Sand Casting - PART THREE with Philip White and Jenny Dunseath

PART THREE - Sand Casting Process with Philip White and Jenny Dunseath in the foundry at Camberwell college of Art London. Video by Chris Follows part of the Process Arts Project - http://process.arts.ac.uk/ - University of the arts London

Text Information supplied by Jenny Dunseath:

11. Take Cope off and set it aside. You should be able to see an imprint of your Pattern. Depending on its location use your hole-cutter and cut a Sprue hole by placing your hand on the back of the Cope and push hole cutter through the other side, twisting slightly.
12. Widen the Sprue hole on the top of the Cope, to enable the metal to flow. Ensure all edges are smoothed and there is no loose sand.
13. Tap on the Pattern to loosen, use a screw to take Pattern out.

14. With a set of Bellows blow out all loose sand, make sure everything is smooth.
15. Place your flask back together and pour your metal!
16. After pouring wait for the material to solidify. The amount of time this takes will depend on the size and density of the piece of metal you are creating. Large, dense pieces of metal will take more time to solidify than smaller pieces.

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[apoorv9811]

Simply awosome work

[ProcessArts]

@apoorv9811 Many thanks, will pass this on!

[voidmansions]

Fantastic set of videos. Cope and Drags look well made. However, the V-alignment blocks would only be any good for flat back patterns. When split patterns are involved, especially those involving cores already placed in the drag, proper vertical descent of the cope is needed long before the cope and drag meet each other. This cannot be achieved with the V-alignment blocks.

[ProcessArts]

@voidmansions Thanks for the comment,I agree with your observation regarding the design of the Cope and Drag I intend to work on the problem.We have had good results with several split patterns using these boxes,however I can see that using cores will make handling the Cope difficult.

Can you give me any advice on the best ingredients for core mixes?We now have a considerable student interest in sand casting and we need to keep it simple.

Thanks again

PHIL

[Morrowinds]

Thank you for this wonderful video

I just have one question, why didn't you make a riser ? I understand that we have to have a large riser to act as a reservoir and enable the part to have access to molten metal during solidification.

[ProcessArts]

@Morrowinds ...you make a good point and quite rightly draws attention to the design of the moulding requirement for the success of the metal casting.Risers will often be necessary,but I have founnd that good sand condition and a well vented mould will give agood casting.However we should have included the provision of the riser in the interest of best pactice.I appreciate the comment.

Best wishes Phil

[DrFrankensteam]

Very nice casting!

[badran106]

dear phil..thank u...i am a collector of arts..in my collection 1 roman statue about 18 cm... ..and 53 cm long bronze mask..mask is at youtube..link badran106 plz.

so i can say it is hard to make a bronze work of art????after i saw your vid....

[madaboutbrens]

hi there really interesting to watch ! i want to cast a peice of a ww2 tank out of brass, i need to make a pattern but i beleive the pattern needs to be slightly larger than the original (or finished peice) can you tell me how you size a pattern to allow for shrinkage ?

[voidmansions]

@ProcessArts I can indeed. I'll send you the email.

[MrLeonard55]

Jenny, Your looking as beautiful as ever.