New Venture
scul...@tfb.com
Anyhow- The local Foundry went under and the owners of the building, a
non-profit group aiming to enhance the "art" reputation of this small
community, wanted someone to take over the space and use it as an art
educational space.
Seeing this as an opportunity to get some subsidized help in growing a
larger business, we fielded a business plan that turns the space into a
full spectrum sculptural sevices facility- doing everything from
commercial and architectural design, to fine art commissions, to
renting out studio space, equipment, and expertise to artists who need
a large space to work in, to offering classes in the evenings.
The idea is to have a space large enough and commerical enough that I
can advertise for work nationally, hiring on several apprentices to
handle the work- bring money into the local arts community from
outside ( rather than just trading dollars from one local pocket to the
next)
Anyone got any caveats or other advice?
We are trying to assemble a diverisfied group of artists with
complimentary skill sets.
Anyone know any talented, hard working artists in the southern
callifornia area that might be interested in working in such a
facility?
Doing everything from bronze plaques, to digital design of public
artwork?
In particular, I am needing folks with even a little experience in
Moldmaking. I can train them to a very high level, but it sure helps
if they have at least tried a few on their own.
We will even be setting up high school or college class credit programs
for students who need part time jobs.
The space will be in FallBrook California, Called "The Foundry in
Falbrook"- so if you folks know any artists in the Northern San Deigo
County or Southern Riverside County areas, please spread the word.
And wish me luck
christopher
Jud Turner
could be involved (I am in Oregon, so at least close enough to visit
The FallBrook Foundry some day).
You should grab a domain name for your new venture soon (very soon,
because they go quickly). TheFallBrookFoundry.com is available, but
FallBrookFoundry.com is not (owned by something called "The Village
News" in FallBrook, CA).
Best of luck to you and your partners in this adventure.
- Jud
www.judturner.com
Andrew Werby
<scul...@tfb.com> wrote in message
news:1137609511....@g14g2000cwa.googlegroups.com...
> Okay- maybe I am biting off way more than I can chew....
> Anyhow- The local Foundry went under and the owners of the building, a
> non-profit group aiming to enhance the "art" reputation of this small
> community, wanted someone to take over the space and use it as an art
> educational space.
>
> Seeing this as an opportunity to get some subsidized help in growing a
> larger business, we fielded a business plan that turns the space into a
> full spectrum sculptural sevices facility- doing everything from
> commercial and architectural design, to fine art commissions, to
> renting out studio space, equipment, and expertise to artists who need
> a large space to work in, to offering classes in the evenings.
>
> The idea is to have a space large enough and commerical enough that I
> can advertise for work nationally, hiring on several apprentices to
> handle the work- bring money into the local arts community from
> outside ( rather than just trading dollars from one local pocket to the
> next)
>
> Anyone got any caveats or other advice?
[That's an ambitious plan, Chris. Are you keeping it as a non-profit?
There's an outfit up here called The Crucible www.thecrucible.org (you've
seen Billy Hiebert's posts about it) that's doing something similar. They're
non-profit, and get grants from local foundations to keep going, as well as
accepting donations of equipment and supplies. You might talk with them to
see how they're managing, and what's their mix of commercial vs. educational
projects. It's possible to make a good living from a non-profit, you just
have to follow certain rules.]
>
> We are trying to assemble a diverisfied group of artists with
> complimentary skill sets.
>
> Anyone know any talented, hard working artists in the southern
> callifornia area that might be interested in working in such a
> facility?
>
> Doing everything from bronze plaques, to digital design of public
> artwork?
> In particular, I am needing folks with even a little experience in
> Moldmaking. I can train them to a very high level, but it sure helps
> if they have at least tried a few on their own.
[I'm sure they'll come crawling out of the woodwork at the smell of money,
even in small amounts...]
>
> We will even be setting up high school or college class credit programs
> for students who need part time jobs.
>
>
> The space will be in FallBrook California, Called "The Foundry in
> Falbrook"- so if you folks know any artists in the Northern San Deigo
> County or Southern Riverside County areas, please spread the word.
