Materials

List of all materials from class

Casting and Molds:
Plastic: EasyFlo Clear (PolyTek) and SmoothCast300 (Smooth-On)
Resin: Envirotex Lite (craft store or Amazon)
Silicone Rubber: Oomoo 30 and Oomoo 25 (Smooth-On)
Polyurethane Rubber: Polytek 74-30 (PolyTek) and Vytaflex10 (Smooth-On)
Concrete: Kwikrete (hardware store)
Foam: Foam-It!5 (Smooth-On)
Chalk: Plaster of Paris and powdered tempura (craft store or Dick Blick)
Paper: paper scraps

Pigments:
SoStrong Pigments (Smooth-On)
Ignite florescent pigments (Smooth-On)
PolyColor pigments (Polytek)
Colores Resin colors


Additives and other:
Mann's Mold Release 200
Universal Mold Release (Smooth-On)
Ease Release 2831 (Smooth-On)
Stik-n-Seal (Amazon, hardware stores)


Websites:
PolyTek:  http://polytek.com/index.php
Smooth-On:  http://www.smooth-on.com/
Dick Blick: http://www.dickblick.com/

Chalk Casting

Lesson: Chalk Casting

·         Spray your mold with mold release.

·         Mix Plaster of Paris with water (4:3 ratio, or to the consistency of sour cream/greek yogurt)

·         Add any powdered color (powdered tempura is perfect for this, especially if you plan on using the chalk) and mix thoroughly

·         Pour into mold and tap gently against table to settle the plaster and bring any bubbles to the surface.

·         Let cure- 1-2 hour in the mold, then let sit undisturbed for another 4-6 hours before using.

·         After the plaster is set but still finishing curing, it will be cool to the touch. Once it stops being cool and goes to room temperature it is completely finished curing.

Let any remaining plaster cure and dispose of in the trash!!

Working with the castings:

·         You can embed objects into the chalk to be exposed as it wears away.

·         You can also imbed findings into the back of the chalk by placing them in after you cast and before the material cures. Any findings embedded this way should have a pin or rod that extends into the casting for stability and adhesion. Simply placing a pin back or jump ring on the surface is too fragile.

·         You can drill into the chalk- gently!

·         You can also carve the chalk using burs or wax tools.

·         Finish the chalk with gentle sanding- it wears away quickly!

Paper Casting

Lesson: Paper Casting

·         Tear your source paper into small pieces (approx. 1”) and soak in hot water to loosen the fibers.

·         Soak for at least 20min, longer for stiffer/thicker papers. You want the paper to feel like it will fall apart when you pick it up.

·         Place your soaked paper in the blender. Add a little water and blend.

·         If the paper isn’t blending well, add more water until you can get a puree.

o   Our blender is normal cooking size so you will make enough puree for several smaller pieces.

·         Once the paper is pulped completely- you shouldn’t have pieces of paper left, just mush- strain out most of the excess water.

·         You can place your pulp in a cheese cloth or fine mesh colander lined with coffee filters or paper towels if it is especially liquid.

·         You usually do not need to spray mold release for paper casting

·         Place some of the pulp into your mold.

·         Tap against the counter to settle the pulp.

·         Place a towel over the pulp and press down on it- compressing the pulp in the mold and wicking away the moisture.

·         Repeat until the mold is full and the pulp is tightly compressed.

o   If you are having trouble with the layers separating, either the pulp is too dry (add water) or not blended enough.

·         Let dry- depending on the thickness of the casting this can be anywhere from a couple hours to a day.

·         Demold and let sit for a couple hours. This makes sure that the areas deepest in the mold are cured as well.

Working with the castings:

·         You can’t do too much finishing work on the paper as it starts to fray and soften at the edges. If you do need to trim the casting, use an sharp Xacto or scissors to remove any flashing.

·         If you want more flexibility in your castings, mix in some Elmer’s glue or PVC glue (archival bookbinding glue) into the pulp.

·         You can (slowly and gently) drill the paper castings. The small nuts and bolts, tube rivets, and grommets are really good for connecting. You can use cord, chain or jump rings through the holes in the grommets or tube rivets. The protection of the metal around the hole helps to prevent fraying and the connection coming loose as the paper softens at the stress point.

·         For colors, it is best to use paper that is the color you want. Remember that since you are blending the paper, if you want multi-tone casting, blend the colors individually and mix together after straining the pulp.

Project 2

Project 2: Unexpected

For your second project, create a series of pieces that each have something unexpected or surprising in your use of the materials. Create 3 pieces.

Examples: Concrete is thought of as heavy- make a light concrete piece. Rubber is flexible, use it for something that needs rigidity like a spoon. Consider using multiple materials to achieve your goals. Foam is considered squishy and light- make it rigid and/or heavy.

Consider incorporating metal or other materials. Think about structure and visual appearance: How can you use those to create your surprise.

The unexpected quality must relate to the material but it can also relate to the subject matter of the piece. Think about a knife made of rubber or a weight made of foam, etc.

