For his Dress Series, Petrey uses Townsend Casting Resin for the torso forms. To achieve the rich green patinas on the copper torsos, he uses Traditional Green Patinas.

Dress Series: resin, wood, copper, mixed media. The piece on the left is 27″ high. The piece on the right is 58″ high.

Part of a Series of Five Dresses commissioned by The Baylor Womens’ Hospital, Fort Worth, TX

Mixed media, resin, & copper. 60″w x 44″h x 1′d

To view more of John Petrey’s work, visit www.johnpetrey.com

Our new Web Gallery will be a place where we will regularly showcase some of the incredible work that our customers are creating with our products. We are always excited to see what everyone is making and hope that you will be too. Please check our site periodically for new postings.

You may get some inspiration. What will you make?

P.S. We would love for you to tell us what you are making! Send us an email and let us know!

Leslie Molen is a nationally recognized doll artist based in Denver, CO. She has exhibited her one-of-a-kind work in galleries and museums around the world.

Little Blossoms in Red, and Little Blossoms in Lavender, by Leslie Molen. Mold of original clay head with Knead-a-Mold, silicone putty. The “Heads in a row” show from original, molded, and the finished product.

To make the finely detailed heads of her intricate elves, she pours the heads in Clay-Shay (available at AVES) which she covers with cloth. Leslie then makes a mold of the cloth covered clay head with Knead-a-Mold.“I appreciate that the Knead-a- Mold picks up such fine detail that I can still cover the head in fabric and that detail still shows through!” she says.

For more information about Leslie and her work, visit www.rootie.com
To view all of Townsend Atelier products, click here

Becky Stern, one of their regular contributors recently posted a Podcast on resin casting using Knead-a-Mold, our safe and easy to use molding silicone.  The project is a great place to start to learn how to do a very simple mold before you venture out into more complicated territory.

For more information about Knead-a-Mold, read our past gallery/news posts or visit the How To section on our website.  Questions?  Feel free to email us:  info@townsendatelier.com

Here are a few examples of pieces made with Townsend Casting Resin.

Study of a Female Centaur, by Cessna Decosimo, Chattanooga, TN

A mold was made from the artist’s original piece which was sculpted from clay. To achieve the beautiful bronze patina, the interior of the mold was dusted with bronze powder before the casting resin was poured into it. Once cured and de-molded, the surface was buffed with steel wool and patinaed with our Sculpt Nouveau solvent dyes.

Detail of Study of a Female Centaur

On the left is the original sculpture of a lizard made from stone. A mold was made of it with Knead-a-Mold. Then, Townsend Casting Resin was poured into the mold. The lizard on the right is the resin cast. The white resin lizard could now be painted, patinaed or left as is. To create a bronze surface, bronze powder could have been dusted into the mold prior to pouring in the resin. Visit our “how to” section on our website to read more.

Casting resin was poured into a silicone mold taken from an architectural ornament.

Bronze powder was dusted into a silicone mold, casting resin was then poured into the mold. When de-molded, the bronze bonds to the exterior of the resin and can be buffed or patinaed.

Back of the resin piece showing bronze powder on exterior.

This resin casting was poured into a silicone mold taken from an architectural terra cotta relief. The casting resin was poured into the mold which was dusted with gold-colored powder to give it a luminous surface.

To view all of our products, click here.

SMALL CONCRETE CASTING by Andrew Goss | 2009
I’ve recently completed a short series of wall-mounted pins (brooches), playing on the idea that things–jewelery objects in particular–really change when the material changes, even if the form is identical. It’s interesting to compare the value we place on precious metals compared to more utilitarian materials. The sets of three pins are based on one original pod-like form made from fusing silver sheet and wire. This is a technique where you are working with the silver in it’s “slush phase”, the red-heat temperature range where the silver is above a solid, but below a liquid. You can fuse pieces of silver together, scrape texture into the surface, break pieces off, melt wire into the surface. After immersing in acid to remove oxides, the surface is burnished, but a lot of the roughness and spontaneity of the process remains.

The silver pin is the one in the middle. On the left, I used a black-pigmented cement mixed with stone dust and additives. On the right, I used white Portland cement with stone dust and additives, and after it was set I rubbed in a thin slurry of pigmented cement, which was mostly then rubbed off.

After some research I discovered the ideal molding material. It’s a two-part silicone called Knead-a-Mold. (There are other brands as well.) You take equal parts and mix the putty-like substance together with your fingers–it’s completely non-toxic and can even be used for food molds–until the colours are blended completely, then push it against and around the object you want to duplicate. I did this with the silver pin, let it set, then cast plaster around that to give the mold support, then took all the components apart. I mixed up the cement and packed it into the empty silicone mold backed by the plaster. I had previously made pin back assemblies which I embedded into the cement before it set.The concrete pins are identical in every wayto the original silver one, except in the material itself. Every detail of the metal’s fused texture is visible. These two-part non-toxic silicones have amazing potential. I mounted the pins onto a matte white acrylic sheet so they could be placed on a wall when not being worn.

To learn more about Andrew and his work visit his websites:
www.artconcrete.blogspot.com
www.makersgallery.com/concrete