>
> And wish me luck
>
> christopher
[Good luck, Chris! If you're setting this up as a for-profit, at least go
with a LLC, so you're not on the hook for any catastrophes...]
Andrew Werby
www.unitedartworks.com
>
Gary Waller
wish the best.
Its wonderful that you are able to pass on your tremendous experience and
contacts in such a constructive way.
By the way, do we have to call you Professor or Head Master now? Maestro
Pardell has a nice ring to it.
<scul...@tfb.com> wrote in message
news:1137609511....@g14g2000cwa.googlegroups.com...
scul...@tfb.com
generally use....
Andrew- The guy from the crucible actually came down here and spoke
with the folks who own the building... But there were problems with
the advice they got...
For one- The crucible is in a large city metroplex, well served by
public transporation....
The foundry here in Fallbrook is way off the beaten path.
And classes are very poor revenue sources, unless you have a national
reputation that can pull in students from all over.
So our business plan basically pointed out that no matter what-
everything we do in this facility must make money. Enough to pay for
our time, AND the costs of the facility...
The overarching goal of the non-profit owners is to turn Fallbrook into
another "Loveland"... but, as we pointed out, you can not have an
artist community without paying work for artists... and you can not get
large class sizes without first building SOME kind of reputation in the
arts...
So our focus is to do what I have always done, Namely, anything
artistic or in support of arts, for money, but do it in a way that
brings in enough work to keep a lot of local folks busy.
AND provide working space for artists from anywhere who need large
projects done, and might need qualified assistants, welders,
moldmakers, etc to realize their porjects.
So-, while the ownership of the building is non-profit-
We are operating as primary tenent/managers who will oversee the space.
In this way- money donated to the facility will be deductible, so long
as we use it to imporve the equipment or structure.
The non-profit owns the facility. Part of our role is to use donated
funds to extend and equip that facility... ( but we don't "own" the
hoist or furnace- we simply operate them )
In this way, we can conduct business without worrying about maintain a
non-profit status, yet still be able to raise donation money for the
facility we will leave behind when we get sick and tired of it...
Next month sometime, we will be hosting an IRON POUR- a whole crew of
hardened coke stokers will fire up this huge outdoor cupola ( in the
evening for the pyrotechnic effects) and pour any molds that folks want
poured ( for a per mold fee)
Last time we had about 30 artists and 500 spectators show up.... it
was quite a show---
We just got to figure out how to make it PAY.
Oh- and come summer we will be offering workshops in sculpture and mold
makiing, and setting up deals with local hotels to get anyone coming in
from out of town good room rates.
Any ideas any of you have for things that you have seen folks pay good
money for....?
Henri Beaulieu
<scul...@tfb.com> wrote in message
news:1137609511....@g14g2000cwa.googlegroups.com...
Gary Waller
<scul...@tfb.com> wrote in message
news:1137634177....@g43g2000cwa.googlegroups.com...
>> Any ideas any of you have for things that you have seen folks pay good
> money for....?
>
One thing I do, that always seems to attract a lot of attention is "turning"
giant objects. I have a variable speed DC gear motor driving a big metal
plate. I can turn horizontal or vertical - a jig is welded up accordingly.
Two items of interest here would be giant planters and pedestal/columns. The
planters basically consist of about 12 inches of my carving stone cast onto
55 gallon plastic drums (with the heads cut off), the columns are cast on to
6" to 12" hollow tubes called sonatubes. These are the carving "blanks". You
mount the blanks on the plate and start spinning. This stone carves with
woodturning tools or routers or steel templates or ? Then, any relief
details are carved in with handtools or minigrinders. You get a giant
planter which is light enough to transfer in the back of a station wagon
(for example) but looks like a ton of carved sandstone, limestone or
granite. You can also embed ceramic tiles, forged iron, etc. The columns are
the same sort of thing and they are popular as bases for sculpture, flowers
or surround sound speakers. These items get top dollar, lots of room for
artistic interpretation (lots of room for undercuts and shadows) and the
process interests people as well - everybody wants to try it.