You must choose 3 different materials from the list below:

Foam

Rubber (polyurethane or silicone)

Concrete

Chalk

Paper

Plastic/Resin

Ideas/Designs: Due March 26

Project due beginning of class May 14 (final class)

Concrete Casting

Lesson: Concrete Casting

Concrete has a very thick consistency when casting- it is unsuitable for delicate thin pieces.

·         Spray your mold with mold release.

·         Scoop some concrete powder into a cup.

·         Add any additives such as vermiculite or sand- do not add more than 10-20% of the amount of concrete.

·         Add water slowly as you mix.

o   You want the mix to be as dry as possible and able to fill your mold. Think of ricotta cheese consistency. If the mix is too wet, add more concrete. Too dry, add more water.

·         Add any powdered color and mix well.

o   Concrete doesn’t color as deeply as the other materials. It will tint the concrete rather than truly coloring it.

o   For brighter colors you can purchase concrete stains that you pain over the surface after curing.

·         Spoon/pour the concrete into your mold.

·         Let cure for 4-6 hours then cover in plastic wrap.

·         Let cure for 1-2 days.

·         Demold and do any prelimanry wet sanding.

·         Wrap in damp paper towels and put in to a ziploc bag.

·         Keep the paper towel damp, and let cure for another 5-7 days.

·         Remove from damp paper towel and finish wet sanding.

·         Let surface dry.

Working with the castings:

Adding metal frames or armatures can increase the strength of the concrete.

Rather than drilling the concrete- consider embedding tubing in the casting. You can drill concrete but you need special bits and it is time consuming.

Foam Casting

Lesson: Foam Casting

·         Prepare your mold by brushing the mold release all over the surface(s) and let it dry. Make sure to brush around the opening you’ll be pouring into. Make sure to use the Ease Release 2831- the other mold releases will not work!!

·         The foam expands as it cures! The foam we are using expands 10:1. Check the bottle for this information as each foam expands differently.

·         Pour water into your mold to figure out the volume. Divide by 10, this is the total amount of foam you need. Divide by 2 to get the amount of Part A and Part B.

·         The polyurethane foam is quick curing, so work similar to the plastic. Pour part A, add any color, add Part B, mix and pour.

o   You can use any of the pure pigments for color (not the colores colors)

·         Tap the mold gently against the counter to help bring any bubbles to the surface.

·         Let cure. You can demold after 30min, but full cure takes 2 hours.

Safety: You must wear your respirator and gloves when working with this material. This can only be poured during class or hazmat open studio

The foam we are using (Smooth-On’s FOAM-iT! 5) is a relatively rigid foam, it does have some flex, but is not squishy flexible.

The foam surface is less porous when fully contained in the mold. If it rises out of the mold, it become a looser consistency.

Working with the castings:

·         You can drill and shape the foam with sandpapers and files. Make sure to clean your tools well before and after using them on foam.

·         Foam adheres to just about anything not treated with the 2831 mold release- this makes it very easy to attach foam castings to other surfaces or to each other with a little additional foam.

·         Test glues before using- some glues eat away the foam (cyanoacrylates do this). 

Casting Rubber

Lesson: Rubber Casting

For the casting process, rubber is very similar to the resins/plastics. We are using 1:1 ratio rubbers. The biggest differences are in cure time and type of rubber. Like types of rubbers will bond together- silicone rubber will bond to a silicone rubber mold. Polyurethane rubber will bond to a polyurethane rubber mold.

We have a silicone rubber and 2 polyurethane rubbers for casting.

Oomoo is a silicone rubber. We used it for mold making as well. Naturally it is an opaque lavender color when mixed and cured.

Vytaflex is a polyurethane rubber, pale peach color when mixed and cured- it has some translucency but is not clear. This is much more flexible rubber than our other polyurethane rubber.

Polytek 74 series is the other polyurethane rubber, also one we used for mold making. It is a clear light amber color when mixed and cured.

All rubbers can be colored with any of the pigments we used for the plastic. They can’t be colored using the colores pigments, or the ceramic paints- only the pure pigments.

Prepare your piece or mold.

If pouring rubber into a piece, make sure all finishing is done. This should be the last step.

If pouring into a mold, spray your mold with mold release. Make sure the release works with the type of rubber you are using! (read the label)

For delicate/thin castings:

The rubber is thicker than the resin and plastic. You may want to use a disposable syringe or eyedropper to inject the mold. This pushes the material in with greater force then simply pouring.

Thickening rubber for brush-on casting:

You can mix in some of the PolyFiber material to thicken the rubber, allowing it to just stay where you want it to when pouring, or to be able to brush on the material to create a hollow form. The PolyFiber does tint the rubber- making it a lighter shade and more opaque.

To Use:

Mix your rubber as directed. Add in PolyFiber a little at a time (half spoonful) and mix thoroughly. Add enough until the rubber resembles icing- it holds soft peaks.

Imbedding:

The rubber cures slower, but it is more viscous than the plastics. If the embedding material is light, pour a layer of rubber, lay the material in, and then complete the pour.

