Art Foundries Aren't That Different From Your Own.

Through this look at a New York art foundry, commercial foundrymen can see the differences--and similarities--of their art-casting cousins.

When comparing a sculpture and an engine block, one might think art and production foundries are two completely different types of operations. While both produce very different types of products, they still share much in common. In fact, art foundries incorporate aspects of many different types of commercial facilities.

Art foundries base their approach to casting on sculpture and, therefore, approach production differently to arrive at the same quality product. Specialized fine art foundries produce works ranging from one-of-a-kind pieces to limited editions or series that do not involve the type of production numbers that are characteristic of industrial operations.

While commercial foundries may be more concerned with meeting tight production and function-based design needs, art foundries also must accommodate aesthetically driven criteria that transcend certain engineering and casting requirements. Both types of foundries are challenged to cast products that are economical in terms of scheduling, competitive pricing and functionality. By looking at how Tallix Fine Arts Foundry, Beacon, New York, approaches production, this article covers the basics that differentiate an art foundry from a commercial operation, offering insight into how metalcasting can not only produce strong, functional industrial components but also beautiful works of art.

Communication is Key

A fine art sculpture is evocative of both the vision of the artist and the technique of the metalworking artisans. The finished piece relies heavily on the craftsmanship, skill, artistic sensibility and attention to detail of both the sculptor and the workers involved in all phases of production in the foundry. Foundry workers, considered artisans in their own right, play a paramount role in ensuring both time and quality requirements are met. Workers must share information among themselves and work closely with the artist--in many ways, this relationship must be closer than that of an OEM engineer and a jobbing shop. Each piece requires an in-depth, ongoing dialogue between the artist (or customer) and the foundry. While all foundries strive to work closely with designers, engineers, purchasers, and in this case, artists, the bottom line of an art foundry depends on its ability to transform artistic ideals into real, solidly engineered pieces.

Tallix promotes and enhances the creative and communication aspects of the process to the extent that the foundry actually becomes an adjunct studio, or "atelier," for its customers. The artists must be accommodated during critical phases through optimal communication and responsiveness.

"Tallix does far more than just fabricate and cast the work," said Jo Schneider, an artist who works on a large architectural scale. "They bring expertise and insight into finding creative solutions for the problems that normally arise with complex projects. Whether it's an engineering solution, such as using perforated metals to reduce wind loads, or an innovative aesthetic technique of dripping bronze, Tallix thinks its way to the best product."

This collaborative approach also requires the foundry to balance between process considerations and sensitivity to communication with the artist during the creative evolution of a fine artwork. The artist must "feel" as if his or her artistic needs are met, but, at the same time, the foundry must be able to cost-effectively produce a quality piece.

Because artists may elect to modify a piece during production, foundry workers are expected to keep abreast of how a project changes and adapt to fit the evolving piece. From an artistic vantage point, this freedom to modify a work is integral to the creative process, while from the foundry perspective, working in tandem is necessary to ensure customer satisfaction and efficient production.

The Approach to Art at Tallix

Historically, the craft of sculpture making remains virtually unchanged as an age-old metalcasting tradition. Tallix's fine arts sculpture has evolved on a piece-by-piece basis rather than as one overall product/line. Like a commercial jobbing shop, the task of a fine arts foundry is to define the process to meet the specific needs and differences dictated by variations of one casting from another. In a sense, this ability to cast such a diverse array of shapes and sizes is an art foundry's niche. Very few objects cast in an art foundry have a standard configuration, and this necessitates moldmaking, waxmaking, gating system design and casting process modifications that are unique to each piece.

An art foundry often is required to accelerate scheduling to accommodate new projects. Similar to the way a commercial foundry operates, an art foundry may reappropriate labor, by utilizing cross-trained employees to meet a crunch, or by adding an additional shift altogether. Average turn around time on a sculpture is 8-12 weeks.

The size of a "typical" piece ranges from 2 in. to 46 ft, and the number of pieces being worked simultaneously can run from 100-300 pieces. However, many times, each piece is not an autonomous job, and one piece does not necessarily represent one project. Art foundries typically manage complex, multi-piece projects (one recently completed project at Tallix consisted of 130 individual components).

