Smooth - On Newspaper

(1)

Smooth Talkin’

2003 - Volume 1

WHA

_WHA

T’S NEW IN RUBBER

AND PLASTIC

www.smooth-on.com

• Tripping The Light FOAM - tastic . . . Page 4 • Seeing Where You’re Going: SORTA Clear . . . 6 • Lower Prices On Mold Max Silicones . . . 8 • Stretching The Platinum Silicone Line . . . 8 • Casting Options with Flame Rated Matrix NEO . . . 9 • Crystal Clear Resins: Where Do You Want To Go? 12 • TASK Plastics Enhance Sight & Sound . . . 13 • New Additions: TASK 12 & Feather Lite . . . 14 • New Flame Resistant Plastic & Foam . . . 15 • Mix It Up: Protect Your Rubber Investment . . . 16 • Model Most Dead: Seminar Fun Facts . . . 17 • The Pros: Mold Makers & Casters Do It for You . . . 18

SSiimmppllyy SSmmaasshhiinngg!!

SMASH! Plastic

breakaway glass smashes it’s way into the guiness book of world records with this scene from the latest James Bond Movie . . . Page 3

The World’s Largest Resin Casting? Possibly.

Cr

Crystal Clear Rystal Clear Resin? Most Definitely.esin

Page 110

Goes To

Ground Zero

Page 7

DD rr aa gg oo nn SS kk ii nn

PoYo Putty

tm

Mix & Apply By Hand

Page 6

impossible .. .. ..

The Many Faces

_{Of Guy Louis}

_{Page 5}

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The EZ SpraytmMachine is used around the world to spray rubber & plastic. Make large molds & shells quickly or many molds quickly. Coat styrofoam or do meter mixing Save time, labor & material costs.

New Mold Max SiliconesMold Max Silicones(10A - 40A) feature high tear strength and are great for production casting of resins, plasters, etc. Above: Reproducing 300+ year old frame with soft Mold Max 10. Casting made from Matrix NEO. Perfect Detail Reproduction!

Toll Free: (800) 762-0744

for technical help & your nearest distributor

www

.smooth-on.com

Fax. (610) 252-6200 * Easton, PA. 18042 USA

Mold Max

Silicones

EZ Spray System

Get Your Free

Video Today!

CD-ROM or VHS ReoFlex

ReoFlextm tm Urethane RubbersUrethane Rubbers

are “next generation” mold rubbers for casting plaster, concrete, wax, etc. Available in “wet” or “dry” consistencies, ReoFlex

ReoFlextmrubbers are easy to

mix & pour. Hardness options: 20A 30A 40A 50A 60A

Softer Harder

Get The Most Out Of

Y

Your Production Mold.our Production Mold.

ReoFlex

ReoFlextmis available in “wet’ or “dry” consistencies

to maximize mold life.

Mix &

Apply-By-Hand

Mold Putty . . .

The Fastest, Easiest

W

ay

Y

et T

o Make Molds

No mess silicone putty. Mix by hand and apply on site. Rubber cures in minutes and has good tear strength. Cast resins, Matrix NEO, wax, etc..

POYO

tm Brush-On Brush-Ontm 4040 Brush-On Brush-Ontm 50 50 Brush-On Brush-Ontm 6060

• Smooth-On

_Has

Your M

Mold RRubber

Pour-It On

• Brush-It On

Brush-It On

• Spray-It On

Spray-It On

• Apply By Hand

Apply By Hand

Holds a vertical or inverted surface better than any other mold rubber, yet reproduces very fine detail. Molds are incredibly strong and

are great for production casting of Matrix, gypsum, concrete,etc.

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This being a James Bond film however, meant that elements would be smashed to pieces on a grand scale in the 007 tradition. Using conventional breakaway plastic products for such scenes could have posed a

problem because they are difficult to work with. Needing to be heated to 350°F/176°C in order to use them, the working time on these products is short and unpredictable. In addition, the odor is horrific and handling cured pieces results in a high breakage / waste factor.

Enter SMASH!

Enter SMASH!™Plastic -Plastic

-It was about that time that

SMASH!™ Plastic breakaway

glass made its way onto the special effects scene, and Bond effects artisans put it to

immediate use. SMASH!™ is

easy to use and cures at room temperature. It has no odor, offers a good working time and cured elements are easier to handle. Cured material looks and breaks just like glass and is used to make window panes, bottles & other glass/ice effects. It is easily color tinted or pigmented with SO-Strong™ tints.

In total, over six tons of SMASH! were used

to create the smashing ice effects for this Bond film, including a record-breaking scene where 007 drives his Aston-Martin Vanquish through the huge ice palace doors. What’s Next? SMASH!™ was used (or is being used) for such films as

“Tomorrow Is Another Day” (Canada), “X-Men II” and “Harry Potter III “ (U.K.), “Terminator III” (Hollywood) and “Barkari Bakash” (India).

Broadway shows using SMASH!™ for each performance include “Stomp”

and “The Goat”.

Finishing The Ef

fect W

ith Rubber Glass -

Over 1.5 tons of

Rubber Glass were used in “Die Another Day”. Any time you see an actor in proximity to glass, it is in fact Rubber Glass that is being used to create the effect. Rubber Glass was first used in the “Star Trek: The Next Generation” series and has been used in films like “Godzilla”, “The Matrix”, “Spider Man” and in commercials for Coke and Budweiser Beer. Mix two liquids in equal amounts and let cure to a soft, water clear rubber. It is then easy to crumble and use for any glass or ice effect.

New SMASH! Plastic And Rubber Glass T

ake

The Lead In Latest

James Bond 007

Film.

Bond film, arctic sequences ice only arctic, with the

The timing could not have been better

.

The plot of “Die Another Day”, the latest James called for many of the scenes to be filmed in an environment. Film makers were looking for

action to take place in an“ice environment”

that included furniture, ice sculpture, ice accessories, etc.

The problem: The scenes were not being filmed in

the but at Pinewood Studios just outside London. Ice would not have a chance in the moderate UK climate. Special effects artisans were

charge d

A Real Breakthrough - James Bond’s car smashes through ice

palace doors in “Die Another Day”. SMASH! Plasticmade this and other spectacular scenes in the film possible. This scene was a record-breaker; for details, visit www.guinnessrecords.com

task of somehow creating the film’s elaborate “ice palace” and related effects using known

material technologies.

Rubber Glass is easy to use and crumbles to look like broken glass or ice. Use to finish the effect of an actor going through a window - they land on the ground and roll in Rubber Glass A SMASH! Plastic window pane shatters as it

should, and the subject remains unharmed. Great for making bottles, panes, vases, etc. Follow directions carefully before using.

No Hassle SMASH! Plastic Effects - Easy to mix and pour, cures to a water clear plastic that smashes like glass.

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themed environments. Example:Example:Prism artisans have perfected a technique

for making incredibly detailed food items for such Broadway productions as “Oklahoma”, “Into The Woods” and “Flower Drum Song” using Flex-Foam-iT!Flex-Foam-iT!tm tm VV flexible foam.