If the material is heavy and will sink through the rubber, you will need to do a multi-stage pour.

Connecting:

Rubber bonds to itself better that the plastic. In addition to the other connection methods, you can also connect castings by pouring a little extra material to connect them. Set your castings up on parchment or other non-stick surface at the correct distance. Block off the aarea/shape of the connection with plasticine, sculpey, or coated cardboard (i.e. anything that the rubber will not stick to). Pour, and let cure.

Connecting Castings

Lesson: Integrating and Connecting Castings

Your imagination is the limit for using your cast pieces. You can integrate the plastic and resin with metal either by casting directly into/onto your metal piece or by attaching it afterwards.

You can also link castings together directly.

Riveting:

Many of the rivets you learned in Intro 1 can be applied to other materials- like resin and plastic! Standard, tube, step, and ball rivets all work well. Flush rivets can be trickier, but may work as well. The danger with flush rivets is potential cracking of the plastic.

Grommets:

Grommets are similar to tube rivets- just in 2 parts. Grommets come in a variety of sizes and shapes, toothed edges and smooth. Toothed grommets are good for material you need to grip, but grommets are better at holding material than rivets since they have a slightly cupped shape.

Grommets are best set with the appropriate size setting tool. In a pinch, you can set them with a hammer but then you run the risk of flattening and deforming the grommet. Grommets are commonly used for areas around lacing or rope to prevent those edges for fraying or tearing due to the pressure laces put on them.

Screws:

Screws (especially the mini screws from Reactive Metals) are a great way to connect a variety of materials together neatly. Reactive Metals carries a selection of mini screws with bolts and nuts to match. They also sell the threaded rod which you can solder your own head onto for more personalization.

To use, simply drill a hole in your pieces, and feed the screw through. Tighten the nut on the reverse.

Reactive Metals’ screws and nuts are brass, so they can be soldered and cut.

Adhesives:

Glue is not a 4 letter word in Alternative Materials. Sometimes it is the best way to connect pieces together. Epoxy-based glues work better than cyanoacrylates (super or crazy glue) as they dry with some flexibility.

There is also plastic weld, but it only works on certain types of plastics. Check the products before using.

One great glue is Stik-n-Seal. This is a one part waterproof epoxy that glues just about everything.

             

Finishing Plastics and Resins

Finishing:

Most resins and plastics can be shaped and finished similarly to metal.

Epoxy resins are the softest resin and I don’t recommend doing much with them post-pour. Due to the softer surface, even with the best precautions, the surface will not be as shiny as it is when it has been left alone. If finishing is required on epoxy resins, I recommend doing the finishing, and then recoating the top or affected areas with another thin layer of epoxy.

Polyurethane resins are much harder and can have quite a bit of work done to them post-pour.

To file:

Use a coarser cut file since the resin filings will tend to clog finer cut files. Wax working files are also useful for filing resin. Make sure to either use files that you have specifically designated for resin work, or clean the files extremely well afterwards. Using files designated for resin is the best option as then you don’t need to worry about getting metal shaving in your resin or resin shavings in your wax.

To drill/bur:

Make sure to go slowly and to keep the drill bit and/or burs cool. If the burs get hot, they melt the plastic, which does damage both to the bur and to your piece.

To sand:

Work wet. Either under running water, or by dipping the piece repeatedly and often into water. Water helps to remove any grit, dirt, and debris as it come off the piece so that it doesn’t get imbedded into the plastic giving it a cloudy look.

The Spectrum sandpapers are great for working with resins, as they are an open mash rather than a coated sheet and move the debris away quicker.

To polish:

Zam is the best compound to polish plastics with. There are several other products out there that aren’t a rouge-like compound that work, but in my opinion ZAM works the best.

Zam is used just like any other compound on the polishing machine. Wheels should be designated as Zam/plastics only.

You can also sandblast polyurethane plastics.

Multi-Stage Resin and Plastic Pours

Lesson 4: Multi-Stage Resin and Plastic Casting

With both resins and plastics, it is possible to do more complicated pours that can give beautiful and complicated results. With multi-stage pours you can pour areas or layers of color, create patterning in the colors, and embed objects.

• To pour into your 2-part molds, place the mold between the glass or plexi plates and secure with clamps or rubber bands
• Only mix the amount of material that you need for that stage of the pour. If you are uncertain how much that is, you can pour water into your mold and measure the volume of the water.
• Pay attention to the cure times for your material. You want to pour additional stages when the material has partially set- enough that the surface will keep the new layer separate, but not fully cured.
• If you are embedding objects, make sure they are fully encased or will not decay.
• If you want to create patterns in the color other than layers:

o   Let your material begin to cure so that it is thicker and will hold in the areas you place it without sliding. You can orient your molds in different directions to assist this.

o   Alternatively, you can let your pieces cure completely, then use the flexshaft to hollow out areas and then pour into those areas for a more geometric look.

