Smooth - On Newspaper

Smooth Talkin’ 2003 - Volume 1

WHAT’S NEW IN RUBBER AND PLASTIC

www.smooth-on.com

Simply Smashing!

SMASH! Plastic breakaway glass smashes it’s way The World’s Largest Resin Casting? Possibly. Cr ystal Clear R esin? esin Most Definitely. Page 10

ces a F any Louis M e uy Th e5 Of G Pag

into the guiness book of world records with this scene from the latest James Bond Movie . . . Page 3

impossible . . .

DragonSkin Page 6

What Else Is Inside? • Tripping The Light FOAM - tastic . . . . . . Page 4 • Seeing Where You’re Going: SORTA Clear . . . 6

PoYo Putty

• Lower Prices On Mold Max Silicones . . . 8 tm

Mix & Apply By Hand

• Stretching The Platinum Silicone Line . . . . . . 8 • Casting Options with Flame Rated Matrix NEO . . . 9 • Crystal Clear Resins: Where Do You Want To Go? 12 • TASK Plastics Enhance Sight & Sound . . . 13 • New Additions: TASK 12 & Feather Lite . . . 14 • New Flame Resistant Plastic & Foam . . . . . 15 • Mix It Up: Protect Your Rubber Investment . . . 16 • Model Most Dead: Seminar Fun Facts . . . 17

Goes To Ground Zero Page 7

• The Pros: Mold Makers & Casters Do It for You . . . 18

EZ Spray System

• Pour-It On

• Spray-It On •Brush-It On • Apply By Hand

Smooth-On Has

Your Mold Rubber ReoFlex Urethane Rubbers tm

are “next generation” mold rubbers for casting plaster, concrete, wax, etc. Available in “wet” or “dry” consistencies, ReoFlex tm rubbers are easy to mix & pour. Hardness options:

The EZ Spraytm Machine is used around the world to spray rubber & plastic. Make large molds & shells quickly or many molds quickly. Coat styrofoam or do meter mixing Save time, labor & material costs.

20A 30A 40A 50A 60A Softer

Harder

Get Your Free Video Today! CD-ROM or VHS Get The Most Out Of Your Production Mold. ReoFlex tm is available in “wet’ or “dry” consistencies to maximize mold life.

Brush-On 40 Brush-On 50 Brush-On 60 tm tm tm

Holds a vertical or inverted surface better than any other mold rubber, yet reproduces very fine detail. Molds are incredibly strong and are great for production casting of Matrix, gypsum, concrete,etc. Used by restoration pros around the world!

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Mix & Apply-By-Hand Mold Putty . . . The Fastest, Easiest W ay Yet To Make Molds No mess silicone putty. Mix by hand and apply on site. Rubber cures in minutes and has good tear strength. Cast resins, Matrix NEO, wax, etc..

Max d l o M nes Silico

New Mold Max Silicones (10A - 40A) feature high tear strength and are great for production casting of resins, plasters, etc. Above: Reproducing 300+ year old frame with soft Mold Max 10. Casting made from Matrix NEO. Perfect Detail Reproduction!

Toll Free: (800) 762-0744 for technical help & your nearest distributor

www.smooth-on.com Fax. (610) 252-6200 * Easton, PA. 18042 USA

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Glass Take r e b b u R d n A c ti s la P New SMASH! 0 7 Film. 0 d n o B s e m Ja t s te The Lead In La tt er. er. no t ha ve be en be tt Bond film, Th e ti m in g co ul d st James other Day”, the late An ie “D ic of ot pl e Th filmed in an arct

the scenes to be sequences called for many of re looking for action we s er ak m lm Fi t. environmen included ice e environment” that to take place in an “ic The only ice accessories, etc. e, ur pt ul sc ice , re itu e arctic, furn not being filmed in th re we es en sc e Th : problem on. ios just outside Lond but at Pinewood Stud ate chance in the moder a ve ha t no d ul wo d with the Ice artisans were charge cts fe ef l ia ec Sp e. at UK clim orate A Real Breakthrough - James Bond’s car smashes through ice eating the film’s elab task of somehow cr own palace doors in “Die Another Day”. SMASH! Plastic made this and ted effects using kn “ice palace” and rela other spectacular scenes in the film possible. This scene was a . record-breaker; for details, visit www.guinnessrecords.com material technologies Die Another Day © 2002 Damjaq, United Artists Corporation. All rights reserved.

This being a James Bond film however, meant that elements would be smashed to pieces on a grand scale in the 007 tradition. Using conventional breakaway plastic products for such scenes could have posed a problem because they are difficult to work with. Needing to be heated to 350°F/176°C in order to use them, the working time on these products is short and unpredictable. In addition, the odor is horrific and handling cured pieces results in a high breakage / waste factor. Enter SMASH!™ SMASH! Plastic It was about that time that SMASH!™ Plastic breakaway glass made its way onto the special effects scene, and Bond effects artisans put it to immediate use. SMASH!™ is easy to use and cures at room temperature. It has no odor, offers a good working time and No Hassle SMASH! Plastic Effects cured elements are easier to Easy to mix and pour, cures to a water clear plastic that smashes like glass. handle. Cured material looks A SMASH! Plastic window pane shatters as it and breaks just like glass and is should, and the subject remains unharmed. Great for making bottles, panes, vases, etc. used to make window panes, Follow directions carefully before using. bottles & other glass/ice effects. It is easily color tinted or pigmented with SO-Strong™ tints. In total, over six tons of SMASH! were used to create the smashing ice effects for this Bond film, including a record-breaking scene where 007 drives his Aston-Martin Vanquish through the huge ice palace doors. What’s Next? SMASH!™ was used (or is being used) for such films as “Tomorrow Is Another Day” (Canada), “X-Men II” and “Harry Potter III “ Rubber Glass is easy to use and (U.K.), “Terminator III” (Hollywood) and “Barkari Bakash” (India). crumbles to look like broken glass or ice. Broadway shows using SMASH!™ for each performance include “Stomp” Use to finish the effect of an actor going through a window - they land on the and “The Goat”. ground and roll in Rubber Glass Finishing The Ef fect W ith Rubber Glass - Over 1.5 tons of Rubber Glass were used in “Die Another Day”. Any time you see an actor in proximity to glass, it is in fact Rubber Glass that is being used to create the effect. Rubber Glass was first used in the “Star Trek: The Next Generation” series and has been used in films like “Godzilla”, “The Matrix”, “Spider Man” and in commercials for Coke and Budweiser Beer. Mix two liquids in equal amounts and let cure to a soft, water clear rubber. It is then easy to crumble and use for any glass or ice effect.

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Tripping The Light Foam-T Tastic! Long regarded as the premier supplier of props to Broadway shows in New York City, Prism Production Services (Rahway, New Jersey) is developing a reputation beyond Broadway as a can-do fabricator that can deliver an array of creative mold making and casting services for feature films, displays and themed environments. Example: Prism artisans have perfected a technique for making incredibly detailed food items for such Broadway productions as “Oklahoma”, “Into The Woods” and “Flower Drum Song” using Flex-Foam-iT! V flexible foam. Cast in Mold Max 30 silicone rubber, Believe It Or Not - everything you see in these photos is Flex-Foam-iT! V foam. Prism’s foam-casting methods generate SO Strong pieces that are so true-to-life that you absolutely can not tell the difference tints used to pigment between finished castings and their foam to real-food counterparts. tm

Bon-Apetit - FlexFoam-iT! V perfectly pigmented & textured to look like bread. Used in the “picnic scene” in “Oklahoma”. Below: FlexFoam-iT! Plate of Lo Mein used in “Flower Drum Song”. www.prismprops.com

make ribs www.prismprops.com for “Flower Drum Song”.

