About Bronze

Research and Design

My first step is always research. I gather references by photographing, observing from life, searching online, and even studying videos of the subject. This helps me “feel” my way into the form before I begin sculpting. Good quality images are especially important to capture fine details.

When working on a commission, I prepare drawings or visual layouts with dimensions so that both the client and I are clear about the design. These plans also allow the foundry to provide an accurate casting quote.

At times, I use AI to create visual previews for clients. By feeding it reference material, I can generate images that give a sense of how the sculpture might look in bronze. This is not always straightforward, it takes trial and error - but it can be a helpful tool alongside my sketches and designs.

Maquette

A maquette is a small study for a larger sculpture, usually no more than about 50 cm in height. When I begin a large project, I first create a maquette to explore the subject, the pose, and the overall structure. This model is then shown to the client so they can visualise the final piece. At this stage, changes are easy to make because the armature (the inner skeletal framework) is flexible and can be adjusted before the design is finalised.

I usually work in wax or plasticene (made from fine clay powder, wax, and a little petroleum jelly). These materials are built up over a simple wire armature and shaped until the form emerges as I imagine it or from the reference I have collected.

The maquette is used to measure from, and I will scale up using this model as my bench mark for the full-size work, ensuring the larger version has accurate proportions and balance as per the maquette.

Sometimes a maquette takes on a life of its own. In these cases, I may cast it into bronze and release it as a limited edition - a small but complete artwork in its own right.

Armature

An armature is the skeleton of a sculpture. It provides strength and support, allowing the modelling materials to be built up without collapsing under their own weight.

Method 1:
For larger works, welded metal is fixed to a strong wooden or steel base. Chicken wire can be added to bulk out the form, and this is often covered with plaster or RhinoLite to create a solid surface to model on.

Lightweight polyurethane can be cut and shaped to form the bulk of the structure, providing an easy-to-handle alternative. Tined polyurethane can also be sprayed on. It will expand, and can be easily cut back with an old knife.

Method 2:
Today, maquettes can also be 3D scanned and scaled up using CNC processes, with laser-cut polyurethane blocks forming the shape. A strong metal framework is still needed to keep the sculpture stable and to support thinner sections.

Once the armature is ready, wax or plasticene is applied over the surface, and the detailed modelling can begin.

Modelling

With the armature complete, the next stage is modelling the sculpture. I use plasticene (wax and clay mixture), heating it until it is soft and pliable, then applying it in handfuls over the surface. The form is slowly built-up layer by layer, giving weight and presence to the structure beneath.

Throughout the process, I continually refer back to the maquette, checking measurements to ensure the larger work is faithful to the original study. This stage requires constant adjustment - adding, removing, and reshaping until the sculpture works visually from every angle.

Only once the proportions feel right do I begin refining the details.

It is a patient process, often taking many months, as each surface detail must not only look convincing but also flow naturally with the whole. The aim is to create a sculpture that feels alive, whether viewed from the front, back, or side.

Once the modelling is complete, the client is invited to review and approve the work before it moves on to the casting stage.

Mould Making

Once the modelling is complete, the sculpture goes to the foundry to begin the casting process. The first stage is mould making.

Because a large sculpture is too complex to cast in one piece, it is divided into smaller, manageable sections. ‘Walls’ (often used are playing cards) are carefully placed to separate these areas, making it possible to dismantle the mould later without damaging the detail.

Silicone Rubber:
Each section is coated with liquid silicone rubber mixed with a catalyst. This flexible material when set will capture every fine detail of the surface, while care is taken to avoid air bubbles between the sculpture and the rubber.

Resin Cap:
To keep the silicone in position, a rigid resin “jacket” or cap is created over it. This ensures the mould holds its shape through all the next stages of casting.

When the mould is complete, the sections are removed, and the original plasticene sculpture is no longer needed. It is broken down and recycled, while the mould itself becomes the most valuable object - especially if the sculpture is to be cast in a limited edition, requiring multiple bronzes to be made.

Wax Copy and Gating

With the mould completed, the next stage is to create a wax version of the sculpture. This is a vital step, as it prepares the way for the final bronze.