With the quick curing plastics, you can also do a low-tech rotational casting to create hollow pieces. This only works with 2 part molds. The epoxy resin takes too long to set, so it will not work.

To do this:

• Prep your mold for casting.
• Take a rubber band and loop around an anchor point.
• Place mold inside rubber band and wind band up.
• Hold onto mold.
• Mix and pour material into mold.
• Let go of mold and it will spin around!
• (For even lower tech, spin mold in your hands)

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Mold Making

Lesson 3: RTV and Alginate Molds

Mold Overview

Molds can be used to create multiple casting of one original piece. There are several types of molds. Most industry made jewelry molds are vulcanized rubber molds. Rubber is put under both heat and pressure until it hardens, yet retains its flexibility. This process helps increase the life of the mold. Vulcanized rubber molds last a long time. However, these molds are unsuitable for molding anything that cannot take heat or pressure.

For molding items that are heat or pressure sensitive, RTV (room temperature vulcanizing) molds are the best option. RTV molds can be either silicone or polyurethane plastic. Depending on the mold material, these also have a long life, and require less equipment to produce. Alginate and brushable latex can also be used to create molds.  

Standard molds are comprised of 2 halves. The halves fit into each other snugly with out movement. Brass “buttons” can be used to register the halves, or tabs cut into the mold. These are called “closed” or 2-part molds.

Depending on the original, you can also make an “open” or 1-part mold. These molds are easier to produce since they don’t require cutting or separating the mold, but can only be used on pieces that don’t have a lot of undercutting.

In order to create multiples of a piece, the mold is injected with molten wax, creating a wax version of the piece. Multiple waxes are created, and then each wax is cast.

A wax injector is used to shoot the wax into the mold. Simply pouring the wax into the mold will not get a full impression of the piece. The wax cools too quickly for that. By using compressed air to get force behind the wax as it comes out of the injector, you can be assured of complete waxes.

Open molds can be filled by pouring wax into them.

Both molds can be used for casting other materials than wax.

Alginate Molds:

• Mix the alginate according to box instructions. Add the water to the powder. It should remind you of pudding when correctly mixed.
• Using cold water extends the setting time, using hot water shortens the setting time.
• Spread the alginate over the object to be molded.
• The alginate will thicken as it cures- usually 5-15 minutes. It will begin to separate from the object as it cures.
• Peel the alginate off of the object.
• Your alginate mold is ready to use.
• Alginate molds have a short life. They are best for life casting and taking molds of anything with fine detail. Alginate degrades over time and with use and the mold is best used within a few days of being made. If you are planning to make a lot of waxes from the alginate, you may want to take multiple molds.

RTV Molds:

• Read the instructions for the compounds. RTV Molds are usually comprised of a Part A and a Part B (activator or catalyst). You need to check to see whether the molds need to be vacuumed during mixing and what the mixing ratio is.
• Make sure that your mold frame is clean, and spray with mold release.
• For 2-part molds, use U-frame molds. For 1-part (or open back) molds, you can use any container.
• If making 2-part mold, attach sprue and funnel to original.
• Spray original with mold release.
• Arrange original in the mold frame. Check that original is placed so that it is only touching the frame at the designated opening (for 2-part) or attached firmly to bottom of mold frame (1-part)
• Mix mold compound. Wear gloves. Measure very carefully and stir completely and thoroughly.
• Pour compound smoothly, slowly, and evenly into frame.
• Let mold cure.
• Once cured, remove mold from frame. Thin flexible spatulas can assist in this.
• If a 2 part mold, separate and cut apart.
• Trim any excess from the mold.
• Your RTV mold is ready to use!

Mold Rubber:

• Silicone rubbers come in two types- platinum and tin cure. Check the mix ratios and whether they are by weight or volume before buying. Also check on strength and cure time. Some silicone rubbers require a vacuum chamber as part of the mixing process.
• Polyurethane rubbers are generally stiffer than silicone rubbers and usually less expensive. 
•  

Simple Resin and Plastic Casting

Lesson 2: Simple Resin and Plastic Casting

Resin Safety:

Almost all of the resins and plastics available contain toxic chemicals. Pay attention to the warnings and read the MSDS sheets. To prevent any health issues, use common sense and follow the following:

• ALWAYS wear your face mask and gloves.
• ALWAYS use resins under ventilation.
• NEVER eat or drink where you are using resin.
• NEVER work with resin on any hot surface.

Preparation:

Make sure that you have a clean counter area to work on. Do not work on countertops that have soldering equipment or work in the designated enamelling area.

Lay down parchment paper to protect the countertops on the areas you will be using. You can secure the parchment paper with masking tape if needed. You must use parchment paper, freezer paper, tin foil or wax paper. Magazine pages and regular paper or paper towel will absorb the resin and glue themselves to the counter.

Make sure that the ventilation is on.

Preparing the Piece/Mold:

If you are pouring resin/plastic into a piece of jewelry:

Make sure that the piece is finished with the exception of the resin. All polishing should be done, all soldering should be done, all stone setting should be done, and all patination should be done. Pouring the resin should be the last step.

