cures at room
temperature. It has no odor,
offers a good working time and No Hassle SMASH! Plastic Effects -
cured elements are easier to Easy to mix and pour, cures to a water
handle. Cured material looks clear plastic that smashes like glass.
A SMASH! Plastic window pane shatters as it
should, and the subject remains unharmed. and breaks just like glass and is
Great for making bottles, panes, vases, etc. used to make window panes,
Follow directions carefully before using. bottles & other glass/ice effects.
It is easily color tinted or pigmented with SO-Strong™ tints.
In total, over six tons of SMASH! were used to create the smashing
ice effects for this Bond film, including a record-breaking scene where 007
drives his Aston-Martin Vanquish through the huge ice palace doors.
What’s Next? SMASH!™ was used (or is being used) for such films as
“Tomorrow Is Another Day” (Canada), “X-Men II” and “Harry Potter III “
Rubber Glass is easy to use and
(U.K.), “Terminator III” (Hollywood) and “Barkari Bakash” (India). crumbles to look like broken glass or ice.
Broadway shows using SMASH!™ for each performance include “Stomp” Use to finish the effect of an actor going
and “The Goat”. through a window - they land on the
ground and roll in Rubber Glass
Finishing The Ef fect W ith Rubber Glass - Over 1.5 tons of
Rubber Glass were used in “Die Another Day”. Any time you see an actor in proximity to glass, it is in fact
Rubber Glass that is being used to create the effect. Rubber Glass was first used in the “Star Trek: The Next
Generation” series and has been used in films like “Godzilla”, “The Matrix”, “Spider Man” and in commercials
for Coke and Budweiser Beer. Mix two liquids in equal amounts and let cure to a soft, water clear rubber. It is
then easy to crumble and use for any glass or ice effect.
3
Tripping The Light Foam-T
Tastic!
Long regarded as the premier supplier of props to Broadway shows in New
York City, Prism Production Services (Rahway, New Jersey) is developing
a reputation beyond Broadway as a can-do fabricator that can deliver an array
of creative mold making and casting services for feature films, displays and
themed environments. Example: Prism
artisans have perfected a technique
for making incredibly detailed food items for
such Broadway productions as “Oklahoma”,
Bon-Apetit - FlexFoam-iT! V
“Into The Woods” and “Flower Drum Song” perfectly pigmented & textured to
using Flex-Foam-iT! V flexible foam.
tm
look like bread. Used in the “picnic
Believe It Or Not - everything you see Cast in Mold Max 30 silicone rubber, scene” in “Oklahoma”. Below:
in these photos is Flex-Foam-iT! V foam. Prism’s foam-casting methods generate FlexFoam-iT! Plate of Lo Mein
used in “Flower Drum Song”.
SO Strong pieces that are so true-to-life that you
absolutely can not tell the difference www.prismprops.com
tints used
to pigment between finished castings and their
foam to real-food counterparts.
make ribs www.prismprops.com
for “Flower
Drum
Song”.

Expanding The Line - Fant astic!

Prism’s material talents only
begin with foams. They are
masters at creating magic with
Smooth-On silicones, urethane
rubbers and plastics.
Smashing On Broadway - Sally Fields goes on the
rampage in each performance of “The Goat”, smashing
items (including the above vase) that are all made of Above: SMASH! is rota- The Wrath Of Sally - SMASH!
SMASH! Plastic cast with color, tionally cast into Mold- Plastic vase smashes on impact
fillers or clear.
Max 30 vase mold. for each and every performance.

Casting Rigid Or Flexible Foams? Use A

Release Agent Made Especially For Foams.
If you’ve ever worked with castable foams (FlexFoam-iT!tm flexible foams or
Foam-iT!tm rigid foams), you probably know that they are adhesive in the extreme,
meaning that they will stick to just about anything including some silicone rubbers.
~Use nothing to release the foam from your form or mold, and you risk adhesion.
~Use a silicone-based release agent and your foam will collapse.
What Are Your Options? Mann Release Agents offers two products made
specifically for releasing foams from most surfaces. Ease Release 1700 is a
convenient aerosol that is easy to apply. Make sure you spray onto your mold surface, brush
the release agent over all surfaces that will contact the foam and follow with
another spray application. Ease Release 2831 comes in liquid form and can be applied
with a brush. Both will release your foam castings with out collapsing the foam or affecting
surface detail. Get More Life From Your Molds - Production casting of foams will also
burn out silicone or urethane molds relatively quickly. Using ER 1700 or ER 2831 will
significantly extend the production life of your molds. For your nearest Mann Release Agents
distributor, visit www.moldreleases.com
4
The Many Faces
of
Guy Louis XVI
If you were to encounter a Guy Louis XVI original
mannequin and tried to strike up a conversation
unaware that the figure was not human, you would
not be alone. It is simply impossible to readily
discern that Guy’s figures are not alive. Even after
tweaking the nose, touching the skin or looking deeply
into the eyes. His creations are so unnervingly perfect
Material know-how - Hedy Lamarr that they will give you chills as you touch the soft silicone
model made of Dragon Skintm over a
skin and silky hair or marvel at the delicate veins in the plastic eyes. In the
Flexfoam-iT!tm V foundation.
Guy has developed his own process arena of 3-D figure modeling, few can rival the Guy Louis XVI SFX located
for making eyes from Crystal Cleartm in Ottawa, Canada. The extreme realism of his creations has gained him
202 that are so real, they are impossi- international notoriety. Guy is self-taught and developing his technique over
ble to distinguish from real eyes. a number of years has taken a great deal of patience, being accomplished
mostly through trial and error. Guy’ s quest for detailed perfection is
reflected in each creation, and the state of his craft has reached such heights th at
his mannequins are highly sought after by private collectors and museums from
around the world including The Canadian National Museum, Canadian War
Museum (which has more than 20 of Guy’s mannequins), Civil War Museum in
Fort Jackson, South Carolina and many more. In addition, Guy has created
special effects pieces for movies and does prop assignments for corporations.
Maintaining A Material Edge - You can’t get this far
without an intimate working knowledge of the materials
that you depend on to make perfect, true-to-life
creations.

“I am constantly
approached by material
suppliers to try their latest,
greatest me-too product
and always end up using
Smooth-On. I can’t afford to
“The Oarsman” full-size take chances and need the
figure on display at best materials that I can get
Founder’s Hall in
Charlotte Town, Prince my hands on. They must
Edward Island is painted work the same every time
Matrixtm NEO. Eyes are with no surprises.
Crystal Clear 202. Hands -Guy Louis XVI
are Smooth-Cast 327.
Above: Full-size Johnny Carson
figure for Johnny Carson Exhibit at
Elk Horn Museum in Norfolk,
Nebraska. Skin is made of painted
The internet has brought Dragon Skintm silicone rubber over
Guy’s creations to the a foundation of Flexfoam-iTtm V.
world & his backlog is Eyes: Crystal Cleartm 202 plastic.
currently months out. Below: Dragon Skintm silicone
Guy’s website is an plays a major role in many of Guy’s
eye-opening experience. projects. Heart “training aid” is fin-
www.louisxvimannequins.com ished for medical device company
& kidney scar was made for an
upcoming
movie.
“Dragon
Skin’stm
versatility
let’s me go
in 100
different
directions. It
is a work-
horse.”
5
 Ready . . .