I could sell you the carving blanks by the truckload (eventually) from
Mexico - you're pretty close to the border. This stone acts like a porous
sandstone in the weather, it can be sealed, but it would thrive in your
climate. I haven't pursued this market up here because this damn rain (28
days straight) eats up this stone because it is perfect for breeding moss,
slugs and algae. I can only recommend interior and covered exterior use
here.
I am still having problems building my production shed up here (again the
rain) but I should be able to get some samples to you - shipping costs will
be the challenge. Send me an email with your phone number and we can talk,
if you and your associates are interested. We could talk 'technology
transfer' too - but I have no idea how to ensure I make money at that.
Gary
ps you know you live in a wet place when you have a muskrat, a heron and
ducks living in your front yard! OK actually the pond.
Gary Waller
"Henri Beaulieu" <hank...@yahoo.com> wrote in message
news:gRMzf.87$_h7...@fe06.lga...
>I think Bernie is looking for a job :)
>
latest spam flood 'long term sex' - or, I'm sorry, nude life models "with
benefits" !
Dan S
This is great. This is too cool for school.
One idea.. blacksmiths love to congregate, drink, and send anvils high in
the sky with black powder so being in boonies is good for hosting their
conventions.
Lots of people want lessons in moldmaking, so make a deal with a school to
give credit hours (fractions OK) and charge plenty. Then hire the star
pupils. Also look at interns, who you don't have to pay.
Always charge a few bucks of people who want to watch anything. Supply
drinks..
The Natl Ornamental Metal Museum here has a big weekend where they fix any
metal object. This draws hundreds of craftsmen and customers.
As you start up, get local govts to commit to buying a certain amount of
stuff you make to furnish/decorate their offices or public space.
Dan
----------
In article <1137634177....@g43g2000cwa.googlegroups.com>,
John P.
>Next month sometime, we will be hosting an IRON POUR- a whole crew of
>hardened coke stokers will fire up this huge outdoor cupola ( in the
>evening for the pyrotechnic effects) and pour any molds that folks want
>poured ( for a per mold fee)
>
>Last time we had about 30 artists and 500 spectators show up.... it
>was quite a show---
I'd pay money to see that. So I would suggest that a modest $2-3 per
person entry fee (children under X admitted free) could raise hundreds
of dollars.
Heck, if you did that once a week (weather permitting) and advertised
it, you might have a steady little stream of income. (If you do that,
sell annual subscriptions for something like $10 per person.)
If it was a regular affair, you could also sell "exhibit" space to
folks whose finished products had begun with you pouring a mold. Put
out some tables and charge $25 to display your finished work for sale
to all the visitors.
I would think that the folks who went to see that would be primed to
buy after watching such an impressive show, and this could become a
self sustaining event. Artists design molds to have the poured one
week so they can finish them and display them for sale in a week or
two. Spectators come to see the cool display, and then to take home
some finished artwork.
Just a thought...
John P.
Billy Hiebert
> Okay- maybe I am biting off way more than I can chew....
> Anyhow- The local Foundry went under and the owners of the building, a
> non-profit group aiming to enhance the "art" reputation of this small
> community, wanted someone to take over the space and use it as an art
> educational space.
You know the old saying "Nothing ventured..."
> Seeing this as an opportunity to get some subsidized help in growing a
> larger business, we fielded a business plan that turns the space into a
> full spectrum sculptural sevices facility- doing everything from
> commercial and architectural design, to fine art commissions, to
> renting out studio space, equipment, and expertise to artists who need
> a large space to work in, to offering classes in the evenings.
That's a whole lot of stuff. My only fear would be that when one tries
to do it all, it tends to get done rather badly, if at all. Even
businesses that do one thing have a hard time doing it well.
> And wish me luck
I certainly do wish you luck and success with it. Our world needs needs
more Art Communities as a refuge from the daily insanity we must endure.
--
Billy Hiebert
HIEBERT SCULPTURE WORKS
Small Part Injection Molding
http://www.hieberts.com
scul...@tfb.com
Luckily, I will not have to do it all.... The whole thrust here is to
bring in a group of artists and artisans, each of whom can run their
own piece of the venture.
all we need to do is coordinate their efforts when mutli-yask projects
come in. ( I hope )
On a separate subject- I was on your website and saw your injection
part sampels-- they looked really good...