Test out the resin you are using to make sure that you can get the color and effect that you want in the piece before doing the actual pour. This will save you time if the “clear” resin you had planned to use isn’t.

Make sure that your piece is securely supported. If you are trying to create a level surface, make sure to level your piece prior to pouring.

If you are using a slow-drying resin, your supports much be stable enough to move the piece from the countertop to the drying area.

If you are pouring resin/plastic into a mold:

Coat the interior surfaces (those that will contact the resin) with a mold release spray. Make sure that the spray you use is compatible with your mold material!! Some sprays are only for silicone rubber, some only for polyurethane! Smooth-On’s Universal Mold Release is a good one to use.

Clamp your mold together (if a 2-part)

Situate and support your mold so that it is easy to pour into. Make sure that the openings are reachable and unobstructed.

Again, make sure if you are using a slow curing resin, that you can move your mold to the curing area easily.

Simple Resin/Plastic Casting:

Each type of resin/plastic should come with the mixing proportions listed on the packaging or instruction sheet.

The steps to mix and pour don’t vary much from type to type.

If you are using one of the quicker setting resins or plastics, and you have a specially mixed color pigment, make that up and keep it in a small container at the ready.

For best results, mix in a plastic cup with graduated markings on the side.

Pour Part A or the Resin into the cup. Remember to only pour half of the total amount you will be using! You still have the second part to go.

-If using a quicker setting resin, put in the color now.

Pour Part B or the Hardener into the cup.

-If using a slower setting resin add the color now.

Stir completely with a popsicle stick. Make sure to scrape the edges of the cup and the bottom of the cup.

With some of the resins, you can see the 2 parts mixing together- the resin looks slightly cloudy or streaky and then clears up when completely mixed.  This is easier to see without color in the resin.

Pour the resin into/onto the piece. Pour in a steady stream.

Let cure.

Coloring:

You can use many different things to color resin- each will bring a unique look to the piece. Try several and keep a log of what you used with each sample.

A quick way to make samples is to dab a bit of resin (if using Colores brand, use the thick hardener) onto a piece of parchment paper. When the resin cures it will pop right off giving you a nice small sample.

For the clearest and truest color, use straight liquid pigments. Polytek’s brand is PolyColor, Michael’s carries Castin’ Craft, and Smooth-On has their SoStrong pigments.

The pigments can be blended to achieve mixed colors (red+ blue= purple). The pigments take a long time to dry out, so if you keep them in a sealed container they will last months. The pigments are also very strong. It doesn’t take a lot of pigment to get a deep color. One drop of red pigment into an ounce gives you a deep blood red.

When adding color, start with just a bit and then make the resin darker if needed. It is very hard to lighten the color.

You can use ceramic paints to color the resin, but with these there is a limit as to how much paint you can add. I recommend the pigments over the paints.

You can also use powdered color- powdered tempera, ground up chalk pastels, powdered dyes, powdered pigments- to color  the resin. Depending on the fineness of the material grains some powders will give the resin a grainier appearance. 

Tips and Tricks:

• Measure, measure, measure. The cup should be resting level on the countertop when you are measuring. Get down to the cup level so that you can read the amount accurately. 90% of resin problems are caused by poor measuring or mixing!
• When stirring the parts together, keep the popsicle stick in the resin- pulling it in and out introduces more air into the resin.
• Stir slowly and thoroughly- keep bubbles to a minimum.
• Use the flexibility of the cups to help control your pour- bend the cups to create a narrower spout for more precise application.
• If you leave the popsicle stick in the cup after pouring, once the resin cures you can pop out the cured resin and the stick, letting you reuse the cup over and over.
• If you are worried about the resin not being completely mixed, you can transfer the resin from one mixing cup to another after putting both parts in. This ensures a complete mix.
• If using the Polytek clear resin, you will be able to tell whether the proportions are correct because if they are not, it turns opaque.
• When pouring into a mold- pour slowly and tap the mold on the counter to help release air bubbles. For delicate molds, you may also want to gently peel the mold open a bit as well in addition to cutting lots of air vents.
• For covering or giving a clear topcoat to a photo or some other image, I recommend Envirotex resin. This resin is reasonably bubble-free when mixed correctly and can be heat gunned to achieve better clarity. It is slow-drying which is better for clear coats as it gives you time to correct any mistakes as you go.
• With slow-curing resins, you can wave a heat gun or hairdryer gently over the piece to help bring any trapped air bubbles to the surface. Once on the surface you can prick them with a pin to pop.
• If you have air bubbles in your piece after it cures, you can inject a small amount of resin into the bubble with a syringe.
• For pouring into molds or intricate parts, I recommend the polyurethane plastic (Polytek or Smooth-On) over the epoxy resins. The polyurethane plastics I have found are also better about debubbling themselves than the epoxy is.
• Several people have reported skin allergies/rash/sensitivity with the Smooth On crystal clear plastic. Many of the optically (or water) clear plastics have very large warnings about using them. Pay attention to these!! Sensitivity is greatest when in liquid form and during finishing. Once the product has cured and sealed, there isn’t as large of an issue. As there is no way to tell whether you have this sensitivity until you use the product, please be careful and make extra sure to follow all of the safety precautions. If you do develop a rash, stop using the product. 