Set . . . Dragon Skin

Dragon Skin is a very soft, incredibly strong silicone rubber that is used to make skins for animatronic
tm

movie & theme park creatures. It will stretch many times its original size and rebound to its original shape -
great for repetitive motion applications. Dragon Skin & Dragon Skin Q (faster cure version) - with a 1A:1B
tm tm

by volume mix ratio, they are easy to use and cure quickly to a water-translucent rubber. Dragon Skin tm

really resists wear and tear, and is also used for orthotic and orthopedic applications. And, of course, you
can make soft, long-lasting molds with Dragon Skin - poured or brushed on.
tm

Limitless Color Possibilities . . . Add Silc-Pig color pigments to tm

Dragon Skin to make a paint that will adhere to cured Dragon Skin . Your
tm tm

colored Dragon Skin creation will bend & flex with no sign of peeling or
tm

cracking. Great for repetitive motion animatronics, colormatch orthotics, etc.

Soft, Stretchy &

Bounce-back
Indestructible
Seeing Where You’re Going Can Make All The Difference.
“SORTA Clear ” Helps You Find Your Way.
tm

With a combined mold making and casting experience of

over 35 years, fossil hunters Nelson Maniscalco and Marty
Shemella are highly skilled in reproducing detailed fossils
and skeletons. They continue to make molds and castings
for museums around the world and more than a few of their
bronze dinosaur skeleton castings reside in the collections
of such notable celebrities as movie mogul Steven Speilberg
and horror author Steven King.
Both Maniscaclo and Shemella are currently part of the teaching
staff at Cedar Crest College in Allentown, Pennsylvania, which
boasts a well appointed and growing foundry where a variety of
metals are cast including bronze, copper, iron, gold, silver and
platinum. Students fortunate enough to have one or both of
these learned men as instructors learn the finer points of mold
making and casting. Maniscalco and Shemella recently
evaluated Smooth-On’s new SORTA Clear translucent platinum
tm

silicone and both came to the same conclusion that “it is unlike
anything currently on the market”.

SORTA Clear is mixed 10A:1B by weight and should be

Marty Shemella uses tool to tm

vacuumed before pouring over a model. It cures overnight to a

manipulate the model in the
liquid SORTA Clear rubber.
Shore 40A and offers very high tear strength and surprising
physical properties. SORTA Clear silicone is good for prototype mold making, making jewelry molds (lost wax process)
tm

and other applications where extracting an original from the mold is done using a razor knife and clarity is required to
see where you are cutting. What’s So Special About SORTA Clear ? tm

According to Mr. Shemella, “I’ve tried a variety of “clear-cut” silicones including Rhodia and the Shin Etsu KE1310. The
SORTA Clear is incredibly strong, but cuts like butter - easier than anything I’ve tried. It is also very precise, with
tm

absolutely no shrinkage and no distortion. I have virtually no seam lines, which means no post-casting clean up, which
saves time.” SORTA Clear trial kits are available from your Smooth-On distributor or on-line at www.smooth-on.com.
tm

6
 Mold Putty Goes To Ground Zero
o
tm

Po Y To Rescue Architectural Ornaments.

Constructed in 1924, The Verizon Building proudly
stood in the shadows of The World Trade Center until
September 11. When the Twin Towers collapsed, the
Verizon Building sustained heavy damage including
intricate hand-carved ornaments that adorned the
building’s exterior. Restoring these ornaments was a
priority and designer/restoration pro, Bob Carpenter,
was given the go-ahead with the expectation that the
job would be done quickly. Work-in-progress: views of the Verizon
Less Than Favorable Conditions: It was Building restoration from a distance
mid-October by the time support structures were in (left) and close-up (above).
place and work could proceed safely. However, anyone who makes molds knows
that cold weather will prevent most mold rubbers from curing. The outside temperature at ground zero in
October was about 50°F/10°C during the day - colder at night. The temperature of the stone elements to
which mold rubber would be applied was no more than 40°F / 4°C. Mr. Carpenter tried a few mold products
that did not cure in the cold. He then called Smooth-On and was turned onto PoYo Mold Putty, a mix-and- tm

apply-by-hand silicone. With PoYo , there is NO MESS, weight measuring, containers, mixing sticks, etc.
tm

Carpenter brought only the PoYo kit to the Verizon site with hopes that it would work - time was now short.
He applied PoYo and within minutes
tm

had an exact mold negative of the

positive ornament. The rubber was
fully cured and strong. And the
rubber released without any surface
preparation. His next call was to
Smooth-On to get enough PoYo to tm

finish the job. In the end, 35 molds &

support shells were completed in a
Above: Others mixed PoYo while Carpenter short period of time - sizes ranged
tm
“We were working in a war zone -
needed to get in, make molds and get
out. PoYo Putty did the job for us
tm

applied it to sections of ornament (left). from 2’X3’ to 6’X6’. where others failed and I am happy to
Demold (right) was in a matter of minutes. -Finished Castings Were Perfect. endorse it.” -Bob Carpenter, Designer
Be T he P oYo - H ow T o M ix & A pply - People who have discovered PoYo Putty love its no-mess
tm tm

convenience and on-the-spot usability. But PoYo can be tricky to mix and apply until you get used to it.
tm

Here are a few tips to help you make your own PoYo molds. tm
Quick - Go Mold A Tree!
PoYotm
was mixed
& applied
to capture
tree bark
detail with-
out any
1. Roll a golf-ball size 3. Fold Part A around surface
2. Flatten putty and add
amount of Part A Putty Part B until putty is a 4. Press rubber into prep.
marble-size amount of
in your hand. uniform pink color. detail.
purple Part B paste. Mold was
5. Add PoYotm 6. A Plasti- removed in
as needed - Pastetm sup- 30 minutes.
care is taken to port shell is SC 320
marry new applied. resin with
material to old. black pig-
7. NEOtm is
The goal is to ment gave
pigmented
minimize layer An Exact a perfect
and cast. bark copy.
seams. Reproduction!
7
 n e s,
I N G ! Sili
co
a l u
V
e !
A - C H M ax
t t er
tm

C H On Mo Even Be
l d

r i c es A n
r P N o w
e
Low Since introducing Mold Max tin cure tm

silicones, they have been selling as fast as

we can make them.
Available in Shore 10A, 20A, 30A and 40A, Mold Max offers users a silicone value; good physical proper-
tm

ties, good chemical resistance and high-tear strength at a good price. We’ve also been told that, unlike other
silicones, they are also consistent from batch to batch - you know what you are going to get every time you
use them. Mold Max™ silicones are used around the world for casting waxes (low and high temperature)
low melt temperature metal alloys, resins (polyester, urethane & epoxy), plasters, concrete, soap, etc.

Performance At An Even Lower Price - We recently lowered

the price of the Mold Max line, making them the lowest cost “high-tear”
tm

silicones available anywhere. You also have the option of:

•Brushing-On To Vertical Surfaces - Add Thi-vex Thickener tm

•Accelerating The Cure Time - Use Fast-Cat Accelerator tm

(reduce cure time to as little as 30 minutes, if you like).

