Casting Edith Kramer – The Mystery of Wax

Before this project, I have only done casting in wax on a very small scale. This was going to be a great opportunity to explore this material in a different manner. I was ready to experiment!

Main stages of experimentation:

1. Choice of wax
2. Tint of wax
3. Process of heating wax
4. Process of pouring wax
5. Cleaning up of casts

Choice of wax

One of the first things I considered, was the type of wax I wanted to choose for the model. Both Madame Tussaud’s and Wade Waxworks use a predominantly beeswax product, similar to these waxes sold by the British Wax Refining Company. As they produce waxwork models on a large scale, using these companies makes sense as they ship products in bulk with deals the larger the amount.

However, for my project, it would not be feasible for me to buy this type of product as I would not use the whole batch, therefore would not be a professional choice in terms of financial management of the project. The minimum I could order was 5kg, which would add up to £65.20 without shipping costs.

It was after reading Murrel, V. (1971) Some Aspects of Conservation of Wax Models that I made the choice to mix my own wax blend instead. In their study, they investigated various historical written and physical work on wax to divulge the type of wax that was used for figure casting throughout history.

‘the majority of finished wax sculptures were made with beeswax, probably bleached, with no additions apart from pigments and inerts.’

Murrel, V., 1971, pg. 96

‘one third of their bulk – of white lead and, apart from its obvious inclusion as a colourant, it may have been used to alter the property of the wax, reducing shrinkage and making it harder and thus more easily carved.’

Murrel, V., 1971, pg. 97

It is no wonder artists throughout history preferred beeswax as their main type of wax – as described in previous blog post, it has a vast past and narrative, combined with great malleable and translucent properties. Therefore, I decided this would be the best type to use for my model, particularly the bleached kind as I could then manipulate the colour far more easily. I ordered these in 1oz blocks, as I could control the amount I needed and work within the budget of the project.

Additionally, it is also important to note that Murrel (1971) found that artists often mixed their beeswax with other products. This is due to the inherent properties of beeswax, which are advantageous to the look of the models, but do carry limitations during the moulding process. Murrel (1971, pg. 97) notes that beeswax ‘contracts considerably when setting’ which results in a ‘soft and rather blurred impression’ in the cast. Due to this, I also chose to mix the beeswax with a more durable kind of wax – paraffin.

I experimented with the quantities of each wax, starting with just a purely paraffin wax cast. This was not only my clear-out cast of the mould, but also displayed the far decreased malleable properties of this wax, as it took a very rudimental cast with layers of the wax visible on the surface. This is partly because paraffin wax seemed to cool much faster than beeswax.

Mix of bleached beeswax and paraffin pellets melting in the bain-marie. A food thermometer was used to keep the wax at a safe temperature.

The latter experimentation stage was composed of a primarily beeswax mix with small amounts of paraffin wax. Below are some of my more notable mixes:

6x beeswax 1x paraffin (1x paraffin extra inside layer)	6oz/170g 50g 50g	Not enough wax for a durable mould
6x beeswax 2x paraffin (2x paraffin extra inside layer)	6oz/170g 100g 100g	The mix did not pick up enough surface details. The layers of wax very visible on surface
7x beeswax ½x paraffin (2x paraffin extra inside layer)	7oz/198g 25g 100g	Enough for the whole cast. Good surface detail. Good translucency. Malleable surface. Durable cast due to under layer of paraffin wax.

The third mix on the list was the most successful of the lot, which I used for the final cast.

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Tint of wax

A massive advantage of buying the wax in bulk, would have been that the wax was already tinted to a Caucasian skin tone widely used by the Madame Tussaud and Wade Waxworks workshops. However, as I chose to mix my own wax, I also experimented widely with the skin tone of my wax.

Although Murrel (1971) does not provide much guidance on this, I called Mike from Wade Waxworks to ask for advice on how to best do this. He advised using oil paints melted with a little bit of wax, which I amended by letting the mix cool completely and then flaking off controlled amounts into my wax. This ensured I could effectively manage how much of which colour I was adding to each cast and adjusting gradually to reach the best tint.

Edith Kramer.

Throughout the process, I was using the above image of Edith Kramer, and this model made by Wade Waxworks as benchmarks for the colour of the skin. Using an already made model helped me judge how the surface painting would show on specific wax tints.

Lastly, I also added another dimension to my casts, but using two main tints of wax – the top layers were more of a yellow-cream tint, while an under layer brought sub-surface scattering to the model through a more pinkish tint. Most importantly, the under layer was also composed almost entirely of paraffin wax, which made the cast more durable without affecting the quality of the surface.

Casting set-up in my kitchen! Health and safety hazards were reviewed beforehand, and all areas protected from any possible spills.