Cast in Mold Max 30 silicone rubber, Prism’s foam-casting methods generate pieces that are so true-to-life that you absolutely can not tell the difference between finished castings and their real-food counterparts.

What Are Your Options?

Mann Release

Agent

s

offers two products made specifically for releasing foams from most surfaces.

Ease Release 1700

is a

convenient aerosol that is easy to apply. Make sure you spray onto your mold surface, brush the release agent over all surfaces that will contact the foam and follow with

another spray application.

Ease Release 2831

comes in liquid form and can be applied with a brush. Both will release your foam castings with out collapsing the foam or affecting surface detail. Get More Life From Get More Life From YYour Molds -our Molds - Production casting of foams will also burn out silicone or urethane molds relatively quickly. Using ER 1700 or ER 2831 will

significantly extend the production life of your molds. For your nearest Mann Release Agents distributor, visit www.moldreleases.com

Tripping TThe L

Light F

Foam-TTastic!

Bon-Apetit - FlexFoam-iT! V perfectly pigmented & textured to look like bread. Used in the “picnic scene” in “Oklahoma”. Below: FlexFoam-iT! Plate of Lo Mein used in “Flower Drum Song”.

Long regarded as the premier supplier of props to Broadway shows in New York City, Prism Production Services (Rahway, New Jersey) is developingPrism Production Services a reputation beyond Broadway as a can-do fabricator that can deliver an array of creative mold making and casting services for feature films, displays and

Believe It Or Not - everything you see

in these photos is Flex-Foam-iT! V foam. SO Strong tints used to pigment foam to make ribs for “Flower Drum Song”.

Casting Rigid Or Flexible Foams? Use A

Release Agent Made

Especially

For Foams.

Exp

anding The Line - Fant

astic!

Prism’s material talents only begin with foams. They are masters at creating magic with Smooth-On silicones, urethane rubbers and plastics.

Smashing On Broadway - Sally rampage in each performance of items (including the above vase)

SMASH! Plastic

SMASH! Plasticcast with color,

Fields goes on the “The Goat”, smashing that are all made of fillers or clear.

Above: SMASH! is

rota-tionally cast into Mold-Max 30 vase mold. www.prismprops.com

www.prismprops.com

The Wrath Of Sally - SMASH!

Plastic vase smashes on impact for each and every performance.

If you’ve ever worked with castable foams (FlexFoam-iT!tmflexible foams or Foam-iT!tmrigid foams), you probably know that they are adhesive in the extreme,

meaning that they will stick to just about anything including some silicone rubbers. ~Use nothing to release the foam from your form or mold, and you risk adhesion. ~Use a silicone-based release agent and your foam will collapse.

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The Many

Guy Louis

Above: Full-size Johnny Carson figure for Johnny Carson Exhibit at Elk Horn Museum in Norfolk, Nebraska. Skin is made of painted

Dragon Skintmsilicone rubber over a foundation of Flexfoam-iTtmV.

Eyes: Crystal Cleartm202 plastic.

of

Faces

Material know-how - Hedy Lamarr model made of Dragon Skintmover a

Flexfoam-iT!tmV foundation. Guy has developed his own process for making eyes from Crystal Cleartm 202 that are so real, they are impossi-ble to distinguish from real eyes.

mostly through trial and error. Guy’Guy’s quest for detailed perfections quest for detailed perfectionis

reflected in each creation, and the state of his craft has reached such heights that his mannequins are highly sought after by private collectors and museums from around the world including The Canadian National Museum, Canadian War Museum (which has more than 20 of Guy’s mannequins), Civil War Museum in Fort Jackson, South Carolina and many more. In addition, Guy has created special effects pieces for movies and does prop assignments for corporations.

If you were to encounter a Guy Louis XVI original

mannequin and tried to strike up a conversation unaware that the figure was not human, you would not be alone. It is simply impossible to readily discern that Guy’s figures are not alive. Even after tweaking the nose, touching the skin or looking deeply into the eyes. His creations are so unnervingly perfect that they will give you chills as you touch the soft silicone skin and silky hair or marvel at the delicate veins in the plastic eyes. In the arena of 3-D figure modeling, few can rival the Guy Louis XVI SFX located in Ottawa, Canada. The extreme realism of his creations has gained him international notoriety. Guy is self-taught and developing his technique over a number of years has taken a great deal of patience, being accomplished

“The Oarsman” full-size figure on display at Founder’s Hall in Charlotte Town, Prince Edward Island is painted

MatrixtmNEO.Eyes are

Crystal Clear 202. Hands are Smooth-Cast 327.

The internet has brought Guy’s creations to the world & his backlog is currently months out. Guy’s website is an eye-opening experience.

www.louisxvimannequins.com

Maintaining

Maintaining AAMaterial Edge -Material Edge - You can’t get this far without an intimate working knowledge of the materials that you depend on to make perfect, true-to-life

creations.

“I am constantly

approached by material suppliers to try their latest, greatest me-too product and always end up using Smooth-On. I can’t afford to take chances and need the best materials that I can get my hands on. They must work the same every time with no surprises.

-Guy Louis XVI

Below:Dragon Skintmsilicone

plays a major role in many of Guy’s projects. Heart “training aid” is fin-ished for medical device company & kidney scar was made for an

upcoming movie. “Dragon Skin’stm versatility let’s me go in 100 different directions. It is a work-horse.”

XVI

5

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With a combined mold making and casting experience of over 35 years, fossil hunters Nelson Maniscalco and Marty Shemella are highly skilled in reproducing detailed fossils and skeletons. They continue to make molds and castings for museums around the world and more than a few of their bronze dinosaur skeleton castings reside in the collections of such notable celebrities as movie mogul Steven Speilberg and horror author Steven King.

Both Maniscaclo and Shemella are currently part of the teaching staff at Cedar Crest College in Allentown, Pennsylvania, which boasts a well appointed and growing foundry where a variety of metals are cast including bronze, copper, iron, gold, silver and platinum. Students fortunate enough to have one or both of these learned men as instructors learn the finer points of mold making and casting. Maniscalco and Shemella recently

evaluated Smooth-On’s new SORTA Cleartmtranslucent platinum

silicone and both came to the same conclusion that “it is unlike anything currently on the market”.

SORTA Cleartm is mixed 10A:1B by weight and should be

vacuumed before pouring over a model. It cures overnight to a Shore 40A and offers very high tear strength and surprising

physical properties. SORTA Cleartmsilicone is good for prototype mold making, making jewelry molds (lost wax process)

and other applications where extracting an original from the mold is done using a razor knife and clarity is required to see where you are cutting. What’s So Special About SORTA Cleartm?

According to Mr. Shemella, “I’ve tried a variety of “clear-cut” silicones including Rhodia and the Shin Etsu KE1310. The

SORTA Cleartmis incredibly strong, but cuts like butter - easier than anything I’ve tried. It is also very precise, with

absolutely no shrinkage and no distortion. I have virtually no seam lines, which means no post-casting clean up, which saves time.” SORTA Cleartmtrial kits are available from your Smooth-On distributor or on-line at www.smooth-on.com.