•Lowering The Viscosity For Faster Vacuuming & Easier Pouring -
Mold Max 30 with Thi-Vex thickener tm
-Add Our Silicone Thinner used to make a brush-on silicone mold
•Pouring Over Sulfur-Clay - Mold Max 30 With Safire Catalyst
tm of this complicated model.
tm

St retching The Platinum Silicone Line

Platinum silicones are premium rubbers that give the longest production and library mold life (30+ years).
For some applications, there simply is no substitute for a platinum silicone rubber. For example, platinum
silicones are the best for production casting of low-temperature-melt metal alloys (such as tin).
High tear strength, chemical and abrasion resistance, highest heat resistance . . . you name it and platinum
silicones have it. But, as you know, platinum silicones are expensive and you must be very careful during
processing, as they are susceptible to cure inhibition.
Smooth-Sil platinum silicones have been well received by prototype designers, spincasters and large
tm

companies casting concrete and polyester resins. Candle makers casting parafin waxes also use platinum
silicones to stand up to high production temperatures. The Smooth-Sil platinum silicone line now
tm

features Shore 10A, 20A, 30A and 45A durometers and cost less than other platinum silicones.
Need To Add Some Color? Turn To The Pig . . .
With the introduction of our Dragon Skin soft & stretchy silicone
(see page 6), we have had requests for a way to color silicone rubber
and are pleased to introduce SILC PIG PIGMENTS.
tm

Silc Pig color pigments will color any

tm

Smooth-On on silicone rubber, tin or

A Wise Investment - Davis Collectables
changed from tin-cured silicones to
Smooth-Siltm 945 and now gets over 200
platinum based. They disperse
uniformly and are cost effective because
a little goes a very long way.
Silc Pig is available in:
tm

polyester castings out of their molds vs. 50 1. Red 2. Yellow 3. Green

from tin silicones. “The Smooth-On 4. Blue 5. Black 6. Brown One drop of Silc Pig “Skin Tone”
tm
platinums have really paid for themselves.” color was all that was necessary to
7. Flesh Tone (Beige) 8. White
color Dragon Skintm silicone rubber.
8
 A New & Versatile Casting Medium . . .
Easy-To-Use, Non-Toxic and Flame Rated
Matrix NEOtm is an easy-to-use gypsum-based casting system that is much stronger,
dimensionally stable and far more weather resistant than ordinary gypsum plasters -
good for interior or exterior applications.
NEOtm can be cast solid into a mold or you can add Matrix Glasstm chopped fiber for
hand-lay-up to create thin, lightweight elements that you can literally hit with a hammer.
NEOtm is a two component system that is mixed 2 parts powder (Part A) to 1 part liquid
(Part B) by volume (no weighing scale necessary). Mix by hand or drill mix(with squirrel-
cage mixer). NEOtm has no odor and is used for some applications as a non-toxic,
less expensive alternative to polyester, urethane or epoxy resins.
Where Do You Want To Go W ith NEO ? NEOtm is so versatile, that it would be
tm

easier to list things that you can’t do with this material. NEOtm can be color
pigmented with powder or liquid pigments. Castings can also be painted with
acrylic paints. You can mix any filler with NEOtm to create a variety of casting
effects including faux marble, granite, limestone, etc. effects. Realistic cold cast
bronze (or brass, copper, etc.) effects are achieved by adding metal powders.
Applications - Casting solid into a rubber mold, NEOtm is used to reproduce
sculpture and other creations. Architectural restoration pros have discovered the versatility of this product for
creating elements that are “hand-layed up” using Matrix Glasstm - lightweight and strong.
Brush-On Mold Reinforcement? Adding Matrix Glasstm chopped fiber to NEOtm - make, mother molds that
are easy-to-handle (lightweight) inexpensive and virtually indestructible.
Use The UL Flame Rating To Your Advantage - NEOtm is officially recognized by
Underwriter’s Laboratories as a flame rated product. The UL certification is the highest flame rating
certification obtainable in the US and Canada. Thanks to the UL Cert., NEOtm satisfies New York City’s tough
fire building code requirements and has been used to make public architectural ornaments and on Broadway
for stage and set construction. To view the Underwriter’s Lab Certification, go to: www.ul.com
Attention Concrete Casters:
Matrix-C Added To Your Concrete Mix
tm

Can Make All The Difference.

Matrix-Ctm is a polymer additive for concrete that greatly
enhances freeze/thaw, chemical and UV resistance. It eliminates
the need for a 7-day post cure and reduces
water/salt absorption, thereby eliminating
microcracks in concrete castings. Adding
Matrix-Ctm greatly improves surface finish, and
makes castings much stronger.
Perfect for GFRC - add Matrixtm Glass to make
concrete elements & building facades that are
lightweight and structurally very strong.
See The Difference . . . Adding Matrix-C tm to concrete makes
dramatic difference in surface finish.
Restoration pro, Dave
Casting on the left is regular concrete.
Flaherty, brushes a
Matrix-C tm casting is on the right.
“gel coat” of NEO into
a mold cavity. Backed
“Our investment in Matrix-C tm is
up with NEO soaked
returned 20-fold. Our castings (concrete
Matrix Glass, the cast-
architectural elements) look much better
ings are thin, incredi-
and breakage-in-transit is down to 0”.
bly strong, lightweight Without With
-Percio Torraca, Torraca Construction
and fireproof. Matrix-Ctm Matrix-Ctm
9
 1. The fourth
1 plinth
pedestal
featured
At Over 12 Tons, The World’s
“The Tree Of
Knowledge”
sculpture
Largest Resin Casting? Possibly.
prior to Ms. Rachel Whiteread is considered by many to be Britain’s greatest creator
Whitereads of public sculptures, with museums and collectors always competing to
creation buy her work. Past projects have been described as “incredibly ambi-
being
installed.
tious” and are almost always controversial. Her decision to contribute
Her vision: a creation to Trafalgar Square’s vacant Fourth Plinth was very exciting
an inverted and yet posed an array of logistical, material and engineering chal-
plinth cast in lenges. Part of Ms. Whiteread’s motivation for doing this project is
clear resin. “to do what, quite simply, has never been done before”.

Backgound - Trafalgar Square is one of London’s top tourist

2
2. Artist, Rachel Whiteread, stands near the
“maquette” mold used to make test castings prior
to the “big pour”.
destinations known for its open spaces, crowds and pigeon
population. The Square is bracketed by four plinths, or pedestals.
Three of the plinths support individual sculpture pieces significant to
Britain’s past. The Fourth Plinth has remained vacant for over 150
years due to an inability to agree on what, if anything, should reside
there. The Royal Society of Arts recently opened the space for a limit-
ed time to support the works of three British artists.
Ms. Whiteread’s vision for the Fourth Plinth was to offer “a pause - a
quiet moment” in the bustle of central London by creating an inverse
representation of the plinth itself, cast in a water clear see-through
plastic.

Largest Resin Object Ever Made - with Ms. Whiteread aiming for an
entry in the Guinness Book Of Records, the final casting was to be
over 12 tons of resin. This posed a considerable problem in that
existing resin formulations of this type gave off a tremendous amount
of heat during the curing process, which meant that there was a risk
of such a large casting cracking and/or distorting.