Wax Carving

Lesson 1: Wax Carving Recap

The waxes

• Green: hardest wax, more brittle, great for carving fine detail work
• Purple: middle of the road on hardness and flexibility, my favorite wax
• Blue: softest and most flexible wax, great for  thin carvings
• Wax Tubes are best for rings.
• Wax slabs (various thicknesses) are best for flatter pendants, earrings, brooches.
• Wax blocks are best for more voluminous pieces. Keep weight in mind here!

Tools for carving:

We have special wax versions of saw blades, files, and burs that are less prone to clogging. For fine detail work you can use the regular versions of the above. Make sure to clean any metal bits off of them prior to use, and to clean any wax bits off post-use.

Wax saw blades:

• These are pretty near impossible to break.
• The teeth go around the blade in a spiral pattern.
• Make sure to put the blade in so the teeth point downward.

Wax files:

• Hand files are double ended- a coarse end and a finer end.
• Both ends have a flat side and a half-round side.
• Needle files are pretty coarse.

Wax burs:

• These are black in color and the teeth are spaced further apart.
• These are used same way as the regular burs.
• Do not use bur-life on them.
• Keep these separate from the regular burs, as use on metal can destroy them.

Wolf Wax tools:

• Only usable during class.
• Very sharp and great for precision and detail work.
• Do not use on anything other than wax.
• Only use cold.

Wax spatula tools:

• Double ended tools- try both ends!
• Heat tool over flame then scrape or melt and scoop away the wax
• Good for general shaping and textures.

Wax pens:

• Electric or battery operated.
• Tiny tips (or interchangeable tips) for precision work.
• Great for joining waxes together.

Cold wax carving:

Wax carving is more akin to sculpture than anything else we do in jewelry as it is a subtractive process.  I find it helpful to sketch out both a front and side view of your design, so that you can look at where you need to remove the wax.

• Lay out your pattern on the wax.

When laying out your pattern- use your sharpie first, then finalize with your scribe. Your scribe will leave a line in the wax, so make sure to use a light touch!

• Mark all sides of the wax that you will be working on.
• Wax is much softer than metal. You will remove material very quickly, and it is easy to remove too much!
• Start coarsely- use the files or saw to get general outside shape.
• Then remove any large areas inside with burs or files.
• Work on refining the inside area first, then the outside. This gives you more leeway in case you over file.
• To further smooth your design, you can use your regular files and needle files as well as sandpaper on the design. (steel wool is not good to use, as it creates deep scratches)
• Before and after using any of your regular files on wax, clean them thoroughly with the file brush.
• Always use new sheets of sandpaper on wax. Wax clogs the sandpaper very quickly, so you will go through it quicker.
• Since wax is much softer than the metal, the differences between file grades and grits of sandpaper show up much more. Try several different grits of sandpaper- see what they do!

Rings:

The ring tubes are size 4.5. You can enlarge them with the wax ring tool- Twist the tobe around the mandrel until it is the correct size. The tube will twist easier in one direction. Make sure to flip the tube over so that the interior of the ring is straight.

Enlarge the ring size, then layout your design.

Make doubly sure to mark both sides. It is very easy to over file one side and not the other!

Check your marks often as you are filing and removing material.

Hot wax carving:

• Cover your work area with a sheet of parchment paper.
• Fill an alcohol lamp with denatured alcohol.
• Light it.
• Warm the wax tool over the flame for about 10-15 seconds or until it begins to smoke slightly
• Scoop, press, or drag the tool into the wax.
• Keep heating the tool as it cools off and the wax becomes harder to move. You will need to do this pretty frequently!
• The hot tool will melt the wax letting you scoop away excess, or create depressions and indentations in the wax
• Each of the tools are 2 sided- try all sides! They each produce different looks.

Use the cold carving techniques to get your general shape, then work with the hot wax tools. For final finishing/shaping, go back to cold wax work.

To join waxes together:

• Use one of the thin knife-like tools. Heat over the flame. Place the 2 waxes together and draw the hot tool along the seam, sealing it with wax.
• The waxes should have a liquidy surface as you are working with them. If not, the tool is not hot enough.
• Seal all sides.
• If you are attaching wax wire to wax tube or sheet, run the tool between the wire and sheet quickly and it will seal all the way through.
• You can also seal breaks or cracks in the wax this way.

The hot tools tend to leave ridges along the edge and a melted texture (which can be quite appealing). If you want to get rid of these wait for the wax to cool and then use the files and burs to smooth out.

To add wax:

• Use a spatula shaped tool, or a tool with a decent surface area (not one of the picks).
• Scoop up some of the sticky wax.
• Hold the tool over the lamp until the wax becomes liquid- not smoking!
• Drip the wax where you want it.
• You can keep building up in layers this way.

