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Basic Wax Modeling

The author of Basic Wax Modeling, Mr. Hiroshi Tsuyuki, is the Japanese authority on Jewelry Wax Modeling. In this book he presents 11 basic projects, each one designed to teach the use of certain tools and types of waxes in a progressive manner as one’s skills improve. Each step of every project is accompanied by a photo and text and in some cases supplementary sketches and notes are provided to clarify those particular processes. Mr. Tsuyuki states that by conscientiously completing each project, the student should be well on the way to becoming a designer/modeler. Hiroshi Tsuyuki's second book, Practical Wax Modeling, co-written with Yoko Ohba, starts off where Basic Wax Modeling leaves off. List of Projects in Basic Wax Modeling: • A High Domed Ring • A Ripple Patterned Ring • A Signet Ring • A Box Type Ring • A Carved Flat Band Ring • A Textured Pendant with Open Work • A Wax Build-Up Pendant • A Wax Build-Up Ring • A Ring with Flower and Leaf Motif • A Lozenge Pendant with a Cut-Out • A Brooch with a Flower and Leaves Hardcover, 112 pages, 283 black and white photos and illustrations.

The author of Basic Wax Modeling, Mr. Hiroshi Tsuyuki, is the Japanese authority on Jewelry Wax Modeling. In this book he presents 11 basic projects, each one designed to teach the use of certain tools and types of waxes in a progressive manner as one’s skills improve.

Each step of every project is accompanied by a photo and text and in some cases supplementary sketches and notes are provided to clarify those particular processes. Mr. Tsuyuki states that by conscientiously completing each project, the student should be well on the way to becoming a designer/modeler.

Hiroshi Tsuyuki's second book, Practical Wax Modeling, co-written with Yoko Ohba, starts off where Basic Wax Modeling leaves off.

List of Projects in Basic Wax Modeling:

• A High Domed Ring

• A Ripple Patterned Ring

• A Signet Ring

• A Box Type Ring

• A Carved Flat Band Ring

• A Textured Pendant with Open Work

• A Wax Build-Up Pendant

• A Wax Build-Up Ring

• A Ring with Flower and Leaf Motif

• A Lozenge Pendant with a Cut-Out

• A Brooch with a Flower and Leaves

Hardcover, 112 pages, 283 black and white photos and illustrations.

