We have talked, in recent articles, about lost wax technique to produce bronze sculpture.
In next two articles, we will show, at least in part, the originality of our foundry, showing in particular the innovations that have matured in a century.
We will begin by deepening some aspects regarding bronze casting.
As mentioned in previous articles, bronze or other metal materials casting is the most delicate moment of creating a statue.
In fact, a good stain will avoid excessive overlays that might become apparent and devalue the work itself.
The first thing to avoid is the sudden cooling of the first bronze drops that come into contact with the gap left by the lost wax.
Another problem can be represented by the excessive speed with which bronze is cast, if the temperature in the cavity is too high, in fact, cracks may develop.
The first thing to do is to define a steady flow of bronze so as to make the formation of the statue homogeneous.
Over the years, however, our foundry has developed some techniques to improve casting.
To avoid lumps but also to allow a slower flow of casting, the positive and negative statues are kept at an appropriate and constant temperature from the outside.

This automatically disadvantage lumps, allowing master furnace workers to pour the bronze slower.
Our artistic foundry then uses the lost wax cast technique, especially to produce large statues starting from small sketches.
The great works are built by splitting the initial sketch into pieces and then molding the various pieces into scale. However, any evolution on lost wax technique is closely related to the other.
In order to be able to assemble the pieces of a large statue well, these should be well-formed after the casting.
or this reason, assembly techniques can not disregard the constant-temperature casting technique.
Our artistic foundry is a real bronze forge but also a forge of ideas.
In this article we have given you only a little taste of the study and research that we do every day to optimize the techniques of creating a bronze artwork, we will soon illustrate how, with the help of silicone, we can reproduce several times a ‘ Opera.

Di Giacomo Artistic foundry