Seeing

Where You’re Going Can Make All The Difference.

“SORTA

Clear

tm

” Helps You Find Your Way.

Marty Shemella uses tool to manipulate the model in the liquid SORTA Clear rubber.

Indestructible

D

r

a

gg

o

n SS

k

i

n

Ready .. .. ..

Set .. .. ..

Dragon Skintmis a very soft, incredibly strong silicone rubber that is used to make skins for animatronic

movie & theme park creatures. It will stretch many times its original size and rebound to its original shape -great for repetitive motion applications. Dragon Skintm & Dragon Skin Qtm (faster cure version) - with a 1A:1B

by volume mix ratio, they are easy to use and cure quickly to a water-translucent rubber. Dragon Skintm really resists wear and tear, and is also used for orthotic and orthopedic applications. And, of course, you

can make soft, long-lasting molds with Dragon Skintm- poured or brushed on.

Limitless Color Possibilities

. . . . . . Add Silc-PigSilc-Pigtmtm color pigmentcolor pigmentssto

Dragon Skintmto make a paint that will adhere to cured Dragon Skintm. Your

colored Dragon Skintmcreation will bend & flex with no sign of peeling or

cracking. Great for repetitive motion animatronics, colormatch orthotics, etc.

Soft, Stretchy

Bounce-back

&

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Mold Putty Goes To

Ground Zero

_{Ground Zero}

To Rescue Architectural Ornaments.

PoYo

tm

Constructed in 1924, The Verizon Building proudly stood in the shadows of The World Trade Center until September 11. When the Twin Towers collapsed, the Verizon Building sustained heavy damage including intricate hand-carved ornaments that adorned the building’s exterior. Restoring these ornaments was a priority and designer/restoration pro, Bob Carpenter, was given the go-ahead with the expectation that the job would be done quickly.

Less Than Favorable Conditions:

Less Than Favorable Conditions: It was mid-October by the time support structures were in

place and work could proceed safely. However, anyone who makes molds knows

Work-in-progress: views of the Verizon Building restoration from a distance (left) and close-up (above).

that cold weather will prevent most mold rubbers from curing. The outside temperature at ground zero in October was about 50°F/10°C during the day - colder at night. The temperature of the stone elements to which mold rubber would be applied was no more than 40°F / 4°C. Mr. Carpenter tried a few mold products that did not cure in the cold. He then called Smooth-On and was turned onto PoYotmMold Putty, a

mix-and-apply-by-hand silicone. With PoYotm, there is NO MESS, weight measuring, containers, mixing sticks, etc.

Carpenter brought only the PoYo kit to the Verizon site with hopes that it would work - time was now short. He applied PoYotmand within minutes

had an exact mold negative of the positive ornament. The rubber was fully cured and strong. And the rubber released without any surface preparation. His next call was to Smooth-On to get enough PoYotmto

finish the job. In the end, 35 molds & support shells were completed in a short period of time - sizes ranged from 2’X3’ to 6’X6’.

-Finished Castings Were Perfect.

“We were working in a war zone -needed to get in, make molds and get out. PoYotmPutty did the job for us

where others failed and I am happy to endorse it.” -Bob Carpenter, Designer

Above: Others mixed PoYotmwhile Carpenter

applied it to sections of ornament (left). Demold (right) was in a matter of minutes.

Be T

The P

PoYo

Be T

The P

PoYo

tm

- H

How T

To M

Mix &

& A

Apply -

Apply

-convenience and on-the-spot usability. But PoYotmcan be tricky to mix and apply until you get used to it.

Here are a few tips to help you make your own PoYotmmolds.

People who have discovered PoYotmPutty love its no-mess

1. Roll a golf-ball size

amount of Part A Putty in your hand.

2. Flatten putty and add

marble-size amount of purple Part B paste.

3. Fold Part A around

Part B until putty is a uniform pink color.

6. A Plasti-Pastetm sup-port shell is applied. 7. NEOtmis pigmented and cast. 5. Add PoYotm as needed -care is taken to marry new material to old. The goal is to minimize layer seams.

4. Press rubber into

detail.

Quick - Go Mold A Tree!

An Exact Reproduction! PoYotm was mixed & applied to capture tree bark detail with-out any surface prep. Mold was removed in 30 minutes. SC 320 resin with black pig-ment gave a perfect bark copy.

7

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Available in Shore 10A, 20A, 30A and 40A, Mold Maxtmoffers users a silicone value; good physical

proper-ties, good chemical resistance and high-tear strength at a good price. We’ve also been told that, unlike other silicones, they are also consistent from batch to batch - you know what you are going to get every time you use them. Mold Max™ silicones are used around the world for casting waxes (low and high temperature)

low melt temperature metal alloys, resins (polyester, urethane & epoxy), plasters, concrete, soap, etc.

Performance

At

An Even Lower Price -

We recently lowered the price of the Mold Maxtmline, making them the lowest cost “high-tear”

silicones available anywhere. You also have the option of:

•Brushing-On To Vertical Surfaces - Add Thi-vextmThickener

•Accelerating The Cure Time - Use Fast-CattmAccelerator

(reduce cure time to as little as 30 minutes, if you like).

•Lowering The Viscosity For Faster Vacuuming & Easier Pouring -

-Add Our Silicone Thinner

•Pouring Over Sulfur-Clay - Mold Maxtm30 With Safire Catalysttm

Mold Maxtm30 with Thi-Vex thickener

used to make a brush-on silicone mold of this complicated model.

Lower Pri

ces

On Mold Max

tm

Silicones,

Now An Even Better Value!

CHA-CHING!

Since introducing Mold Maxtmtin cure

silicones, they have been selling as fast as

we can make them.

St

r

etching

The Platinum Silicone Line

_{The Platinum Silicone Line}

Platinum silicones are premium rubbers that give the longest production and library mold life (30+ years). For some applications, there simply is no substitute for a platinum silicone rubber. For example, platinum silicones are the best for production casting of low-temperature-melt metal alloys (such as tin).

High tear strength, chemical and abrasion resistance, highest heat resistance . . . you name it and platinum silicones have it. But, as you know, platinum silicones are expensive and you must be very careful during processing, as they are susceptible to cure inhibition.

Smooth-Siltmplatinum silicones have been well received by prototype designers, spincasters and large

companies casting concrete and polyester resins. Candle makers casting parafin waxes also use platinum silicones to stand up to high production temperatures. The Smooth-Siltmplatinum silicone linenow

features Shore 10A, 20A, 30A and 45A durometers and cost less than other platinum silicones.

A Wise Investment - Davis Collectables changed from tin-cured silicones to Smooth-Siltm945 and now gets over 200

polyester castings out of their molds vs. 50 from tin silicones. “The Smooth-On platinums have really paid for themselves.”

Need T

o

Add Some Color? T

urn T

o The Pig . . .

With the introduction of our Dragon Skin soft & stretchy silicone (see page 6), we have had requests for a way to color silicone rubber and are pleased to introduce SILC PIGtmPIGMENTS.

