lost-wax casting

(redirected from Lost-wax technique)

lost-wax casting:

see cire perduecire perdue
[Fr.,=lost wax], sculptural process of metal casting that may be used for hollow and solid casting. The sculptor makes a model in plaster or clay that is then coated with wax. This model is then covered with a perforated plaster or clay mold.
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References in periodicals archive ?
These include 'the hand-coiled process of the Serpenti Tubogas bracelet, the coil of the B.zero1 ring, and all the other processes like the lost-wax technique so that each element sits properly on the neck.'
"Fearless Girl" was cast by Kristen Visbal and produced by the New Arts Foundry in Baltimore, using the lost-wax technique. The project was funded by State Street Global Advisors, an advocacy group for gender diverse companies, and the statue itself was placed on the famed Wall Street in March.
Alloys are commonly utilized as a substructure material, and the lost-wax technique and casting method proposed by Taggart in 1907 are mainly used in FDP preparations containing alloys [8].
Earlier studies [13,16] have reported that fabrication by the SLS produced larger gaps than did fabrication by the lost-wax technique. Moreover, the studies that evaluated the gaps of FDPs fabricated by milling hard metal blocks indicated that the marginal gap was smaller than that obtained when using conventional fabrication methods [17], whereas another study reported that conventional methods produced smaller marginal gaps [14].
Preparation of Lost-Wax Technique and Casting Method-Assisted 3-Unit FDPs.
In this study, a total of 20 3-unit FDPs, including 10 specimens that were prepared by milling of sintering metal blocks and 10 specimens that were prepared by the conventional lost-wax technique and casting method, were prepared on the same model.
Unlike the lost-wax technique, in which dental wax is melted and is prepared sequentially, blocks of material are used to manufacture the inside of the prostheses with a milling bur when using the milling method.
This fact alone makes it both more democratic and less wasteful than the predominant lost-wax technique. And then there's the energy saved by forgoing hours of kiln time: To make anything as large as his Stencil pieces the normal way, Carretero estimates, would require a 900-pound mold fired for three weeks straight at more than 1,000 degrees.
Most informative, because definite in results, is the report on the production of the pieces, including casting in the lost-wax technique, soldering, the use of gold wires and metal sheets.