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Julia

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About Julia

  • Rank
    Mostly Harmless
  • Birthday 06/06/1987

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  • Gender
    Female
  • Location
    Yläne, Finland
  • Interests
    Casting, drawing, painting, jewelry, metalwork

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  1. Julia

    Sculpting and casting

    Thanks, Kang I'm using a cheap resin printer, the level of detail is pretty amazing. Made a mold from the print. I've been testing with the vulcanizing press that I have and managed to create a mold by using natural rubber instead of silicone. I did try silicone to compare, but it warped the prints quite a bit. Natural rubber is more solid...downside is that it smells really awful
  2. Julia

    Sculpting and casting

    Well, hello! I'm sorry for being away for so long, been busy with new awesome toys! Slowly training CAD and 3D modeling for jewerly and bought a cheap resin printer to aid with super difficult and detailed models. I've had a blast! Now that the summer is finally here I've done insane amount of casting and pre-processing. New models done by hand and with an aid of printer means one happy metal artisan. The horoscopes are the first pieces modeled with a 3D program, my customer wanted them to be very detailed and the time given would not have been enough to create wax models by hand...this is where the new technology shines, without the printer, I would have been in deep shingles. I were happy to get them done in time, customer were happy to get the details he wanted, all's good. Attached several new designs, plus a flying hamster...just because
  3. Julia

    My Journey into Lost-Wax Metal Casting

    If you find yourself in a spot where you don't have any LoS, you can get the patina with boiled and smashed eggs. It just takes longer to produce a dark coating. I have played around with a torch and tried to get a nice color, but personally didn't like uneven patina it produced. In time the color difference is very visible and when there's spots that will darken more than others, the end result is not that appealing...it might have its uses, but have yet to find a design where it would work. At the moment I'm struggling to keep the silver nice and shiny; stored almost everything into sealed zip-locks with an anti-tarnish strips. It starts to get really frustrating when there's over 40 small pieces that needs to be cleaned in a regular basis, so that the tarnish doesn't get too deep. Have started to make more items that has a deep patina other than a high polish, just because I'm spending more time re-polishing than making new items to sell.
  4. Julia

    My Journey into Lost-Wax Metal Casting

    Oooooo, looks perfect! Well done! Are you going to leave them as they are or darken with liver of sulphur?
  5. Julia

    My Journey into Lost-Wax Metal Casting

    Hi, like I said before, I do not have an electrical kiln for melting, so I asked around and here's what I got: heat the metal at least 100F over the desired temperature, that way you'll ensure that the metal has melted completely. So in this case it'll be around 1880 deg, 1900 degrees also works and 2000 is a max before the metal is too hot to cause problems. Your burnout temperature is ok, 950 sounds about right for a casting temperature, 1000 is for finer designs: filigrees and such. I've heard that it's recommended to heat the flask 75-100F hotter when using a vacuum, but I'm yet to test it myself. There are two things that can cause partly filled casts: temperature and sprues. Like Kang said earlier, a failed burnout will leave evidence, the surface is like bad case of acne or a side of a moon with all those little craters and such. If it's too hot: it'll do craters, tiny holes, cavities, plus this stuff that looks like sand and if too cold, the metal doesn't usually even reach the sprues and looks kind of sluggish and sad. You don't have any of that, so my bet is in the sprues. With small objects like these, make them as short, even and straight as possible. Try to avoid curves, bumps and too much of tapering, because if the sprue gets too thin too fast, that kind of shape will act as a nozzle and it will sort of spray the metal around instead of moving it forward. The thickness should be around the same as the model's. If the sprue is too thick, I've noticed that not only does it slow the metal down, but it will act as a storage unit for heat and that'll cause porosity on the ring shank. One last thing is that I see that you're using a secondary sprue. Try to get it to fill at the same time as the main one; now what happened is that the main sprue started to fill ok, but the flow was suddenly cut by a secondary sprue which started to fill at a slightly different time than the main branch and without a good momentum, it solidified. Just a thought :) To be continued tomorrow, G'night!
  6. Julia

    My Journey into Lost-Wax Metal Casting

    Hi and ack! That's a real bummer and real odd is the way how the models are all only partly filled. I don't see any porosity or shrinkage due to temperature, the parts that has been filled looks solid, but there are a few things with the sprues that I need to take a closer look at. Looks like a flow issue. I'm a bit in a hurry at the moment, but I'll take a closer look of the model and sprues later today. What's your final kiln temperature and do you let the mold temperature set before pouring? ~Julia
  7. Julia

    My Journey into Lost-Wax Metal Casting

    Awesome! I can't afford to buy a Kerr either, can only dream and drool I've been looking for a used electric melting furnace, but people tend to ask for a same price as what you'd get by ordering brand new from China... Those graphite crucibles don't need to be seasoned, right? I've only heard about tempering to make them last longer. Do you have something to swirl the melted metal around to make sure it has liquefied completely? Like a charcoal stick or something? ~Julia
  8. Julia

