Sculpture

Sand Casting - PART THREE with Philip White and Jenny Dunseath

pwhite — Wed, 09 Nov 2011 10:00:30 +0000

Part three of the Sand Casting Process with Philip White and Jenny Dunseath in the foundry at Camberwell college of Art London. Video by Chris Follows part of the Process Arts Project.

NOTE: Because the sand is used in a damp condition there is minimal sand dust,and this occurs at the mould face immediately arround the hot metal casting ,clearly visible when the casting is knocked out. At this stage a small watering can or spray will help to stableize this dry material.A standard dust mask could be worn.It is always worth taking sensible precautions with all processes.With sand casting on the scale immagined here keep a water spray handy and use it when cleanig away any dry material.

Text Information supplied by Jenny Dunseath:

Pattern Making:

The Pattern is a full size model of the part that makes an impression in the sand mold, with dimensional allocation for shrinkage and finishing.
If the casting is hollow, additional patterns called cores are used to create these cavities in the finished product.
Patterns are usually made of wood, plastic, metal, or plaster; however, other materials or combinations of materials are used if there are additional specific properties required of the pattern.
Every Pattern must have a draft angle of approximately 2° - 3° to all walls parallel to the parting direction to facilitate removing the part from the mold.
Paint the surface of the Pattern with Varnish or Shellac to make it water tight and to ensure that the sand does not stick.
For a Flat back pattern- put screw holes in the back to aid its removal from the sand.

Molding:

Molding is the multi-step process in which molds are created.
In horizontal casting, the mold is contained in a two piece frame, called a Flask. The upper portion of the flask is called a Cope and the lower portion is a Drag.
First, molding sand is packed into a Flask around the pattern. After the pattern is removed, Gating and Runner arrangements are positioned in the drag half of the mold cavity and the Sprue is placed in the cope portion.
Gating systems are necessary for the molten metal to flow into the mold cavity.
Cores are also placed in the drag portion of the mold if they are needed. To finish the mold, the Cope (top) section is placed on the Drag (bottom) section, and the mold is closed and clamped together.

Sand:
Two main routes are used for bonding the sand moulds:
The "green sand" consists of mixtures of sand, clay (Bentonite) and moisture. If the sand can be squeezed together and hold its shape, it is suitable for use.
The "dry sand" consists of sand and synthetic binders cured thermally or chemically.
The sand cores used for forming the inside shape of hollow parts of the casting are made using dry sand components.
Between uses, the sand is rejuvenated by adding water and mulling (mixing and smashing). If you do not let the sand dry out all the way, you do not have to mull, just add water. Sand grit is determined just like sandpaper. 150 is very fine and 50 grit is coarse. Fine sand will give good detail, coarse sand will give a pebbly or rough texture.

MaterialsMelting temperature
Aluminum alloys1220 °F (660 °C)
Brass alloys1980 °F (1082 °C)
Cast iron1990-2300 °F (1088-1260 °C)
Cast steel2500 °F (1371 °C)

Websites:
www.metal-technologies.com/SandCasting.a spx
www.airnyc.org/list/78478/1/sand-casting -step-by-step.html
www.foundry101.com
www.custompartnet.com/wu/SandCasting

Books:
The Complete Handbook of Sand Casting - by CW Ammen
Metal Casting: A Sand Casting Manual for the ... - by Steve Chastain

LINKS TO THE OTHER VIDEOS RELATED TO THIS POST: Sand Casting at Camberwell with Philip White and Jenny Dunseath :

INTRODUCTION

PART ONE SAND CASTING

PART TWO SAND CASTING

PART THREE SAND CASTING

The foundry at Chelsea College of Art

cfollows — Thu, 05 Nov 2009 13:41:34 +0000

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Art Pose - Posing Tool for Artists

cfollows — Mon, 05 Jun 2017 13:01:54 +0000

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The Smile part of London Design Festival

cfollows — Wed, 07 Sep 2016 09:53:42 +0000

Over the past few weeks we have seen 'The Smile' being constructed on Chelsea College Parade Ground, it looks amazing. As well as this video which provides a fantastic insight into the architecture & design process involved, the build team have been posing images during its construction on Twitter see here #TheSmile aswell as updates on alisonbrooksarchitects.com. The Smile is part of #LDF16 London Design Festival created by @AlisonBrooksArc

About The Smile from its creators:

Take a first look at one of our 2016 Landmark Projects, The Smile, created by Alison Brooks Architects with Arup and The American Hardwood Export Council.