After adding or joining wax, you can then shape with any of the tools- cold or hot.

Policies

Alternative Materials Casting

Corcoran College of Art + Design

Spring 2014- Jenn Parnell, teacher

Grading Policies:

Your grade is determined using the following criteria. If you are taking this class for credit, you will receive a mid-term update on Week 7 or 8.

Projects and Homework: You are expected to complete the class projects as well as the homework assignments. You are expected to keep a sketchbook for your designs and notes.

Technical Proficiency: I am looking for effort in completing assignments to the highest level of skill you can. I expect that as the course progresses that you will push your technical knowledge and continue to pursue perfection in the skills you are learning.

Creativity: I expect that in your projects, you will express yourself as an artist and attempt to integrate your artistic vision and interests into each piece.

Attendance: Attendance is extremely important. You are expected to be on time. If you are ill, please contact me ASAP. 3 unexcused absences= failure of the class. You will lose one full letter grade with your second unexcused absence. If you miss class, you will be expected to talk with your classmates to get the notes for that day.

Contact info for Jenn

Email: Jenn_parnell@corcoran.edu

Phone: 512-589-6431

Contact info for the Jewelry Studio

Phone: 202-298-2577

Class Cancellations:

For cancellations due to school closure or inclement weather, call the main Corcoran line 202-639-1800 and listen to the recorded message.

For cancellations due to instructor illness or emergency, I will be contacting you each via your preferred method. You can also contact the registrar at 202-639-1820.

Makeup classes will be determined at the next scheduled class session. In scheduling makeup sessions, we will try to accommodate everyone however that may not be possible.

Studio and Class Policies:

• Always wear closed toed shoes in the studio. No sandals or Crocs! If you do not have closed toed shoes, you will not be allowed to work in the studio.
• Take any cell phone conversations into the hallway or outside.
• Please be respectful of other students working and keep conversations at a low volume.
• Please be respectful of other students, teachers, and tools.
• No eating in the studio and any beverages must have a lid.
• Clean up your area! Brush off and wipe down your desk. Empty you dust tray into the trash or scrap bin. Return all tools that you were using to their proper location.
• Use caution when working with the machines. Tie back long hair, and follow all safety procedures set out by your instructors
• Listen to and respect the lab techs. They are not your teachers, so do not expect them to instruct you, but they are there for your safety and to help. If they ask you to observe a rule, do so. Your open studio time is a privilege and can be revoked.
• If you don’t know what something does, don’t turn it on or use it. Wait until you can speak with your instructor.
• If you have not been instructed in class as to the usage of a tool or machine, do not use it.
• Class time is for class projects. If you have finished all of your class work, then you can work on extra projects.
• Open studio time is for completion of class projects.
• Most of the tools are communal. Take turns, and be respectful that you are sharing.
• Open studio hours will be posted on the studio door. Changes to the hours (workshops, make-up sessions) will be posted weekly. Call the studio before coming in to make sure that the studio is open.
• You may not work during a regularly scheduled class that you are not enrolled in.
• If you will be absent, notify your instructor ASAP.
• You are responsible for the information in your syllabus and in the student policy handouts and the official Corcoran Student handbook.
• For Open Studio access, you are required to have the correct safety sticker. Stickers are good for 1 year. Green is regular studio hours. Enamelling and Resins+ hours have separate stickers. Talk to your instructor if you do not have the stickers you need to be able to work.

Supply List

Alternative Materials Casting Supply List

Sandpapers- 180-1000 grit

Latex or nitrile gloves

Respirator and/or dust mask

You will need a respirator for some of the materials we will be casting. You can also bring a dust mask for finishing work if you would like or use your respirator for both

Sketch Book

Pencil and Pen (extra fine point sharpie)

Ruler- preferably metal, must have metric measurements

Scissors

Masking tape

Small cheap paint brushes

Scotchbrite pads

Towel

small jar – baby food size

Tool box or Art Bin

Safety glasses or goggles

In this class some materials will be supplied for examples, then students will need to purchase materials for their projects. Group orders are common so costs are shared across several people.

Syllabus

JE 1351: Alternative Materials Casting

Spring 2014

JE1351/ Section A

Wednesdays 6pm-9:15pm

Instructor: Jenn Parnell

Office Hours: by appointment

Phone: 512-589-6431 (cell)

Email: jenn_parnell@corcoran.edu

Homepage:

Required Text: none

Supplemental Text (not required): none

Course Description

Plastics, resin, rubber, and latex are just a few of the alternative materials that can be cast into objects and jewelry. This class will focus on mold making techniques for various materials and how to successfully cast them. Casting techniques will include simple casting, multi-stage pours, imbedding objects into castings, and slip casting. Prerequisite: JE1200 Introduction to Jewelry I. 