    My Journey into Lost-Wax Metal Casting

    Hi, Sorry to hear about the cast gone bad. Have little knowledge about the electromelts, except that I'd like to have one :) Like you said yourself, It looks like the metal was too cold: we usually overheat it a little, because once you're ready to pour and especially with precious metals, at the beginning you tend to be more careful and try to pour slowly, which makes it to cool even more. (By the way, it will become easier as you'll get rid of the idea of pouring silver...it's just the mental image of pouring something expensive that gets on the way. I had that at the beginning and having silver dust at my clothes ended to this atom search and could spent quite some time gathering every little bit I found...now I just pretty much dust my clothes like it's wood dust. Same goes with the casts, now it's just like bronze, but the color is different :D I also like to use long cylinders and long trees for all of the casts, even if there's not too many items to be cast. I'll lose some investment in the process, but the casts turn out better because the poured material gathers speed along the way and the fill rate is much better, because at the end of the tree the velocity forces the material into the small cavities better than anything else. Was the crucible coated before you started to melt the silver? Was it a new one? I've had a cast go nasty, because the crucible had too much sediment from previous casts: the metal didn't melt at all, it remained in this weird gummy state. Anyway, the pink stuff is copper, I normally don't do anything about it. It might look like it's a big portion of the copper content, but it's not. It usually comes off by scrubbing with a brass brush. It would only make a difference if you'd keep on melting the same item over and over again. The copper would eventually burn away.
  9. Julia

    Boxer Rebellion: Box-Turtle Folk, WIP

    Hey, You can cut the bronze bar into chunks with an angle grinder, but it's not a fun task: lots and lots of fine bronze dust, sparkled like a champ for a few days. We use an old horizontal metal bandsaw, the saw itself is something specific for stainless steel, but the bronze is so soft that a normal saw blade will do just fine.
  10. Julia

    Sculpting and casting

    Hey! Just finished The Last Order. Phew. I look like something 'fresh' dug straight out of a grave; ragged clothes, dirty hands, messy hair and a pale winter face to match the rest. My husband has been reading zombie novels and is convinced that I'll Turn in any given moment Jeeze, what a month! Anyways, thank you robin and Kang! The spirals were tricky and without the small gates, there's no doubt that the spirals would have been incomplete. I did notice some shrinkage, so next time, I'll make the gates a little bit bigger to ensure a good flow. Finished the milk churns. Ended up using silver sheet and wire instead of casting. We had some nasty weather which blinked our power on and off. Power failure and kiln...umh, no thank you. I'm off to rummage through the fridge, make a fortress out of blankets and pillows...and then I'll buy a book. My whole meaning of existence for the next day or two is to get fat and happy. Sounds like a plan. It's the Best plan ever. ~Julia
  11. Julia

    Sculpting and casting

    Whoo! Thanks for the luck The cast was a success! The picture below is what it looked like after I removed the investment with citric acid. This tree were cast in silver, so those white specs that you see is actually fine silver and the gray stuff is oxidation- this is normal, I use 925 sterling silver which has 92.5% of fine silver and the rest is copper. The copper in the silver reacts with oxygen and what you'll get is that dark surface, which needs to be removed before polishing. That's what I'm doing now. Lots and lots of sanding, sawing and filing. Here's a few of those hands after the first rough sanding. Had no dents or holes, which is really nice: Back to work, cya! ~Julia
  12. Julia

    Sculpting and casting

    Jack, Thanks. I'm hopeful, that someday someone would like to have a whole set...*fingers crossed* emmagine, thank you so much for the info- I'll definitely test both Fimo and Primo. Every now and then I get these commissions that reach my workshop just way-too-late. For a caster this is a nightmare, because I only have enough time to make a single cast, that has to be perfect. It feels like taking a swim in the middle of the night...and knowing that there are sharks. You'll most likely be just fine, but the idea that something can go very wrong lingers inside your mind like some kind of superglue. I'm commissioned to make 20 hand shaped logos, that has a spiral in the center and spirals are nasty things to cast! Here's the master: The tree that I whipped together today and is going to be cast on wednesday: Wish me luck ~Julia
  13. Julia

    Sculpting and casting

    Today was more of a traditional work day. My workshop looks like a war zone. I made a silver brooch for a customer using 1mm silver wire and a whole lot of soldering and polishing. The pin wire is stainless steel, so it will keep it shape better than silver. Don't know how many times I lost the miniature hinge...dropped it a few times, lost it in the chaos among the tools and before soldering, found it wrapped to my clothes
  14. Julia

    Sculpting and casting

    Thank you. I'll make a master straight out of the wax model- I want to be sure to have at least one plan B, if the cast comes out incomplete spending a few bucks on mold material is a way better option than having to start all over again. That's why I love RTV-silicone, being able to make a mold from the wax model or any other material, that would be destroyed in vulcanizing temperatures. But the wax will be cast in bronze, after the mold is complete. I want to see how the blue carving wax burns and does it need a longer burnout than the injection wax. I've heard that the hard green and purple waxes needs to be at the highest temperature at least an hour extra to have a clean cast. This was the first time I used the blue carving wax. It's quite nice to work with, especially now when I've started to understand more of what kind of tools I like to use as it's so much different than working with soft waxes. That ring is mostly done with burs, wax files and an exacto-blade that I modified to have only just the tip for carving very small, tight places...cut only just one finger, so I'm evolving Oh and the wax can be polished with turpentine, which is nice.
  15. Julia

    Sculpting and casting

    Kang, ravens are beautiful creatures...from a distance terrifyingly big birds. We run out of gas for melting, so I still have time to make a few new tests for the next cast. I'm in a hurry, so I'll have to keep my ramblings short Carved my first celtic knot! It still needs to be polished and cleaned up, but I'm pretty happy how it looks right now. Got to run, cya!
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