Capabilities

Artists want the freedom to experiment with and choose different metals. Tallix can accommodate the casting and fabrication of indoor sculpture up to 46-ft-high in virtually any metal, including various brasses and bronzes, stainless steel, aluminum, iron, silver, brass and pewter.

In accounting for various metals special requirements, Tallix' strength is attributable to the inherent knowledge base of the foundry workers, some of whom come from commercial production environments. Employee retention is critical to amassing such information and expertise, and is further augmented by cross-training programs.

Production Rundown 

On a process basis, art and commercial investment foundries follow many of the same steps. The following step-by-step comparison outlines production at Tallix, stressing the process differences:

Working with the Artist--The estimating and initial phases of a job entail discussion of non-standard effects the artist aims to achieve, sometimes requiring test samples and/or consultations. Once a project is booked, the artist works hand-in-hand with the foundry employees.

Mold Making--Art foundries typically make molds from rubber. The crafting of the rubber molds from the original maquette, or model, is labor-intensive because cosmetic features are particularly important. Using plaster or fiberglass, a "mother" or back-up" shell is applied to the exterior of the rubber mold to support its integrity.

Wax--In applying wax to the mold, the first coat is often painted into the rubber mold to capture fine detail and texture. Next, hot wax is poured into the mold and slushed around, with the process repeated until the correct wall thickness is attained. Commercial applications have critical dimensional tolerances, but with fine art, the artist's approval takes a more subjective approach.

Rework--The next step in production is to rework, dress or chase the wax (the initial stage of removing excess metal and gates). This entails removal of seam! parting lines, filling air bubbles and smoothing-out or resurfacing lost texture. In art foundries, this is often a point of review or approval with the sculptor present to check for visual correctness, as supplied by the original maquette in making the wax comparable to the model.

Gating or Sprueing--The principles are essentially the same for both art and commercial foundry processes. In both applications, the engineer is concerned with design to facilitate good feed and no flowlines. Art casting is primarily oriented toward cosmetics and surface appearance to mitigate potential patina problems.

Pattern Preparation/Cleaning--Prior to shell building, pattern preparation and cleaning is critical to assure traceability and repeatability and requires inspection and documentation.

Investment/Ceramic Shell Building--The goal of all investment foundries is to make a permeable shell that will dewax without cracking, withstand the pressure of molten metal, yet knockout and sandblast easily.

Dewax and Burnout--Just as in commercial investment casting applications, a steam autoclave is used because it enables wax to be quickly eliminated from the shell. The alternative is to flash-fire the mold in an 1800F (982C) burnout kiln, which would be used with wood or any other material that can't withstand the autoclave process. In both types of foundries, after cooling and inspection, problem areas are repaired, residual ash and foreign matter are blown out, and the shells then are reheated and cast.

Casting--Again, the process is essentially the same, with the major difference being in the size of the final casting. In art foundries, pieces generally are cast on a larger scale, often ranging up to 700 lb, with dimensions of approximately 4 x 5 x 4 ft.

Knockout and Shell Removal--Grinding/removal of gates is typically accomplished with abrasive wheels or belts. Although some high-end commercial foundries sometimes employ acids or caustic sodas to leach out cores and crevices, art casting cannot use this means for risk of bleeding back through the patina or other finish.

Finishing--Finishing is very different in art and commercial foundries. Art casting sections are welded together, ground down and sanded to seamlessly blend with the surrounding surface finish (appropriate to texture) and totally free of surface defects. Then they are thoroughly cleaned to remove any residue that could prevent the patina chemicals from reacting properly. The most common patina colors are browns, greens and blacks.

The final phase of art casting, application of a patina, oxidizes the surface of the piece with heat and different dilutions/solutions of various chemicals. Art foundries specialize in a multi-layered application of chemical reagents vs. the standard commercial practice of one-step dipping, which yields a monochromatic patina. Art foundries offer virtually any hue. Waxes on bronze then can be buffed to provide the desired polish.

After-Market Care

In addition to casting, Tallix offers restoration and maintenance services. Ability to work under the direction of conservators as defined by American Institute for Conservation of Historic & Artistic Works standards is paramount to operating a bona-fide restoration program. Versatility also is essential to the rigors of on-site restoration (although missing sections may have to be recast at the foundry).