Expanding The Line - Fant astic! Prism’s material talents only begin with foams. They are masters at creating magic with Smooth-On silicones, urethane rubbers and plastics. Smashing On Broadway - Sally rampage in each performance of items (including the above vase) SMASH! Plastic cast with color,

Fields goes on the “The Goat”, smashing that are all made of fillers or clear.

Above: SMASH! is rotationally cast into MoldMax 30 vase mold.

The Wrath Of Sally - SMASH! Plastic vase smashes on impact for each and every performance.

Casting Rigid Or Flexible Foams? Use A Release Agent Made Especially For Foams. If you’ve ever worked with castable foams (FlexFoam-iT!tm flexible foams or Foam-iT!tm rigid foams), you probably know that they are adhesive in the extreme, meaning that they will stick to just about anything including some silicone rubbers. ~Use nothing to release the foam from your form or mold, and you risk adhesion. ~Use a silicone-based release agent and your foam will collapse.

What Are Your Options? Mann Release Agents offers two products made specifically for releasing foams from most surfaces. Ease Release 1700 is a convenient aerosol that is easy to apply. Make sure you spray onto your mold surface, brush the release agent over all surfaces that will contact the foam and follow with another spray application. Ease Release 2831 comes in liquid form and can be applied with a brush. Both will release your foam castings with out collapsing the foam or affecting surface detail. Get More Life From Your Molds - Production casting of foams will also burn out silicone or urethane molds relatively quickly. Using ER 1700 or ER 2831 will significantly extend the production life of your molds. For your nearest Mann Release Agents distributor, visit www.moldreleases.com 4

The Many Faces of

Guy Louis XVI

If you were to encounter a Guy Louis XVI original mannequin and tried to strike up a conversation unaware that the figure was not human, you would not be alone. It is simply impossible to readily discern that Guy’s figures are not alive. Even after tweaking the nose, touching the skin or looking deeply into the eyes. His creations are so unnervingly perfect Material know-how - Hedy Lamarr that they will give you chills as you touch the soft silicone model made of Dragon Skintm over a skin and silky hair or marvel at the delicate veins in the plastic eyes. In the Flexfoam-iT!tm V foundation. arena of 3-D figure modeling, few can rival the Guy Louis XVI SFX located Guy has developed his own process in Ottawa, Canada. The extreme realism of his creations has gained him for making eyes from Crystal Cleartm 202 that are so real, they are impossi- international notoriety. Guy is self-taught and developing his technique over ble to distinguish from real eyes. a number of years has taken a great deal of patience, being accomplished mostly through trial and error. Guy’ s quest for detailed perfection is reflected in each creation, and the state of his craft has reached such heights th at his mannequins are highly sought after by private collectors and museums from around the world including The Canadian National Museum, Canadian War Museum (which has more than 20 of Guy’s mannequins), Civil War Museum in Fort Jackson, South Carolina and many more. In addition, Guy has created special effects pieces for movies and does prop assignments for corporations. Maintaining A Material Edge - You can’t get this far without an intimate working knowledge of the materials that you depend on to make perfect, true-to-life creations.

“The Oarsman” full-size figure on display at Founder’s Hall in Charlotte Town, Prince Edward Island is painted Matrixtm NEO. Eyes are Crystal Clear 202. Hands are Smooth-Cast 327.

“I am constantly approached by material suppliers to try their latest, greatest me-too product and always end up using Smooth-On. I can’t afford to take chances and need the best materials that I can get my hands on. They must work the same every time with no surprises. -Guy Louis XVI

The internet has brought Guy’s creations to the world & his backlog is currently months out. Guy’s website is an eye-opening experience.

Above: Full-size Johnny Carson figure for Johnny Carson Exhibit at Elk Horn Museum in Norfolk, Nebraska. Skin is made of painted Dragon Skintm silicone rubber over a foundation of Flexfoam-iTtm V. Eyes: Crystal Cleartm 202 plastic.

Below: Dragon Skintm silicone plays a major role in many of Guy’s projects. Heart “training aid” is finwww.louisxvimannequins.com ished for medical device company & kidney scar was made for an upcoming movie. “Dragon Skin’stm versatility let’s me go in 100 different directions. It is a workhorse.”

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Ready . . .

Dragon Skin

Set . . .

Dragon Skin is a very soft, incredibly strong silicone rubber that is used to make skins for animatronic movie & theme park creatures. It will stretch many times its original size and rebound to its original shape great for repetitive motion applications. Dragon Skin & Dragon Skin Q (faster cure version) - with a 1A:1B by volume mix ratio, they are easy to use and cure quickly to a water-translucent rubber. Dragon Skin really resists wear and tear, and is also used for orthotic and orthopedic applications. And, of course, you can make soft, long-lasting molds with Dragon Skin - poured or brushed on. Limitless Color Possibilities . . . Add Silc-Pig color pigments to Dragon Skin to make a paint that will adhere to cured Dragon Skin . Your colored Dragon Skin creation will bend & flex with no sign of peeling or cracking. Great for repetitive motion animatronics, colormatch orthotics, etc. tm

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Soft, Stretchy & Bounce-back Indestructible

Seeing Where You’re Going Can Make All The Difference. “SORTA Clear ” Helps You Find Your Way. tm

With a combined mold making and casting experience of over 35 years, fossil hunters Nelson Maniscalco and Marty Shemella are highly skilled in reproducing detailed fossils and skeletons. They continue to make molds and castings for museums around the world and more than a few of their bronze dinosaur skeleton castings reside in the collections of such notable celebrities as movie mogul Steven Speilberg and horror author Steven King. Both Maniscaclo and Shemella are currently part of the teaching staff at Cedar Crest College in Allentown, Pennsylvania, which boasts a well appointed and growing foundry where a variety of metals are cast including bronze, copper, iron, gold, silver and platinum. Students fortunate enough to have one or both of these learned men as instructors learn the finer points of mold making and casting. Maniscalco and Shemella recently evaluated Smooth-On’s new SORTA Clear translucent platinum silicone and both came to the same conclusion that “it is unlike anything currently on the market”. tm

SORTA Clear is mixed 10A:1B by weight and should be vacuumed before pouring over a model. It cures overnight to a Shore 40A and offers very high tear strength and surprising physical properties. SORTA Clear silicone is good for prototype mold making, making jewelry molds (lost wax process) and other applications where extracting an original from the mold is done using a razor knife and clarity is required to see where you are cutting. What’s So Special About SORTA Clear ? According to Mr. Shemella, “I’ve tried a variety of “clear-cut” silicones including Rhodia and the Shin Etsu KE1310. The SORTA Clear is incredibly strong, but cuts like butter - easier than anything I’ve tried. It is also very precise, with absolutely no shrinkage and no distortion. I have virtually no seam lines, which means no post-casting clean up, which saves time.” SORTA Clear trial kits are available from your Smooth-On distributor or on-line at www.smooth-on.com. Marty Shemella uses tool to manipulate the model in the liquid SORTA Clear rubber.

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Mold Putty Goes To Ground Zero To Rescue Architectural Ornaments.