Smooth-On chemists formulated a special “mass cast” version of it’s

3 Crystal Clear water clear resin that would not crack or distort, just
tm

for this project. After creating several “small scale” maquettes (each
3. Michael Smith Studios (London) is where all of maquette was several hundred pounds of material) to test the nature
the action took place. Two molds made of of the final resin formulation, it was time to “scale up” to the large
aluminium and steelwere fabricated, each with an pour.
inner core and outer wall.

The Crystal Cleartm resin was cast 3

into the space between the core
and the wall (cavity) of each mold
resulting in two hollow castings.

Dimensions Of Final
Assembled Casting:
16’ L x 8’W x 16’H
(4.8m x 2.43m x 4.8m)
Weight: 24,680 lbs.
3
11,195 kgs.
10
 Crystal Clear Resin? tm

Most Definitely.
Uncharted Casting Waters: A Lot At Risk: There could be only one
attempt at making this massive pour which was why planning was so
important and took over 1 year. Mold engineering and casting were
done by Michael Smith Studios (Britain’s top art fabricator). Peter
Turnock of Bentley Chemicals (Smooth-On’s representatives in The 4
U.K. tel. 156 251 5121), kept material aspects on track by coordinating
communications between parties. In addition to providing the new resin 4. One of Smooth-On’s vessels (10,000 lb.
product, Smooth-On also provided equipment used to process the capacity or 4,536 kgs.) made the trip across the
Atlantic for just this pour. Crystal Clear resin
material, as well as on-site technicians to assist with the pour. (Parts A & B) was pumped from drums into the
mixing vessel where it was mixed and vacuumed
Once the actual mixing and pouring began, everyone was on high alert prior to being dispensed into the mold cavities.
looking for signs of trouble. The only glich: It was soon evident that
volume estimates were short and more material was needed, which 5
could have meant disaster for the project. And how did it turn out?
We will close this chronology with a quotation from Ms. Whiteread in an
article from “The Independent”, a British newspaper:
“Doing What Has Never Been Done Before” - The Reality Sets In
Ms. Whiteread states that, “I think it is remarkable that we have done it,
got this far. I’m totally amazed we have achieved the engineering pos-
sible to make this volume of material work. And we ran out of material
and had to have it shipped from America. They (Smooth-On) manufac-
tured it and got it to us very quickly. I couldn’t ask for more”. 5. Revealing Moment - Rachel Whiteread’s face
Quotes take from an article published in “The Independent”, May 2001 tells exactly how well the Crystal Clear plastic
cured following demolding.
Very Clearly,
“A Pause . . . A
Quite Moment in
the bustle of
Central London .”
“Monument” is
an inverse
representation of
the plinth pedastal
6
upon which it
rests. 6. Peter Turnock of Bentley Chemical gives
“thumbs up” next to newly demolded castings.
7. The unveiling of “Monument” in Trafalgar
Square drew the curious, the critical, celebrities
and sculpture admirers from all over the world.

11
 Th e Industrial Side Of The Cryst al Clear Series tm

Crystal Clear Resins (CC200, 202, 204, 206) have been used for years to create water-clear sculpture
tm

castings (see “The Plinth”, previous page). But these resins are also used to make prototypes and industrial
design / display castings all over the world.
A recent Crystal Clear industrial application
tm

involved Ford Motor Company’s restoration of “The

Red Buses Of Glacier Park” in Montana. The fleet
of 33 buses, originally built in 1930 to transport
tourists through Glacier Park, fell into a state of
disrepair and was retired in Above: Veterinarian
1999. Ford contracted TDM training aid. Middle:
Company (Livonia, MI) to do Encapsulated key for
the work and they used New York City store window display made by
Rocca & Noto (New York) Right: Kartel Spa
Crystal Clear plastic to make (Italy) makes Crystal Clear tables.
tm

replacement lenses and

corner lights for the buses.
Allen Millisor of TDM used
Crystal Clear resin and
tm

Mold Maxtm silicone rubber to

Allen Millisor shows off cast the pieces stating that,
his Crystal Clear
tm
“these materials helped us
lenses cast from Mold avoid expensive tooling on the
Max 30 molds.
tm
project”.

An Addition To The Crystal Clear Line - tm

Introducing Crystal Clear 220 tm

We have recently had requests for a harder version vs. our existing clear products that also offered a higher
heat distortion temperature for prototyping and other applications. Crystal Clear 220 is a harder addition to
the Crystal Clear line (Shore 85D vs. 80D) and heat curing / post curing is recommended.
tm

Like our other Crystal Clear products, CC 220 is UV resistant. Because this is a
tm

heat cure product, the heat resistance of finished castings is higher (heat distortion
temperature of (212°F / 100°C).
Because it is harder, it is easier to precisely machine and polish (remove scratches).
You also get less “suck back” and shrinkage with this product vs. other clear
products. Casting thickness maximum is about 4 cubic inches (65 cm3). The mix
ratio is 100A:75B by weight. Vacuum degassing or pressure casting to eliminate
bubbles is recommended. As with our other Crystal Clear products, silicone molds
tm

(Mold Max silicones work well) must

tm

be thoroughly cured before casting

Crystal Clear to avoid cure inhibition.
tm

Like all aliphatic resins, proper ventila-

Oliveras Lighting Co. in tion and a NIOSH approved respirator
Chihuahua, Mexico,
supplies hotels and is recommended when using.
casinos with custom light- “Being able to cast our own clear elements
ing. For this chandelier, has been very big for us. We’ve developed an
they use Crystal Clear entire chandelier line around the Clear 220.
220 to cast individual Other resins we tried wilted in the heat or
leaves that come together shattered in transit. We haven’t found better.”
to create lighting magic. -Jose Oliveras, President

12
 Taken To Task - New York’s Museum Of
Natural History’s Display Of DNA Code
David McCornack’s average workday is filled with creative
challenges that would cause lesser moldmakers or casters to
simply throw up their hands and walk away. David is a
creative contributor to the Museum Of Natural History’s (NYC)
fabrication shop and, as such, considers such challenges part of
the job. He specializes in creating museum-quality marine inverterbrates, but is called
on to deliver a variety of casting creations to the exhibition floor. This poses not only
design challenges, but material challenges as well. “The Genome” exhibition called for
McCornack to design, mold and cast a floor-to-ceiling DNA chain (14 ft. - 4.25m) that
met museum standards for eye-catching appeal and safety. The finished casting had to
withstand impact, wear & tear and other variables associated with being exposed to
thousands of visitors daily. To make the casting, McCornack
chose TASK 10 liquid plastic for a few reasons. First, the
tm

casting (ranging in thickness from 3/8” to 1”) had to be

structurally strong enough to support its suspended weight.
Second, TASK 10 not only reproduces exact detail, but
tm

allows exact color matching. TASK 10 is a neutraltm Above - Host To Thousands . . .

clear amber and readily accepts color tints and fillers. A giant banner welcomes visitors to
the museum’s “Genome” exhibit.
McCornack got exactly the look he wanted with no
Mr. McCornack’s DNA chain cast in
surprises, and Genome opened on time to the delight of thousands of “people-tough” TASK 10 Resin wastm

museum patrons. TASK liquid plastics are Smooth-On’s performance line

tm an exhibition success.
of resins and feature superior physical properties, higher heat resistance, etc. Visit www.smooth-on.com for
(vs. the Smooth-Cast line of general purpose casting resins). more info. on TASK.
TASK 4 Is Music (& Money) To The Ears Of Long-T ime
tm

Antiques Collector - Shortime Moldmaker / Caster.