Silc Pigtmcolor pigments will color any

Smooth-On on silicone rubber, tin or platinum based. They disperse

uniformly and are cost effective because a little goes a very long way.

Silc Pigtm is available in:

1. Red 2.

1. Red 2. YYellow 3. Green ellow 3. Green

4. Blue 5. Black 6. Brown

7. Flesh

7. Flesh TTone (Beige) 8. Whiteone (Beige) 8. White

One drop of Silc Pigtm “Skin Tone”

color was all that was necessary to color Dragon Skintmsilicone rubber.

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Matrix NEOtmis an easy-to-use gypsum-based casting system that is much stronger,

dimensionally stable and far more weather resistant than ordinary gypsum plasters - good for interior or exterior applications.

NEOtmcan be cast solidinto a mold or you can add Matrix Glasstm chopped fiber for

hand-lay-upto create thin, lightweight elements that you can literally hit with a hammer.

NEOtmis a two component system that is mixed 2 parts powder (Part A) to 1 part liquid

(Part B) by volume (no weighing scale necessary). Mix by hand or drill mix(with squirrel-cage mixer). NEOtm has no odorand is used for some applications as a non-toxic,

less expensivealternative to polyester, urethane or epoxy resins.

Where Do

Y

ou W

ant T

o Go W

ith NEO

tm

?

NEOtmis so versatile, that it would

easier to list things that you can’t do with this material. NEOtm can be color

pigmented with powder or liquid pigments. Castings can also be paintedwith acrylic paints. You can mix any filler with NEOtmto create a variety of casting

effects including faux marble, granite, limestone, etc. effects. Realistic cold cast bronze(or brass, copper, etc.) effects are achieved by adding metal powders.

Applications

-Applications -

Casting solidinto a rubber mold, NEOtmis used to reproduce

sculpture and other creations. Architectural restoration pros have discovered the versatility of this product for creating elements that are “hand-layed up”using Matrix Glasstm- lightweight and strong.

Brush-On Mold Reinforcement? Adding Matrix Glasstmchopped fiber to NEOtm - make, mother molds that

are easy-to-handle (lightweight) inexpensive and virtually indestructible.

Use The

UL

Flame Rating

T

o

Y

our

Advantage -

NEOtm is officially recognized by

Underwriter’s Laboratories as a flame rated product. The UL certification is the highest flame rating

certification obtainable in the US and Canada. Thanks to the UL Cert., NEOtmsatisfies New York City’s tough

fire building code requirements and has been used to make public architectural ornaments and on Broadway for stage and set construction. To view the Underwriter’s Lab Certification, go to:

www

.ul.com

A

New & V

ersatile Casting Medium . . .

Easy-T

o-Use, Non-T

oxic and Flame Rated

be

Attention Concrete Casters:

Matrix-C

tm

Added T

o

Y

our Concrete Mix

Can Make

All The Difference.

Restoration pro, Dave Flaherty, brushes a “gel coat” of NEO into a mold cavity. Backed up with NEO soaked Matrix Glass, the cast-ings are thin, incredi-bly strong, lightweight and fireproof.

Adding Matrix-CMatrix-Ctmto concrete makes

dramatic difference in surface finish.

Casting on the left is regular concrete. Matrix-C

Matrix-Ctmcasting is on the right.

“Our investment in Matrix-CMatrix-Ctmis

returned 20-fold. Our castings (concrete architectural elements) look much better and breakage-in-transit is down to 0”.

-Percio Torraca, Torraca Construction Matrix-Ctmis a polymer additive for concrete that greatly

enhances freeze/thaw, chemical and UV resistance. It eliminates the need for a 7-day post cure and reduces

water/salt absorption, thereby eliminating microcracks in concrete castings. Adding

Matrix-Ctmgreatly improves surface finish, and

makes castings much stronger.

Perfect for GFRC- add Matrixtm Glass to make

concrete elements & building facades that are lightweight and structurally very strong.

Without Matrix-Ctm

With Matrix-Ctm

See The Difference . . .

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At Over 12 Tons, The World’s

Largest Resin Casting? Possibly.

2. Artist, Rachel Whiteread, stands near the

“maquette” mold used to make test castings prior to the “big pour”.

Rachel Whiteread is considered by many to be Britain’s greatest creator of public sculptures, with museums and collectors always competing to buy her work. Past projects have been described as “incredibly ambi-tious” and are almost always controversial. Her decision to contribute a creation to Trafalgar Square’s vacant Fourth Plinth was very exciting and yet posed an array of logistical, material and engineering chal-lenges. Part of Ms. Whiteread’s motivation for doing this project is “to do what, quite simply, has never been done before”.

Backgound -Trafalgar Square is one of London’s top tourist destinations known for its open spaces, crowds and pigeon population. The Square is bracketed by four plinths, or pedestals. Three of the plinths support individual sculpture pieces significant to Britain’s past. The Fourth Plinth has remained vacant for over 150 years due to an inability to agree on what, if anything, should reside there. The Royal Society of Arts recently opened the space for a limit-ed time to support the works of three British artists.

Ms. Whiteread’s vision for the Fourth Plinth was to offer “a pause - a quiet moment” in the bustle of central London by creating an inverse representation of the plinth itself, cast in a water clear see-through plastic.

Largest Resin Object Ever Made - with Ms. Whiteread aiming for an entry in the Guinness Book Of Records, the final casting was to be

over 12 tons of resin. This posed a considerable problem in that

existing resin formulations of this type gave off a tremendous amount of heat during the curing process, which meant that there was a risk of such a large casting cracking and/or distorting.

Smooth-On chemists formulated a special “mass cast” version of it’s Crystal Cleartm water clear resinthat would not crack or distort, just

for this project. After creating several “small scale” maquettes (each maquette was several hundred pounds of material) to test the nature of the final resin formulation, it was time to “scale up” to the large pour.

3. Michael Smith Studios (London) is where all of

the action took place. Two molds made of aluminium and steelwere fabricated, each with an

1. The fourth plinth pedestal featured “The Tree Of Knowledge” sculpture prior to Ms. Whitereads creation being installed. Her vision: an inverted plinth cast in clear resin.

inner core and outer wall. The Crystal Cleartmresin was cast

into the space between the core and the wall (cavity) of each mold resulting in two hollow castings.

1 2 3

Dimensions Of Final

Assembled Casting:

16’ L x 8’W x 16’H (4.8m x 2.43m x 4.8m) Weight: 24,680 lbs. 11,195 kgs. 3 3

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Crystal Clear

tmtm

Resin?

Most Definitely

.

Uncharted Casting Waters: A Lot At Risk: There could be only one attempt at making this massive pour which was why planning was so important and took over 1 year. Mold engineering and casting were done by Michael Smith Studios (Britain’s top art fabricator). Peter Turnock of Bentley Chemicals (Smooth-On’s representatives in The U.K. tel. 156 251 5121), kept material aspects on track by coordinating communications between parties. In addition to providing the new resin product, Smooth-On also provided equipment used to process the material, as well as on-site technicians to assist with the pour.