Constructed in 1924, The Verizon Building proudly stood in the shadows of The World Trade Center until September 11. When the Twin Towers collapsed, the Verizon Building sustained heavy damage including intricate hand-carved ornaments that adorned the building’s exterior. Restoring these ornaments was a priority and designer/restoration pro, Bob Carpenter, was given the go-ahead with the expectation that the job would be done quickly. Work-in-progress: views of the Verizon Less Than Favorable Conditions: It was Building restoration from a distance (left) and close-up (above). mid-October by the time support structures were in place and work could proceed safely. However, anyone who makes molds knows that cold weather will prevent most mold rubbers from curing. The outside temperature at ground zero in October was about 50°F/10°C during the day - colder at night. The temperature of the stone elements to which mold rubber would be applied was no more than 40°F / 4°C. Mr. Carpenter tried a few mold products that did not cure in the cold. He then called Smooth-On and was turned onto PoYo Mold Putty, a mix-andapply-by-hand silicone. With PoYo , there is NO MESS, weight measuring, containers, mixing sticks, etc. Carpenter brought only the PoYo kit to the Verizon site with hopes that it would work - time was now short. He applied PoYo and within minutes had an exact mold negative of the positive ornament. The rubber was fully cured and strong. And the rubber released without any surface preparation. His next call was to Smooth-On to get enough PoYo to finish the job. In the end, 35 molds & “We were working in a war zone support shells were completed in a needed to get in, make molds and get Above: Others mixed PoYo while Carpenter short period of time - sizes ranged out. PoYo Putty did the job for us from 2’X3’ to 6’X6’. applied it to sections of ornament (left). where others failed and I am happy to Demold (right) was in a matter of minutes. -Finished Castings Were Perfect. endorse it.” -Bob Carpenter, Designer tm

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Be T he P oYo - H ow T o M ix & A pply - People who have discovered PoYo Putty love its no-mess tm

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convenience and on-the-spot usability. But PoYo can be tricky to mix and apply until you get used to it. Here are a few tips to help you make your own PoYo molds. Quick - Go Mold A Tree! tm

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1. Roll a golf-ball size amount of Part A Putty in your hand.

3. Fold Part A around 2. Flatten putty and add Part B until putty is a marble-size amount of uniform pink color. purple Part B paste. 5. Add PoYotm as needed care is taken to marry new material to old. The goal is to minimize layer seams.

4. Press rubber into detail.

6. A PlastiPastetm support shell is applied. 7. NEOtm is pigmented and cast.

An Exact Reproduction!

PoYotm was mixed & applied to capture tree bark detail without any surface prep. Mold was removed in 30 minutes. SC 320 resin with black pigment gave a perfect bark copy.

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! G N I ax H er M C t t d l A C H On Mo Even Be tm

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n es c A i r w P o r N e Low Since introducing Mold Max

tin cure silicones, they have been selling as fast as we can make them. Available in Shore 10A, 20A, 30A and 40A, Mold Max offers users a silicone value; good physical properties, good chemical resistance and high-tear strength at a good price. We’ve also been told that, unlike other silicones, they are also consistent from batch to batch - you know what you are going to get every time you use them. Mold Max™ silicones are used around the world for casting waxes (low and high temperature) low melt temperature metal alloys, resins (polyester, urethane & epoxy), plasters, concrete, soap, etc. tm

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Performance At An Even Lower Price - We recently lowered the price of the Mold Max line, making them the lowest cost “high-tear” silicones available anywhere. You also have the option of: •Brushing-On To Vertical Surfaces - Add Thi-vex Thickener •Accelerating The Cure Time - Use Fast-Cat Accelerator tm

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(reduce cure time to as little as 30 minutes, if you like).

•Lowering The Viscosity For Faster Vacuuming & Easier Pouring Mold Max 30 with Thi-Vex thickener -Add Our Silicone Thinner used to make a brush-on silicone mold •Pouring Over Sulfur-Clay - Mold Max 30 With Safire Catalyst of this complicated model. tm

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St retching The Platinum Silicone Line Platinum silicones are premium rubbers that give the longest production and library mold life (30+ years). For some applications, there simply is no substitute for a platinum silicone rubber. For example, platinum silicones are the best for production casting of low-temperature-melt metal alloys (such as tin). High tear strength, chemical and abrasion resistance, highest heat resistance . . . you name it and platinum silicones have it. But, as you know, platinum silicones are expensive and you must be very careful during processing, as they are susceptible to cure inhibition. Smooth-Sil platinum silicones have been well received by prototype designers, spincasters and large companies casting concrete and polyester resins. Candle makers casting parafin waxes also use platinum silicones to stand up to high production temperatures. The Smooth-Sil platinum silicone line now features Shore 10A, 20A, 30A and 45A durometers and cost less than other platinum silicones. tm

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Need To Add Some Color? Turn To The Pig . . . With the introduction of our Dragon Skin soft & stretchy silicone (see page 6), we have had requests for a way to color silicone rubber and are pleased to introduce SILC PIG PIGMENTS. Silc Pig color pigments will color any Smooth-On on silicone rubber, tin or platinum based. They disperse uniformly and are cost effective because a little goes a very long way. Silc Pig is available in: 1. Red 2. Yellow 3. Green One drop of Silc Pig “Skin Tone” 4. Blue 5. Black 6. Brown color was all that was necessary to 7. Flesh Tone (Beige) 8. White tm

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A Wise Investment - Davis Collectables changed from tin-cured silicones to Smooth-Siltm 945 and now gets over 200 polyester castings out of their molds vs. 50 from tin silicones. “The Smooth-On platinums have really paid for themselves.”

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color Dragon Skintm silicone rubber.

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A New & Versatile Casting Medium . . . Easy-To-Use, Non-Toxic and Flame Rated Matrix NEOtm is an easy-to-use gypsum-based casting system that is much stronger, dimensionally stable and far more weather resistant than ordinary gypsum plasters good for interior or exterior applications. NEOtm can be cast solid into a mold or you can add Matrix Glasstm chopped fiber for hand-lay-up to create thin, lightweight elements that you can literally hit with a hammer. NEOtm is a two component system that is mixed 2 parts powder (Part A) to 1 part liquid (Part B) by volume (no weighing scale necessary). Mix by hand or drill mix(with squirrelcage mixer). NEOtm has no odor and is used for some applications as a non-toxic, less expensive alternative to polyester, urethane or epoxy resins.

Where Do You Want To Go W ith NEO ?

NEOtm is so versatile, that it would be easier to list things that you can’t do with this material. NEOtm can be color pigmented with powder or liquid pigments. Castings can also be painted with acrylic paints. You can mix any filler with NEOtm to create a variety of casting effects including faux marble, granite, limestone, etc. effects. Realistic cold cast bronze (or brass, copper, etc.) effects are achieved by adding metal powders. tm

Applications -

Casting solid into a rubber mold, NEOtm is used to reproduce sculpture and other creations. Architectural restoration pros have discovered the versatility of this product for creating elements that are “hand-layed up” using Matrix Glasstm - lightweight and strong. Brush-On Mold Reinforcement? Adding Matrix Glasstm chopped fiber to NEOtm - make, mother molds that are easy-to-handle (lightweight) inexpensive and virtually indestructible.