Christov Curystanos has been collecting antiques for years. His passion, however, is collecting old 78 RPM records, not
only for the market value, but for the music. An avid fan of swing, big-band and other genres long past, Mr. Curystanos
has quite a collection and has always wanted to share some of his rare titles with friends. Problem: Many of these titles
are one-of-a-kind and very valuable - not easily loaned or shipped without risk. Answer: Mr. Curystanos attended a
Smooth-On moldmaking and casting seminar (see page 17), and was soon making his own molds and castings at home.
2. “The process was actually quite simple. That expanded into “Ecos Castings”
1. 78’s are nothing more than detailed wax and a 3,000 sq. ft. facility - the rest is
pressings and the mold rubber copied it beautiful music. Switching from tin-sili-
perfectly. But when we made the casting
and played it on my Victrola, the sound
cones to Smooth-Sil 945 platinum
tm

shocked everyone in the room”. silicone to make his molds, Curystanos

1- Original 78 record 2- Smooth-Sil 945 is -Christov Curystanos, Ecos Castings has improved his mold yield from 40
is secured in a box. mixed, vacuumed and castings to over 300 per
poured over model. mold. And TASK 4
tm
5.
plastic is ideal because
4. “it is unbreakable and my
records last far longer
3.
than the
original 78’s - you can
3- Next day, the
rubber mold is drop them on the floor a
removed from the 4 - TASK 4 is mixed 5- The TASK 4 casting is
model, reflecting with SO Strong black 6. Perfectly . . . Everytime. dozen times and they
removed from the mold and
each groove and even tint, poured into the placed on a Victrola turnstile don’t break”. Mr.
the imprint from the mold and allowed to
label. . . . does it actually play? Curystanos began in 1999 and sales in 2002 were
cure.
over $250,000. Curystanos declined
further notoriety in Smooth-Talkin’ stating, “I don’t need it - I’m selling my records as fast as I can make them now”.
13
 A Urethane Plastic That Floats?
Introducing Feather Litetm
Feather Litetm is a heavily filled, low-density
urethane casting resin. As the name implies, it is
lighter than other casting resins - so lightweight
that it actually floats in water.

Parts A and B are heavily filled and separate in

Rising To The Top - The Feather Lite casting
their containers. Both sides need to be pre-mixed
floats in water above other resin castings that before use. It has a 1A:1B mix ratio, 8 minute
sink - a variety of application possibilities. pot life and roughly a 2 hour demold (depending
on mass). Cured plastic is strong and can be carved, machined, drilled, sanded, etc.
Feather Litetm can be pigmented with SO Strong color tints and finished castings can be
tm

painted. Uses: Feather Litetm is being used by fishing lure manufacturers to make cast-
ings that float. It is also being used to make lightweight model castings (i.e. model planes Seeing The Lite -
Cast in “normal”
and cars). Feather Litetm is also being used to make lightweight mother molds/support
urethane resin: 8.2
shells for rubber molds. Don’t Try This At Home: Some students at the University Of lbs.(3.7 kgs.) Cast in
Buffalo discovered Feather Litetm in time for the 2003 do-it-yourself collegiate canoe race Feather Lite: 5.1
and cast a full size canoe - reinforced with Foam-iT IIItm Rigid Foam - worked great! lbs. (2.3 kgs.)
Compare The Yields - Feather Litetm Costs Less To Use: Feather Litetm yields 41 cubic inches per pound
vs. 25 or 26 cubic inches per pound for other plastics. This means that, in a cubic inch per pound
comparison, Feather Lite costs less and will lower your cost per casting.
tm

Performance At A Lower Price A High-Impact Addition To The TASK

W ith TASK 5 & 6
TASK 5 & 6 are urethane cast-
tm
ing resins that deliver performance
at a lower price. For those of you
first tuning in, the TASK series of
tm
casting resins has better perform-
ance properties than our
Smooth-Cast line of general
tm
tm Line Of Performance Resins
TASK 12 is the newest addition to our line of
tm
performance tooling resins and is now our toughest
semi-rigid plastic - highly resistant to impact and
physical shock.
In the past, companies have resorted to adding
MOCA (which is known to cause cancer) to attain
superior physical properties in these types of resins.
TASK 12 achieves these properties without
tm

purpose casting resins.
Both cure to a Shore 80D and
have good physical properties. They are slightly
filled and have a higher viscosity vs. other TASK
products, but they are less susceptible to moisture
(humidity) contamination than unfilled resins.
The main difference between the two:
TASK 5: 3 minute pot life and 15 minute demold.
tm
MOCA and cures at room temperature (no heat
curing required). Mix ratio is 100A:44B by weight.
Pot life is 20 minutes and cure time is overnight.
tm Color is clear amber - great for color tinting.
Semi-rigid hardness: Shore 60D.
Beat me, abuse me, throw me against the wall . . .
So far, TASK 12 has been used to make high-
tm

TASK 6: 7 minute pot life and 75 minute demold.

tm
impact mechanical parts
for the military. Also used
Less expensive than other Shore 80D tooling to make prototype models
resins - TASK 5 & 6 are at least 20% less
tm and for casting
expensive than other TASK resins and are used for
tm “designer” furniture.
many fast prototyping and tooling applications. PK Models (Wilmington, NC)
uses TASK 12 and Mold Max
Technical Bulletins For Any Smooth-On Product 30 silicone to make prototype
parts for military applications.
Are Available at www.smooth-on.com

14
 Putting Out The Fire With . . .
Flame-Resistant Plastic
Formula 79-206FR is a flame resistant urethane
resin that surpasses UL 94V-O flame rating. It
features a convenient 1A:1B by volume mix ratio,
has a pot life (working time) of 30 minutes and cures
at room temperature - ready to be demolded in 4 - 6
hours (depending on mass). This product has a low
Flame-Resistant Foam
Flame-Out 7 TM Rigid Foam is, as it sounds, a
7 lbs/ft³. density rigid foam that is flame resistant.
The mix ratio is 1A:1B by weight, it has a pot life of
45 seconds and is tack-free in 10 minutes.
Like our Foam-iT! rigid foam products,
TM

viscosity (400 cps) that ensures easy mixing and Flame Out 7 exhibits high tensile, shear strength,
TM

minimal bubble entrapment.
79-206FR cures to
a strong rigid plastic with
very low shrinkage, and can
and good impact resistance. Cured foam can be
machined, drilled, sanded, etc. and can be painted or
stained for wood grain or other decorative effects.
Flame Out 7 has been tested in accordance with
TM

be machined, drilled, etc. ASTM E84-90 Standard Test Method for Surface
Burning Characteristics of Building Materials. Flame
Formula 79-206FR is suitable for a variety of Out 7™ scored a Flame Spread Index of 20 and
casting applications including making flame resistant a Smoke Developed Index of 225.
prototype parts, models, architectural elements, It qualifies for a
theme park and stage elements and more. Class 1 / Class A
rating.
Kinder, Gentler Flexible Foam. Flame Out 7 is being
TM

