HS2440 Week 2 Joining metals/ Hammering and jointing Flashcards

1
Q

What is required for the casting of metals

A
  • crucible (ceramic that can withstand high temperatures)
  • requires kilns that fire clays at a high enough temperature
  • also furnace technology capable of melting the metal
  • eg cast iron, high melting point, not widely seen until the industrial revolution in Western Europe
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2
Q

Crucible (images)

A
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3
Q

The simplest kinds of moulds in metal casting
- describe open casting vs piece casting, the different features

A
  • open moulds
  • earliest casting techniques, prehistoric times
  • no joins along any edges, just the shape of the object
  • piece moulds have a solid object with edges where (unless fettled or filed away) you can see the join mark, which is liquid running into a small gap
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4
Q

Describe Cored moulds

A
  • mould made in the general shape of the object
  • gap left for the haft, axe handle
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5
Q

piece moulds (image)

A
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6
Q

Evidence of piece moulding in china

A
  • early complex casting
  • can be used multiple times
  • finishes were artificially produced using chemicals
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7
Q

Lost wax casting

A
  • a clay core, the shape of the object
  • covered with wax and then carved
  • pins pushed into clay core (chaplets) (usually iron) to hold clay core in place when wax is burnt out by molten metal
  • bake the clay and molten wax comes out
  • evidence: check for dents/ marks caused by chaplets
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8
Q

lost wax casting: how to prevent air bubbles

A
  • ## preheat the mould to stop the metal solidifying too early, prevents imperfections and air bubbles
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9
Q

direct vs indirect wax casting

A
  • direct destroys your carved statue
  • indirect takes a mould of an already made object to create a replica
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10
Q

diagram of a statue being cast in multiple pieces

A

diagram of lost wax process: multiple castings from one model

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11
Q

How can we see evidence of the lost wax method through x- radiography?

A
  • see the clay core, and the crack running through it
  • see remaining chaplets
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12
Q

differences between fire gilding and oil gilding, and processes

A
  • fire gilding, most effective, using amalgam of mercury and gold, the mercury evaporates. is intense in colour and lasts better
  • oil gilding uses a drying oil to attach the gilding, more fragile in terms of longevity
  • gold is malleable and can be attached to the surface easily
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13
Q

Image of chemical patination and natural patina

A
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14
Q

Diagram of investment casting

A
  • wax injection attached to a wax core
  • shell building technique, spraying on a ceramic mixture, creating a shell in several layers
  • molten metal poured into thin shell to produce shapes
  • is then knocked out and can be reused.
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15
Q

Alloys of copper and how they are made into objects

A
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16
Q

Describe annealing process

A
  • sheets of bronze or copper
  • using a range of differently finished hammers eg curved edge for raising and indenting metal
  • copper is malleable can be thinned and raised
  • using a mandrel to smooth out the object
  • copper becomes brittle as it is hammered
  • distorting and flattening/ stressing grain structure, leads to cracking
  • annealing means heating up, releasing stress and reshaping grains to reduce brittleness
17
Q

examples of fabrication methods for copper objects

A
  • hammering using mandrels
  • hammering into moulds
  • turning objects, spinning onto formers
18
Q

example of lockseam (image) and soldering

A
19
Q

diagram of lead tin solder

A
20
Q

showing evidence of tinning on ancient objects (images)

A
  • shows silvering on surfaces
  • tin corrodes to a dark grey/ black finish
  • tinning is similar to soldering
21
Q

diagram of tinning, forming an inter-metallic compound (image)

A
  • bonds onto the surface, forming a compound
  • very durable finish
  • seen by a scanning electron micrograph
22
Q

Lead and tin alloys

A