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WAXES<br />

<strong>Modeling</strong> waxes are available in a variety<br />

of shapes and sizes. The combination of<br />

waxes, oils, resins, etc. determine the<br />

characteristics of given commercially<br />

produced waxes. Color is no indicator<br />

of hardness or use since manufacturers<br />

have their own color codes.<br />

<strong>Wax</strong>es vary in hardness from machinable<br />

to pliable. Generally, waxes are available<br />

in two or three grades of hardness<br />

designated as hard, regular, all purpose<br />

or soft. Special purpose waxes are also<br />

available.<br />

Technical information regarding melting<br />

temperature, texture, use, etc. is usually<br />

available from the manufacturer or the<br />

retail supplier. Lapidary supply houses<br />

will carry one or more manufacturers’<br />

lines; Vigor, Matt, Ferris and Kerr being<br />

the most common.<br />

Since the manufacturers have their own<br />

formulas, it would be a good idea to try<br />

different brands until the modeler finds<br />

which brands he or she is comfortable<br />

working with.<br />

Use of pure beeswax or paraffin wax is<br />

not recommended due to residue left<br />

in the burn out process or difficulties in<br />

handling in environments with different<br />

temperatures. Concocting “home brew”<br />

is not within the realm of this book.<br />

WAX TYPES:<br />

1. Ring Tubes. Available in the<br />

following designations: center hole,<br />

off center hole and flat side with<br />

hole. They are made in a variety<br />

of diameters, heights and several<br />

degrees of machinable hardness.<br />

Commonly sold in 6-inch lengths,<br />

but many suppliers will have 1-inch<br />

segments sold individually or in<br />

sampler kits.<br />

2. Rods and Bars. Above comments<br />

apply.<br />

3. Carving <strong>Wax</strong>. Used for sculpturing<br />

and large projects. Available in half<br />

to one pound blocks and slices of<br />

varying thicknesses. Hard to soft<br />

toolable textures.<br />

4. Paraffin <strong>Wax</strong>.<br />

5. Sheet <strong>Wax</strong>. Available in 16 to 24<br />

gauge thicknesses. 4-inch squares<br />

and 3 x 6-inch sheets. Hard to soft<br />

textures. Soft is ideal for tracing and<br />

cutting with scissors or cutters.<br />

6. Boxing <strong>Wax</strong>. Slightly tacky. Will<br />

adhere to itself or other waxes<br />

without the application of heat. Ideal<br />

for forming large models.<br />

7. All Purpose <strong>Wax</strong>. Pliable at room<br />

temperature. Generally 16 to 18<br />

gauge thickness.<br />

8. Utility <strong>Wax</strong>. A soft wax used to make<br />

sprues and fill sprue bases. May also<br />

be used to fill minor imperfections<br />

and marred surfaces since it will<br />

adhere to any wax surface without<br />

the use of heat.<br />

10


9. Wire <strong>Wax</strong>. Available in a variety<br />

of gauges and shapes; round,<br />

half-round, square, rectangular,<br />

triangular, etc., pliable wires, which<br />

may be bent or twisted with little or<br />

no heat.<br />

10. Mitsuro. A special blend of<br />

impression wax, resin and paraffin<br />

wax.<br />

11. Impression <strong>Wax</strong>. A refined beeswax.<br />

12. Pattern <strong>Wax</strong>. Mesh patterned wax.<br />

Useful for open work pendants and<br />

brooches.<br />

13. Injection <strong>Wax</strong>. Used for the<br />

production of duplicate patterns.<br />

14. Water Soluble <strong>Wax</strong>. Dissolves in<br />

water. Useful when worked with<br />

other insoluble waxes as a form.<br />

When immersed in water, the<br />

insoluble wax shell will remain.<br />

Other <strong>Wax</strong>es:<br />

Sticky <strong>Wax</strong>. A hard fast setting wax<br />

used for welding wax parts together<br />

and repairing. Tacky when viscous.<br />

Inlay <strong>Wax</strong>. Designed for adding onto<br />

or building up patterns.<br />

<strong>Wax</strong> Solvent:<br />

Commercially produced solvent or<br />

turpentine. Use of acetone to stop<br />

action.<br />

11


12


13


TOOLS:<br />

In addition to tools made specifically<br />

for wax modeling; metal working,<br />

woodworking and household tools may<br />

also be used. Home made tools have<br />

their uses as the need arises.<br />

FOR CUTTING AND CARVING<br />

1. Files. Double end file. Equalizing<br />

files. Needle files.<br />

2. Saw Frame. With a spiral cutting<br />