Do you do the mastres? or just the molds?
What is the largest part you can make?
AND- I have a project coming up the requires a thermoset or
thermoplastic rubber to be cast in a rather large and compleciated
fashion...
Assuming a needed a rigid mold, what epoxies would you recommend that
might be stable at 350 degrees F.?
Can the epoxies hold up to limited casting when laminated with glass
cloth?
Know anyone in the southern California area who is a wizard at laying
up metal filled epoxy and glass?
christopher
Billy Hiebert
> Billy-
> Luckily, I will not have to do it all.... The whole thrust here is to
> bring in a group of artists and artisans, each of whom can run their
> own piece of the venture.
> all we need to do is coordinate their efforts when mutli-yask projects
> come in. ( I hope )
>
>
> On a separate subject- I was on your website and saw your injection
> part sampels-- they looked really good...
Thanks.
>
> Do you do the mastres? or just the molds?
It varies, but most are customer supplied, usually CNC machined or Rapid
Prototyped SLA. I generally have to make the cores in metal as the epoxy
is not strong enough. The trick is to use metal where needed, epoxy
alone will be limited.
>
> What is the largest part you can make?
My biggest machine is will only shoot 3 cubic inches of plastic, so a
computer mouse is about max.
>
> AND- I have a project coming up the requires a thermoset or
> thermoplastic rubber to be cast in a rather large and compleciated
> fashion...
>
> Assuming a needed a rigid mold, what epoxies would you recommend that
> might be stable at 350 degrees F.?
I'm only doing casting, no lay-ups. You can use any tough aluminum
filled epoxy and high temperature hardner. I prefer to mix my own so
that I can adjust to fit the application. Starting out with premixied
would be better choice, such as:
RenCast 4036R
http://www.freemansupply.com/RenEpoxyCastingRes.htm
Keep in mind that to be stable at 350, it must be post cured at 350.
>
> Can the epoxies hold up to limited casting when laminated with glass
> cloth?
Again, not in my realm, but from what I've seen they do very well.
>
> Know anyone in the southern California area who is a wizard at laying
> up metal filled epoxy and glass?
Sorry, I'm no help there.
--Billy
>
> christopher
scul...@tfb.com
prototypng machine called a sinterstation...
The mold is modled on the computer first, then ptined in sintered steel
powder.
This results in a porous part- But the sintered metal mold is then
literally dropped into a shallow pan of molten bronze- and the bronze
wicks up into the pores of the sintered part.
the result is an all metal tool good for quite a fairly decent run....
Anyhow- what I really want to ask is... are you familiar with any
really stable rubber compounds that can be thermoset?
christopher
Gary Waller
"Billy Hiebert" <b...@hieberts.com> wrote in message
news:mFaAf.12269$F_3....@newssvr29.news.prodigy.net...
>> That's a whole lot of stuff. My only fear would be that when one tries
> to do it all, it tends to get done rather badly, if at all. Even
> businesses that do one thing have a hard time doing it well.
>
>> And wish me luck
>
> I certainly do wish you luck and success with it. Our world needs needs
> more Art Communities as a refuge from the daily insanity we must endure.
>
> --
> Billy Hiebert
> HIEBERT SCULPTURE WORKS
> Small Part Injection Molding
> http://www.hieberts.com
In thinking this over, I think Billy is spot on here. For this collective to
work it has to be tied together with more than great technical skills, a
modern facility and occasional commercial art commissions. If you look at
art history, and believe like me that history always works in cycles, it
takes an individual, or small group of individuals, to pioneer a whole new
approach to art. This approach lies much deeper than technique, it may often
encompass a philosophy, a work ethic, a spiritual view, a desire for social
or political change, or maybe all of these things. When fired with this
passion the individuals in these groups become highly competitive with each
other and there is high output. As collectors embrace this movement, they
often champion it and its creators - if not just to increase the value of
their 'discoveries'. Believe me - the wealthy love discoveries. So
eventually whether the movements eventually get labelled arts &craft, art
nouveau, bauhaus, hippie, rastafari - all long lasting effects have this
common base. An art community without a common focus is like an army without
a General, it slips into a nebulous ghetto of art speak, social climbing and
part time jobs. It culminatess with the prominent (most social) art critic
declaring "its all been done before", in a "bored to death" voice, and
referring to painting, drawing and sculpture as "the heritage arts".
