The statues sculpted are recreated in cast bronze utilizing the “Lost Wax Process”. It is an extensive process that can be dated back to ancient statues and produces some of the most beautiful and unsurpassed bronze sculptures in the world. Below is an overview of the process that will be followed in creating a custom monument and the bronze casting process of your statute.
We take pride that ALL our statues are MADE IN THE USA
I. Photo Session. A photo session will be conducted with a posed model that is dressed appropriately with gear and equipment. This will capture the overall appearance and form of the future statue.
II. Sculpting. A “Maquette” or smaller version of the statue is sometimes created in wax and clay from the photos and additional drawings. Wax and clay are often preferred because these materials retain their softness and will allow for modifications. The maquette will need to be approved by the committee to proceed.
III. Enlargement. Once the final design is accepted, an enlargement or point-up process is conducted from the maquette to create a larger version of the statue. Additional fine details and textures will be sculpted to enhance the statue. The large wax and clay figure is traditionally approved in person by select committee members or by photos.
IV. Mold-making. The enlarged statue is cut apart and molds are created around the piece. The molds are at least two pieces and usually made of plaster and/or fiberglass. To preserve the details on the original artwork surface, there is usually an inner mold created which is supported by the outer structure. When accomplished, the molds are cut apart removing the original wax and clay pieces.
V. Wax. Molten wax is poured into the molds to make a solid wax piece or it is repeatedly swished around creating even layers of the inner surface until the desired thickness is achieved.
VI. Removal of Wax. The wax copy of the artwork is carefully removed from the mold.
VII. Chasing. Each wax piece is then “chased” by means of utilizing finishing tools to rub out marks that show the parting lines or where the mold came together. The wax is “dressed” to hide any imperfections and when completed it will look like the finished bronze.
VIII. Spruing. The wax is “sprued” with a treelike structure of wax that will ultimately provide the pathways for the molten bronze to flow and air to escape.
IX. Slurry. A “sprued” wax is dipped into a slurry of liquid silica, then into a sand-like “stucco” of a controlled grain size. The slurry and grit combination is called a “shell”. The shell is allowed to dry, and the process is repeated until a desired thickness is achieved.
X. Burnout. The shell-coated piece is placed in a kiln, whose heat hardens the coatings into a shell, and the wax melts running out. Now all that remains of the original artwork is the negative space, formerly occupied by the wax, inside the hardened ceramic shell.
XI. Testing. The ceramic shell is allowed to cool and tested with water and air to identify any cracks. Cracks will be repaired.
XII. Pouring. The shell is reheated in the kiln to harden. Bronze is melted in a crucible or furnace, and poured carefully into the shell. If the shell was not hot enough, the temperature difference would shatter it. The bronze-filled shells are allowed to cool. The thickness of these walls will be approximately 1/4 inch however some areas will be cast solid and some areas will be thicker based on layering of the artwork.
XIII. Release. The shell is hammered and or sandblasted away, releasing the rough bronze.
XIV. Metal-chasing. Just as the wax copies were “chased,” the bronze copies are worked, removing the sprues and feeder channels until the telltale signs of casting are removed. Pits left by air bubbles in the molten bronze are filled.
XV. Assembly. The finished pieces are reassembled and welded together. The complete statue is “chased” once again to remove seam lines and the sculpture will once again look like the original.
XVI. Patina. The bronze is colored by using chemicals applied to heated or cooled metal. This coloring is called a patina. Multiple shades and highlights will be discussed and finalized to create the best overall look for the statue. After the patina is applied, a sealer is put on the statue to help protect it from the elements and help preserve the color of the patina.
Shipping and Receiving
Once complete, shipping of the statue is usually brokered by a licensed, insured, and reputable transportation company. Sometimes, depending on the size of your statue it will be necessary to coordinate additional services at your off-loading point such as a tow motor, wrecker, or boom crane. The architect or contractor creating the base will usually assist you by setting the statue in place with the provided stainless steel pins.
Depending on the status of the monument grounds, sometimes it is necessary to storage the statue until it is ready to be set and unveiled. This unveiling is usually coordinated by the committee with a ceremony involving media, businesses, contributors, and special guests.
Finance
Payment in full is not required to begin a statue. To purchase a standard monument we require an official Department Purchase Order for the full amount or fifty percent (50%) down upon acceptance of the custom artwork layout. The Purchase Order or remaining amount will be invoiced (30 day net pay) after the delivery of the statue.
We will create a payment schedule for custom monuments as this timeline is more extensive and will coordinated with certain development stages of the process.
Timeline
| Standard Monument Designs A, B, and C | 4 months from artwork approval |
|---|---|
| Custom Statue/Option D | 6-8 months from photo session |