Lesson video

Hi, I'm Miss Blue and I'm really excited to be learning with you today.

I hope you find our lesson as interesting as I do.

Let's get started.

The outcome of this lesson is I can explain and apply casting stages to create a small sculpture, experimenting with materials and finishes.

Our keywords are: mould: hollow form used to shape liquid or pliable casting material; edition: multiple copies of a sculpture from one mould, finish: surface treatment, such as polish, paint, patina, that changes appearance and durability.

Casting methods: reproducing and enhancing sculptures.

Let's start with mould and materials.

What do you think these sculptures would feel like? Pause the video while you come up with a response.

Lucas says, "I think the figure sculpture would feel cold to touch.

It looks like it's metal.

The surface of the face looks smooth and the hair I think would feel grainy." Jun says, "I think the concrete would feel rough, especially in the center where the light is catching the texture." Casting: one shape, many outcomes.

Casting is a way of making a copy of an object or sculpture.

The process has four stages: model, mould, cast and finish.

Different materials change the weight, texture, and strength of the cast.

Artists use casting to make one design into many versions.

Many artists use casting in their work, including: Hew Locke, using casting and metal finishes to explore colonial histories, creating sculptures that mix beauty with critique of Empire.

David Umemoto works with concrete casting, giving his sculptures architectural forms and rich surface textures.

Karen LaMonte experiments with casting in different materials such as glass, bronze, and ceramic to explore the human figure and clothing.

Different materials can be used to make moulds: Alginate: fast, fine detail, short life.

Silicone: flexible, durable, many casts.

Latex: brush-on, flexible, weaker.

Plaster: cheap, rigid and fragile.

Clay: simple press or support moulds.

Fiberglass: strong, lightweight, large-scale.

Polyurethane: strong, detailed and less flexible, Fabric and wood: cheap, easily available.

texture, transferred to the cast, better for large scale concrete sculptures.

Different materials used to make the moulds will give a different effect to the finish on the completed cast.

Here's an example of experimenting with texture when creating a mould.

On the right, you can see concrete cast into a fabric and wood mould.

A wide variety of materials of different textures can be used to create a mould.

Have a look at these interesting picture examples of aluminum cast into a sand mould.

So why does the mould material matter? Pause the video while you come up with some ideas.

The mould material controls how much detail is captured in the cast.

Flexible moulds like silicone can pick up fine details and allow easy release.

Rigid moulds like plaster are cheaper, but may break and lose detail on undercuts.

The mould's surface quality, rough, smooth, or porous, affects the finish of the cast.

Choosing the right mould material is key for both accuracy and durability.

Let's decide if this statement is true or false.

The material of the mould has no effect on the texture or finish of the final cast.

Pause the video while you decide if this true or false.

If you said false, you would be correct.

Why? Because the mould material actually controls how much detail and texture is transferred onto the cast surface.

Creating a mould.

To create a mould, we must first create a small model to be cast.

This can be made from a number of different materials, such as clay, wax, plasticine, card, foam board, wood, or found objects.

First, you would create a small model to cast a mould using a found object like this rubber duck.

Make sure there are no undercuts, so the model can be released easily from the mould.

This is important, especially if casting in plaster.

Coat the model or object to be cast with a release agent.

Place the object into a container, making sure it's sealed to the bottom.

Pour the mould material slowly over the top and tap to release any bubbles.

Allow the mould to finally cure.

Remove the model from the mould and it is now ready to use.

Let's test your knowledge.

Put these steps in the correct order for making a mould.

A: Pour material, place in box, make model, remove model.

B: Place in box, make model, pour model, remove model.

C: Remove model, pour material, make model, place in box.

Or D: Make model, place in box, pour material, remove model.

Pause the video here while you come up with the correct answer.

If you said D, you would be correct.

The correct order is to make the model, place it in a box, pour the material, and then remove.

Your task now is to create your own model.

Select which material you will use to create your model.

Options include clay, wax, plasticine, foam board, strong card, wood, or found objects.

Consider: Undercuts.

Avoid deep overhangs that trap the mould.

Detail.

Make sure textures and shapes are clear.

Surface.

Seal porous materials so the mould doesn't stick.

Strength.

The model must hold shape when silicone or plaster is poured.

Pause the video here while you work on this task.

Your responses may have looked something like this.

Part two of your task is to make a mould.

Create a mould using the model created in Task A1.

Make sure there are no undercuts.

You should: coat model in release agent.

Place model inside a container.

Mix casting material.

Slowly pour materials over the model.

Tap gently to release any air bubbles.

Pause the video while you work on this part of the task.

Your response may have looked something like this.

Now let's focus on cast and finish.

Here's an example of casting with a painted finish.

What do we mean by a surface finish? Why might artists carefully consider the surface finishes applied to their cast work? Pause the video while you come up with some answers.

Artists who use different surface finishes in their work include: Simone Leigh uses casting to make forms and then changes their meaning through surface finishes like glaze, metal or textured coatings.

Iris Bodemer includes casting in her jewelry practice, experimenting with varied textures and finishes to make unique, wearable pieces.

Dietrich Wegner cast in silicone and decorated the surface of "Cumulus Brand, Bill" 2008 with branded tattoos commenting on consumer culture and identity.

Casting has many purposes in creative work.

Casting can capture fine details and textures from real objects.