blade (#3) and piercing blade (#4) .<br />

3. Metal Working Files. Coarse to<br />

medium.<br />

4. Handi-Saw. Hacksaw type blade.<br />

Use for straight line cuts with<br />

minimum drift.<br />

5. Cutters and Chisels.<br />

6. <strong>Wax</strong> Carver.<br />

7. Light Weight Knife with replaceable<br />

blades.<br />

8. Disposable Blade Cutter (snap off<br />

segments) .<br />

9. Small Portable Drill/Grinder.<br />

Alternative: a flexible shaft machine<br />

with variable speed control.<br />

10. Burs.<br />

11. Drill Bits. Carbon or high speed.<br />

12. Reamer. A hardwood ring sizer with<br />

cutting edge is available (Matt).<br />

FINISHING<br />

13. Emery Paper. 3 to 4/0 grits. Also<br />

useable are aluminum oxide and<br />

silicon carbide papers. Grits 220 - 600.<br />

14. Emery Sticks. Wrap paper around<br />

square or round sticks.<br />

15. Scraper.<br />

16. Ink Eraser. Sharpen to a chisel edge<br />

to clean out grooves, etc. Erase light<br />

scratches.<br />

17. Bamboo Spatulas.<br />

18. Discarded Nylon Stocking for<br />

polishing.<br />

19. Cotton Swab (Q-tip). Useful for<br />

polishing in tight places.<br />

20. Spatulas.<br />

21. Alcohol Lamp.<br />

22. <strong>Wax</strong> Pen. Electrical tool with wax<br />

reservoir for depositing melted wax.<br />

<strong>Wax</strong>er/Carver. Electrical tool with<br />

tips for welding, carving, etc.<br />

23. Needles. Set into a dowel or pin vise.<br />

Use for welding and texturing.<br />

MEASURING AND WEIGHING<br />

24. Spring Gauge (degree gauge) . Used<br />

for measuring thicknesses where flat<br />

jaw calipers cannot be used.<br />

25. Balance Scale.<br />

26. Ring Mandrel. Available in steel,<br />

aluminum or plastic.<br />

27. Ruler. With metric and English<br />

markings.<br />

14


OTHERS<br />

28. Oily Marker. Fine point laundry<br />

marker.<br />

29. Divider. School use divider/compass<br />

is fine to use.<br />

30. Pin Vise. Use to hold burs, drills and<br />

needles.<br />

31. Toothbrush. Soft bristles for cleaning.<br />

32. File Cleaner. Cleans wax clogged in<br />

cutting surface of files.<br />

33. Plate Glass Slab - 1/4-inch.<br />

34. Bamboo Tweezers.<br />

35. Sponge. Store soft wax pieces in the<br />

grooves. Wipe excess wax off tools.<br />

36. Wooden Mandrel.<br />

37. Bench Pin (not shown). Cover with<br />

cloth padding.<br />

15


Using a divider, scribe a line around the<br />

ring tube, 20 mm from the top.<br />

1<br />

Use a saw frame fitted with a wax cutting<br />

blade. Mount the blade with the sharp<br />

edges toward the handle.<br />

With your index finger or fingernail as<br />

a guide, draw lightly on the saw to start<br />

the cut.<br />

2<br />

Remember that the saw cuts on the pull<br />

stroke. Saw slowly, rotating the tube as<br />

sawing progresses. Stay well clear of the<br />

guide lines.<br />

3<br />

18


Use a coarse file. Choke up grip, with<br />

forefinger firmly on top of the file.<br />

File flat and parallel to layout lines.<br />

Check frequently.<br />

Scribe center lines. Scribe a short<br />

segment on the flat portion from both<br />

sides of ring. If the lines do not coincide,<br />

the center line will be midway between<br />

the two lines. (See “A” ) .<br />

Reset the divider and scribe a line<br />

completely around the ring. Repeat in<br />

the other direction. (See “B” ) .<br />

44<br />

Extend the center line to the bottom of<br />

the shank.<br />

5<br />

6<br />

19


Scribe a reference line (about 1 mm wide)<br />

around the inner and outer diameter,<br />

and also up the straight side.<br />

Do this on both sides of the piece.<br />

7<br />

Using a circle template or free hand,<br />

scribe lines as shown on both sides.<br />

Check for symmetry.<br />

8<br />

Scribe a straight line from the inner<br />

scribed circle, parallel to the top.<br />

Do this on both sides.<br />

See photos.<br />

9<br />

20


At the bottom of the ring, from a point<br />

about midway between the center line<br />

and the edge of the ring, scribe a line<br />

connecting to the line drawn in Step 9.<br />

Do this in four places.<br />

10<br />

The ring should now look like this:<br />

TOP<br />

BOTTOM<br />

FRONT &<br />

BACK<br />

SIDE<br />

21


Hollow out underside of the dome. Refer<br />

to Fig. 1 below for scribing the outline to<br />

follow.<br />

FIGURE 1<br />

Finger<br />

hole<br />

23<br />

<strong>Wax</strong> removed from areas that will not affect the design of a<br />

