HomePortfolioInstallationsAbout UsProcessContact UsSmaller Works
Our Process
Lynn's Creative Process

· Research, reading and discussion.

· Drawings to explore concept.

· Drawing with a live model.

· Create clothing for the model.

· More drawing with the model in costume.

· Using a model I create a maquette for initial approval and adjustments.

· Create the armature for final sized piece

· Sculpt the figure without robes, using a model.

· Work on face and hands early to allow for insight and adjustments throughout the process.

· Using a model sculpt the drapery.

· I allow one month to live with the piece allowing me to see it in a variety of lighting situations as
well as the opportunity to respond to the lessons that the work has presented to me. In other
words, this process allows me to reach a new level of achievement and growth as an artist. I take
my job as an artist seriously, with great respect for the tradition of a search for excellence that
has been set by my predecessors.

· After the second approval, I contact the mold maker for the next opening.

· Your approval is required prior to the making of the mold.


· When the molds are complete, waxes are poured into the mold. The surface of each wax is reworked, re evaluating each stroke and making minor adjustments and enhancements.

The time taken on the sculpture at this point depends upon the complexity of the piece, the quality of the mold and the size of the piece.

· The waxes are taken to the foundry for casting.

· At the completion of casting, I chase or work the surface of the bronze to unify the surface texture as well as make minor adjustments and corrections, mounting accommodations are created at this time.

· The entire piece is now sandblasted as a preparation for the patina process which will create the coloring of the bronze.

· The bronze is blackened, and rubbed back to establish highlights and values.

· Patinas are applied.

· The piece is prepared for transport, delivery and installation.
The Making of a Sculpture
The sculptures used in this presentation can each be viewed from the Portfolio. They include:

— Mother Teresa
— Transcendent Christ
— At Peace
— Risen Christ
 — Sacred Heart
— Saint James the Lesser
— Saint Peregrine

Historical research about the person and a study of existing representations throughout history is made.

If we have access to actual robes or habits, we take photos of these.



A model is hired and sketches are produced.

Clay studies are blocked in.
Sometimes a detailed “maquette” or clay miniature is produced.

An armature is created. It forms a “skeleton”
for the final sculpture. This armature can be
made of rebar.
The armature is covered with layers of foam and tape, creating the bulk of the sculpture.



Modeling and sculpting go hand in hand, as layer
by layer the sculpture takes form.








With the application of each layer the figure
begins to take shape and is finalized.



The mold maker is the next person to go to work on the sculpture. Arms and legs might be cut off, and the remainder sectioned into manageable sizes. A full sized sculpture might be broken into 8 to 10 pieces.










The first part of the mold consists of a brushed on rubber compound, able to capture the finest features. Over this another structural mold is Created. It is rigid and supportive of the rubber mold.



Wax is poured into the mold, creating a shell approximately 3/8” thick. This wax is then reworked removing any bubbles and seams.









The wax sections are alternately dipped into a ceramic slurry and sand. Around 12 repetitions of this dipping creates a shell approximately 1/2” thick around the wax shell. The ceramic shell is baked, and the molten wax flows out of specifically created orifices. Hence, the “Lost Wax Process”.
Molten bronze is poured into the ceramic shells through the orifices (called cups),
and into the cavity left behind by the “lost wax”. Once the bronze is cooled, the
ceramic shell is broken off, leaving bronze pieces behind.


The sculpture then goes to fabrication.
This consists of:

1. Welding the pieces together.



2. Chasing the seams with grinding tools so it matches the surrounding surface.



3. Sandblasting the whole sculpture to leave a clean surface for patination




Patination, or the application of oxides and nitrates to a hot or a cold surface, then takes place.

The sculpture is sealed with lacquers and waxes.

The sculpture is ready to go home.

Diaz photo, 2004


View these pieces by visiting the Portfolio.