used for making flame

Introducing FlexFoam iT! III tm resistant architectural
Applications for our flexible foams range from military elements columns, wall
to industrial to hobby and more panels, etc.), facades
(see page 4). for theatres and
We recently encountered a amusement parks.
special effects application that
called for a lower density Improved Resist ance To
flexible foam with a "softer feel"
than our FlexFoam iT! V tm
Ultra-V iolet Light
(5 lb. flexible foam). W ith Smooth-Cast 316 UV
FlexFoam iT! lll is a 3 lb.
tm
There are not many UV resistant plastics on the
density flexible foam with a market because true UV resistance is one of the holy
softer feel than its FlexFoam iT 5 grails of the urethane industry. Put your standard
and 10 lb. counterparts. white urethane plastic in the sun and you can almost
FlexFoam iT! lll is mixed 1A:2B by volume. Pot life watch it turn yellow before your eyes.
tm

is 35 seconds and the foam can be handled in 30 Smooth-Cast 316 UV is a “next generation” product to
minutes. Cured foam has a velvet "pillow-like" feel our SC 315 UV (discontinued due to raw material
and offers good tear strength at the same time. availability). It resists ultra-violet light far better than
ordinary casting resins (castings will darken
FlexFoam iT! lll is currently
tm
somewhat, but do not yellow). The mix ratio is
being used at theatre and
100A:90B by weight.
movie sets for special effects
Pot life is 20 minutes and
applications (you'll see it in
demold is overnight.
action in the upcoming Harry
Castings are bright white
Potter II and lll movies), by
(can be color pigmented)
maker of backpacks
and tough - plastic cures to
(cushioning) and a prosthetic
a Shore 80D.
device manufacturer.
15
 ! My Mold Rubber Is Not Curing.
o o t h - O n
, Sm
HeyThere
What Happened ????
are many factors that can contribute to mold rubber not curing including cold tem-
peratures, contaminants on a model’s surface, etc. But the most common reason: inadequate mix-
ing of Parts A & B. People mixing rubber for the first time tend to under-mix the material before
applying. It is especially easy to under mix thick materials like silicone or brush-on rubber.

Mixing Success: A Function Of Time & Technique -

Time - Most mold rubbers give you plenty of time to mix and apply, so don’t worry about not having
enough time. Your goal in mixing is to be thorough , not fast.
Technique: Don’t Be Casual, Be Aggressive - This is where most “first timers” make the fatal mistake of using
a “limp wrist”, meaning that they are not aggressive enough in mixing the rubber. Use a stiff mixing paddle and employ
a firm wrist, making sure that you scrape the sides and bottom of your mixing container several tiems. Important mate-
rial hides on the bottom and sides of your mixing container and failure to get this material into the mix will result in the
rubber not properly curing.
The Best You Can Do -
2. Pour into new,
clean mixing container. “The Double Mix-And-Pour”
Technique - After mixing thor-
oughly for 3 minutes, empty the
contents of your mixing con-
tainer and mix again for another
2 to 3 minutes before applying
over your model. This tech-
nique is your best bet for suc-
cessful mixing and protection 4.Pour slowly into
your mold rubber investment. containment field.
1. Mix Thoroughly 3.Mix Again

Mixing Large Amounts Of Rubber?

Do It Better With “The Squirrel”
The “Double-Mix-And-Pour” technique works well when mixing rubber by hand. But many
Smooth-On customers mix a 5 gal.unit of urethane rubber (80 lbs - 36 kgs.) or more at a
time, and mechanical mixing is the best way to mix these large quantities.
How It Works - A mechanical mixer is used with an electric drill (cordless drills tend to
not have enough power to mix rubber, especially thick silicones). The mixer is inserted into
a drill chuck like a drill bit and the mixer-end is used to mix components. Important: avoid
introducing too much air into the mix by using a low RPM setting on the drill.
Using The Right Mixer Is Critical. The lastest and best in mixer technology is
“The Squirr el” mixer. Its patented design results in a multi-directional mix of
Parts A&B in your container, yielding a faster and more thorough mix vs. “paddle” mixers.
The Difference Is Startling! Mixing a 5 gallon unit of urethane rubber can be done in less than
1/2 the time and more thoroughly. The Squirr el can mix even the thickest silicones
effectively. It is also great for mixing large volumes of Smooth-Cast or Task plastics.
When Mechanically Mixing Rubber, You Must Still Hand Mix - As mentioned above,
important material sticks to the sides and bottom of your mixing container, and the same is true
when employing a drill mixer. After drill mixing for a few minutes, a stiff mixing paddle is
used to scrape the side and bottom of the mixing container seveal times.
And Finish With The “Double-Mix-And-Pour” - Technique - For best results, empty the
contents of your mixing container into a new, clean mixing container and drill-mix again for
2 minutes followed by another two minutes of hand mixing before applying over your model.
Squirr el Mixers are available in metal and plastic and in different sizes. You can buy them from your Smooth-On
distributor or on-line at www.smooth-on.com.
16
 Coming To Our Place? Make A Reser vation Early
. . . Or, You Might Tr y To Secure A Spot On E-Bay .
The Smooth-On “Introduction To Mold Making & Casting Seminars” are more popular
than ever and continue to sell out months in advance (for example, our June 2003
seminar was sold out by February). We were surprised to learn that a November 2002
attendee had bought his spot at auction on “E-Bay”. So if you are thinking of
attending, plan ahead. We cover alot of ground in two days and have hosted people
interested in making molds for casting concrete, candlemaking, prototyping, sculpture
reproduction, special effects and much more.
Attendees bring an original model to make a mold of, followed by casting into the
mold to make a reproduction. Over the two day program, you learn by viewing slides,
videos, hands-on demos, interaction with instructors and other students and by asking
questions about your specific interests. You can learn more about what a seminar has
to offer you on our website: www.smooth-on.com. After doing these seminars for a number of years, we’ve
seen alot of interesting mold making and casting scenarios, and thought we would share some . . .
Smooth-On Seminar Fun Facts:
• Farthest distances traveled to attend: From Australia, China, India & Omsk (Russia).
• Oldest attendee thus far: 82 years old. Youngest is 16 years old.
• Attended most often: 3 years in a row and booked again for this year.
• Most money ever paid for a $300 seminar slot; $550 sold at auction on E-Bay (?!).
• Most felonious model: 12,000 year old Indian carving stolen from Atlanta museum.
(note: we didn’t know the model was stolen until FBI showed up looking for it. Model
has since been recovered). Only seminar graduate to go to jail: same guy.
• Oldest model: 150 million years; 6” Allosaurus claw from Denver Museum of Science.
• Most historical model: death mask from President Ulysses S. Grant.
• Most gaseous model: stalk of broccoli (yes, a stalk of broccoli). 82 year old Bob Roberts
• Most mysterious model: we still don’t know what it was - model was brought in by a displays his seminar
handiwork.
representative from the CIA, and he was not talking. Looked dangerous, though.
• Most sexually explicit model: none -we don’t allow those in our class, but people try (you have no idea!).
• Most unique invention / reproduction: Rubber sneakers for horses.
• Model most dead: rattlesake run over by car while driving to seminar from Oklahoma. Yes, we molded it.
• Most romantic: couple that met at our seminar; married about 1 year later.
• Most successful graduates: A tie. Some people leave our seminar inspired enough to start their own
mold making / casting businesses. 1 graduate now has her own candle making company; 1 graduate now
has an ornamental plastering/concrete business. Both had 2002 revenues in excess of $2 million.

