Making Talos Awakes – Part 20 of 20
TIG welding Talos
Although tungsten inert gas (TIG) welding is a relatively difficult welding method, when performed by a skilled operator it can produce welds of high quality with greater control. One of my sons (Maxim) has studied this skill at college and is a very talented TIG-welder. This is crucial in the marrying of the two sculpture halves.
To unite the halves, they need to sit flush together using the location bar from the torso to socket inside the legs. Once paired up it requires cleaning the area and forming a channel to allow the metal to flow and fuse uninterrupted. If there are any impurities that interrupt the process it can compromise the strength, quality and finish of the sculpture.
Bronze fettling
With regards to dressing the sculpture and tapping mounting threads, some work had to be done prior to welding the two halves together due to accessibility. For example removing and texturing the feeds on hands, elbows and any remaining feeds that would impede the mounting to the plinth. Marking and drilling the hole to fit the removable heel plug. Drilling/tapping the foot and knee to pre assemble to the plinth, and doing the same process on the plinth for mounting to the base.
The feed on the helmet and the weld on the belt can now be carefully dressed back using a miniature die grinder with various types of burr.
After a quick inspection and highlight using a fine grade scotch bright, we can visibly identify any remaining imperfections that need removing and texturing to match the sculpture. The final stage of metal work is to reinstate any points of definition, this is achieved by using a file or mini drill with the correct sized burr.
These processes are implemented for the figure, plinth, sword, and heel plug.
Patination process
All the components are now ready. To prepare them for patination they needed a fine grit sandblast to apply an even finish across the entirety of the sculpture. A fine grade scotch bright is then used to add more contrast and depth to avoid a flat single tone undercoat.
We heat the components in an oven, then dip in a sulfur blackening solution. Once satisfied with the colour, we can wash off any residue and place it back in the oven to dry. After leaving the piece to cool, another highlighting stage is used to brighten the finish of the bronze on the raised detail of the sculpture.
Using threads from the foot and knee we can mount onto a custom holder in a vice. Now we can reheat the sculpture with a blow torch to around 100 degrees centigrade (gauged with a spray of water). When up to temperature we can begin creating the verdigris patina by stippling a solution of copper nitrate, zinc sulfate and water. Then wash off any residue and place it back in the oven to dry.
Now the bronze is dry and up to an even temperature, we can begin waxing.
A soft bristled brush is used to apply the wax, this will give the sculpture a final lustre and act as a sealant. Leave to cool and shine with a lint free cloth. All these processes are needed for the figure, plinth, sword, heel plug, and plaque.
Final assembly
Once waxed the figure of Talos is securely bolted to his plinth and mounted upon a base of oak or granite. The final finishing touch is an engraved brass plaque under the base.
It has been an absolute privilege to have been given the opportunity to work so intimately with such iconic creations. Our deepest thanks to the late Ray Harryhausen, as well as the foundation for making all of this possible.
These sculptures were hand made by Raven Armoury in association with The Ray & Diana Harryhausen Foundation.
Based on effects characters created by Ray Harryhausen for a Charles H. Schneer Production.
TM & © Columbia Pictures Industries, Inc. All Rights Reserved.
