Today I have a bit more relief: I cast a figure from my three figure triptych mold. I did not have enough resin for a cast of the complete piece, so I used the large mold to cast one of the figures.
I created a makeshift barrier on the surface of the mold, using tape and oil-based clay, around a single figure. This did not completely contain the silicone, but it worked well enough I think. When the resin is fully cured I should have my bas relief figure, in the original orientation, on a thin rectangle of clear resin. The cast is still in the mold in this photo; I can’t remove the cast for another 2-3 hours.
I rubbed traces of metallic copper and carbon black powdered pigment into the mold before pouring the resin. Now the details of the figure show up, instead of getting lost the clear resin. This is an experiment for me, and I am excited about the result so far. The pigment accentuates the edges and provides the illusion of a bit more relief. I think the pigment will embed into the resin, but how well is yet to be determined.
So here I have more relief: I cast a figure in clear resin with a touch of copper and black.
I plan to fill the entire mold box with resin when the new shipment arrives. The goal is to reproduce the 24″ x 18″ original bas relief sculpture shown here. However the effect will be very different in the new material.
Update: Out of the Mold
I have my figure out of the mold now. I am happy, but not thrilled. The figure alone is not as satisfying as it looked in the silicone mold … but it will be fine. The “deckle” edge, gooey with oil based clay, layered with silicone intrusions, is horrible to clean. It will take more work, but I am making progress. I have photos on three backgrounds: mylar, plain paper, and a bit of soft pastel on paper.