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Process of heating up and pouring the wax

While working on the appropriate mix and tint of the wax, I was also paying attention to the way the materials are treated during the process. The wax must be kept below 75C during the heating process, which I controlled through a food thermometer. Bubbles can form in the wax if it reaches boiling point. This was a safety choice as well as below this temperature, the wax will not cause burns to the skin if an accident occurs.

Pouring the wax was also an issue. I did not have a melting pot to heat up the wax, which I replaced with a bain-marie. I had to take the wax away from the heat source to pour it, which would cause it to cool. I could not pour the wax once it reached a certain viscosity without risking the quality of the sculpt. At the same time, working too quickly meant the wax became disturbed and bubbles formed and showed up on the surface of the casts.

Mike from Wade Waxworks suggested using a funnel to pour the wax. I also reached out to others on social media, from which I was advised to heat the wax to a higher temperature in order to manage these air bubbles.

A combination of both these techniques worked. I heated the wax to 80C for the first pour, and ensured it was barely disturbed as I poured it in. Later layers were at a lower temperature. This ensured a cleaner surface quality.

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Overall, this process was formed an a basis of prior experience, research, experimentation, and above all, contact with other professionals. Similarly as with the sculpting stage, I believe speaking with others continually changed my perspective and encouraged me to approach my work with curiosity. This helped me to achieve a good quality benchmark.

Check out a time lapse of my casting process on my Instagram here!

Some of the outcomes of my casting process.

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Predicting Problems and Finding Solutions

Studying modelmaking for the past couple of years, I have gained an understanding into some of the various processes that are involved in the practise of making. Approaching a new project, I think it would be helpful to use this existing knowledge alongside my continual research, to have an objective look at the work ahead and predict some of the issues I will encounter. Let’s find some solutions to these so that I feel more prepared!

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Sculpting

Problem	Solution
The armature might be too big/too small which will affect the stability of the sculpt and affect the surface sculpt.	I will note down measurements of my sculpt and then work backwards to ensure the armature is the right size.
The eyes might be put in the wrong depth.	Make sure the replacement eyes I am using for the sculpt are 12mm (1/2 of average eye size) so that they fit into the head. Also make sure the armature underneath is small enough so that I can dig the eyes deep enough.
The facial features and anatomy might look disconnected from each other.	Work in stages following the instructions of Edouard Lanteri to achieve correct anatomy. Keep taking measurements throughout. Work on facial features all together in stages, don’t finish one before the others.
Anatomically incorrect primary shapes that make the secondary and tertiary details look wrong.	Follow the instructions of Edouard Lanteri. Use a mirror and take photographs throughout to change perspective. Measurements!

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Moulding

Problem	Solution
I might take too long on sculpting.	Make a time plan for the entire project and stick to it! Encourage yourself to keep moving throughout the sculpt to discourage perfectionist tendencies.
When I put the first layer of silicon on I might smudge the details.	Pour the silicon on rather than brush it on for the first thin layer. Have a bowl underneath to catch the silicon and reuse.
The silicon does not cure.	Use a newer batch that you know has cured successfully in a previous test.
Air bubbles form in the silicon.	Use a vac former to reduce bubbles and pour from a distance to let gravity pop any remaining bubbles.
I forget to put the Vaseline on surfaces during the plaster stage.	Write up a plan for the moulding stage to take with you into the workshop and use as a reminder to do some important tasks.

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Casting

Problem	Solution
I might make the wax the wrong tint.	Get in touch with industry professionals to enquire whether they would advise me on some colour combinations they use. Do test pieces first.
The oil paint tint might not mix properly with the wax and drop to the bottom.	Make sure to heat the oil paint with a little bit of wax first up to a high temperature. Mix in with the rest of the wax well. Do test pieces first.
Wax might not be stored correctly which can affect quality of wax.	Store in a cool, dry place away from dust.
Parts of the cast might break off when taken out of the mould.	Ensure the silicon layer is no thicker than 5/7mm max.
Health and Safety – Hot wax!!	Complete a health and safety assessment before casting. Ensure area is prepared before use and that others know to be careful around it. Plan beforehand. Ensure appliances are turned off afterwards.

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Painting

Problem	Solution
I make the layers of paint on the surface too thick.	Practise painting on the test casts before the final one. Use a dry brush and wipe off excess paint before applying. Take your time and do not rush. Look in mirror and take pictures to keep changing perspectives and
I will use the wrong tones and colours.	Ask industry professional for their advice before painting. Practise by oil painting portraits on flat surface first.
My painting might not look realistic as it might not follow anatomy.	Research anatomy and how light interacts with it. Research the blood vessels etc underneath the skin to understand how they will impact the surface colour.

