Mitsuro Wax Sculpting
2011
About the technique:
Misturo (loosely translated as “honey wax”) is a traditional Japanese wax sculpting technique. I’ve not been able to discover much about the history of this wax or its use, but it has been said to have originated in the Nara Era (AD 710 to 794), and was possibly employed in the creation of the Great Buddha of Nara. The jewelry application of this technique was developed to mimic the natural striations of bamboo leaves. This texture is called hikime, or stretching texture.
Not available commercially, I formulate and cook the wax in my studio using carefully balanced ratios of organic beeswax, pine resin, and a small amount of paraffin wax. The mixture is cooked slowly over a double boiler for several hours, and I use different ratios of the ingredients depending on the season. Because the wax needs to be warmed in my hands to body temperature before working, the wax must be softer in the winter and harder in the summer.
Most wax working for jewelry begins with a very hard wax that is then carved, sawn, filed and sanded to the desired shape utilizing similar techniques used to carve and finish metal. Working with mitsuro however is a more hands on process, and often the only tools I use are my hands. It is a satisfyingly quick technique, allowing for rapid iteration of a concept, much like sketching. For each finished mitsuro piece, I often scrap 10-20 wax models.
Once warmed, I begin to pull and stretch the wax carefully coaxing out the lines and furrows, and working the wax to the dimensions required by the piece. I then shape the wax into its final form, endeavoring to create natural curves and termini. Mitsuro lends itself readily to both subtlety and to a more ornamental, almost Rococo filigree style of work. My aesthetic leans towards the minimal end of the spectrum, and I often feel as though I am reigning in the wax as it tries to run off in an ornate direction.
When the waxes are complete, and I have culled through my selection of models, they are cast in metal using the lost wax technique.
Finishing the cast metal piece requires great care. The delicate texture of the striations require a light touch, and yet the imperfections imparted during the casting process must be removed. I must choose which textural imperfections add to the interest and organic nature of the piece, and which detract from it.
The final finish is achieved through hand-burnishing, which imparts a high shine to the ridges, while leaving a matte finish in the recesses.
Misturo (loosely translated as “honey wax”) is a traditional Japanese wax sculpting technique. I’ve not been able to discover much about the history of this wax or its use, but it has been said to have originated in the Nara Era (AD 710 to 794), and was possibly employed in the creation of the Great Buddha of Nara. The jewelry application of this technique was developed to mimic the natural striations of bamboo leaves. This texture is called hikime, or stretching texture.
Not available commercially, I formulate and cook the wax in my studio using carefully balanced ratios of organic beeswax, pine resin, and a small amount of paraffin wax. The mixture is cooked slowly over a double boiler for several hours, and I use different ratios of the ingredients depending on the season. Because the wax needs to be warmed in my hands to body temperature before working, the wax must be softer in the winter and harder in the summer.
Most wax working for jewelry begins with a very hard wax that is then carved, sawn, filed and sanded to the desired shape utilizing similar techniques used to carve and finish metal. Working with mitsuro however is a more hands on process, and often the only tools I use are my hands. It is a satisfyingly quick technique, allowing for rapid iteration of a concept, much like sketching. For each finished mitsuro piece, I often scrap 10-20 wax models.
Once warmed, I begin to pull and stretch the wax carefully coaxing out the lines and furrows, and working the wax to the dimensions required by the piece. I then shape the wax into its final form, endeavoring to create natural curves and termini. Mitsuro lends itself readily to both subtlety and to a more ornamental, almost Rococo filigree style of work. My aesthetic leans towards the minimal end of the spectrum, and I often feel as though I am reigning in the wax as it tries to run off in an ornate direction.
When the waxes are complete, and I have culled through my selection of models, they are cast in metal using the lost wax technique.
Finishing the cast metal piece requires great care. The delicate texture of the striations require a light touch, and yet the imperfections imparted during the casting process must be removed. I must choose which textural imperfections add to the interest and organic nature of the piece, and which detract from it.
The final finish is achieved through hand-burnishing, which imparts a high shine to the ridges, while leaving a matte finish in the recesses.