The question is how to foster these movements? How can you attract the
sparkplugs of the art/design/architecture world to your area? One answer
lies in studying what made the arts/craft movement tick - I am reading a
book right now that suggests that the arts/craft movement was a return to
simple, handmade goods in reaction to the newly available, over ornamented
goods of the industrial revolution, and all movements seem to happen early
in the century. Interesting. Could there be a reaction to our overheated
consumer society and the wal martization of our culture? I see signs all the
time - but then again I live in a beautiful, natural city that is home to
organisations like Greenpeace and Adbusters (www.adbusters.org) - I'm not
sure I would feel the same if I was in rusty old steel town where the steel
mill just shut down.
So you really have to think 'outside the box' on this one. The sparkplugs of
the world, but also, unfortunately the poseurs, are not driven by financial
success - so offers of free space and technical guidance would mean little
to them. How do you find the next William Morris or Gustav Stickley and get
them to move to Fallbrook, CA?
Anyways - 2 cents worth.
Another one to study - when architecture professor Spratley moved to a small
town in Mexico was able to foster and train artisans eventually making Taxco
world famous for its silver work http://www.spratlingsilver.com/.
scul...@tfb.com
artists that worked with me there.
Occasionally- because I foffered training in production moldmaking for
industrial purposes, we would have folks come to town and stay for a
few weeks, learning moldmaking in the studio...
Invariably, when the training period was up, the visitors would get
misty eyed about having to leave the studio...
The atmosphere of the creative workshop, full of open minded folks,
enjoying what they were doing was seductive.
At the time, my company checks had two chinese characters on them- one
was the character for "working in communion" the other was the
character for "laughing".
This pretty well sums up the ethos we want to create in the new space-
a welcoming place where egos take a back seat to industry and
inventiveness; where a variety of skills create a capability that none
of us have individually.
As to work--- 80% of our revenue will be from commisioned design, mold,
or artistic support ( like doing an enlargement of an artist's
maquette)
The idea is to have a steady stream of paying work available to our
core group of artists and artisans, so that , even if their own art is
not yet self supporting, they will have access to Art related work that
WILL be.
In this way they will learn new skills, and, perhaps most importantly,
learn how to make a living at art- how to bid a job, put together a
proposal, etc.
People will initially come for the art, and want to linger for the
ambiance.
The only hard part is to try and keep everyne focused on the founding
principle that whatever is done in the space we have will have to be
paying.
The use of the space has to pay the overhead of the building so that we
can keep the thing open.
christopher
Robert Houghtaling
> The space will be in FallBrook California, Called "The Foundry in
> Falbrook"- so if you folks know any artists in the Northern San Deigo
> County or Southern Riverside County areas, please spread the word.
>
> And wish me luck
> christopher
Sounds like a great adventure Chris. Wish I lived closer, I'm a bit too
far away to help out. Good luck and keep us informed.
Robert
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Billy Hiebert
> I have seen some very cool injection molds made using a rtapid
> prototypng machine called a sinterstation...
> The mold is modled on the computer first, then ptined in sintered steel
> powder.
>
> This results in a porous part- But the sintered metal mold is then
> literally dropped into a shallow pan of molten bronze- and the bronze
> wicks up into the pores of the sintered part.
>
> the result is an all metal tool good for quite a fairly decent run....
Yes, truly amazing stuff, and some steel molds are being made that way
which, I understand, are not porous. The main problem is still surface
finish and accuracy, but they are getting better all the time. Another
bonus is that cooling and other features can be included, further
increasing speed and cost. What will the next ten years yield?