Netting Big $$$ Just From Being On“The List”?

List”
Our website is visited by thousands of people everyday from all over the world. Some visitors are looking
specifically to have molds and/or castings made for them. Smooth-On’ s Mold Makers & Casters List
brings these people together with people who can do the job. It lists professionals by
specialty and has proven to be an efficient and lucrative matchmaker. There is no fee
for being listed (see list on next page).
Does the list work? It amazes us how many people and corporations are looking to
have mold making and casting work done for them. We hear regularly from listees who
say that they have landed moldmaking or casting jobs, large and small. Some have
even secured annual contracts with Fortune 500 companies and large jobs that bring in
hundreds of thousands of dollars. So, if you use Smooth-On products and are in the
business of making molds and castings, we want to try and send business your way.
Need more info? Send an e-mail to sdavis@smooth-on.com.
Fireman’s Award produced under contract by Maslyn Studios.

17
The Pros: Mold Makers and Casters Who Will Do It For You
For those of you interested in having molds or castings made for you, we are proud to offer the following list of
professional mold makers and casters. If you would like to be added to this list, send an e-mail with your
business information to sdavis@smooth-on.com. This listing is updated regularly on our website: www.smooth-on.com.
Areas of expertise and rates may vary.

Other than supplying materials to these mold makers and casters, Smooth-On is not associated with and does not
warranty the work of any independent mold making and/or casting company.

Crow Atelier Maslyn Studios
207C S. Railroad Ave PO Box 723
Loveland, CO 80537 Belle Mead, NJ. 08502
Contact: Tim Nimmo Contact: Tim Maslyn
Tel. 970-613-9237 Tel. 908-359-1618
Foundry/Sculpture, Molds for Fax: 908-359-9426
Art Casting, On-Site www.maslynstudios.com
Monumental Molds timmaslyn@maslynstudios.com
Sculpture, General Mold Making &
Daryl Davis Casting Services, Memorials,
136 South Collin St. Awards
Arlington, TX 76010
Tel. 817-548-3147 Garland Weeks
Molds for Artists - Silicone, 4101 N. Quaker Ave.
Urethane, Polysulfide, Molds Lubbock, TX 79415
for Foundry Bronze. Tel. 806-749-6500
(No casting.) Sculptor & Moldmaker
(No Casting)
Phil Diers
1362 Hayes St. Battersby Ornamental
San Francisco, CA. 94117 131 Balcones Hts.
Tel. 415-567-3205 San Antonio, TX 78201
www.phildiers.com Contact: Tom Battersby
lnskydrs@aol.com Tel. 210-736-0459
Ornamental, Capitals, Bas Relief, www.battersbyornamental.com
Architectural Detail tbattersby@satx.rr.com
Architectural Restoration,
Felber Ornamental Plastering New Work, Mold Making In-Shop
1000 W. Washington St. or On-Site, Casting, Sculpture &
Norristown, PA 19404 Design
Tel. 610-275-4713
Contact: James Kuryloski Nimba Creations
www.felber.net England
jk@felber.net Tel. (44) 01271 343264
Architectural Restoration & Fax. (44) 01271 343897
Ornaments, Mold Making, Casting www.nimbacreations.com
nimbacreations@hotmail.com
Special Effects Company, All
Peter Mastroianni Round Expertise in Molding &
230 Austin Trail Casting for Animatronics,
Orangeville, PA 17859 Prosthetics, Miniatures,
Tel. 570 458 4936 Set Work, Props for Movies, TV
Fax. 570 458 0449
www.pjmmold.com
peter@pjmmold.com L.E.I., Inc.
Mold Making, Prototyping, 453 Cottage St.
Resin Casting Pawtucket, RI 02861
Contact: Lukas Ingendahl
Walla Walla Foundry Tel. 401-726-4550
405 Woodland Ave. Fax 401-724-6805
Walla Walla, WA 99362 Sculpture, General Mold Making
Contact: Dave Anderson & Casting Services
Tel. 509-522-2114
Sculpture, Foundry CohugeCo
Mold Making Services 4938 Gray Road
Cincinnati, OH 45232
Jonathan Lewis Tel. 513-542-4341
91 Hillcrest Rd. Contact: Todd Myers
Watchung, NJ 07060 tmyers@cinci.rr.com
Tel. 908-561-6189 General Mold Making & Casting,
Prototyping Toys, Electronics
Linda J. Kays Studios Hayles & Howe, Inc.
PO Box 387 Ornamental Plasterers
42 Mitchell Street 3500 Parkdale Ave., C-1
Norwich, NY 13815 Baltimore, MD 21211
Tel. 607-336-2642 Tel. 410-462-0986
Fax. 607-334-8375 Contact: Graham Banks
resin@lindakays.com www.hayles-and-howe.com
sales@lindakays.com All aspects of ornamental
Dolls, Toys & Model Design plastering, mold making, casting
and restoration
Moldmaker & Associates
P.O. Box 51 Jonathan Cagle
Campo, CA 91906 374 Cider Mill Place
Contact: Michael Neff Lake Mary, FL 32746
Tel./Fax 619-478-5479 Tel. 407-321-7332
mastermoldmaker@mtnempire.net Fax. 407-302-9748
Sculpture, Architectural Restoration cagle@dellnet.com
Architectural Model Making,
W. Robert Petro Studios Prototypes, Fine Scale Modeling
809 Himrod Road
Waterford, PA 16441 Creative Pattern
Tel. 888-811-6653 54 Freeman St.
www2.velocity.net/petro Newark, NJ 07105
petro@velocity.net Tel. 973-589-1391
Ceramic Mold Making, Block Fax. 973-589-1392
Molds, Sculpting, Prototypes, Contacts: David Cummins,
Silicone Molds Jim Generoso
541392@msn.com
Austin Ornamental
102 Greaton Road #1 Dreamland Studios
Boston, MA 02132 Unit #7, 1780 McLean Ave.
Contact: Sheldon Austin Port Coquitlam, BC V3C 4K9
Tel. 617-325-5335 Canada
Fax 617-325-6006 Tel. 604-942-2805
sk_austin@hotmail.com Contact: Peter Grant
Ornamental Plastering www.drmlab.com
Architectural Restoration creator@drmlab.com
Sculpture, 3D Modeling, Interior
Plaster Visions & Design Group Design, Fiberglass Casting, Set
86 Oak St. Design, Theming
Yonkers, NY 10701
Tel. 914-966-3613 JAG Collective
Fax. 914-966-7482 7307 President Dr.
Contact: Mark Iacovetta Orlando, FL 32809
www.plastervisions.com Tel. 407-812-1710
Architectural Restoration Fax. 407-812-1747
Contact: Tom Gardner
NeoRomantic Sculpture www.jagcollective.com
& Mold Making jagcollective@mindspring.com
12 Marin St. Custom Mold Making & Casting;
San Rafael, CA 94901 Prototype Work and
Tel. 415-457-2787 Architectural Models
Contact: Jeffree Olshan
jeffreeo@attbi.com Jackie Lobdell
Realistic & Pattern Sculpting, 36 Stage Trail Rd.
Award Winner, Rubber & Plaster Buffalo, WY 82834
Molds - All Types & Sizes, Tel. 307-684-2452
Prototypes, Instruction: Classes, Foundry/Sculpture Molds for Art
Book, Videos Castings. Molds for Bronze
Casting. Silicone, Urethane and
Polysulfide

