Metal Casting With Precision - Paul Withey, Casting Specialist For Rolls Royce - The Naked Scientists →

During my ongoing research into direct lost wax casting I came across this article featuring an interview with a casting specialist at the #Derby branch of #RollsRoyce showing their own methods of using the ancient casting technique of lost wax casting, a fascinating read. 

I would love to visit Rolls Royce as they are only five minutes away and see this in person!

Student Exhibition

twelve-exhibition:

‘Twelve’ is a selection of contemporary artworks created by 2nd Year BA Hons Fine Art students from the University of Derby. Ranging from paintings to sculpture to video work, there is something to suit all tastes and interests.

Unlike any of the previous exhibitions and shows held by University of Derby students, this year the pieces will be displayed in St Werburgh’s Church. Anybody is welcome to come and have a look around!

OPENING NIGHT

On Friday 22nd May there will be an opportunity for friends and family to have the first look at the pieces before the exhibition is opened up to the general public! This will be from 5pm until 7pm and refreshments will be available.

OPEN TO THE PUBLIC

The exhibition will be open to the public on Saturday 23rd May then all week from 25th May and there will be at least 2 of the artists in the Church at all times who will be happy to answer any questions or listen to any feedback!

Saturday 23rd May - 10am until 4pm

Monday 25th May - 10am until 4pm

Tuesday 26th May - 10am until 4pm

Wednesday 27th May - 10am until 4pm

Thursday 28th May - 10am until 7pm

Friday 29th May - 10am until 4pm

Looking forward to visiting the students to see some of their art on display.

Negative and positive space within sculpture

I wanted to experiment with the positive and negative space of the new work, but not be able to see the negative space is difficult to visualise how this would work.

It’s hard to look at the weave and not see how it will look when the plaster is no longer there. Being able to visualise the finished piece is becoming more and more difficult.

If I can’t see the negative space or void in the sculpture how will I know that it creates an interesting juxtaposition with the positive or the woven surface of the sculpture?

Do I weave and hope that it works when cast? There must be a method of allowing me to experiment with this combination without waiting until the work has been cast.

Weaving onto plaster. Part 2

After looking at the experiments no’s 53,54 & 55, I thought I would try a different shape and created Woven Experiment No.56.
Firstly the wider hole has worked well in allowing me to be able to pass the weave through the plaster more successfully. The convex shape is giving a snug fit to the weave, but the weave is not working over the pointed ends of the plaster shape so this would be lost in the casting. Does the loss of the points matter?

The smooth and texture of the plaster and weaving is looking good but the plaster won’t be in the new work and will leave a void. Could a multi textured sculpture be achievable? Could a smooth was be applied to areas of the plaster form and then a textural woven wax applied over the top?
Maybe a very simple convex shape would work for a basis for an application of smooth wax then pattern and shapes added with a texture.
This would make an interesting combination of rough and smooth, combing the two textures that visitors have enjoyed experiencing.

Results of weaving onto plaster forms

Weaving Experiment No.53 - the opening is very small in the centre and very difficult to get my hand into the form to apply the weaving. Also the small gap in the centre could be an area that an air bubble could become trapped when the work becomes invested ready for casting. I think I should discuss this further with the foundry.

Weaving Experiment No.54 - This is not working, the weave is not sitting into the concave areas of he plaster carving. I could potentially drill a series of fine holes through the plaster and pass fine cotton through as a way to pull the weave into the concave areas and hold it tight against the plaster surface. The tiny holes, however could allow air to be trapped and this may cause explosions in the casting process.

Weaving Experiment No.55 - Success! The shape has worked very well with the weaving applied over the surface and a taught weave was achieved. Thick areas could be created, fine open areas could also be applied that fits snugly against the plaster surface.

Moving forward, if a hole is within the design it should be large enough to allow the weaving to easily pass through the and also to allow fingers to be able to work in the void.
Shapes should be convex and not concave as the weave will not pick this up, unless I can find another method of weaving wax onto a concave area.