GENERAL WAX CARVING INFORMATION
To produce a wax model is to give form to an idea or a sketch.
The only limitation to what you can create is your imagination.
➢ Wax models can be produced by hand using a few simple tools.
➢ Or they can be drawn and produced using a computer programme such as
JewelCad or 3Design.
The wax model can then be cast in a one-off process or it could be the beginning of
multiple copies of that exact design.
When you design and make a wax model you will need to call on your existing
knowledge of jewellery manufacture, such as-
• Metal strength,
• Wearability of the design,
• Methods of clean-up procedures,
• Linking and clasping possibilities
• Stone settings
BUT designing in wax opens up a whole new almost limitless, world of design
possibilities-
• Organic and irregular shapes
• Interesting textures
• Spontaneous shapes and surface effects
• Intricate carved patterns
Once you master the FEEL of working in wax, you will find it is a very creative
process, which can be both stimulating and relaxing.
1. TYPES OF WAXES
Waxes come in various colours, shapes, hardness and malleability. There are
numerous waxes available and new types are constantly being added to the market.
The basic methods of model production is by:
• Carving
• Build–up
• Or a combination of both
Carving waxes come in Blocks Wires Sheets & Ring Tubes
A. Carving wax qualities-
✓ Hard
✓ Durable
✓ Flexible
✓ An evenly dense consistency
✓ High melting point
These qualities allow you to-
➢ Saw
➢ File
➢ Drill
➢ Burr
➢ Cut with a blade
➢ Polish the surface
GREEN wax is very hard and allows you to carve elaborate detailed work. The
surface can be polished to a shine. It may be filed or worked with flexi –drive burrs
at high speeds without clogging.
PURPLE wax is a more versatile all-purpose material. It is more flexible and is ideal
for larger pieces and miniature sculptures. Easier to carve with a sharp blade and
when melted it becomes more flexible so the surface can be melted and worked with
a hot spatula.
BLUE wax is more flexible and if immersed in boiling water it can be bent 180
degrees. Can be filed and burred, at a slower speed, with more coarse cuts, but
some clogging will need to be removed with a wire brush or file cleaner.
B. Build –Up Wax qualities-
✓ Lower melting point
✓ More malleable
✓ Softer
These qualities allow you to-
➢ Bend and shape easily
➢ Dribble the wax
➢ Work with a hot spatula
PINK set up wax usually comes in sheets, from 0.5mm thick. It is very soft,
(especially in hot weather) and malleable but cannot be filed or burred.
INJECTING wax comes in various colours and can also be used as build up wax. It
will clog a file but can be used to build up a design then carve back with a scalpel or
hot wax tools.
2. TOOLS FOR WAX CARVING & MODELLING
Depending on the designs you wish to create, the tools required can be quite simple
and you will develop your personal preference as you practice.
• Jewellers saw with a spiral blade
• Scalpel
• Gravers
• Wax files
• Wax burrs for flexi-drive
• Variety of dental tools
• Variety of spatulas
• Electric spatulas
• Wax extruding gun
• Alcohol burner
• Ring mandrel
• Sheet of glass
• Machine oil
• Old tooth brushes
Suggestion: Keep a large” Wax tray” at your work bench to collect the wax filings
away from your metal. This tray can hold your wax tools as well.
3. TECHNIQUES WITH WAX
Caution – hot wax burns
Your only limit is your imagination. There is no point trying to make a wax
model of something that can be fabricated in metal.
You may begin with a detailed drawing, traced onto the surface of the wax or you
might just have an idea in your head and allow the design to evolve.
Keep in mind the shrinkage factor when making your model. If your model is to be
a master, which will subsequently have a rubber mould made of it to enable multiple
wax models to be produced you need to allow for at least a 10% shrinkage in the
final product. Experience will teach you how to compensate for this.
If you are doing a build–up modelling directly around a gemstone, shell, pearl etc.
lightly oil the piece before melting the wax onto the surface so it can be removed
later without difficulty, for casting.
Melted wax can be dribbled onto a cold surface or into a container of water to
achieve spontaneous shapes and effects.
Hard waxes can be cut and turned on a small lathe.
Hard waxes can be sawed, drilled and carved with flexi-drive burrs and engraving
tools.
Textures can be applied to the wax surface by hot needles, spatulas and knives,
wire brushes.
Melt-outs are accomplished by pushing a hot spatula through a wax sheet and then
quickly blowing out the melted wax.
Wax sheets can be shaped by warming over a flame or in hot water. Then pushed
or pulled into various shapes.
More wax can be added to a wax model by heating the flat spatula, touching it to
some wax to melt and gather some, then touching the hot spatula to the wax model
so the liquid wax is deposited where desired. This needs to be done quickly as the
wax cools and sets fast.
Wax sheets and wires can be fused with a hot spatula.
Wax wires can be woven or plaited.
4. ADDING SPRUES
Once you have made your model in wax you need to add what is called a sprue.
They are made of softer wax than the pattern so they will melt and flow out of the
flask first.
The purpose of the sprue is to hold the pattern in position to –
➢ Permit the wax to escape during burnout
➢ Provide the passage for the molten metal to reach the pattern cavity
➢ Provide a reservoir of molten metal for casting
➢ Properly position the wax model to receive the molten metal with a minimum
of turbulence.
• Sprues should be thick enough so the molten metal can reach all the
cavities before solidifying
• Sprues should have no sharp corners or turns so the metal is injected
without turbulence.
• Sprue wax needs to be attached to the model with a smooth lead-in or
fillet.
• Sprues need to be attached to the thick sections of the pattern.
• Diameter of the sprue needs to be as thick as the cross section of the
model to which it is attached.
• Consider the way the metal will flow into the flask and remember metal
cannot flow backwards.
• Multiple sprues should be used when a pattern has a thick section
running to a thin section and back to a thick section. They need to be
positioned so the metal flows towards all areas of the model as quickly
and smoothly as possible. The rule of thumb is when in doubt, add
another sprue.
Important note:
When calculating the weight of metal required for casting the object, the sprue needs
to be included in the weight.
Carefully consider where to position the sprue feeders
To calculate the required weight in metal multiply the weight of the wax by the
specific gravity of the metal
Metal Density
Gold 19.3
Silver 10.5
Platinum 21.4
Palladium 12.0
Copper 9.0
9ct 10.9 to 12.7
14ct 12.9 to 14.6
18ct Yellow 15.2 to 15.9
18ct White 14.7 to 16.9
22ct 17.7 to 17.8
Sterling Silver 10.2 to 10.3
950 Platinum 20.1
The next exciting part is seeing your wax masterpiece turned into metal.
That is the next step in the process of LOST WAX CASTING.
(Videos of the casting process are available in the Jewellery Training Solutions video library)