Use The UL Flame Rating To Your Advantage -

NEOtm is officially recognized by Underwriter’s Laboratories as a flame rated product. The UL certification is the highest flame rating certification obtainable in the US and Canada. Thanks to the UL Cert., NEOtm satisfies New York City’s tough fire building code requirements and has been used to make public architectural ornaments and on Broadway for stage and set construction. To view the Underwriter’s Lab Certification, go to: www.ul.com

Attention Concrete Casters: Matrix-C Added To Your Concrete Mix Can Make All The Difference. tm

Matrix-Ctm is a polymer additive for concrete that greatly enhances freeze/thaw, chemical and UV resistance. It eliminates the need for a 7-day post cure and reduces water/salt absorption, thereby eliminating microcracks in concrete castings. Adding Matrix-Ctm greatly improves surface finish, and makes castings much stronger. Perfect for GFRC - add Matrixtm Glass to make concrete elements & building facades that are lightweight and structurally very strong. See The Difference . . . Restoration pro, Dave Flaherty, brushes a “gel coat” of NEO into a mold cavity. Backed up with NEO soaked Matrix Glass, the castings are thin, incredibly strong, lightweight and fireproof.

Without Matrix-Ctm

With Matrix-Ctm

Adding Matrix-C tm to concrete makes dramatic difference in surface finish. Casting on the left is regular concrete. Matrix-C tm casting is on the right. “Our investment in Matrix-C tm is returned 20-fold. Our castings (concrete architectural elements) look much better and breakage-in-transit is down to 0”. -Percio Torraca, Torraca Construction

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1. The fourth plinth pedestal featured “The Tree Of Knowledge” sculpture prior to Ms. Whitereads creation being installed. Her vision: an inverted plinth cast in clear resin.

At Over 12 Tons, The World’s Largest Resin Casting? Possibly. Rachel Whiteread is considered by many to be Britain’s greatest creator of public sculptures, with museums and collectors always competing to buy her work. Past projects have been described as “incredibly ambitious” and are almost always controversial. Her decision to contribute a creation to Trafalgar Square’s vacant Fourth Plinth was very exciting and yet posed an array of logistical, material and engineering challenges. Part of Ms. Whiteread’s motivation for doing this project is “to do what, quite simply, has never been done before”. Backgound - Trafalgar Square is one of London’s top tourist destinations known for its open spaces, crowds and pigeon population. The Square is bracketed by four plinths, or pedestals. Three of the plinths support individual sculpture pieces significant to Britain’s past. The Fourth Plinth has remained vacant for over 150 years due to an inability to agree on what, if anything, should reside there. The Royal Society of Arts recently opened the space for a limited time to support the works of three British artists.

2 2. Artist, Rachel Whiteread, stands near the “maquette” mold used to make test castings prior to the “big pour”.

Ms. Whiteread’s vision for the Fourth Plinth was to offer “a pause - a quiet moment” in the bustle of central London by creating an inverse representation of the plinth itself, cast in a water clear see-through plastic. Largest Resin Object Ever Made - with Ms. Whiteread aiming for an entry in the Guinness Book Of Records, the final casting was to be over 12 tons of resin. This posed a considerable problem in that existing resin formulations of this type gave off a tremendous amount of heat during the curing process, which meant that there was a risk of such a large casting cracking and/or distorting.

Smooth-On chemists formulated a special “mass cast” version of it’s Crystal Clear water clear resin that would not crack or distort, just 3 for this project. After creating several “small scale” maquettes (each 3. Michael Smith Studios (London) is where all of maquette was several hundred pounds of material) to test the nature the action took place. Two molds made of of the final resin formulation, it was time to “scale up” to the large aluminium and steelwere fabricated, each with an pour. tm

inner core and outer wall.

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The Crystal Cleartm resin was cast into the space between the core and the wall (cavity) of each mold resulting in two hollow castings.

Dimensions Of Final Assembled Casting: 16’ L x 8’W x 16’H (4.8m x 2.43m x 4.8m) Weight: 24,680 lbs. 11,195 kgs.

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Crystal Clear Resin? Most Definitely. tm

Uncharted Casting Waters: A Lot At Risk: There could be only one attempt at making this massive pour which was why planning was so important and took over 1 year. Mold engineering and casting were done by Michael Smith Studios (Britain’s top art fabricator). Peter Turnock of Bentley Chemicals (Smooth-On’s representatives in The U.K. tel. 156 251 5121), kept material aspects on track by coordinating communications between parties. In addition to providing the new resin product, Smooth-On also provided equipment used to process the material, as well as on-site technicians to assist with the pour. Once the actual mixing and pouring began, everyone was on high alert looking for signs of trouble. The only glich: It was soon evident that volume estimates were short and more material was needed, which could have meant disaster for the project. And how did it turn out? We will close this chronology with a quotation from Ms. Whiteread in an article from “The Independent”, a British newspaper:

4 4. One of Smooth-On’s vessels (10,000 lb. capacity or 4,536 kgs.) made the trip across the Atlantic for just this pour. Crystal Clear resin (Parts A & B) was pumped from drums into the mixing vessel where it was mixed and vacuumed prior to being dispensed into the mold cavities.

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“Doing What Has Never Been Done Before” - The Reality Sets In Ms. Whiteread states that, “I think it is remarkable that we have done it, got this far. I’m totally amazed we have achieved the engineering possible to make this volume of material work. And we ran out of material and had to have it shipped from America. They (Smooth-On) manufactured it and got it to us very quickly. I couldn’t ask for more”. 5. Revealing Moment - Rachel Whiteread’s face Quotes take from an article published in “The Independent”, May 2001

Very Clearly, “A Pause . . . A Quite Moment in the bustle of Central London .” “Monument” is an inverse representation of the plinth pedastal upon which it rests.

tells exactly how well the Crystal Clear plastic cured following demolding.

6 6. Peter Turnock of Bentley Chemical gives “thumbs up” next to newly demolded castings. 7. The unveiling of “Monument” in Trafalgar Square drew the curious, the critical, celebrities and sculpture admirers from all over the world.

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Th e Industrial Side Of The Cryst al Clear Series tm

Crystal Clear Resins (CC200, 202, 204, 206) have been used for years to create water-clear sculpture castings (see “The Plinth”, previous page). But these resins are also used to make prototypes and industrial design / display castings all over the world. A recent Crystal Clear industrial application involved Ford Motor Company’s restoration of “The Red Buses Of Glacier Park” in Montana. The fleet of 33 buses, originally built in 1930 to transport tourists through Glacier Park, fell into a state of disrepair and was retired in Above: Veterinarian 1999. Ford contracted TDM training aid. Middle: Encapsulated key for Company (Livonia, MI) to do New York City store window display made by the work and they used Rocca & Noto (New York) Right: Kartel Spa Crystal Clear plastic to make (Italy) makes Crystal Clear tables. replacement lenses and corner lights for the buses. Allen Millisor of TDM used Crystal Clear resin and Mold Maxtm silicone rubber to Allen Millisor shows off cast the pieces stating that, “these materials helped us his Crystal Clear lenses cast from Mold avoid expensive tooling on the Max 30 molds. project”. tm

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An Addition To The Crystal Clear Line Introducing Crystal Clear 220 tm

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We have recently had requests for a harder version vs. our existing clear products that also offered a higher heat distortion temperature for prototyping and other applications. Crystal Clear 220 is a harder addition to the Crystal Clear line (Shore 85D vs. 80D) and heat curing / post curing is recommended. Like our other Crystal Clear products, CC 220 is UV resistant. Because this is a heat cure product, the heat resistance of finished castings is higher (heat distortion temperature of (212°F / 100°C). Because it is harder, it is easier to precisely machine and polish (remove scratches). You also get less “suck back” and shrinkage with this product vs. other clear products. Casting thickness maximum is about 4 cubic inches (65 cm3). The mix ratio is 100A:75B by weight. Vacuum degassing or pressure casting to eliminate bubbles is recommended. As with our other Crystal Clear products, silicone molds (Mold Max silicones work well) must be thoroughly cured before casting Crystal Clear to avoid cure inhibition. Like all aliphatic resins, proper ventilaOliveras Lighting Co. in tion and a NIOSH approved respirator Chihuahua, Mexico, is recommended when using. supplies hotels and tm

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casinos with custom lighting. For this chandelier, they use Crystal Clear 220 to cast individual leaves that come together to create lighting magic.