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Dressing

Problem	Solution
The hair strands I will use might be too thin and fragile, or too thick and synthetic.	Test out a selection of materials before hair punching final. If too thin – try hair spraying and then styling. If too synthetic – try various methods of softening them. Ask MakeUp SFX students to advise on hair choices. Confirm choices with advice from industry professionals.
Hair punch holes might look too big and obvious, particularly around the hairline and facial hair.	Outsource, make and test out different needle sizes before final hair punching. Understand how deep they need to go in to be stable. Experiment whether you can melt the wax after hair punching to increase quality.
Outsourced eyes might not look realistic enough/too doll-like	Have a list of producers you can contact for replacement eyes just in case.
The clothes I will make might not look realistic as the scale of the thread might be out of place.	Research how to recreate clothes at smaller scale. Look at stop-motion animation dressing techniques. Choose a clothing piece from an existing photo – keep choice simple.

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Of course, there are many problems and issues that I will encounter during this project – far too many that I could write! So to manage the sheer variety of problems and to decrease the damage they may have on my time management of the project, I will construct a thorough time plan for the duration of the project. This will ensure that I know exactly how much time I can spend on each mistake and issue, and hopefully keep me on track.

Fingers crossed!

Ammonite – Making of!

Approaching the making process, I split it into six main stages:

1. Sculpting
2. Moulding
3. Casting
4. Chambers
5. Puzzles
6. Painting

While some of these stages had to be completed before I could move on to the next – for instance, I had to have a cast of the shell to create the walls for the chambers – they didn’t follow a strictly linear pattern. I planned so that I could be completing other stages while moulds were curing etc.

Following are images of each stage, with short descriptions of problems encountered and how they were resolved.

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Sculpting

To start off with, I had to make the ammonite shell that would be the main body of the model. I used buff clay as it is very quick to sculpt with due to its softness.

For reference, I used an image from The Etches Collection of an ammonite in their collection.

K116 – The Etches Collection

I explored making a stand for the sculpt at the beginning in order to allow me to sculpt both sides of the ammonite. However, I quickly realised that this would not be needed as only one side would be visible. Therefore, I could rest it flat on the desk.

Sculpting the ammonite was a relatively straightforward process that was quick to complete.

Along with the ammonite shell, however, I also needed to sculpt the head and tentacles of the animal. I did not want to use buff clay for this sculpt, as it was on a smaller scale to the shell and would need more details. The tentacles would also pose a problem – due to the softness of the clay, they might be prone to moving while I sculpted, even with an armature inside. Consequently, I decided to use Monster Clay – a harder material.

I could not use Monster Clay alongside the buff clay due to the difference in softness, but I still wanted to make sure the head fit snugly into the opening of the shell. To achieve this, I held off sculpting the head until I had a cast of the ammonite shell I could sculpt into.

For reference, I used images of cuttlefish and nautilus.

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Moulding

After sculpting the ammonite shell, I created a mould of it using silicon. As the back would not need any detail, I could make it an open back mould.

During this process, some silicon seeped underneath the shell as it was not flush flat against the surface. I cut out the unnecessary silicon.

The head and tentacles of the ammonite had to be moulded in plaster, as I wanted to cast it in silicon later. Due to the complexity of the tentacles, the mould had to be made out of two parts.

I encountered one particular issue while moulding the second part of the plaster mould. While I made sure to plug any gaps between the styrene walls and plaster, there must have been a gap I overlooked! Some of the plaster seeped underneath, which caused the risers on that side to be covered up.

To resolve this, my first idea was to attempt to dig the risers out of the plaster once it had hardened. I quickly realised this would not be an effective way of solving the issue, therefore I decided to amend my casting process for the head and tentacles instead.

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Casting

I used the silicon mould to cast copies of the ammonite shell out of fast cast resin. There were a few problems I encountered during this process.

The main issue that arose was the weight of the cast. For the mechanism to function effectively, the shell could not be too heavy, as it would impact the type of spring strength I would use. The heavier the shell, the higher strength of spring I would need in order to prevent the shell sinking straight to the bottom once placed on the spring. At that point, the puzzle pieces would not make an impact on the vertical position of the model as it would already be sitting on the bottom of the spring!

Unfortunately, I realised this was an issue after I did my first clean-out cast and felt the weight of the shell.

To resolve this, I used aluminium trihydroxide powder. The theory behind this was that the powder would replace the resin in the mixture, which would result in a lighter cast. I tested this out using my second cast – it did not make it lighter. In fact, it had the opposite effect, and made the cast even heavier!

A positive of alumiunium trihydroxide powder is that it results in a far more durable cast, so I decided to use the shell from my second attempt despite its weight. I could lighten it afterwards by taking away material from the back.

Another issue I encountered during this stage, was in relation to the magnets I planned to place in the chambers of the ammonite that would help to keep the puzzles in place. Initially, I planned to place the magnets in equal distances from each other on top of the silicon. In practice, however, this did not work – the magnets were too close together and attracted to each other immediately. To counter this effect, I poured the resin in layers and placed a magnet in each layer. This meant that the magnets were held in place as the resin cured.