Once the actual mixing and pouring began, everyone was on high alert looking for signs of trouble. The only glich: It was soon evident that volume estimates were short and more material was needed, which could have meant disaster for the project. And how did it turn out? We will close this chronology with a quotation from Ms. Whiteread in an article from “The Independent”, a British newspaper:

“Doing What Has Never Been Done Before” - The Reality Sets In

Ms. Whiteread states that, “I think it is remarkable that we have done it, got this far. I’m totally amazed we have achieved the engineering pos-sible to make this volume of material work. And we ran out of material and had to have it shipped from America. They (Smooth-On) manufac-tured it and got it to us very quickly. I couldn’t ask for more”.

Quotes take from an article published in “The Independent”, May 2001

4. One of Smooth-On’s vessels (10,000 lb.

capacity or 4,536 kgs.) made the trip across the Atlantic for just this pour. Crystal Clear resin (Parts A & B) was pumped from drums into the mixing vessel where it was mixed and vacuumed prior to being dispensed into the mold cavities.

4

5. Revealing Moment - Rachel Whiteread’s face

tells exactly how well the Crystal Clear plastic cured following demolding.

6. Peter Turnock of Bentley Chemical gives

“thumbs up” next to newly demolded castings.

7. The unveiling of “Monument” in Trafalgar

Square drew the curious, the critical, celebrities and sculpture admirers from all over the world.

Very Clearly,

“A Pause . . . A

Quite Moment in

the bustle of

Central London .”

“Monument” is

an inverse

representation of

the plinth pedastal

upon which it

rests.

5 6 7

11

(12)

Th

e

Industrial

Side

Of

The

Cryst

al

Clear

tmtm

Series

Crystal CleartmResins (CC200, 202, 204, 206) have been used for years to create water-clear sculpture

castings (see “The Plinth”, previous page). But these resins are also used to make prototypes and industrial design / display castings all over the world.

Above: Veterinarian

training aid. Middle: Encapsulated key for

New York City store window display made by Rocca & Noto (New York) Right: Kartel Spa (Italy) makes Crystal Clear tables.

A recent Crystal Cleartmindustrial application

involved Ford Motor Company’s restoration of “The Red Buses Of Glacier Park” in Montana. The fleet of 33 buses, originally built in 1930 to transport tourists through Glacier Park, fell into a state of disrepair and was retired in 1999. Ford contracted TDM Company (Livonia, MI) to do the work and they used

Crystal Cleartmplastic to make

replacement lenses and corner lights for the buses. Allen Millisor of TDM used

Crystal Cleartmresin and

Mold Maxtmsilicone rubber to cast the pieces stating that, “these materials helped us avoid expensive tooling on the project”.

Allen Millisor shows off his Crystal Cleartm

lenses cast from Mold Maxtm30 molds.

We have recently had requests for a harder version vs. our existing clear products that also offered a higher heat distortion temperature for prototyping and other applications. Crystal Clear 220is a harder addition to the Crystal Cleartmline (Shore 85D vs. 80D) and heat curing / post curing is recommended.

Like our other Crystal Cleartmproducts, CC 220 is UV resistant. Because this is a

heat cure product, the heat resistance of finished castings is higher (heat distortion temperature of (212°F / 100°C).

Because it is harder, it is easier to precisely machine and polish (remove scratches). You also get less “suck back” and shrinkage with this product vs. other clear

products. Casting thickness maximum is about 4 cubic inches (65 cm3). The mix ratio is 100A:75B by weight. Vacuum degassing or pressure casting to eliminate bubbles is recommended. As with our other Crystal Cleartmproducts, silicone molds

(Mold Maxtmsilicones work well) must

be thoroughly cured before casting

Crystal Cleartmto avoid cure inhibition.

Like all aliphatic resins, proper ventila-tion and a NIOSH approved respirator is recommended when using.

An

Addition T

o The Cryst

al Clear

tmtm

Line -

Line

-Introducing Cryst

Introducing Cryst

al Clear

tmtm

220

Oliveras Lighting Co. in Chihuahua, Mexico, supplies hotels and casinos with custom light-ing. For this chandelier, they use Crystal Clear 220to cast individual leaves that come together to create lighting magic.

“Being able to cast our own clear elements has been very big for us. We’ve developed an entire chandelier line around the Clear 220. Other resins we tried wilted in the heat or shattered in transit. We haven’t found better.”

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Taken To Task - New York’s Museum Of

Natural History’s Display Of DNA Code

David McCornack’s average workday is filled with creative challenges that would cause lesser moldmakers or casters to simply throw up their hands and walk away. David is a creative contributor to the Museum Of Natural History’s (NYC) fabrication shop and, as such, considers such challenges part of the job. He specializes in creating museum-quality marine inverterbrates, but is called on to deliver a variety of casting creations to the exhibition floor. This poses not only design challenges, but material challenges as well. “The Genome”exhibition called for McCornack to design, mold and cast a floor-to-ceiling DNA chain (14 ft. - 4.25m) that met museum standards for eye-catching appeal and safety. The finished casting had to withstand impact, wear & tear and other variables associated with being exposed to

Above - Host To Thousands . . . A giant banner welcomes visitors to the museum’s “Genome” exhibit. Mr. McCornack’s DNA chain cast in “people-tough” TASKtmtm10Resin was

an exhibition success.

surprises, and Genomeopened on time to the delight of thousands of museum patrons. TASKtmtmliquid plasticsare Smooth-On’s performance line of resins and feature superior physical properties, higher heat resistance, etc. (vs. the Smooth-Cast line of general purpose casting resins).

Visit www.smooth-on.com for more info. on TASK.

T

ASK 4

tmtm

Is Music (& Money) T

o The Ears Of Long-T

ime

Antiques Collector - Shortime Moldmaker / Caster

.

Christov Curystanos has been collecting antiques for years. His passion, however, is collecting old 78 RPM records, not only for the market value, but for the music. An avid fan of swing, big-band and other genres long past, Mr. Curystanos has quite a collection and has always wanted to share some of his rare titles with friends. Problem: Many of these titles are one-of-a-kind and very valuable - not easily loaned or shipped without risk. Answer: Mr. Curystanos attended a Smooth-On moldmaking and casting seminar (see page 17)

,

and was soon making his own molds and castings at home.

That expanded into “Ecos Castings” and a 3,000 sq. ft. facility - the rest is beautiful music. Switching from tin-sili-cones to Smooth-SilSmooth-Siltmtm945945platinum silicone to make his molds, Curystanos has improved his mold yield from 40

castings to over 300 per mold. And TTASKASKtmtm 44

plastic is ideal because “it is unbreakable and my records last far longer than the

original 78’s - you can drop them on the floor a dozen times and they don’t break”. Mr. Curystanos began in 1999 and sales in 2002 were over $250,000. Curystanos declined

further notoriety in Smooth-Talkin’ stating, “I don’t need it - I’m selling my records as fast as I can make them now”.

