Moulding and Casting – 1strubber coat.
Once the sculpture is finished and approved by the client, the next process is to make the mould. The clay is initially covered with a thin layer of silicone rubber (with the consistency of single cream). This is carefully applied to the clay surface using a brush, making sure that all the nooks and crannies are filled and that there are no trapped air bubbles. The second image here shows Andrew applying ‘Plastishim’ (his invention, which has become standard practice in all foundries and the film industry), which create the dividing walls/seams for the forthcoming fibreglass jacket application.
Moulding and casting – 2nd rubber layer.
After all the Plastishim seams are in place, another coat of rubber is applied all over them and the sculpture. The picture shows Andrew’s technical assistants applying a thicker coat of rubber, completely covering everything.
The image shows the first few fibreglass and resin jackets in place. The entire sculpture will eventually be covered in this way – it is a very time-pressured process which must be completed quickly and efficiently before the resin cures.
Prepping the mould.
Seen here is the finished hand mould. Andrew is trimming the rubber, tidying the seams and making sure that it fits snugly back into the fibreglass jacket. The rubber will be washed to remove the old dried-out clay before the mould is sent off to the foundry for next stage – casting in wax.
Removing the fibreglass jackets. You may not want to publish these in case they give too much away!
These are great images which I’ve included for you, but not too sure you would want to reveal how the figure looks – as we discussed, we don’t want to lose the WOW factor before the unveiling. Andy worked from 6am ‘til 10 pm the day before we flew to Canada – to make sure they were ready for the foundry-man