In this first article we will talk mainly about THE LOST WAX SCALE MODEL AND CORE.

As already mentioned in the previous article, the core is covered with wax to resume the size it had before heating.
Gates or sprues of various dimensions are applied to the coated core to serve as vents for the release of the wax. This process will be explained in the next article.
Nails are also applied to the coated core as a support to carry the “porcupine” thus obtained.

This is one of the most delicate phases of the lost wax bronze sculpture.
At Fonderia Artistica Di Giacomo we make an effort to minimize the number of vents inserted in the coated core in order to enable a final chiselling that is extremely accurate.

On this structure just obtained, a layer of clay is applied called ceramic shell, which constitutes the positive of our sculpture. In fact we now have the following elements: the core, (i.e. the sculpture negative), and the wax, the last-mentioned of which defines the space for the bronze pour. Lastly, we have the positive, consisting of the ceramic shell.

Now we will complete the description of our second macro step:
which allows our structure to release the wax (lost wax), thus leaving a cavity between the positive and negative into which the molten bronze will be poured.

This process involves heating the ceramic shell at such a temperature that melts the internal wax, which in turn flows out of the vents and, simultaneously hardens the ceramic shell.

Now everything is ready for the bronze pour, but this will be explained in the next part of the story of lost wax casting.

Ancient Artistic Foundry Di Giacomo, we tell the story of bronze artworks.