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“Being able to cast our own clear elements has been very big for us. We’ve developed an entire chandelier line around the Clear 220. Other resins we tried wilted in the heat or shattered in transit. We haven’t found better.” -Jose Oliveras, President

Taken To Task - New York’s Museum Of Natural History’s Display Of DNA Code David McCornack’s average workday is filled with creative challenges that would cause lesser moldmakers or casters to simply throw up their hands and walk away. David is a creative contributor to the Museum Of Natural History’s (NYC) fabrication shop and, as such, considers such challenges part of the job. He specializes in creating museum-quality marine inverterbrates, but is called on to deliver a variety of casting creations to the exhibition floor. This poses not only design challenges, but material challenges as well. “The Genome” exhibition called for McCornack to design, mold and cast a floor-to-ceiling DNA chain (14 ft. - 4.25m) that met museum standards for eye-catching appeal and safety. The finished casting had to withstand impact, wear & tear and other variables associated with being exposed to thousands of visitors daily. To make the casting, McCornack chose TASK 10 liquid plastic for a few reasons. First, the casting (ranging in thickness from 3/8” to 1”) had to be structurally strong enough to support its suspended weight. Second, TASK 10 not only reproduces exact detail, but Above - Host To Thousands . . . allows exact color matching. TASK 10 is a neutral clear amber and readily accepts color tints and fillers. A giant banner welcomes visitors to the museum’s “Genome” exhibit. McCornack got exactly the look he wanted with no Mr. McCornack’s DNA chain cast in surprises, and Genome opened on time to the delight of thousands of “people-tough” TASK 10 Resin was museum patrons. TASK liquid plastics are Smooth-On’s performance line an exhibition success. of resins and feature superior physical properties, higher heat resistance, etc. Visit www.smooth-on.com for (vs. the Smooth-Cast line of general purpose casting resins). more info. on TASK. tm

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TASK 4 Is Music (& Money) To The Ears Of Long-T ime Antiques Collector - Shortime Moldmaker / Caster. tm

Christov Curystanos has been collecting antiques for years. His passion, however, is collecting old 78 RPM records, not only for the market value, but for the music. An avid fan of swing, big-band and other genres long past, Mr. Curystanos has quite a collection and has always wanted to share some of his rare titles with friends. Problem: Many of these titles are one-of-a-kind and very valuable - not easily loaned or shipped without risk. Answer: Mr. Curystanos attended a Smooth-On moldmaking and casting seminar (see page 17), and was soon making his own molds and castings at home. “The process was actually quite simple. That expanded into “Ecos Castings” 2. 1. 78’s are nothing more than detailed wax and a 3,000 sq. ft. facility - the rest is pressings and the mold rubber copied it beautiful music. Switching from tin-siliperfectly. But when we made the casting cones to Smooth-Sil 945 platinum and played it on my Victrola, the sound silicone to make his molds, Curystanos shocked everyone in the room”. has improved his mold yield from 40 -Christov Curystanos, Ecos Castings 2- Smooth-Sil 945 is 1- Original 78 record castings to over 300 per mixed, vacuumed and is secured in a box. poured over model. mold. And TASK 4 5. plastic is ideal because 4. “it is unbreakable and my records last far longer 3. than the original 78’s - you can 3- Next day, the drop them on the floor a rubber mold is 4 - TASK 4 is mixed 5- The TASK 4 casting is removed from the dozen times and they with SO Strong black 6. Perfectly . . . Everytime. model, reflecting removed from the mold and each groove and even tint, poured into the don’t break”. Mr. placed on a Victrola turnstile the imprint from the mold and allowed to . . . does it actually play? Curystanos began in 1999 and sales in 2002 were label. cure. over $250,000. Curystanos declined further notoriety in Smooth-Talkin’ stating, “I don’t need it - I’m selling my records as fast as I can make them now”. tm

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A Urethane Plastic That Floats? Introducing Feather Litetm Feather Litetm is a heavily filled, low-density urethane casting resin. As the name implies, it is lighter than other casting resins - so lightweight that it actually floats in water. Parts A and B are heavily filled and separate in their containers. Both sides need to be pre-mixed Rising To The Top - The Feather Lite casting before use. It has a 1A:1B mix ratio, 8 minute floats in water above other resin castings that sink - a variety of application possibilities. pot life and roughly a 2 hour demold (depending on mass). Cured plastic is strong and can be carved, machined, drilled, sanded, etc. Feather Litetm can be pigmented with SO Strong color tints and finished castings can be painted. Uses: Feather Litetm is being used by fishing lure manufacturers to make castings that float. It is also being used to make lightweight model castings (i.e. model planes Seeing The Lite Cast in “normal” and cars). Feather Litetm is also being used to make lightweight mother molds/support urethane resin: 8.2 shells for rubber molds. Don’t Try This At Home: Some students at the University Of lbs.(3.7 kgs.) Cast in Buffalo discovered Feather Litetm in time for the 2003 do-it-yourself collegiate canoe race Feather Lite: 5.1 lbs. (2.3 kgs.) and cast a full size canoe - reinforced with Foam-iT IIItm Rigid Foam - worked great! Compare The Yields - Feather Litetm Costs Less To Use: Feather Litetm yields 41 cubic inches per pound vs. 25 or 26 cubic inches per pound for other plastics. This means that, in a cubic inch per pound comparison, Feather Lite costs less and will lower your cost per casting. tm

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Performance At A Lower Price W ith TASK 5 & 6 tm

TASK 5 & 6 are urethane casting resins that deliver performance at a lower price. For those of you first tuning in, the TASK series of casting resins has better performance properties than our Smooth-Cast line of general purpose casting resins. Both cure to a Shore 80D and have good physical properties. They are slightly filled and have a higher viscosity vs. other TASK products, but they are less susceptible to moisture (humidity) contamination than unfilled resins. The main difference between the two: TASK 5: 3 minute pot life and 15 minute demold. TASK 6: 7 minute pot life and 75 minute demold. tm

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Less expensive than other Shore 80D tooling resins - TASK 5 & 6 are at least 20% less expensive than other TASK resins and are used for many fast prototyping and tooling applications. tm

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Technical Bulletins For Any Smooth-On Product Are Available at www.smooth-on.com

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A High-Impact Addition To The TASK Line Of Performance Resins TASK 12 is the newest addition to our line of performance tooling resins and is now our toughest semi-rigid plastic - highly resistant to impact and physical shock. In the past, companies have resorted to adding MOCA (which is known to cause cancer) to attain superior physical properties in these types of resins. TASK 12 achieves these properties without MOCA and cures at room temperature (no heat curing required). Mix ratio is 100A:44B by weight. Pot life is 20 minutes and cure time is overnight. Color is clear amber - great for color tinting. Semi-rigid hardness: Shore 60D. tm

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Beat me, abuse me, throw me against the wall . . . So far, TASK 12 has been used to make highimpact mechanical parts for the military. Also used to make prototype models and for casting “designer” furniture. tm

PK Models (Wilmington, NC) uses TASK 12 and Mold Max 30 silicone to make prototype parts for military applications.