piece will reduce the weight of a casting.<br />

This is particularly important when precious metals are<br />

used. Normally, the dome would be hollowed out to<br />

a thickness of .6 to 1 mm. For this exercise, strive for a<br />

thickness of 1 to 1.5 mm. Mark the thickness dimension<br />

inside of the finger hole and scribe a long oval as shown in<br />

the developed view.<br />

RIGHT<br />

RIGHT<br />

WRONG<br />

Equal<br />

Uniform<br />

thickness<br />

Thicker at the<br />

finger hole<br />

Thinner at the<br />

finger hole<br />

Equal<br />

Developed view of the area to be removed<br />

26


Having marked the limits for hollowing,<br />

use a small spoon shaped carver. Scrape<br />

out the wax as shown.<br />

A flexible shaft machine could be used<br />

but the purpose here is to develop<br />

manual dexterity.<br />

Carver<br />

<strong>Wax</strong><br />

Measure the thickness with a caliper.<br />

Hold the ring up to a strong light source.<br />

Light and dark areas will indicate relative<br />

thicknesses.<br />

24<br />

Irregular surfaces may be smoothened<br />

further by using a larger carver which<br />

more closely fits the contour of the cavity.<br />

25<br />

26<br />

27


COMMENTS:<br />

Shrinkage in castings.<br />

Molten metal occupies more space than solid<br />

metal. Consequently, the cast piece will be<br />

slightly smaller than the wax model. Shrinkage<br />

is more pronounced in gold castings than silver<br />

or platinum castings. The amount of shrinkage is<br />

0.5% or less and therefore is negligible. However,<br />

in making a ring model, it is advisable to size the<br />

ring 1/2 size smaller than required to allow for<br />

finishing. See appendix for ring sizes.<br />

Weight of castings.<br />

By and large, commercial waxes have a specific<br />

gravity of less than 1 (0.97 to 0.99). The specific<br />

gravity of sterling silver is 10.46, 14K gold is 13.4<br />

and 18K gold is 15.5.<br />

Allowing a specific gravity of 1 for wax, a model<br />

weighing 0.7 grams will produce a casting<br />

weighing:<br />

0.7 x 15.5 = 10.85 gm of 18K gold.<br />

0.7 x 13.4 = 9.38 gm of 14K gold.<br />

0.7 x 10.46 = 7.32 gm of sterling silver.<br />

To determine the cost of a casting, multiply the<br />

cost of the metal per gram by the weight of the<br />

casting. It is apparent why it is important to keep<br />

the weight of the wax model down.<br />

Checking a model for distortion.<br />

In the process of making a ring model, it may<br />

bend or distort. A substantial distortion will<br />

be readily noticeable. Slight distortions may be<br />

checked by mounting the ring on a calibrated<br />

ring mandrel and checking it in reference to the<br />

markings.<br />

28


VARIATIONS OF THE DOMED RING<br />

The basic ring<br />

Stone & sculpture<br />

Sculptured top<br />

POINT OF DESIGN:<br />

There are many ways to alter the basic dome construction.<br />

By removing portions in one place and adding to another;<br />

creating new designs and still preserving the basic structure.<br />

29


30


PROJECT NO. 2<br />

A RIPPLE PATTERNED RING<br />

Required: a flat side ring tube with hole 1-1/8-inch x 1-3/8-inch high, 18 mm thick.<br />

The ripple or “S” wave configuration is commonly found in fashion jewelry.<br />

In addition to what was learned in the previous project, more care in layout (ripples)<br />

and finishing (grooves) is involved. The complexity of hollowing out the underside<br />

is more taxing. However, it can be done. Just have the patience to follow through!<br />