Preparing the mould
The edges of the resin cap are cut neatly, then carefully removed from the sculpture. The silicon rubber is gently pulled from the surface of the plasticene sculpture. The rubber is placed in the cap, keeping its shape. The original sculpture is disassembled and the plasticine is heated and sieved to be reused for a new sculpture.

Wax Copy
Molten wax is painted on or poured into each mould section, swirled around, and then poured out again, leaving a thin layer that hardens against the inside walls. This process is repeated several times until the wax layer reaches the desired thickness, usually around 5 mm. The result is a hollow wax replica of the original sculpture, capturing every detail from the mould.

Wax Fettling (Chasing)
The wax sections are then removed from the mould, joined together, and carefully smoothed by hand. Any seams or imperfections are corrected so the wax copy is a perfect version of the sculpture.

Gating
Finally, a system of wax rods known as runners and risers are attached. These act like a plumbing system: runners guide the molten bronze to flow evenly through the sculpture, while risers allow air and gases to escape. This careful design ensures the bronze will fill every part of the mould without flaws.

Making Ceramic Mould

With the wax copy complete, the next stage is to encase it in a heat-resistant ceramic shell that will hold the molten bronze.

Dipping and Coating
The wax sculpture, with its runners and risers attached, is dipped into a liquid ceramic slurry and then coated with fine silica sand. Once dry, the process is repeated several times, each layer strengthening the mould. This builds up a hard ceramic shell around the wax.

Burnout
Once the shell is complete, it is placed in a high-temperature kiln. The heat melts and burns out the wax from inside the ceramic, leaving a hollow cavity in the exact shape of the sculpture. This is why the process is called lost-wax casting. The empty ceramic mould, now extremely strong and heat-resistant, is ready to receive the molten bronze.

Bronze Casting

Now comes the most dramatic stage - the moment when molten metal is transformed into a sculpture.

Melting the Bronze
Bronze ingots are heated in a crucible until they reach around 1,100°C. At this temperature, the solid metal becomes a glowing, liquid fire, shimmering with heat and energy.

The Pour
The ceramic moulds, preheated in the kiln to prevent cracking, are set securely in a sandpit. The foundry team works quickly and carefully, lifting the crucible with long-handled tongs and guiding the molten bronze into the mould through the Puring cup. Risers allow gases to escape, ensuring the metal flows evenly into every detail.

Cooling
Once poured, the moulds are left to cool and solidify.

Finishing the Sculpture

Chipping Off the Shell
When cooled, the outer ceramic shell is hammered and chipped away, breaking apart to reveal the raw bronze sculpture inside. At first it looks rough, covered with stubs from the runners and risers, but the essential form of the original artwork has now been reborn in metal.

Cutting Off the Runners and Risers
The runners and risers are cut away using an angle grinder and other tools. Finally, the sculpture is sandblasted to remove any remnants of the ceramic shell, leaving a clean surface ready for the next stage of refinement.

Welding
Large sculptures are cast in several parts. These separate sections are welded back together, with great care taken to ensure the joins are strong and invisible.

Returned for Patina
After I have checked and approved the work at the foundry, the now-bronze sculpture is returned to me. This is when I apply the final patina - using a combination of heat and chemicals to bring colour and depth to the surface. The choice of patina is an artistic decision, shaping the mood and character of the piece.

Once completed, I polish and wax the sculpture, sealing the finish and ensuring it will last for generations.

Delivery, Installation, and Unveiling

The final stage is the delivery and installation of the finished bronze sculpture. Depending on the size and location, this may involve transporting the work in a small truck, or lifting it into place with cranes and specialised equipment. Great care is taken to ensure the sculpture is securely fixed to its base or plinth, ready to be enjoyed in its new setting.

For private collectors, this may mean placing the piece in a garden or home. For public commissions, it can involve carefully preparing foundations, working with engineers, and coordinating an official unveiling.

An unveiling is always a special moment - when the sculpture is revealed to the client, community, or public for the first time. After months (or even years) of work, this is the stage when the artwork truly comes alive in its environment, fulfilling the vision that began as an idea, a sketch, or a small maquette.