If You Are New
If
you are new to the Herman Iron Pour, here are a few suggestions and definitions
to make your experience just that much more rewarding.
We wouldn't be the wonderful gathering of artists that we are if it weren't
for the constant flow of the curious and talented people who come by "just
to see what's cookin'."
Patterns - Materials and Their Tools
Molds - A Multi-Part Process
Iron - Things to Know & Weight Estimation
Gear - What to Wear on Pour Day
So Much to Do - Come Early, Stay Late
Ask an Artist
Patterns - Materials and Their Tools
The pattern materials that are provided, and easiest to work with in creating a pattern, are Styrofoam and plasticine clay.
Styrofoam:
We provide the white beadboard, and the
cell-type of foam. The pink, blue, or yellow insulating block foam may be easier (and cleaner) to work with, however it is not recommended as it contains a fire retardant that increases toxicity.
This type of pattern material is often used in a technique called burnout. The pattern is left in the mold and incinerated by the molten iron. While this is easier for molding, the two draw backs to this type of material are 1. you have more waste to cleanup in the mold studio, and 2. the foam emits toxic fumes when burned.
Tools are provided in the studio but we have a limited supply. People will share, but the more we have, the merrier the party. To avoid waiting for a tool, you might want to consider bringing some of your own:
Sharpie brand permanent markers
sand paper
steak knives
quilting pins (the kind with big colorful heads)
foam glue
Oil-based clay:
This clay is also known by the brand name, Plasticine, and does not dry out when exposed to air. Oil-based clay is easier to work with and will not damage the mold material. College book stores or art supply stores can lead you to a source for this clay.
For the same reasons as above, you can purchase your own clay working tools, but you don't necessarily need to. Fingers are great, and other common items -- eating or cooking utensils, sticks and stones, and pencils -- can be fun, too.
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Molds - A Multi-Part Process
We use a fine grade of silica sand, the same kind used by sandblasters. The bond we use for our sand is a biodegradable, two part mixture called Silbond. For anyone interested, we have the MSDS sheets available on site.
Before we apply the sand mixture, the first step is to build a wooden box (flask) around the pattern. A good rule of thumb is to leave at least three inches between the flask walls & top, and any portion of the pattern. Experienced artists will be there to assist with measurements and any guesswork you may have.
When putting sand around the pattern we press gently enough to make sure grains of sand capture the details, yet not hard enough to cause the sand to impress upon the surface of the pattern, unless you are looking for that appearance. The rest of the sand is filled in and then smoothed off at the top - or what will be the bottom of the mold when it is finished.
The previous paragraph describes the only step involved in creating an open face mold - a pattern that has one, flat side of inconsequential surface quality. For a more involved pattern, we make a two part mold. The first mold, in the flask, is flipped over after it has cured and a second flask is laid on top and secured to the first. Sand is filled in same as before and allowed to cure. Once the second side is cured, the halves are parted, and the pattern is removed.
Before the two parts are glued back together, a gate is cut into the top part of the mold (cope). The gate is where the iron is poured in. Likewise vents are drilled into the cope to allow air to escape, and to show us when iron has filled the mold. For anyone curious, the bottom part of a mold is called a drag.
Each part of a mold needs to dry for four to six, or more, hours so you can see how a two part mold can easily be a two or three day process. For simplicity and assurance of a solidly cured mold, we let them sit overnight. So, if you think you might want to attempt a two piece mold, be sure to arrive and begin working, no later than Thursday to allow enough time. If you are unsure, just ask an artist.
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Iron - Things to Know & Weight Estimation
Cast iron is a heavy, primitive, and brittle metal. We like it because it is relatively inexpensive and easy to recycle. You will notice a large pile of radiators to one side of the pouring floor, these are the items from which you will be breaking your 50 lbs of iron into little bits. (For anyone wondering why you are required to break 50 lbs when the average limit is 35 lbs - the excess covers minor estimating errors and contributes to the community sculpture.)
Iron cools quickly in small, thin areas and may freeze up, leaving portions of your mold unfilled. You will have better success if no portion of your pattern is less than 1/4 inch thick. Don't try delicate wispy pieces to start out.
Likewise, be advised to avoid patterns with solid areas that are larger in mass than a tennis ball. When the iron cools there is shrinkage and this might result in cracking or a warped and deflated appearance.
To get an idea of how much iron your pattern will require, we use these these formulas for estimation:
when working with oil-based clay - multiply the weight of your clay by 5 and you will have the resulting weight of your cast iron piece.
when working with Styrofoam, or any other material, we judge by mass (a little more complex to estimate) - consider that a cubic inch of iron weighs a little over quarter pound, or more accurately, about .2766. Or, here's something a little easier to imagine - a tennis ball cast in iron weighs about 4 pounds.