This spectacular urban pavilion could be described as an unidentified flying object: a 34m long, 3m high upside down arc poised on the urban horizon. It is a four sided curved tube that curves upward to its two open ends, taking the shape of a Smile. Hovering 3m above the ground, its two ends are viewing platforms that take in the sky and reach out to neighbouring buildings. Made entirely of tulipwood, and a segment of a 100m diameter circle, the Smile will create an immersive environment, offering the public a new and playful way of seeing London.

Coming to The Chelsea College of Art this September.

See more at londondesignfestival.com/smile

Supported by the American Hardwood Export Council, Arup, Züblin Timber, Seam, Atrium In partnership with the University of the Arts London #thesmile #LDF16

Image by Chris Follows via @CCWDigital, University of the Arts London

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Look At The (E)state We're In (LATEWI) Film

pnellis — Mon, 29 Feb 2016 22:59:37 +0000

A short film documenting Look At The Estate We're In (LATEWI). A 2015 Curriculum Development Fund and CCW Grad School supported project providing work experience opportunities to UAL students, where students created, curated, and executed a two day a symposia and live art event in relation to art on council estates and in the community.

Soldering is Easy The Complete Comic Book!

cfollows — Mon, 13 Apr 2015 14:09:06 +0000

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Nigel Hall video of Crossing (horizontal) sculpture being installed at Chelsea Part 2

cfollows — Tue, 03 Mar 2015 12:27:09 +0000

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Nigel Hall video of Crossing (horizontal) sculpture being installed at Chelsea Part 1

cfollows — Tue, 03 Mar 2015 12:04:52 +0000

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ONE:PLACE:TWO Exhibition of staff work at Chelsea College of Arts

cfollows — Thu, 30 Jan 2014 10:09:49 +0000

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artsmooc

cfollows — Sat, 16 Nov 2013 21:39:07 +0000

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CSM Foundation Fine Art Sculpture Project No.1

cfollows — Tue, 16 Jul 2013 07:30:16 +0000

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The Art of Making in Antiquity

cfollows — Fri, 05 Jul 2013 08:45:59 +0000

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Robbie Pacquett Technical Arts and special effects

Featured — Fri, 21 Dec 2012 16:36:25 +0000

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3d Printer

cfollows — Fri, 03 Feb 2012 10:04:31 +0000

Recent visit to BETT show uncovered a couple of interesting/usful/creative Tec that would be good to add to UAL wish list!

The 3DTouch™ printer and RapMan™ printer kit, packed with best-in-class features including multiple print heads, intuitive touchscreens and USB storage. Priced under $1,300, more students can access these innovative educational tools to design.

Seems UAl are already there - What is FABLCC ? FABLCC is a learning and teaching initiative based at the London College of Communication (LCC) focused on digital fabrication technology. A digital fabricator (or fabber) is a machine that builds (layer-by-layer) three-dimensional plastic objects from digital data. Click here to see a time-lapse build video of our MakerBot Industries Thing-O-Matic in action. This associated website provides a space to showcase past/present projects as well as a mechanism for LCC students/staff to submit future project ideas ... encouraging developments driven by bottom-up ownership, à la Fab Labs, not top-down planning. http://www.fablcc.com/ For more information, please contact: Tim Fransen Digital Media Technology Technician London College of Communication University of the Arts London - t.fransen@lcc.arts.ac.uk

Paul McCarthy: "Captain Ballsack" | "Exclusive" | Art21

cfollows — Sun, 27 Nov 2011 23:05:47 +0000

Episode #143: Filmed in his Los Angeles studio, artist Paul McCarthy and production manager Amy Baumann describe the nearly decade-long, organic process behind the sculpture "Captain Ballsack" (2001-2009) and various editions cast from the original work.

Paul McCarthy's video-taped performances and provocative multimedia installations lampoon polite society, ridicule authority, and bombard the viewer with a sensory overload of often sexually-tinged, violent imagery. With irreverent wit, McCarthy often takes aim at cherished American myths and icons—Walt Disney, the Western, and even the Modern Artist—adding a touch of malice to subjects that have been traditionally revered for their innocence or purity. Whether conflating real-world political figures with fantastical characters such as Santa Claus, or treating erotic and abject content with frivolity and charm, McCarthy's work confuses codes, mixes high and low culture, and provokes an analysis of fundamental beliefs.

Learn more about Paul McCarthy at: http://www.art21.org/artists/paul-mccarthy

CREDITS | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Bob Elfstrom. Sound: Doug Dunderdale. Editor: Joaquin Perez. Artwork Courtesy: Paul McCarthy. Special Thanks: Amy Baumann. Video: © 2011, Art21, Inc. All rights reserved.