While casting the silicon head and tentacles of the ammonite, I also run into some obstacles. As mentioned previously, half of my risers were accidentally covered during the moulding process. To avoid bubbles forming inside the tentacles, I did not pour the silicon into the closed mould at first. Instead, I left the two halves open and filled the tentacles. Afterwards, I closed the mould and used the vac chamber to get rid of any potential air bubbles. Lastly, I injected the rest of the silicon. This solved the issue and no bubbles formed inside the tentacles.

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Chambers

Firstly, I used paper to make some quick prototypes of the shape of the walls. I used these shapes as reference when I heat bent chemiwood for the walls. I used a jig – a secondary piece of chemiwood which I sanded down to the desired circular shape – to ensure the walls had the correct shape.

Using filler to create a plug for the chemiwood to stick inside the ammonite chambers was a bit tricky, primarily due to the sanding afterwards. Some of the areas were a bit tight and it was difficult reaching them. I tried using a rotary tool to get to these areas but the tool was too big. I resolved this issue by just spending more time sanding.

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Puzzles

This was perhaps the most experimental stage of the entire making process. I encountered numerous problems as I explored how much weight I could add to resin.

I originally thought about using metal powder to weigh down the puzzle pieces, however, after researching some of these powders, I decided it would not be a cost-effective option. At this point, I considered the casting of the shell that I did earlier and remembered how the use of aluminium trihydroxide powder increased the weight of the cast.

Unfortunately, due to the size of the puzzle pieces, the powder on its own would not have made enough of a difference in terms of weight. Therefore, I considered other options and explored placing different objects inside the cast to weigh it down. I settled on using steel nuts, which combined with the aluminium trihydroxide powder, considerably increased the weight of the cast.

At this point, the steel nuts became an issue for me – they were extending out of the cast and very visible. To resolve this, I did a layer of resin around the mould, let this cure, and then placed the nuts inside. This ensured the steel nuts were not visible.

Frustratingly, casting a layer of resin around the mould first to hide the steel nuts, manifested another problem. The aluminium trihydroxide powder I was using, caused the resin to cure much slower. As I had to continually turn the mould to coat all the walls in an equal amount of resin, the increased curing time meant I was turning the mould for an unnecessarily long time. Consequently, I chose to use purely fast cast for the outside shell layer, which cured much faster. I still used the powder to bulk out the inside layer of the cast.

A final issue I encountered was when I was dying the resin. The multiple layers of resin meant I had to ensure that they all had the exact same shade of blue. I was forced to spend extra time while mixing the resin each time to match the shades. Unfortunately, this meant that the resin would start to cure by the time I would get the shade right. To resolve this, I made note of how much of each pigment I was using per 12ml of resin (the average amount per layer) which helped to mix the right colours much faster.

Magnets were also added to each cast to correspond with the magnets placed in the shell.

Lastly, some interesting notes from this stage:

• The alumiunium trihydroxide powder made the resin more gooey for longer (due to the slower curing time). This meant that bubbles were more likely to form in my puzzle pieces as the steel nuts trapped some air inside. The effect of this can be seen in two of the photos below, where a large air bubble formed at the top of the mould.
• The difference in curing time was particularly obvious in one of the below casts. I took it out of the mould too early, which meant the inside layer containing the powder was still fairly gooey. This cast highlights the two different layers of resin – the shell and the bulk inside.

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  Air bubble forming on top of the mould

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  Evidence of different curing times

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Painting

In preparation for this stage, I kept my first cast of the ammonite shell to use as a tester. I used it throughout to experiment with different colours and airbrushing techniques.

For paint to adhere to the surface of the shell, a primer base was necessary. I tested my primer on the tester shell and realised that it would result in a cold underlayer. It also affected the paint that would go on top – it added a green tint to the yellow base coat. I used a white primer on the shell instead.

I used acrylic paints and an airbrush to paint the model. I painted the eyes and highlights with a small brush.

One of the biggest issues I encountered during this process was right at the beginning – while spraying on the first coat of my base colour, I realised the paints I was using had hardly any pigment in them. This meant that I would need far too many layers to even get a faint colour on the base. I used different paints and this issue was solved. (Pro tip – always test the pigmentation of paints!)

To build up enough pigment, many layers of airbrushing were needed. I had limited time left to apply this finish, which meant I could not get the amount of detail I initially planned to paint.

Finally, while painting the eyes of the ammonite, I found it particularly tricky to use the airbrush. Despite changing to a 0.2mm nozzle and needle, and decreasing the air pressure, I continually ended up with a ‘spidering’ spray pattern. I hand-painted these areas instead.

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  Tester shell

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Overall, the making of this model was very exciting, with its fair share of frustrating moments! I enjoyed each stage in its own way, and wish I could spend a little bit more time exploring each one in more detail.