“The process was actually quite simple. 78’s are nothing more than detailed wax pressings and the mold rubber copied it perfectly. But when we made the casting and played it on my Victrola, the sound shocked everyone in the room”.

-Christov Curystanos, Ecos Castings

1- Original 78 record

is secured in a box.

2- Smooth-Sil 945 is

mixed, vacuumed and poured over model.

5- The TASK 4 casting is

removed from the mold and placed on a Victrola turnstile

. . . does it actually play?

3- Next day, the

rubber mold is removed from the model, reflecting each groove and even the imprint from the label.

4 - TASK 4 is mixed

with SO Strong black tint, poured into the mold and allowed to cure. 1. 2. 3. 4. 5. 6. Perfectly . . . Everytime.

13

thousands of visitors daily. To make the casting, McCornack chose TASK 10tmtmliquid plasticfor a few reasons. First, the

casting (ranging in thickness from 3/8” to 1”) had to be structurally strong enoughto support its suspended weight. Second, TASK 10tmtmnot only reproduces exact detail, but allows exact color matching. TASK 10tmtmis a neutral

clear amberand readily accepts color tints and fillers. McCornack got exactly the look he wanted with no

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Feather Litetmis a heavily filled, low-density

urethane casting resin. As the name implies, it is lighter than other casting resins - so lightweight that it actually floats in water.

Parts A and B are heavily filled and separate in their containers. Both sides need to be pre-mixed before use. It has a 1A:1B mix ratio, 8 minute pot life and roughly a 2 hour demold (depending on mass). Cured plastic is strong and can be carved, machined, drilled, sanded, etc.

Feather Litetm can be pigmented with SO Strongtmcolor tints and finished castings can be

painted. Uses: Feather Litetmis being used by fishing lure manufacturers to make

cast-ings that float. It is also being used to make lightweight model castcast-ings (i.e. model planes and cars). Feather Litetm is also being used to make lightweight mother molds/support

shells for rubber molds. Don’t Try This At Home: Some students at the University Of Buffalo discovered Feather Litetm in time for the 2003 do-it-yourself collegiate canoe race

and cast a full size canoe - reinforced with Foam-iT IIItm Rigid Foam - worked great!

Compare The Yields - Feather Litetm Costs Less To Use: Feather Litetmyields 41 cubic inches per pound

vs. 25 or 26 cubic inches per pound for other plastics. This means that, in a cubic inch per pound comparison, Feather Litetmcosts less and will lower your cost per casting

.

A Urethane Plastic That Floats?

Introducing Feather Lite

tm

Rising To The Top - The Feather Lite casting floats in water above other resin castings that sink - a variety of application possibilities.

Seeing The Lite -Cast in “normal” urethane resin: 8.2 lbs.(3.7 kgs.) Cast in Feather Lite: 5.1 lbs. (2.3 kgs.)

TASKtm 12is the newest addition to our line of

performance tooling resins and is now our toughest semi-rigid plastic - highly resistant to impact and physical shock.

In the past, companies have resorted to adding MOCA (which is known to cause cancer) to attain superior physical properties in these types of resins.

TASKtm 12achieves these properties without

MOCA and cures at room temperature (no heat curing required). Mix ratio is 100A:44B by weight. Pot life is 20 minutes and cure time is overnight. Color is clear amber - great for color tinting. Semi-rigid hardness: Shore 60D.

Beat me, abuse me, throw me against the wall . . .

So far, TASKtm 12has been used to make

high-impact mechanical parts for the military. Also used to make prototype models and for casting

“designer” furniture.

A High-Impact Addition To The TASK

Line Of Performance Resins

Technical Bulletins For Any Smooth-On Product Are Available at www.smooth-on.com

PK Models (Wilmington, NC) uses TASK 12 and Mold Max 30 silicone to make prototype parts for military applications.

T

TASKASKtm 5 & 6 5 & 6 are urethane

cast-ing resins that deliver performance at a lower price. For those of you first tuning in, the TASKtmseries of

casting resins has better perform-ance properties than our

Smooth-Casttmline of general

purpose casting resins.

Both cure to a Shore 80D and

have good physical properties. They are slightly

filled and have a higher viscosity vs. other TASKtm

products, but they are less susceptible to moisture (humidity) contamination than unfilled resins.

The main difference between the two:

TASKtm5: 3 minute pot life and 15 minute demold.

TASKtm6: 7 minute pot life and 75 minute demold.

Less expensive than other Shore 80D tooling resins - TASKtm5 & 6are at least 20% less

expensive than other TASKtmresins and are used for

many fast prototyping and tooling applications.

Performance

At

A

Lower Price

W

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15

Flame-Out 7

Flame-Out 7TMTM Rigid FoamRigid Foam is, as it sounds, a

7 lbs/ft³. density rigid foam that is flame resistant. The mix ratio is 1A:1B by weight, it has a pot life of 45 seconds and is tack-free in 10 minutes.

Like our Foam-iT!TMrigid foam products,

Flame Out 7

Flame Out 7TMTMexhibits high tensile, shear strength,

and good impact resistance. Cured foam can be machined, drilled, sanded, etc. and can be painted or stained for wood grain or other decorative effects. Flame Out 7

Flame Out 7TMTMhas been tested in accordance with

ASTM E84-90 Standard Test Method for Surface Burning Characteristics of Building Materials. Flame Out 7™scored a Flame Spread Index of 20 and a Smoke Developed Index of 225.

It qualifies for a Class 1 / Class A rating.

Flame Out 7

Flame Out 7TMTMis being

used for making flame resistant architectural elements columns, wall panels, etc.), facades for theatres and amusement parks.

Formula 79-206FR

Formula 79-206FR is a flame resistant urethane resin that surpasses UL 94V-O flame rating. It features a convenient 1A:1B by volume mix ratio, has a pot life (working time) of 30 minutes and cures at room temperature - ready to be demolded in 4 - 6 hours (depending on mass). This product has a low viscosity (400 cps) that ensures easy mixing and

minimal bubble entrapment. 79-206FR

79-206FR cures to a strong rigid plastic with very low shrinkage, and can be machined, drilled, etc. Formula 79-206FR

Formula 79-206FR is suitable for a variety of casting applications including making flame resistant prototype parts, models, architectural elements, theme park and stage elements and more.

Kinder, Gentler Flexible Foam.

Introducing

FlexFoam iT!

tmtm

III

Applications for our flexible foams range from military to industrial to hobby and more

(see page 4).

We recently encountered a special effects application that called for a lower density flexible foam with a "softer feel" than our FlexFoam iT!tmV

(5 lb. flexible foam).

FlexFoam iT!tmlll is a 3 lb. density flexible foam with a softer feel than its FlexFoam iT 5 and 10 lb. counterparts.

FlexFoam iT!tmlll is mixed 1A:2B by volume. Pot life is 35 seconds and the foam can be handled in 30 minutes. Cured foam has a velvet "pillow-like" feel and offers good tear strength at the same time.

FlexFoam iT!tmlll is currently being used at theatre and movie sets for special effects applications (you'll see it in action in the upcoming Harry Potter II and lll movies), by maker of backpacks

(cushioning) and a prosthetic device manufacturer.

