I bought a stash of linotype metal years ago, about 75 pounds of it, to use for casting. 50 pounds of it was in 2, 25-lb ingots, and the rest was in used, ie, cast linotype. That was very handy for use in casting; as I emptied the pot, I could toss in the small bits of linotype. The ingots were a different matter. I tried using a hacksaw to cut them into smaller bits, but that would have taken too long. So I melted them down gradually by holding the end of an ingot in the pot. I used two muffin-top baking pans to cast the metal into casting pigs, about the size of a silver dollar. That went much faster, and those were also easy to use to replenish my pot during a casting session.
Years ago I used to use this for Prince August. Pure printer's metal tended to be quite brittle but with good detail. I did used to use a 50:50 mix of it with lead where the detail used to hold up quite well but it wouldn't snap. The metal I used, used to have a blue tint to it on the underside of the bases.
I always enjoy your videos immensely and learn a lot. But I wonder if printer lead will not damage the molds? What is the maximum temperature that can be used with your molds? Thank you.
We would likely have to reinvent that entire range to do more as we have moved towards 3D design now and 3D printed masters. They would look quite different to the older figures.
We use a huge press and cut the rubber into rectangles via a smaller press with a sharp template. We place one layer of rubber into a special tray, then place the master figure with ingates on top, spray it to prevent the rubber from blending together and then place the top layer of rubber on top. The large press heats up the rubber and puts 2 tonnes of pressure on it to force it around the figure. When finished we remove the rubber and the master figures and ingates and clean up the rubber from any bleeding rubber (a thin leakage) and it is ready to use. There is a bit more to it but that is the basic guide.
I bought a stash of linotype metal years ago, about 75 pounds of it, to use for casting. 50 pounds of it was in 2, 25-lb ingots, and the rest was in used, ie, cast linotype. That was very handy for use in casting; as I emptied the pot, I could toss in the small bits of linotype. The ingots were a different matter. I tried using a hacksaw to cut them into smaller bits, but that would have taken too long. So I melted them down gradually by holding the end of an ingot in the pot. I used two muffin-top baking pans to cast the metal into casting pigs, about the size of a silver dollar. That went much faster, and those were also easy to use to replenish my pot during a casting session.
Thanks for sharing your experience. The metal comes in a wide mix of sizes, but all are easy to melt down.
Years ago I used to use this for Prince August. Pure printer's metal tended to be quite brittle but with good detail. I did used to use a 50:50 mix of it with lead where the detail used to hold up quite well but it wouldn't snap. The metal I used, used to have a blue tint to it on the underside of the bases.
Thanks for sharing your experience. It has about 80% lead content however, so not 50/50. I have not seen the blue tint however.
I always enjoy your videos immensely and learn a lot. But I wonder if printer lead will not damage the molds? What is the maximum temperature that can be used with your molds? Thank you.
450 C will significantly damage the moulds. We recommend staying under 400 which works for any of our metals, including printers metal.
Thank you
I loved the design of the 25mm fantasy miniatures, any plan to add more models? Thanks!
We would likely have to reinvent that entire range to do more as we have moved towards 3D design now and 3D printed masters. They would look quite different to the older figures.
what material are the molds made of?
Vulcanised Black Rubber similar to car tire retreading rubber. It is flexible but sturdy.
How do you make the molds?
We use a huge press and cut the rubber into rectangles via a smaller press with a sharp template. We place one layer of rubber into a special tray, then place the master figure with ingates on top, spray it to prevent the rubber from blending together and then place the top layer of rubber on top. The large press heats up the rubber and puts 2 tonnes of pressure on it to force it around the figure. When finished we remove the rubber and the master figures and ingates and clean up the rubber from any bleeding rubber (a thin leakage) and it is ready to use. There is a bit more to it but that is the basic guide.