Carvers with offset blades will be an asset for this project.<br />

4 views of the completed ring.<br />

31


Construct a dome ring as in the previous<br />

project.<br />

Using a fine line marker, draw the wavy<br />

“S” lines as shown on pg. 31. An ink<br />

eraser will remove errant lines.<br />

1<br />

Check for balance. Lightly scribe over<br />

the inked lines. Repeat several times<br />

until the depth of 1 to 2 mm is reached.<br />

2<br />

Using a carver or a knife, expand the<br />

scribed lines into V grooves. Check for<br />

uniformity, segment to segment, for size<br />

and depth.<br />

3<br />

32


Bevel the grooves with a shaver as<br />

shown. Since it is a specialized tool, you<br />

could use a knife, file or carver instead.<br />

See modified tools on pg. 44.<br />

With the same tool used in Step 4, gently<br />

round the segments into smooth convex<br />

forms.<br />

4<br />

Smooth the ripples with progressively<br />

finer abrasive paper.<br />

5<br />

400 grit<br />

paper<br />

3/0 emery<br />

paper<br />

6<br />

33


Cut an ink eraser to a chisel edge. Use it<br />

to clean the bottom of the grooves.<br />

7<br />

Finish the balance of the ring; fit and<br />

width for wearing comfort. Use finishing<br />

paper and polish with stocking scrap.<br />

See the side view of the ring.<br />

8<br />

Scribe area to be hollowed out (about 1<br />

mm at the finger hole). Refer to Fig. 1 on<br />

page 26.<br />

9<br />

34


Hollow out the underside using a flexible<br />

shaft machine with a ball bur, if available.<br />

Othewise, use a carver. Caution: do not<br />

cut into the grooves on the top side. Use<br />

the gauge shown in Fig. 2 below.<br />

Hold the ring to a light source. Note the<br />

location of the ripples and scrape lightly<br />

until the transmitted light through the<br />

bottom of the groove and the ripple<br />

portion are the same. Clean the cavity<br />

carefully.<br />

10<br />

11<br />

Figure 2<br />

A wax plate gauge for estimating thickness.<br />

Where conventional gauges for measuring thicknesses<br />

cannot be used (e.g. from the bottom of a groove as<br />

experienced in the previous project) a gauge may<br />

be made for transmitted light comparison. The<br />

construction is self-explanatory. The gauge should<br />

be made from the same wax (type and color) as the<br />

article being compared.<br />

0.6 mm 0.8 mm 1.0 mm 1.2 mm<br />

35


LOST WAX CASTING PROCESS<br />

A BRIEF DESCRIPTION<br />

While this book is devoted to creating wax models, it is important for the modeler to know<br />

what takes place after the model is made.<br />

There are many books written on casting and wax modelers should familiarize themselves<br />

with spruing techniques, investing, and casting whether they do their own casting or not.<br />

Models should be finished as smooth and faultless as possible since imperfections will be<br />

readily noticeable after the piece is cast, at which time repairs will be tedious to impossible.<br />

A simple centrifugal machine is illustrated here, but other casting equipment – vacuum and<br />

hand pressure units – are used as well.<br />

CRUCIBLE<br />

COUNTER<br />

WEIGHT<br />

BALANCING<br />

ARM<br />

FLASK<br />

ROTATION<br />

RELEASE PIN<br />

1. The casting machine is balanced with the metal to be melted placed in the crucible and<br />

the invested flask in the cradle.<br />

2. The flask is placed in the burn-out furnace for the prescribed length of time. Shortly<br />

before removal time, the balance arm is rotated clockwise two or more times and held<br />

there by raising the release pin.<br />

3. The metal is then melted with a torch. The flask is removed from the furnace and placed<br />

on the cradle. At the proper moment, the machine is allowed to spin causing the molten<br />

metal to enter the cavity left by the burned out wax.<br />

106


FROM WAX MODEL TO METAL CASTING SIMPLIFIED<br />

Finished wax model Sprue is added Assembled to a crucible<br />

former and flask<br />

Invested plaster is<br />

added<br />

See casting<br />

process<br />

Air bubbles removed by<br />

vacuum or vibration<br />

Placed in burn-out<br />

furnace<br />

Burn-out<br />

completed<br />

Remove from casting<br />

machine<br />

Immersed in water to<br />

break up plaster<br />

Sprue removed<br />

Ready for<br />

finishing<br />

107

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