It allows temporary or fragile forms to be preserved.

Repetition and multiples, an edition, can be made from one mould.

Casting transforms everyday objects into sculptural forms. It can be used to explore memory, absence, identity, or storytelling.

Why might artists create multiple editions of one cast? Pause the video while you come up with some ideas.

Repetition and editions from one mold can create many copies, which makes works more accessible.

Multiple editions enable material experimentation.

Artists can explore plaster, resin, bronze or concrete, giving the same form new meanings.

Surface finish can be explored, such as sand, polish, paint or patina, which transforms how the artwork feels and is understood.

Multiple editions enable preservation by keeping detail from fragile originals safe in durable materials.

Conceptual impact: Casting in multiples can explore memory, identity, absence, or history.

Let's test your knowledge.

Which of these is not a reason artists use casting? Is it A: To capture detail? B: To preserve fragile forms? C: To make an edition of identical objects? Or D: To make objects invisible? Pause the video here while you decide on the correct answer.

If you said D, you'd be correct.

Casting always creates a physical object.

It preserves or repeats form, not removes it.

Creating a cast from the mould.

Coat the inside of the mould with release agent.

This person is using petroleum jelly.

Prepare the plaster ready to pour.

Pour the plaster slowly over the top and tap to release any bubbles.

Allow the cast to fully cure.

Remove the cast from the mould.

The cast is now ready to finish.

Ceramic casts with different finishes.

Cast surfaces can be left raw, showing texture and imperfections.

Sanding and polishing create a smooth, refined finish.

Paint, patina or pigment can add color and mood.

Surface treatments change how light and shadows fall across the form.

The finish can make the same object look industrial, fragile, aged, or precious.

How can surface finish change the way a cast object is seen? Is it A: It alters light, texture and mood? B: It makes no difference at all? Or C: It changes the weight of the object? Pause the video here while you come up with the correct answer.

If you said A, you'd be correct.

Different finishes, smooth, rough, colored, polished can completely change how we interpret or feel about the object.

Experimenting with surface finish.

Let's see some examples.

Sanding parts smooth and leaving other areas rough.

Adding texture by pressing tools, fabrics, or found materials into the surface.

Use paint, ink, or pigment washes to highlight textures.

Apply wax, varnish, or polish for a glossy finish.

Leave surfaces raw or unfinished to emphasize the process.

Explore metallic or colored coatings to transform the material's identity.

Contrast, light and dark finishes to change mood.

Let's decide if this statement is true or false.

The surface finish of the cast object has little impact on how it's perceived.

Is this true or false? Pause the video while you work out the correct answer.

If you said false, you'd be correct.

Why? Because the surface finish can completely change how we see the work.

Smooth and polished might look precious, while rough and raw can feel fragile, industrial or unfinished.

Your next task is to cast from a mould.

Create an edition of two or three casts from your mould.

You should: Coat the inside of the mould in a release agent.

Mix plaster.

Slowly pour the plaster into the mould.

Tap gently to release any air bubbles.

Allow the plaster to cure.

Remove the cast from the mould.

Pause the video while you work on this task.

Your response may have looked something like this.

Aisha says, "On my clay model, I experimented with different textures, a leaf, some lace, and marks made of clay tools.

I think they have come out well in the silicone mould." Here's another outcome.

Andeep says, "In my second cast of the duck, the plaster was starting to go off and it had set quickly, creating an interesting texture to explore." Part two of your task is to experiment with different surface finishes.

On each edition of the casts created in Task B, experiment with different surface finishes.

Consider what you aim to communicate and how the finish can support this.

You could: Try sanding parts.

Add texture to the surface.

Use paint, ink or pigments.

Apply wax, varnish or polish.

Leave parts raw or unfinished.

Contrast light and dark finishes.

Explore metallic or colored coatings.

Pause the video while you work on this task.

Your response could have looked something like this.

Aisha says, "I experimented with enhancing the different textures that were captured in the mould.

The colored paint has really helped create emphasis on the detail of the textures." Here's another outcome example.

Andeep says, "I experimented with metallic finish on my duck.

I wanted it to look like a metal cast, giving importance to a simple everyday object.

I explored different colored areas on my 3D tile to highlight the different forms." The final part of the task is reflection and peer critique.

Swap sculptures with a peer and discuss: How the choice of materials affects your outcome.

How the finish affects the outcome.

Consider how you might photograph or display the sculpture to best show its form and structure.

Pause the video while you work on this part of the task.

Jacob says, "I like the textures that Aisha has managed to create in her mould.

The way she has used the wax and paint on her cast pieces has really accentuated the texture." In response, Sofia says, "Andeep has created some interesting finishes on his casts.

In his tile, it's good to still see the wood texture.

His duck has a metallic finish that makes it look expensive." How might you use casting to explore a personal theme in your coursework? Pause the video while you come up with a response.

To summarize, a mould captures the shape and detail of an object.

It can be simple or complex, flat, or built in two parts.

The mould is the starting point that allows a form to be repeated or transformed.

Through casting, fragile or temporary objects become permanent.

The process creates a record of detail that can be reinterpreted, repeated, or changed depending on the material used.

The surface of a cast is never neutral.

Smooth, rough, polished, or painted, each finish changes how the object is seen, shifting its meaning and the way we respond to it.

Thank you so much for listening and paying attention in this lesson.

See you next time.