Putting Out The Fire With . . . Flame-Resistant Plastic Formula 79-206FR is a flame resistant urethane resin that surpasses UL 94V-O flame rating. It features a convenient 1A:1B by volume mix ratio, has a pot life (working time) of 30 minutes and cures at room temperature - ready to be demolded in 4 - 6 hours (depending on mass). This product has a low viscosity (400 cps) that ensures easy mixing and minimal bubble entrapment. 79-206FR cures to a strong rigid plastic with very low shrinkage, and can be machined, drilled, etc.

Flame-Resistant Foam Flame-Out 7 TM Rigid Foam is, as it sounds, a 7 lbs/ft³. density rigid foam that is flame resistant. The mix ratio is 1A:1B by weight, it has a pot life of 45 seconds and is tack-free in 10 minutes. Like our Foam-iT! rigid foam products, Flame Out 7 exhibits high tensile, shear strength, and good impact resistance. Cured foam can be machined, drilled, sanded, etc. and can be painted or stained for wood grain or other decorative effects. TM

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Flame Out 7 has been tested in accordance with ASTM E84-90 Standard Test Method for Surface Burning Characteristics of Building Materials. Flame Out 7™ scored a Flame Spread Index of 20 and Formula 79-206FR is suitable for a variety of casting applications including making flame resistant a Smoke Developed Index of 225. It qualifies for a prototype parts, models, architectural elements, Class 1 / Class A theme park and stage elements and more. rating. Flame Out 7 is being used for making flame resistant architectural Applications for our flexible foams range from military elements columns, wall panels, etc.), facades to industrial to hobby and more for theatres and (see page 4). amusement parks. We recently encountered a special effects application that called for a lower density flexible foam with a "softer feel" than our FlexFoam iT! V (5 lb. flexible foam). FlexFoam iT! lll is a 3 lb. There are not many UV resistant plastics on the density flexible foam with a market because true UV resistance is one of the holy softer feel than its FlexFoam iT 5 grails of the urethane industry. Put your standard and 10 lb. counterparts. white urethane plastic in the sun and you can almost FlexFoam iT! lll is mixed 1A:2B by volume. Pot life watch it turn yellow before your eyes. is 35 seconds and the foam can be handled in 30 Smooth-Cast 316 UV is a “next generation” product to minutes. Cured foam has a velvet "pillow-like" feel our SC 315 UV (discontinued due to raw material and offers good tear strength at the same time. availability). It resists ultra-violet light far better than

Kinder, Gentler Flexible Foam. Introducing FlexFoam iT! III

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Improved Resist ance To Ultra-V iolet Light W ith Smooth-Cast 316 UV

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FlexFoam iT! lll is currently being used at theatre and movie sets for special effects applications (you'll see it in action in the upcoming Harry Potter II and lll movies), by maker of backpacks (cushioning) and a prosthetic device manufacturer. tm

ordinary casting resins (castings will darken somewhat, but do not yellow). The mix ratio is 100A:90B by weight. Pot life is 20 minutes and demold is overnight. Castings are bright white (can be color pigmented) and tough - plastic cures to a Shore 80D.

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! n O h t o o

My Mold Rubber Is Not Curing. What Happened ????

, Sm HeyThere are many factors that can contribute to mold rubber not curing including cold tem-

peratures, contaminants on a model’s surface, etc. But the most common reason: inadequate mixing of Parts A & B. People mixing rubber for the first time tend to under-mix the material before applying. It is especially easy to under mix thick materials like silicone or brush-on rubber.

Mixing Success: A Function Of Time & Technique Time - Most mold rubbers give you plenty of time to mix and apply, so don’t worry about not having enough time. Your goal in mixing is to be thorough , not fast.

Technique: Don’t Be Casual, Be Aggressive - This is where most “first timers” make the fatal mistake of using a “limp wrist”, meaning that they are not aggressive enough in mixing the rubber. Use a stiff mixing paddle and employ a firm wrist, making sure that you scrape the sides and bottom of your mixing container several tiems. Important material hides on the bottom and sides of your mixing container and failure to get this material into the mix will result in the rubber not properly curing. The Best You Can Do 2. Pour into new, “The Double Mix-And-Pour” clean mixing container. Technique - After mixing thoroughly for 3 minutes, empty the contents of your mixing container and mix again for another 2 to 3 minutes before applying over your model. This technique is your best bet for suc4.Pour slowly into cessful mixing and protection containment field. your mold rubber investment. 3.Mix Again 1. Mix Thoroughly

Mixing Large Amounts Of Rubber? Do It Better With “The Squirrel” The “Double-Mix-And-Pour” technique works well when mixing rubber by hand. But many Smooth-On customers mix a 5 gal.unit of urethane rubber (80 lbs - 36 kgs.) or more at a time, and mechanical mixing is the best way to mix these large quantities. How It Works - A mechanical mixer is used with an electric drill (cordless drills tend to not have enough power to mix rubber, especially thick silicones). The mixer is inserted into a drill chuck like a drill bit and the mixer-end is used to mix components. Important: avoid introducing too much air into the mix by using a low RPM setting on the drill. Using The Right Mixer Is Critical. The lastest and best in mixer technology is “The Squirr el” mixer. Its patented design results in a multi-directional mix of Parts A&B in your container, yielding a faster and more thorough mix vs. “paddle” mixers. The Difference Is Startling! Mixing a 5 gallon unit of urethane rubber can be done in less than 1/2 the time and more thoroughly. The Squirr el can mix even the thickest silicones effectively. It is also great for mixing large volumes of Smooth-Cast or Task plastics. When Mechanically Mixing Rubber, You Must Still Hand Mix - As mentioned above, important material sticks to the sides and bottom of your mixing container, and the same is true when employing a drill mixer. After drill mixing for a few minutes, a stiff mixing paddle is used to scrape the side and bottom of the mixing container seveal times. And Finish With The “Double-Mix-And-Pour” - Technique - For best results, empty the contents of your mixing container into a new, clean mixing container and drill-mix again for 2 minutes followed by another two minutes of hand mixing before applying over your model. Squirr el Mixers are available in metal and plastic and in different sizes. You can buy them from your Smooth-On distributor or on-line at www.smooth-on.com.

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Coming To Our Place? Make A Reser vation Early . . . Or, You Might Tr y To Secure A Spot On E-Bay . The Smooth-On “Introduction To Mold Making & Casting Seminars” are more popular than ever and continue to sell out months in advance (for example, our June 2003 seminar was sold out by February). We were surprised to learn that a November 2002 attendee had bought his spot at auction on “E-Bay”. So if you are thinking of attending, plan ahead. We cover alot of ground in two days and have hosted people interested in making molds for casting concrete, candlemaking, prototyping, sculpture reproduction, special effects and much more. Attendees bring an original model to make a mold of, followed by casting into the mold to make a reproduction. Over the two day program, you learn by viewing slides, videos, hands-on demos, interaction with instructors and other students and by asking questions about your specific interests. You can learn more about what a seminar has to offer you on our website: www.smooth-on.com. After doing these seminars for a number of years, we’ve seen alot of interesting mold making and casting scenarios, and thought we would share some . . .

