Works of Art in progress at the Laran Bronze:

In the imposing Laran Bronze building, located in Chester PA the dreams created by sculptors are transformed in to beautiful “Livingbronze”! From small miniatures, to 40 ft. monuments, these talented artisans can do it all.

This is an example of the mold used to pour a wax casting. The melted wax is poured in, allowed to cool, then poured out to build layers, leaving a hollow interior.

This is the wax casting of “Ra Ascending”. The head and tail have been removed to facilitate making the ceramic “shell”. Shell material must coat the hollow interior as well as the exterior of the wax to create a hollow bronze casting. Bronze is very heavy and if poured solid, the casting would be hard to transport. Solid casting would also cause problems with shrinkage due to larger areas cooling at different rates than smaller areas.

“Jewel of Isis” wax casting. I personally do all wax finish work myself. I firmly believe in taking a “hands on approach” in the production of my bronze sculptures.

The base for “Jewel of Isis”, top and a view of the hollow underside.

These photos show the gating stage of making the wax sculpture. The green square wax “pipes” are strategically attached to the red wax artwork and will be the “plumbing” that the bronze will flow through. The bronze must flow evenly throughout the casting so that it will cool properly.

The “Shell” Room. These vats contain the liquid ceramic shell used to create a mold that the hot bronze can be poured in to. The wax positive is carefully dipped in the shell, then allowed to dry before dipping again. Each layer has to dry completely before adding another coating of shell. It takes up to two weeks to build up the necessary thickness.

Close up of liquid ceramic in vat with stirring machine.

Randy Welker, the “ran” of Laran Bronze about to submerge a future bronze in the liquid ceramic. Close-up of Randy’s' rubber gloved arms dipping a future bronze in ceramic shell.

Shell covered wax drying between layers.

This is a view of the room where the bronze is poured. It is large enough to accommodate monumental castings. There is plenty of heavy-duty equipment to handle any large casting.

This is the kiln for firing the ceramic shell. As the shell heats up, the wax casting inside melts and drains into the large pan underneath.

A 20lb. ingot of bronze.

Larry Welker, the “Lar” of Laran Bronze, stirring the bronze in the crucible as it heats over the furnace. This crucible is made of silicon graphite to withstand the heat and allow the bronze to become liquid without adhering to the surface.

The molten bronze is shown being poured into a “transfer” ladle that has a crucible inside. This ladle is maneuvered using a hoist on a boom gantry so that it can be moved where it is needed.

The bronze is poured into the ceramic molds positioned in a sand box. The sand adds support to the shell during the pour process.

“Ra Ascending” after “knocking out” of the shell mold and ready for metal work. This is another phase of the casting process that I take part in personally. I do all final chasing with high-speed carbide tools and polishing equipment, as well as a lot of handwork with special grit sanding cloth.

Sandblasting is done in a special booth to remove any remaining shell. Then the bronze is glass beaded making the surface shiny. This gives the patina warmth and depth.

The Patina area is where a bronze is treated with chemicals to create a full range of color. This is the last stop before the bronze goes home unless it needs to be mounted to a stone or wooden base.

“Ra Ascending” after sandblast treatment, ready for patina work.

Larry Welker puts the final touches on the bronze before applying the hot patina color that will complete the bronze process.

Some final work with a polishing brush on “Jewel of Isis” prior to the special silver based hot patina.

The bronze is heated with a really big propane torch before the chemicals are applied to the surface. Hot patinas are more stable than cold ones. The heat speeds up the chemical process and when it cools, it locks in the color.

The liquid chemicals are blotted on the surface with a large bristle brush for this beautiful silver and nitric acid patina. This process uses real sterling silver creating a lovely metallic jewelry-like finish.

Larry heats the bronze again after the chemicals have been applied.

“Ra Ascending” undergoes a different process than “Jewel of Isis”. The patina chemicals are airbrushed on and fired in many layers, taking several hours to achieve the final luminous, translucent color.

As the bronze cools, wax is carefully brushed on and then polished with a
soft cloth when dry.