Putting Out The Fire With . . .

Flame-Resist

ant Plastic

Flame-Resist

ant Foam

Improved Resist

ance

T

o

Ultra-V

iolet Light

W

ith

Smooth-Cast 316 UV

There are not many UV resistant plastics on the market because true UV resistance is one of the holy grails of the urethane industry. Put your standard white urethane plastic in the sun and you can almost watch it turn yellow before your eyes.

Smooth-Cast 316 UVis a “next generation” product to

our SC 315 UV (discontinued due to raw material availability). It resists ultra-violet light far better than ordinary casting resins (castings will darken

somewhat, but do not yellow). The mix ratio is 100A:90B by weight.

Pot life is 20 minutes and demold is overnight. Castings are bright white (can be color pigmented) and tough - plastic cures to a Shore 80D.

(16)

a “limp wrist”, meaning that they are not aggressive enough in mixing the rubber. Use a stiff mixing paddle and employ a firm wrist, making sure that you scrape the sides and bottom of your mixing container several tiems. Important mate-rial hides on the bottom and sides of your mixing container and failure to get this matemate-rial into the mix will result in the rubber not properly curing.

My Mold Rubber Is Not Curing.

What Happened ????

The Best You Can Do - “The Double Mix-And-Pour” Technique - After mixing

thor-oughly for 3 minutes, empty the contents of your mixing con-tainer and mix again for another

2 to 3 minutes before applying over your model. This tech-nique is your best bet for suc-cessful mixing and protection your mold rubber investment.

Mixing Large Amounts Of Rubber?

Do It Better With “The Squirrel”

There are many factors that can contribute to mold rubber not curing including cold tem-peratures, contaminants on a model’s surface, etc. But the most common reason: inadequate mix-ing of Parts A & B. People mixmix-ing rubber for the first time tend to under-mix the material before applying. It is especially easy to under mix thick materials like silicone or brush-on rubber.

Hey, Smooth-On !

The “Double-Mix-And-Pour” technique works well when mixing rubber by hand. But many Smooth-On customers mix a 5 gal.unit of urethane rubber (80 lbs - 36 kgs.) or more at a time, and mechanical mixing is the best way to mix these large quantities.

How It

How It WWorksorks- A mechanical mixer is used with an electric drill (cordless drills tend to not have enough power to mix rubber, especially thick silicones). The mixer is inserted into a drill chuck like a drill bit and the mixer-end is used to mix components. Important: avoid introducing too much air into the mix by using a low RPM setting on the drill.

Using The Right Mixer Is Critical. The lastest and best in mixer technology is

“The Squirr

“The Squirrel”el”mixer. Its patented design results in a multi-directional mix of

Parts A&B in your container, yielding a faster and more thorough mix vs. “paddle” mixers.

The Difference Is Startling! Mixing a 5 gallon unit of urethane rubber can be done in less than

1/2 the time and more thoroughly. The SquirrThe Squirrelelcan mix even the thickest silicones effectively. It is also great for mixing large volumes of Smooth-Cast or Task plastics.

When Mechanically Mixing Rubber, You Must Still Hand Mix - As mentioned above,

important material sticks to the sides and bottom of your mixing container, and the same is true when employing a drill mixer. After drill mixing for a few minutes, a stiff mixing paddle is used to scrape the side and bottom of the mixing container seveal times.

And Finish With The “Double-Mix-And-Pour”- Technique - For best results, empty the

contents of your mixing container into a new, clean mixing container and drill-mix again for 2 minutes followed by another two minutes of hand mixing before applying over your model. Squirr

Squirrel Mixersel Mixersare available in metal and plastic and in different sizes. You can buy them from your Smooth-On distributor or on-line at www.smooth-on.com.

Mixing Success: A Function Of Time & Technique

-Time -

Most mold rubbers give you plenty of time to mix and apply, so don’t worry about not having enough time. Your goal in mixing is to be thorough , not fast.

Technique:

Don’t Be Casual, Be Aggressive - This is where most “first timers” make the fatal mistake of using

2. Pour into new, clean mixing container.

3.Mix Again 1. Mix Thoroughly

4.Pour slowly into containment field.

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The Smooth-On “Introduction To Mold Making & Casting Seminars” are more popular than ever and continue to sell out months in advance (for example, our June 2003 seminar was sold out by February). We were surprised to learn that a November 2002 attendee had bought his spot at auction on “E-Bay”. So if you are thinking of

attending, plan ahead. We cover alot of ground in two days and have hosted people interested in making molds for casting concrete, candlemaking, prototyping, sculpture reproduction, special effects and much more.

Attendees bring an original model to make a mold of, followed by casting into the mold to make a reproduction. Over the two day program, you learn by viewing slides, videos, hands-on demos, interaction with instructors and other students and by asking questions about your specific interests. You can learn more about what a seminar has to offer you on our website: www.smooth-on.com. After doing these seminars for a number of years, we’ve seen alot of interesting mold making and casting scenarios, and thought we would share some . . .

Smooth-On Seminar Fun Facts:

• Farthest distances traveled to attend: From Australia, China, India & Omsk (Russia).

• Oldest attendee thus far: 82 years old. Youngest is 16 years old.

• Attended most often: 3 years in a row and booked again for this year.

• Most money ever paid for a $300 seminar slot; $550 sold at auction on E-Bay (?!).

• Most felonious model: 12,000 year old Indian carving stolen from Atlanta museum. (note: we didn’t know the model was stolen until FBI showed up looking for it. Model has since been recovered). Only seminar graduate to go to jail: same guy.

• Oldest model: 150 million years; 6” Allosaurus claw from Denver Museum of Science.

• Most historical model: death mask from President Ulysses S. Grant.

• Most gaseous model: stalk of broccoli (yes, a stalk of broccoli).

• Most mysterious model: we still don’t know what it was - model was brought in by a representative from the CIA, and he was not talking. Looked dangerous, though.

• Most sexually explicit model: none -we don’t allow those in our class, but people try (you have no idea!).

• Most unique invention / reproduction: Rubber sneakers for horses.

• Model most dead: rattlesake run over by car while driving to seminar from Oklahoma. Yes, we molded it.

• Most romantic: couple that met at our seminar; married about 1 year later.

• Most successful graduates: A tie. Some people leave our seminar inspired enough to start their own mold making / casting businesses. 1 graduate now has her own candle making company; 1 graduate now has an ornamental plastering/concrete business. Both had 2002 revenues in excess of $2 million.

82 year old Bob Roberts displays his seminar handiwork.

Coming To Our Place? Make A Reser

vation Early

. . . Or

, Y

ou Might Tr

y To Secure A Spot On E-Bay

.

Netting Big $$$ Just From Being On

“The List”?

“The List”

Our website is visited by thousands of people everyday from all over the world. Some visitors are looking specifically to have molds and/or castings made for them. Smooth-On’Smooth-On’s Mold Makers & Casterss Mold Makers & CastersListList

brings these people together with people who can do the job. It lists professionals by specialty and has proven to be an efficient and lucrative matchmaker. There is no fee for being listed (see list on next page).