Each individual project dictates whether repairs are conducted by an on-site crew or at the foundry. Another quality that sets art foundries apart is their ability to piece a larger work together, which requires welding and finishing expertise. The sheer size and form of some pieces dictates that pieces be welded together. The challenge therein lies in chasing and finishing seamlessly to ensure visual uniformity with no apparent welding lines.

Sculptures are prone to further considerations and conditions beyond the confines of the foundry, particularly when placed outside as architectural or landscape elements. Being subjected to environmental factors introduces yet another consideration of the art foundry realm: maintenance. Though finished with patina, paint, clear coat, gold-leafing and/or wax, the weather ultimately succeeds in changing the appearance of a piece. While often desirable to enrich the patina, oxidation and winds eventually take a toll on the finish. For best results, Tallix works with clients to develop an ongoing maintenance/ restoration program from the onset.

Profitability

As with commercial production foundries, financial profitability at an art foundry is gauged by real-time job costing and timely monthly financial reporting, broken down departmentally, to analyze cost centers and determine where to make improvements and/or cuts. Profitability is maintained at the front-end, by estimating the cost of each job and providing for unforeseen casting difficulties, which invariably occur.

An art foundry must cater to both emerging and established artists to cultivate a sizeable, diverse, returning customer base. From one artist to the next, volume varies tremendously, with certain artists being more prolific than others.

Behind the scenes, the pieces are financed in a myriad of ways--from the artist paying directly, to gallery subsidization, commission awards from both private and public sources (municipal/Government Services Administration), corporate sponsorships, architectural partnerships and developers.

"Managing an art vs. commercial foundry shares many similarities amidst the differences," said Sales Manager Vincent Nardone, who joined Tallix from a production foundry. "Both offer a certain comfort level to their clientele. Success at Tallix entails working directly with the client in a hands-on, virtually daily basis. Though commercial foundries also develop strong client relationships, the specifications drive the job."

Expansion is a function that is driven by supply and demand in the marketplace, just as in commercial foundries. For example, when the construction and building development market is healthy, Tallix witnesses an increased demand for fabrication jobs, which sometimes include casting.

Tallix Art Foundry

Beacon, New York

Year Founded: 1970.

Size: 85,000-sq-it.

Metals Cast: Aluminum, bronze, brass, iron, pewter, silver and stainless steel.

Molding: Investment and green sand casting.

Coremaking: Shell.

Melting: Induction.

Value-added

Capabilities: Enlarging or reduction, restoration/renovation.

Employees: 90.

Management: Peter Homestead, president; Joe Milkowski, chief financial officer; Kerry Cubas, director-special projects; Vinnie Nardone, sates; Greg Glasson, new business/restoration; Barry Spear, foundry expediter.

Tallix Casts Piece of History

It's not often that a foundry has the chance to cast a living piece of history, but that's just the opportunity Tallix had last year. More than 500 years after Leonardo DaVinci's death, the foundry was involved in a project to cast a 25-ton replica of one of his works, "Il Cavallo" (The Horse).

DaVinci's original horse model was destroyed by the invading French army, which captured Milan in 1499. French archers used the 24-ft clay horse, which was to be cast in bronze for Duke Ludovico Sforza, as a target for their arrows.

United Airlines pilot Charles Dent, read about the fated horse in a 1977 issue of National Geographic Magazine Inspired by the article, Dent created Leornardo da Vinci's Horse, Inc., a nonprofit organization and involved a group of sculptors, friends and relatives, who contributed time, effort and funds to making the horse a realty.

Although he died in 1994, in his will, Dent provided the sum that took the model to Tallix. Sculptor Nina Akamu sculpted a new 8-ft clay master, and this was enlarged to 24-ft-tall.

"The Leonardo d Vinci Horse project presented an extraordinary logistical challenge to the foundry," said Greg Glasson, New Business + Restoration. "The innate engineering demands dictated an interior infrastructure carefully planned for each step of the process; so that a pieces came available from one area we were able to construct in a logical sequence. Essentially, planning had to address the end of the project's scope and work back Sheer size, transportation considerations, installation, and coordination amongst the governments of Italy and the commune of Milan."

The 24-ft horse sculpture, which weighted roughly 15 tons, required a full Boeing 747 to transport the 70 pieces for on-site installation. The sculpture now resides at the San Siro Hippodrome in Milan, Italy, where it was unveiled on September 10, 1999.