18
Guy Louis XVI SPFX
2137 Hubbard Crescent
Ottawa, Ontario K1J 6L3
Canada
Tel/Fax: 613-748-7877
guy@louisxvimannequins.com
www.louisxvimannequins.com
Special Effects, Modeling,
Sculpture, and Prosthetics &
Orthotics Applications
Fabricating Technology, Inc.
1223 Walnut St.
Erie, PA 16501
Tel. 814-459-7771
Fax. 814-480-8809
www.maskingtools.com
fabtech@maskingtools.com
Nickel Electroform Mold Shells,
Washable Paint Masks, Paint
Machines, Paint Related
Fixtures & Jigs
Savage Industrial Models
P.O. Box 138
Lyndora, PA 16045-0138
Tel. 724-285-7312
Contact: Mark Savage
RTV Molding and Urethane
Casting Industrial Models,
Especially Oil & Gas Industry
Related Miniatures
Railway Design Associates
P.O. Box 96 - 241 Silver St.
Monson, MA 01057
Tel. 413-596-2972
Fax. 413-596-3151
Contact: Rod Guthrie
www.railwaydesign.com
rod@railwaydesign.com
Toy/Hobby Industry Molds; Molds
for Artists; Arch. Restoration
R. Vap Studios, Inc.
6919 Silverton Ave.
Cincinnati, OH 45236
Tel. 513-793-4423
Fax. 513-793-4475
Contact: Jason Vap
rvstudio@fuse.net
General Mold Making & Casting,
Model Parts to Doll Limbs
C & D Tool & Mold
5862 Sulphur Springs Rd.
Brookville, OH 45309
Tel. 937-833-2385
Fax. 937-833-2385
Contact: Charles Rhoades Jr.
Prototyping & Molding Over 25
Years
Archicast
2527 Broad St.
Memphis, TN 38112
Tel. 901-923-8717
Contact: Dan Spector
www.archicast.com
archicast@earthlink.net
Architectural Mold Making and
Wax Casting
View & Print Technical Bulletins and Material Safety Data Sheets OnLine at www.smooth-on.com
Ceramic Imagineering
2093 Cedar Road
Nanaimo, B.C. V9X 1J6
Canada
Tel. 250-741-6539
Contact: Robin Thacker
rthacker@direct.ca
Ceramics, Plaster, Concrete,
FRP and Elastomers
Sculpture Services
37 Mowat Av. Unit # B3
Toronto, ON. M6K 3E9
Canada
Tel (416) 538-3934
Contact: Kevin Kilpatrick
sculpserv@eol.ca
Mold Making In-Shop or On-Site.
Casting, Fabrication and Props For
Artists, Designers and Architects
Ray Stankiewicz,
Consulting Engineer
866 Bohemia Parkway
Bohemia, NY 11716
Tel. 516-589-5254
Fax. 516-589-5261
New Product Design, Prototypes,
Model Making, Molding, Sculpting,
Casting, Architectural Models,
Patterns, Thermo Forming,
Injection Molding, Short Run
Production, Packaging Design
Scale Products Company
7054 C.R. 521
Bayfield, CO 81122
Tel. 970-884-0537
Contact: Dennis Evers
evers@frontier.net
Architectural, Sculpture, Mold
Making, Single Piece Prototypes,
Animations, Casting & Fabrication
Sculpture Molds
50 Fuller Ave.
Toronto, Ontario M6R 2C3
Canada
Tel. 416-516-2023
Contact: Art Dilela
Molds of Sculptures, Model
Making,Architectural Models,
Sculpting, General Mold Making &
Casting Services
Landmark Casting
238 S. Belvidere St.
York, PA 17404
Tel. 717-812-8770
Fax 717-845-2935
Contact: Lonnie Barkby
landmarkcasting@suscom.net
General Mold Making & Casting,
Cold Cast Bronze & Resin Casting,
Fine Art Reproductions
Bay Plastering, Inc.
27284 Gulf Road - Suite 202
P.O. Box 37
Orange Beach, AL 36561
Tel: 251-948-8808
Fax: 251-948-8808
Contact: Michael McAdams
bayplastering@aol.com
Architectural Mold Making &
Casting, Historic Renovations,
Plastering, Stucco
A. Thayer Smith III, Inc.
4002 Edges Mill Rd.
Downington, PA 19335
Tel: 610-453-5310
Fax: 610-857-4668
thayer52@comcast.net
Architectural and Ornamental
Plastering, Mold Makers,
Fabricators and Installers
Cleveland's Custom Machining
HC 1 - Box 185A
Stratton, NE 69043
Tel: 308-276-2174
Fax: 308-276-2179
Contact: Jim Cleveland
jclevlnd@swnebr.net
www.ccmachining.com
Prototypes, Plastic Casting,
Production Casting, Spin Casting,
Block Molds
Ecclesiastical Arts, Inc.
160 Mt. Pleasant Ave.
Newark, NJ 07104
Tel: 973-350-9300
Fax: 973-350-9322
Contact: Joseph Zaky
josephzaky@aol.com
Church Sculptures
Yes, That’s Martha - No, she is not on the list, but Martha
Stewart recently showed millions in the U.S. and Canada
how easy it is to make candle molds and wax castings
using OOMOO silicone rubber on her “Living” TV show.
tm
Unique Artistic Services
167 Saw Mill River Road
Yonkers, NY 10701
Contact: Stephen Brois
Tel: (914) 423-9155
Fax: (914) 423-8166
www.uniqueartistic.com
gaboon7@aol.com
Specializes in the Design,
Development and Fabrication of
3-Dimensional Models, Simulated
Natural Environments and Tactile
Sculptural Components for
Museums, Zoological Gardens and
Botanical Exhibits
J&L Machine & Tool
9520 Highway 87 E. - Suite 1
San Antonio, TX 78263
Tel. 210-649-3226
Fax 210-649-3670
Contact: Joe Hinojosa
Mold Making for Prototyping,
Industrial, First Articles for Patent
Pending Process, Equipment
Repair, Custom Tooling of Jigs &
Fixtures
Rose's Candles
437 Nichols Street
Pottsville, PA 17901
Tel: 570-624-7073
Fax: 570-628-3510
info@rosescandles.com
www.rosescandles.com
Candle and Soap Making Molds.
Custom Molds either in Urethane
or Silicone
www.smooth-on.com
Fun Fact!
19
 Presorted Standard
US Postage
Smooth-On, Inc. • 2000 St. John St. • Easton, PA 18042 Permit No. 180
TOLL-FREE: 800.762.0744 Allentown, PA

Smooth-On’s “How To Make Molds &

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