The scenario of all its phases.

Here three great periods of the foundry:
The plaster original is posed flat.
The sequence of these phases is explained starting from an existing part of Bruce Krebs , installed on the ramparts of the La Rochelle, in France. This low relief is entitled "From generation to generation".
The silicone synthetic rubber is versed on the plaster.
The silicone synthetic rubber takes the print of the part perfectly.

The silicone synthetic rubber takes the print of the part perfectly?

print 1
Over the silicone synthetic rubber one creates a plaster cover to maintain elastomer with quite fixed reference marks.
Without this cover the mould, too flexible, could not restore the copy of the original part exactly.
The unit is turned over.
One removes plaster the original part of his mould.
It is one delicate moment because the plaster original can break.
One pours liquid wax in the photo silicone synthetic rubber.
print 2, 3 and 4
One lets cool wax One will pass sometimes several layers.
One creates a network of wax stems named "vent".
This one will be used for the exhaust of the air at the time of the casting of metal in fusion (but let us not go too quickly...).
print 5
One embeds wax and its vents in refractory plaster.
One turns over the unit then the elastomer mould is withdrawn.
The wax discovers its principal face then. (this mould could be used again for other parts).
print 6 et 7
One then makes vents on the front face of the low-relief.
If one observes well, one began the operation with the back of the part...
One coats the front face, also, of refractory plaster.
The part is then reinforced with a fitted latticework on reinforcement, and sometimes with aluminium spacers, a kind of "corset" to prevent that the part does not burst with heat.
The unit is placed in a furnace.
In this furnace, the wax evaporates, and thus leaves a air space inside the plaster. The wax is lost! It is the name which one gives to this type of mould. The stay in the furnace lasts one day and a whole night.
print 8
In the mould, once hidden in sand, one pours bronze in fusion.
Note that bronze arrives by bottom, and displaces air by the vents which were prepared for this purpose. These vents avoid all the air pockets which would perforate the surface of bronze.
prints 9 et 10
Here is the good temperature!
prints 11 et 12
Open spaces left by wax are now entirely filled by bronze in fusion.
Bronze cools very quickly. It is thus necessary to be sharp and precise for the moment of this operation.
One can now break with the ice axe the refractory plaster mould.
It is at this moment which one discovers if bronze is successful. If there were an unspecified problem at the time of run of bronze. If there were a problem, it is necessary to take again the elastomer mould and y to run wax again...
One finishes removing the plaster with the powerful water jet.
Bronze appears finally!
prints 13 et 14
It is now necessary to cut the vents to concise, and to engrave bronze, to correct, if need be, all the small defects of cooking.
These works are very long bus they must be very meticulous photograph
prints 15, 16, 17 and 18
+ 1 motion picture
Last gesture of the founder: the patina.
The patina is an acceleration of the ageing of bronze by the contribution of chemicals and reheatings violent one to the blowtorch.

Or if you want, it is the starting of an ageing of the part, because though you make, a part never finishes any patinating, it is a natural process of metal to age.

prints 19 and 20
+ 1 motion picture
It is at this moment only, that the sculptor chooses the color of his part. Green, brown or black are the great families of natural colors. Blue and the red appeared only during the XX° century.
print 21 and 22
Finally the part can be posed!

Do you want to know

Do you want to know

Do you want to know

the history of this part ?

where you can see this part ?

the work of Bruce Krebs ?

Bruce Krebs, sculptor
9 ter rue Amelot, 17 000 La Rochelle, fr
Charente Maritime, Poitou-Charentes, France, Europe.
If you want to sent me an