Use these formulas when considering what fees you will pay. If you have any questions, there are experienced folks who will be happy to view your pattern and estimate your finished iron weight.
After your piece is cooled and you have brought it home, you should expect to do some cleanup and finish work. The gate and vents will need to be cut off, likewise any flashing - places where iron may have leaked through a seam in your mold. Finishing is a matter of personal preference. You can leave your piece as-is (it will rust), or you can apply any number of coatings for a patina or to inhibit rust. Information is available on some options, and a host of artists will be happy to share their tips and tricks.
Bring a sturdy cardboard or wooden box, or a five gallon pail to carry your piece home. This protects your work of art from possible breakage, and also your hands and automobile from the sharp metal.
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Gear - What to Wear on Pour Day
If you're planning on being on a pouring team -- and that is a highly
encouraged experience -- follow these simple guidelines:
Avoid synthetic, melt-able fabrics - 100% cotton is strongly recommended.
Consider jeans, or another all-cotton-type work pants, and
a long-sleeved cotton shirt that you should expect to get very
dirty. Large holes and frayed edges, while sometimes are a fashion yes,
in this case are a safety no. Bring a few cotton bandanas
to keep the sweat out of your eyes, protect your hair, and to top off
the HIP look.
The best footwear would be a pair of decent leather boots with
thick, comfortable socks. Thick-soled, leather work boots, all-leather
hiking boots, or even leather shoes in a pinch, will work well. Cloth
or synthetic-blend, fabric shoes, or sandals, expose your feet to too
much danger.
Water will be provided and all pour participants need to remember to
be aware of their water consumption. The furnace floor can get hot,
and when you're covered head to toe, overheating is a very real danger.
Keep yourself cool and hydrated.
Other safety gear will be available on site for you to use but if you
want a set of your own:
Leather work gloves, used during the Christmas-like opening of
molds after the pouring is done. A hammer is also helpful here,
especially if you can't bear to wait to open your mold, and a wire
brush will help you see more detail. (And 9 years of past experience
guarantee you won't want to wait to open your mold.)
Safety glasses -- these are available, from about two dollars on
up, at discount and hardware stores. The more durable pairs cost more,
but will be worth the money. Make sure they fit snugly and wrap them in
a cloth to protect their lenses.
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So Much to Do - Come Early, Stay Late
Back
to time. . . If this is your first iron pour, please plan to come
before Saturday, as the mold studio will be winding up by that afternoon.
It really is worth a vacation day or two (or three) to come early. Remember,
some patterns may require molds that could take two days to complete.
Arrive early and you will have a chance to talk to some of the fascinating
people who attend this event; you can work on your piece at a leisurely
pace; and with plenty of time the talented volunteers will more likely
be able to help you accomplish your vision.
Some of the fun things to do when you come before Saturday:
Well, before we get on to the fun stuff, just a recommendation, Mosquito
Spray - You'll be spending most of your time outdoors, so come prepared
to battle the Minnesota State Bird.
Thursday Night
Supper at Denny's Cafe in Herman. This is a great opportunity to get to
know some of the other people who are participating in the Herman Iron
Pour. Good conversation, good food, good people.
After supper you can attend the closing reception of the HIP: Cast
Metal Invitational. Enjoy refreshments and entertaining conversation with
fellow artists while seeing some of the work created at previous pours.
Friday Night
The Herman Iron Pour Parade troops through town and everyone is invited
to take part. We'll help you look goofy or learn the beauty queen wave.
Bring a few things from the attic, show up at the meeting point to put
on your duds, then walk a few blocks. We've had people in wheel chairs,
on tractors, and stilts. Wrapped in foil, juggling flaming tennis balls,
or balancing goofy hats - its all good fun.
The parade ends at the Herman Liquor Store and the rest of the festivities
begin. Delicious burgers, brats, and portabella mushrooms are sold by
the volunteer fire fighters. There is a costume contest, a sculpture contest
and dancing under the stars.
The sculpture contest follows on the theme of silly fun. Teams of people
work together to create sculptures out of plasticine clay with a team
of judges selecting 1st, 2nd, and 3rd place winners. The two main rules
to the contest are that at least one person from the Herman area must
be on your team, and that creative bribing of judges is highly encouraged.
The competition is raucous and jovial.
Of course Niemackl Lake Park itself is beautiful.
If you come early, you will have time to stroll its paths and observe
the wildlife that live in the preserve.
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Ask an Artist
If you have questions about working with clay, contact Michele Heiberg, 320-677-2723 or at fematron@runestone.net
If you have questions about the molding process, or iron and the furnace
contact Frank Heidelberg at
frankfire2750@aol.com
Please ask us questions. There is truly nothing we like better than sharing the benefits our experience.
If we don't know, we'll find out for you.
©Herman Iron Pour 2004
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Contact:
Michele Heiberg
320-677-2723