Smooth-On Seminar Fun Facts: • • • • •

Farthest distances traveled to attend: From Australia, China, India & Omsk (Russia). Oldest attendee thus far: 82 years old. Youngest is 16 years old. Attended most often: 3 years in a row and booked again for this year. Most money ever paid for a $300 seminar slot; $550 sold at auction on E-Bay (?!). Most felonious model: 12,000 year old Indian carving stolen from Atlanta museum. (note: we didn’t know the model was stolen until FBI showed up looking for it. Model has since been recovered). Only seminar graduate to go to jail: same guy. • Oldest model: 150 million years; 6” Allosaurus claw from Denver Museum of Science. • Most historical model: death mask from President Ulysses S. Grant. 82 year old Bob Roberts • Most gaseous model: stalk of broccoli (yes, a stalk of broccoli). • Most mysterious model: we still don’t know what it was - model was brought in by a displays his seminar handiwork. representative from the CIA, and he was not talking. Looked dangerous, though. • Most sexually explicit model: none -we don’t allow those in our class, but people try (you have no idea!). • Most unique invention / reproduction: Rubber sneakers for horses. • Model most dead: rattlesake run over by car while driving to seminar from Oklahoma. Yes, we molded it. • Most romantic: couple that met at our seminar; married about 1 year later. • Most successful graduates: A tie. Some people leave our seminar inspired enough to start their own mold making / casting businesses. 1 graduate now has her own candle making company; 1 graduate now has an ornamental plastering/concrete business. Both had 2002 revenues in excess of $2 million.

Netting Big $$$ Just From Being On“The List”? List” Our website is visited by thousands of people everyday from all over the world. Some visitors are looking specifically to have molds and/or castings made for them. Smooth-On’ s Mold Makers & Casters List brings these people together with people who can do the job. It lists professionals by specialty and has proven to be an efficient and lucrative matchmaker. There is no fee for being listed (see list on next page). Does the list work? It amazes us how many people and corporations are looking to have mold making and casting work done for them. We hear regularly from listees who say that they have landed moldmaking or casting jobs, large and small. Some have even secured annual contracts with Fortune 500 companies and large jobs that bring in hundreds of thousands of dollars. So, if you use Smooth-On products and are in the business of making molds and castings, we want to try and send business your way. Need more info? Send an e-mail to [email protected]. Fireman’s Award produced under contract by Maslyn Studios.

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The Pros: Mold Makers and Casters Who Will Do It For You For those of you interested in having molds or castings made for you, we are proud to offer the following list of professional mold makers and casters. If you would like to be added to this list, send an e-mail with your business information to [email protected]. This listing is updated regularly on our website: www.smooth-on.com. Areas of expertise and rates may vary. Other than supplying materials to these mold makers and casters, Smooth-On is not associated with and does not warranty the work of any independent mold making and/or casting company. Crow Atelier 207C S. Railroad Ave Loveland, CO 80537 Contact: Tim Nimmo Tel. 970-613-9237 Foundry/Sculpture, Molds for Art Casting, On-Site Monumental Molds Daryl Davis 136 South Collin St. Arlington, TX 76010 Tel. 817-548-3147 Molds for Artists - Silicone, Urethane, Polysulfide, Molds for Foundry Bronze. (No casting.) Phil Diers 1362 Hayes St. San Francisco, CA. 94117 Tel. 415-567-3205 www.phildiers.com [email protected] Ornamental, Capitals, Bas Relief, Architectural Detail Felber Ornamental Plastering 1000 W. Washington St. Norristown, PA 19404 Tel. 610-275-4713 Contact: James Kuryloski www.felber.net [email protected] Architectural Restoration & Ornaments, Mold Making, Casting

Peter Mastroianni 230 Austin Trail Orangeville, PA 17859 Tel. 570 458 4936 Fax. 570 458 0449 www.pjmmold.com [email protected] Mold Making, Prototyping, Resin Casting Walla Walla Foundry 405 Woodland Ave. Walla Walla, WA 99362 Contact: Dave Anderson Tel. 509-522-2114 Sculpture, Foundry Mold Making Services Jonathan Lewis 91 Hillcrest Rd. Watchung, NJ 07060 Tel. 908-561-6189 Prototyping

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Maslyn Studios PO Box 723 Belle Mead, NJ. 08502 Contact: Tim Maslyn Tel. 908-359-1618 Fax: 908-359-9426 www.maslynstudios.com [email protected] Sculpture, General Mold Making & Casting Services, Memorials, Awards Garland Weeks 4101 N. Quaker Ave. Lubbock, TX 79415 Tel. 806-749-6500 Sculptor & Moldmaker (No Casting) Battersby Ornamental 131 Balcones Hts. San Antonio, TX 78201 Contact: Tom Battersby Tel. 210-736-0459 www.battersbyornamental.com [email protected] Architectural Restoration, New Work, Mold Making In-Shop or On-Site, Casting, Sculpture & Design Nimba Creations England Tel. (44) 01271 343264 Fax. (44) 01271 343897 www.nimbacreations.com [email protected] Special Effects Company, All Round Expertise in Molding & Casting for Animatronics, Prosthetics, Miniatures, Set Work, Props for Movies, TV

L.E.I., Inc. 453 Cottage St. Pawtucket, RI 02861 Contact: Lukas Ingendahl Tel. 401-726-4550 Fax 401-724-6805 Sculpture, General Mold Making & Casting Services CohugeCo 4938 Gray Road Cincinnati, OH 45232 Tel. 513-542-4341 Contact: Todd Myers [email protected] General Mold Making & Casting, Toys, Electronics

Linda J. Kays Studios PO Box 387 42 Mitchell Street Norwich, NY 13815 Tel. 607-336-2642 Fax. 607-334-8375 [email protected] [email protected] Dolls, Toys & Model Design Moldmaker & Associates P.O. Box 51 Campo, CA 91906 Contact: Michael Neff Tel./Fax 619-478-5479 [email protected] Sculpture, Architectural Restoration W. Robert Petro Studios 809 Himrod Road Waterford, PA 16441 Tel. 888-811-6653 www2.velocity.net/petro [email protected] Ceramic Mold Making, Block Molds, Sculpting, Prototypes, Silicone Molds Austin Ornamental 102 Greaton Road #1 Boston, MA 02132 Contact: Sheldon Austin Tel. 617-325-5335 Fax 617-325-6006 [email protected] Ornamental Plastering Architectural Restoration Plaster Visions & Design Group 86 Oak St. Yonkers, NY 10701 Tel. 914-966-3613 Fax. 914-966-7482 Contact: Mark Iacovetta www.plastervisions.com Architectural Restoration NeoRomantic Sculpture & Mold Making 12 Marin St. San Rafael, CA 94901 Tel. 415-457-2787 Contact: Jeffree Olshan [email protected] Realistic & Pattern Sculpting, Award Winner, Rubber & Plaster Molds - All Types & Sizes, Prototypes, Instruction: Classes, Book, Videos