Course Objectives

At the end of this course, students will:

1. Understand the process of casting different materials and mold making.

2. Understand the properties of the different cast materials and possible uses for them.

3. Be able to demonstrate the following technical skills:

• Open (one-part) and Closed (two-part) mold making
• Mold cutting
• Single pour casting
• Multi-stage pour castings
• Imbedded object casting
• Slip or rotational casting
• Use of epoxy resin, plastic, paper, rubber for castings
• Use of additional materials for castings
• Cleaning and finishing techniques for non-metal castings

Course Expectations

Projects and Homework Assignments: You are expected to complete the class projects as well as the homework assignments on time. You are expected to keep a sketchbook for your designs and notes.

Technical Proficiency: I look for effort in completing assignments to the highest level of skill you can. I expect that as the course progresses that you will push your technical knowledge and continue to pursue perfection in the skills you learn.

Creativity: I expect that in your projects, you will express yourself as an artist and attempt to integrate your artistic vision and interests into each piece.

Attendance/Participation: Attendance is extremely important. You are expected to be on time. If you miss class, you are expected to talk with your classmates to get the notes for that day. You are expected to participate actively in class, ask questions, and comment in critiques.

Course Requirements (Assignments, Projects, Exams, etc.)

Students will create 2 completed projects based off of design prompts and technical requirements. In addition to the projects, students will also complete design homework, maquettes and samples of techniques.

Each project will be critiqued- the first as a group, the last one individually as part of final critique which encompasses all work from the semester.

Grading Criteria

See the Corcoran Student Handbook for Undergraduate and Graduate Grade descriptions.

Grades are determined based upon the following:

1. Timely completion of all class projects with effort for creativity and technical skill.

2. Attendance and participation in class discussions and critiques

3. Timely completion of homework and samples/exercises.

Attendance Policy (see Student Handbook- http://www.corcoran.edu/student-handbook )

Students are expected to attend all class sessions and course-related activities for each course in which they register. Students may not attend any class for which they have not officially registered. Three absences (two during the summer term) within a given class, or 20 percent of the semester, are grounds for automatic failure of the course. In exceptional circumstances, the Director of Student Affairs, in coordination with Director of Continuing Education, may approve emergency absences for medical or other legitimate reasons. In such cases, students are required to provide medical or other supporting documentation. Absences due to religious holidays must be pre-approved by the instructor one week in advance of the absence.

Although students may miss up to two class sessions, they are not relieved of the obligation to fulfill all course assignments, including those that can only be fulfilled in class. Of special note to all students: instructors may modify the standard attendance policy (stated in this handbook) according to how they weigh various components of the curriculum throughout the semester. If there are any changes to the standard policy, they will be written into the course syllabi that are reviewed on the first day of classes.

Honor Code (see Student Handbook)

Faculty members are responsible, to the best of their ability, for maintaining the integrity of the learning and testing process, both in the classroom and outside of it, and for fostering conditions of academic integrity. To alleviate misunderstandings, all instructors are required to delineate at the beginning of each semester what constitutes a violation of the Honor Code in their classes. This should include an explanation of:

1. The extent to which collaboration or group participation is permissible in preparing term papers, studio work, reports of any kind, tests, quizzes, examinations, homework, or any other work.
2. The extent to which the use of study aids, memorandum, books, data, or other information is permissible to fulfill course requirements.
3. Guidelines on what constitutes plagiarism, including requirements for citing sources.

Course Outline

Week 1: February 5

• Introductions
• Studio Tour- introduction to the equipment, basic safety for the machinery, shop protocol
• Lesson 1: Basic Wax Carving
•  Homework: 2 wax carvings

Week 2: February 12

•  Lesson 2: Simple Resin and Plastic casting
• Introduce Project 1
• Homework: 3 different castings from the pre-made molds

Week 3: February 19

• ·         Lesson 3: Mold Making
• ·         Discuss Designs for Project 1
• ·         Homework: Sample mold

Week 4: February 26

• ·         Lesson 4: Multi-stage Resin and Plastic casting
• ·         Homework: Sample multi-stage casting

Week 5: March 5

• ·         Lesson 5: Finishing Plastics and Resins
• ·         Lesson 6: Integrating and Connecting Castings
• ·         Homework: 2 finished castings (can be your previous samples)- one polished, one matte

Week 6: March 12

• ·         Work time
• ·         Introduce Project 2

NO CLASS MARCH 19

Week 7: March 26

• ·         Lesson 7: Foam casting
• ·         Homework: Sample foam casting
• ·         Discuss Designs for Project 2

Week 8: April 2

• ·         Lesson 8: Rubber casting
• ·         Homework: Sample rubber casting

Week 9: April 9

• ·         Lesson 9: Advanced rubber casting

Week 10: April 16

• ·         Lesson 10: Concrete casting
• ·         Homework: Sample concrete casting

Week 11: April 23

• ·         Lesson 11: Chalk and Paper casting
• ·         Homework: sample casting of either material

Week 12: April 30

• ·         Work time

Week 13: May 7

• ·         Work time

Week 14: May 14

• ·         Final critiques