of the Pinocchio sculpture at high resolution, establishing a data point every 0.02 in. The resulting digital model then was scaled up for the 30- ft. version. Foam patterns were cut on a CNC
machine based on the digital model. Those patterns were used to make wax patterns from which Walla Walla Foundry created rubber molds. The wax patterns were sectioned into pieces that would fit into the facility’s equipment. The art caster also used the digital
model to determine how the sculpture would be packed in its crate to be shipped overseas. In order to fit the piece into its package, Walla Walla
Step 1.
Walla Walla Foundry created a movable maquette (a scaled-down 3-D model for sculpturing) of Pinocchio. The art caster sculpted the head, face and hands and sewed and stuffed little clothes for the figure. Artist Jim Dine textured the model and posed the maquette into a walking stance.
Foundry cut off Pinocchio’s back leg, front toe, both arms and the tip of its nose and nestled the pieces in the box with the main structure. “The whole thing barely fit, which
points to the awesomeness of the digital model,” Farnum said. “We could take the digital model and manipulate it to figure out how to fit it into the con- tainer. Otherwise, we would have had to do that while we were actu- ally putting it into the container. We already knew the angle we wanted him in.” Once Pinocchio
was safely deliv- ered to Boras,
Sweden, a small crew from Walla Walla Foundry reattached the leg, foot, arms and nose and hard-welded the armature within the sculpture by crawling inside Pinocchio through a doorway left open for that purpose. After a bit of touch-up patina, the work, which Dine called “Walking to Boras,” was ready for its unveiling. The step-by-step process of how the sculpture was produced is detailed on the following pages.
Step 2.
Once the model was completed to the artist’s satisfaction, the art casting facility performed optical laser scanning to create a virtual model, with a data point every 0.02 in. The geometry of the virtual model was expanded to the final 30- ft. scale. “Since it was really high resolu- tion, there was still enough informa- tion so the model looked good and detailed,” said Dylan Farnum, director of special projects at Walla Walla Foundry.
July/august 2010
Metal Casting Design anD PurChasing
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