Hayles & Howe, Inc. Ornamental Plasterers 3500 Parkdale Ave., C-1 Baltimore, MD 21211 Tel. 410-462-0986 Contact: Graham Banks www.hayles-and-howe.com All aspects of ornamental plastering, mold making, casting and restoration Jonathan Cagle 374 Cider Mill Place Lake Mary, FL 32746 Tel. 407-321-7332 Fax. 407-302-9748 [email protected] Architectural Model Making, Prototypes, Fine Scale Modeling Creative Pattern 54 Freeman St. Newark, NJ 07105 Tel. 973-589-1391 Fax. 973-589-1392 Contacts: David Cummins, Jim Generoso [email protected] Dreamland Studios Unit #7, 1780 McLean Ave. Port Coquitlam, BC V3C 4K9 Canada Tel. 604-942-2805 Contact: Peter Grant www.drmlab.com [email protected] Sculpture, 3D Modeling, Interior Design, Fiberglass Casting, Set Design, Theming JAG Collective 7307 President Dr. Orlando, FL 32809 Tel. 407-812-1710 Fax. 407-812-1747 Contact: Tom Gardner www.jagcollective.com [email protected] Custom Mold Making & Casting; Prototype Work and Architectural Models Jackie Lobdell 36 Stage Trail Rd. Buffalo, WY 82834 Tel. 307-684-2452 Foundry/Sculpture Molds for Art Castings. Molds for Bronze Casting. Silicone, Urethane and Polysulfide

Guy Louis XVI SPFX 2137 Hubbard Crescent Ottawa, Ontario K1J 6L3 Canada Tel/Fax: 613-748-7877 [email protected] www.louisxvimannequins.com Special Effects, Modeling, Sculpture, and Prosthetics & Orthotics Applications

Ceramic Imagineering 2093 Cedar Road Nanaimo, B.C. V9X 1J6 Canada Tel. 250-741-6539 Contact: Robin Thacker [email protected] Ceramics, Plaster, Concrete, FRP and Elastomers

Fabricating Technology, Inc. 1223 Walnut St. Erie, PA 16501 Tel. 814-459-7771 Fax. 814-480-8809 www.maskingtools.com [email protected] Nickel Electroform Mold Shells, Washable Paint Masks, Paint Machines, Paint Related Fixtures & Jigs

Sculpture Services 37 Mowat Av. Unit # B3 Toronto, ON. M6K 3E9 Canada Tel (416) 538-3934 Contact: Kevin Kilpatrick [email protected] Mold Making In-Shop or On-Site. Casting, Fabrication and Props For Artists, Designers and Architects

Savage Industrial Models P.O. Box 138 Lyndora, PA 16045-0138 Tel. 724-285-7312 Contact: Mark Savage RTV Molding and Urethane Casting Industrial Models, Especially Oil & Gas Industry Related Miniatures

Ray Stankiewicz, Consulting Engineer 866 Bohemia Parkway Bohemia, NY 11716 Tel. 516-589-5254 Fax. 516-589-5261 New Product Design, Prototypes, Model Making, Molding, Sculpting, Casting, Architectural Models, Patterns, Thermo Forming, Injection Molding, Short Run Production, Packaging Design

Railway Design Associates P.O. Box 96 - 241 Silver St. Monson, MA 01057 Tel. 413-596-2972 Fax. 413-596-3151 Contact: Rod Guthrie www.railwaydesign.com [email protected] Toy/Hobby Industry Molds; Molds for Artists; Arch. Restoration R. Vap Studios, Inc. 6919 Silverton Ave. Cincinnati, OH 45236 Tel. 513-793-4423 Fax. 513-793-4475 Contact: Jason Vap [email protected] General Mold Making & Casting, Model Parts to Doll Limbs C & D Tool & Mold 5862 Sulphur Springs Rd. Brookville, OH 45309 Tel. 937-833-2385 Fax. 937-833-2385 Contact: Charles Rhoades Jr. Prototyping & Molding Over 25 Years Archicast 2527 Broad St. Memphis, TN 38112 Tel. 901-923-8717 Contact: Dan Spector www.archicast.com [email protected] Architectural Mold Making and Wax Casting

Scale Products Company 7054 C.R. 521 Bayfield, CO 81122 Tel. 970-884-0537 Contact: Dennis Evers [email protected] Architectural, Sculpture, Mold Making, Single Piece Prototypes, Animations, Casting & Fabrication

Bay Plastering, Inc. 27284 Gulf Road - Suite 202 P.O. Box 37 Orange Beach, AL 36561 Tel: 251-948-8808 Fax: 251-948-8808 Contact: Michael McAdams [email protected] Architectural Mold Making & Casting, Historic Renovations, Plastering, Stucco A. Thayer Smith III, Inc. 4002 Edges Mill Rd. Downington, PA 19335 Tel: 610-453-5310 Fax: 610-857-4668 [email protected] Architectural and Ornamental Plastering, Mold Makers, Fabricators and Installers Cleveland's Custom Machining HC 1 - Box 185A Stratton, NE 69043 Tel: 308-276-2174 Fax: 308-276-2179 Contact: Jim Cleveland [email protected] www.ccmachining.com Prototypes, Plastic Casting, Production Casting, Spin Casting, Block Molds Ecclesiastical Arts, Inc. 160 Mt. Pleasant Ave. Newark, NJ 07104 Tel: 973-350-9300 Fax: 973-350-9322 Contact: Joseph Zaky [email protected] Church Sculptures

Unique Artistic Services 167 Saw Mill River Road Yonkers, NY 10701 Contact: Stephen Brois Tel: (914) 423-9155 Fax: (914) 423-8166 www.uniqueartistic.com [email protected] Specializes in the Design, Development and Fabrication of 3-Dimensional Models, Simulated Natural Environments and Tactile Sculptural Components for Museums, Zoological Gardens and Botanical Exhibits J&L Machine & Tool 9520 Highway 87 E. - Suite 1 San Antonio, TX 78263 Tel. 210-649-3226 Fax 210-649-3670 Contact: Joe Hinojosa Mold Making for Prototyping, Industrial, First Articles for Patent Pending Process, Equipment Repair, Custom Tooling of Jigs & Fixtures Rose's Candles 437 Nichols Street Pottsville, PA 17901 Tel: 570-624-7073 Fax: 570-628-3510 [email protected] www.rosescandles.com Candle and Soap Making Molds. Custom Molds either in Urethane or Silicone

www.smooth-on.com

Sculpture Molds 50 Fuller Ave. Toronto, Ontario M6R 2C3 Canada Tel. 416-516-2023 Contact: Art Dilela Molds of Sculptures, Model Making,Architectural Models, Sculpting, General Mold Making & Casting Services

Landmark Casting 238 S. Belvidere St. York, PA 17404 Tel. 717-812-8770 Fax 717-845-2935 Contact: Lonnie Barkby [email protected] General Mold Making & Casting, Cold Cast Bronze & Resin Casting, Fine Art Reproductions

Fun Fact! Yes, That’s Martha - No, she is not on the list, but Martha Stewart recently showed millions in the U.S. and Canada how easy it is to make candle molds and wax castings using OOMOO silicone rubber on her “Living” TV show. tm

View & Print Technical Bulletins and Material Safety Data Sheets OnLine at www.smooth-on.com

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Smooth-On, Inc. • 2000 St. John St. • Easton, PA 18042

TOLL-FREE: 800.762.0744

Smooth-On’s “How To Make Molds & Castings” booklet. The latest edition is bigger than ever. Still only $3.00.

Presorted Standard US Postage Permit No. 180 Allentown, PA

www.smooth-on.com

Feather Lite lightweight plastic . . . Page 14

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Seeing where you are going with SORTA Clear Silicone . . . Page 6 tm

Since 1895 Often Imitated. . . Never Duplicated.

Yes, You Can . . . Seminars Show You How . . . Page 17

The Best Mechanical Mixers Ever? . . . Page 16

Softer Flexib le Foam On Page 1 5