>
>
> Anyhow- what I really want to ask is... are you familiar with any
> really stable rubber compounds that can be thermoset?
I might have missed that one. Not sure I'm understanding the question.
How about rephrasing it for me?
Dan S
Very well, Magister Ahole..
This is great. This is too cool for school.
One idea.. blacksmiths love to congregate, drink, and send anvils high in
the sky with black powder so being in boonies is good for hosting their
conventions.
Lots of people want lessons in moldmaking, so make a deal with a school to
give credit hours (fractions OK) and charge plenty. Then hire the star
pupils. Also look at interns, who you don't have to pay.
Always charge a few bucks of people who want to watch anything. Supply
drinks..
The Natl Ornamental Metal Museum here has a big weekend where they fix any
metal object. This draws hundreds of craftsmen and customers.
As you start up, get local govts to commit to buying a certain amount of
stuff you make to furnish/decorate their offices or public space.
Dan
----------
In article <pr22t1pkgkc2g8nt0...@4ax.com>, John P.
Gary Waller
rare these days.
I have to be more particular in the studio I am building because the
ambience is one of noise, dust, and smoke - an awful lot of noise, dust and
smoke - especially when I turn the subwoofered dub sound system to drown out
the noise of air grinders (I'm buying yet another one - 65,000 rpm!), four
compressors (inc the Volkswagen gas powered one), any forge work hammering,
and the drone of my papr fan respirator and cellphone earpiece. These type
of days are sort of like waking up in an alcohol fuelled dragster with the
green light ON!
This why all the 'artist zoned' areas failed in my area - there was
concessionary zoning to help artists - you know, gentle classical music
playing while placidly dabbing oil paints, and a lot of people lied to get
in, then a real sculptor, or metalsmith moves in and all hell breaks loose.
Even the gentle art of fresco involves bags and bags of cement, sand and
lime and mixing and dust. Then again, it was Michelangelo who said oil
painting was for sissies.
So now I only have one neighbour. And very few people are willing to come
out from the City to visit , (sniff, sniff). But theres lots of real artists
scattered out here, I just have to start meeting them and bribing them with
hot tub time and free beer!
What I was not prepared for is all the work and drama just keeping the
'infrastructure' going. This morning at 6 am, let the dogs out into one of
the run areas, to find that somehow a cottontail rabbit got in to the
enclosre but forgot how to get out - of course the 3 hounds went crazy and
the bunny barely escaped, in fact, I haven't looked - but maybe it died of a
heart attack. Then I see a big white truck in the vacant 5 acre lot next
door - there is no one supposed to be there. I reported to the R.C.M.P, and
I went over later - sure enough an abandoned, stolen 4x4 3/4 ton truck - in
mud up to its axles. They bring the only local four wheel drive towtruck in,
and the truck is stuck so good that it breaks his cable. I gave up, I think
they used two trucks in the end. Then try to find out my cellphone died -
two hours wasted to find out I have to instal a new battery every 1 1/2
years- so Monday morning 12 am - still have not made anything yet.
A friend sent me to www.baitcars.com to cheer me up - it didn't - its a
government run website about the crazy methheads who steal cars over and
over and never get any real jail time. It made me think how this would be
not tolerated in Mexico or any other countries of the world for that matter.
anyways - semi OT post - but what the hell.
Gary Waller
scul...@tfb.com
We are segregating the rental spaces for individual artists in a
separate part of the building that will be insulated and somewhat
soudproofed... but everyone signing up is made aware that this is a
working space...for sculptors who actually make stuff.
Painters have applied for space, and we have to explain to them
carefully what they are in for.
But we have a fully operational foundry capable of melting bronze and
aluminum, a cupola for melting iron, a 16 foot working height inside
the shop, and 20 feet under the 1 ton bridge hoist outside, as well as
an open acre of yard for stone cutters, fabricators or whatever...
So, if anyone has a really big project to do and needs to rent an
equiped space to do it in, with the availablity of experienced
assitants if needed, let me know.
Dan S
seem to need industrial grunge just to relax..
Dan
----------
In article <1138084775.2...@o13g2000cwo.googlegroups.com>,