Hello. I want to start publishing my new project - the process of making a large glass sculpture - a glass statue of a girl of 180 cm high (70.87 inches).
First, I will explain some technical solutions. For stability during transportation and overall reliability of the structure, I decided to mount all parts of the statue with each other and even more with the main load bearing mounting plate. It will be a sheet of black glass 2 cm thick. Of course, for a delicate translucent glass, the statue has a good contrast with rough dark granite, but for me it's expensive now. To connect all the parts of the statue with each other, I use UV glue, and for the mounting to the plate I use silicone sealant - this will give some flexibility to the whole structure. If necessary, the sealant can be cut with a thin knife and detach the statue from the plate. Inside the statue, I want to place a light source and thus it will be a large sculptural lamp on the wall for example in the interior of a hotel, restaurant or home. If the owner wants to cover up the nakedness of this statue (for example, in Asian countries), this can be done using a organza tunic, it will be like a lamp shade, and also beautiful.
The most difficult parts of this statue are the head and feet. For these parts I will make ceramic graphite molds. For all other parts of the statue - legs, arms and body I will make simple ceramic molds - this is another technology. This allows you to get 50 - 70 glass items of sufficient quality. But a simple ceramic mold is made very quickly 1 - 2 days. Therefore, I myself wonder how much time I need to do this glass statue. I made a gypsum model for about three weeks, but after separating the parts, I can change something else. During the process, I will add a photo and description.
The photo shows where the borders of the statue's parts will be. In total there will be 12 parts.
The statue is sawn in 12 pieces. Now the parts must be very accurately prepared for connection with each other and make an additional fixation with the lodgment for all parts relative to the mounting plate.
Over the past two weeks (10 working days 5-7 hours each) I have made an accurate connection of all parts of this gypsum model.
Each part loosely lies on the lodgment and moves along it horizontally (a glass slab).
These lodges will be used to join the glass parts using UV glue. Now every part of the plaster model needs to be prepared to make mold. To do this, you need to make excess volume on top and bottom, designate a line to cut off excess and mark 4 points of the exact line of joining each part. I'm not sure about the accuracy of the translation, but the picture will be clear.
On this photo part of the statue is below the chest, as it should be made of glass.
To accurately indicate the connection line of this part with other parts, I painted it in red. Then I made an excessive volume at the bottom and at the top of this part (it is clearly visible, because it is white).
A glass ball of this form I should have using this mold. When the glass cools, I need to cut the excess from below and from above. The photo shows a relief line of an approximate cut. Then I need to have an exact line of the boundary of this part on the horizontal plane. For this, I made four protrusions along the perimeter of each border. After an approximate cut, these protrusions will be a good reference point for the necessary grinding. On the plane of the grinding wheel, I must remove the excess around the perimeter, until all the protrusions disappear at the same time. For this, I need to determine the desired angle of grinding, so that all the lugs are sewn the same way. Having done such operations with another part of the statue, I have almost complete coincidence around the perimeter of these parts. Mismatch may be a maximum of 0.2-0.3 mm. For 3-5 cm of the perimeter length. This can be seen in the photo of this statue of 3 parts.
The line connecting two parts (bust and torso) is under the chest of the statue. After gluing these parts, the mismatch simply aligned with polishing, but I did not have the necessary tools and time, and the customer was in a hurry and satisfied with this quality. If glass matting is not used by sandblasting, the mismatch of the parts inside from different wall thicknesses is clearly visible.
You see all parts of the statue ready for making molds for them.
I must say that now I have to stop all projects of blown glass because of economic problems that do not depend on me. I think it will be a long time. Therefore, if someone wants to use or is interested in my professional knowledge, experience and skills, I will be glad to apply it to you in any forms.
I am pleased to inform yours that now I have the opportunity to continue my work with this statue to the finished . I hope to finish doing the molds until the middle or the end of October, then I will have the glass pieces for connecting it for the whole product.
In the photo you see all the parts of the finished ceramic graphite molds for the entire statue. The next stage - the connection of these parts to the hinges. Ten molds of twelve consist of two parts. The other two molds are more complex - this is the mold for the head (3 parts) and the mold for the torso (4 parts). I made all molds from two materials. The thickness of the refractory ceramic graphite layer I made half thinner than usual. It is 1.5 - 2 cm. From above, I additionally made a 3 cm plaster layer. This accelerated the process of making the molds and then let me quickly connect it to the hinges. Another reason is that all the parts of the statue I need to blow glass of exactly the same color, that is, in one working day. I will have to make two copies of each part of the statue, that is, 24 pieces for about 100-150 kilograms of glass. The furnace volume is about the same. This means that each mold will have no more than two "heat strokes" per day and such a thickness (1.5-2 cm) of the refractory layer is more than enough. Thanks.