Does the list work?

Does the list work? It amazes us how many people and corporations are looking to have mold making and casting work done for them. We hear regularly from listees who say that they have landed moldmaking or casting jobs, large and small. Some have even secured annual contracts with Fortune 500 companies and large jobs that bring in

hundreds of thousands of dollars. So, if you use Smooth-On products and are in the

business of making molds and castings, we want to try and send business your way. Need more info? Send an e-mail to sdavis@smooth-on.com.

Fireman’s Award produced under contract by Maslyn Studios.

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The Pros: Mold Makers and Casters Who Will Do It For You

For those of you interested in having molds or castings made for you, we are proud to offer the following list of professional mold makers and casters. If you would like to be added to this list, send an e-mail with your

business information to sdavis@smooth-on.com. This listing is updated regularly on our website: www.smooth-on.com. Areas of expertise and rates may vary.

Other than supplying materials to these mold makers and casters, Smooth-On is not associated with and does not warranty the work of any independent mold making and/or casting company.

Crow Atelier

207C S. Railroad Ave Loveland, CO 80537 Contact: Tim Nimmo Tel. 970-613-9237

Foundry/Sculpture, Molds for Art Casting, On-Site Monumental Molds Daryl Davis

136 South Collin St. Arlington, TX 76010 Tel. 817-548-3147

Molds for Artists - Silicone, Urethane, Polysulfide, Molds for Foundry Bronze. (No casting.) Phil Diers

1362 Hayes St.

San Francisco, CA. 94117 Tel. 415-567-3205

www.phildiers.com lnskydrs@aol.com

Ornamental, Capitals, Bas Relief, Architectural Detail

Felber Ornamental Plastering

1000 W. Washington St. Norristown, PA 19404 Tel. 610-275-4713 Contact: James Kuryloski

www.felber.net jk@felber.net

Architectural Restoration & Ornaments, Mold Making, Casting

Peter Mastroianni 230 Austin Trail Orangeville, PA 17859 Tel. 570 458 4936 Fax. 570 458 0449 www.pjmmold.com peter@pjmmold.com

Mold Making, Prototyping, Resin Casting

Walla Walla Foundry

405 Woodland Ave. Walla Walla, WA 99362 Contact: Dave Anderson Tel. 509-522-2114

Sculpture, Foundry Mold Making Services Jonathan Lewis 91 Hillcrest Rd. Watchung, NJ 07060 Tel. 908-561-6189 Prototyping Maslyn Studios PO Box 723 Belle Mead, NJ. 08502 Contact: Tim Maslyn Tel. 908-359-1618 Fax: 908-359-9426

www.maslynstudios.com timmaslyn@maslynstudios.com

Sculpture, General Mold Making & Casting Services, Memorials, Awards

Garland Weeks

4101 N. Quaker Ave. Lubbock, TX 79415 Tel. 806-749-6500

Sculptor & Moldmaker (No Casting)

Battersby Ornamental

131 Balcones Hts. San Antonio, TX 78201 Contact: Tom Battersby Tel. 210-736-0459

www.battersbyornamental.com tbattersby@satx.rr.com

Architectural Restoration, New Work, Mold Making In-Shop or On-Site, Casting, Sculpture & Design Nimba Creations England Tel. (44) 01271 343264 Fax. (44) 01271 343897 www.nimbacreations.com nimbacreations@hotmail.com

Special Effects Company, All Round Expertise in Molding & Casting for Animatronics, Prosthetics, Miniatures, Set Work, Props for Movies, TV

L.E.I., Inc.

453 Cottage St. Pawtucket, RI 02861 Contact: Lukas Ingendahl Tel. 401-726-4550 Fax 401-724-6805

Sculpture, General Mold Making & Casting Services

CohugeCo

4938 Gray Road Cincinnati, OH 45232 Tel. 513-542-4341 Contact: Todd Myers

tmyers@cinci.rr.com

General Mold Making & Casting, Toys, Electronics

Linda J. Kays Studios

PO Box 387 42 Mitchell Street Norwich, NY 13815 Tel. 607-336-2642 Fax. 607-334-8375 resin@lindakays.com sales@lindakays.com

Dolls, Toys & Model Design Moldmaker & Associates

P.O. Box 51 Campo, CA 91906 Contact: Michael Neff Tel./Fax 619-478-5479

mastermoldmaker@mtnempire.net

Sculpture, Architectural Restoration W. Robert Petro Studios

809 Himrod Road Waterford, PA 16441 Tel. 888-811-6653

www2.velocity.net/petro petro@velocity.net

Ceramic Mold Making, Block Molds, Sculpting, Prototypes, Silicone Molds

Austin Ornamental

102 Greaton Road #1 Boston, MA 02132 Contact: Sheldon Austin Tel. 617-325-5335 Fax 617-325-6006

sk_austin@hotmail.com

Ornamental Plastering Architectural Restoration Plaster Visions & Design Group

86 Oak St. Yonkers, NY 10701 Tel. 914-966-3613 Fax. 914-966-7482 Contact: Mark Iacovetta

www.plastervisions.com

Architectural Restoration NeoRomantic Sculpture

& Mold Making 12 Marin St.

San Rafael, CA 94901 Tel. 415-457-2787 Contact: Jeffree Olshan

jeffreeo@attbi.com

Realistic & Pattern Sculpting, Award Winner, Rubber & Plaster Molds - All Types & Sizes, Prototypes, Instruction: Classes, Book, Videos

Hayles & Howe, Inc.

Ornamental Plasterers 3500 Parkdale Ave., C-1 Baltimore, MD 21211 Tel. 410-462-0986 Contact: Graham Banks

www.hayles-and-howe.com

All aspects of ornamental plastering, mold making, casting and restoration

Jonathan Cagle

374 Cider Mill Place Lake Mary, FL 32746 Tel. 407-321-7332 Fax. 407-302-9748

cagle@dellnet.com

Architectural Model Making, Prototypes, Fine Scale Modeling Creative Pattern

54 Freeman St. Newark, NJ 07105 Tel. 973-589-1391 Fax. 973-589-1392 Contacts: David Cummins, Jim Generoso

541392@msn.com

Dreamland Studios

Unit #7, 1780 McLean Ave. Port Coquitlam, BC V3C 4K9 Canada

Tel. 604-942-2805 Contact: Peter Grant

www.drmlab.com creator@drmlab.com

Sculpture, 3D Modeling, Interior Design, Fiberglass Casting, Set Design, Theming JAG Collective 7307 President Dr. Orlando, FL 32809 Tel. 407-812-1710 Fax. 407-812-1747 Contact: Tom Gardner

www.jagcollective.com jagcollective@mindspring.com

Custom Mold Making & Casting; Prototype Work and

Architectural Models

Jackie Lobdell

36 Stage Trail Rd. Buffalo, WY 82834 Tel. 307-684-2452

Foundry/Sculpture Molds for Art Castings. Molds for Bronze Casting. Silicone, Urethane and Polysulfide