{"id":65076,"date":"2025-07-14T14:22:06","date_gmt":"2025-07-14T12:22:06","guid":{"rendered":"https:\/\/www.liselotte-andersen.net\/?page_id=65076"},"modified":"2026-02-13T13:18:39","modified_gmt":"2026-02-13T12:18:39","slug":"technique","status":"publish","type":"page","link":"https:\/\/www.liselotte-andersen.net\/en\/technique\/","title":{"rendered":"Technique"},"content":{"rendered":"
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The technique in 16 steps<\/h1>\n<\/div><\/div><\/div><\/div><\/div><\/div>
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I shape the original of each of my creations in wax or clay, depending on its volume and the choice of bronze, solid, hollow or with a plaster or clay core.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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I use these original sculptures as a basis for making moulds in plaster and\/or silicone, depending on the project.<\/p>\n

These definitive moulds allow me to make several wax prints, limited and numbered editions of eight copies + 4 artist's proofs.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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Each of these wax prints is then made into a \u00abtemporary\u00bb refractory mould, which will house the casting, i.e. the alloy of copper, tin and zinc, heated to around 1100\u00b0. This mould, which may be reinforced with iron rods if it is a large format, will be destroyed at the end of the process to reveal the result of the casting.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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The most moving moment: breaking the mould at the end of the casting process to see the result, to see the bronze sculpture come to life.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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The fourth stage consists of carrying out some or all of the following finishing operations:<\/p>\n

- a welding stage to join the parts together if necessary<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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- the removal of vents and any relief defects using a disc cutter
\n- sanding in several passes using a finer and finer grit<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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- cold or hot torch patination with mixtures of nitrate, copper and pigments<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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- the application of wax to protect the patina
\n- polishing, if necessary, to enhance the shine of the patina
\n- the possible addition of a metal base and the corresponding finishes.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

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Then it's off to the exhibitions!<\/h4>\n

I work closely with two art foundrymen, a wrought iron worker to make my bases and a welder specialised in special welds.<\/p>\n

They are invaluable professional partners, and these collaborations are great technical and human experiences.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

Biography <\/i><\/a><\/div>
Awards \/ Publications <\/i><\/a><\/div><\/div><\/div><\/div><\/div><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"La technique en 16 \u00e9tapes Je fa\u00e7onne l\u2019original de chacune de mes cr\u00e9ations en cire ou en Terre, selon son volume et le choix d\u2019obtenir du bronze, massif, creux ou avec un noyau en pl\u00e2tre ou en terre. Ces sculptures originales me servent de base pour r\u00e9aliser des moules en pl\u00e2tre et ou en silicone…","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-65076","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nTechnique - Liselotte Andersen - Sculptures en bronze<\/title>\n<meta name=\"description\" content=\"Les \u00e9tapes de la r\u00e9alisation de mes sculptures en bronze : du modelage \u00e0 la coul\u00e9e. 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