• The original sculpture or its mould.
• A Maquette of your work, we will enlarge it to the desired size for bronze casting.
• Digital mould of your work. We can make the pattern Rapid Prototyping.
• A draft or picture, even a conceptual drawing of your idea. We can help you clarify your idea and turn it into sculpture by clay sculpting or 3D design.

You will get more detail about it on our Clay sculpting & 3D Design & Enlarge pages.

As the Premier Bronze Sculpture and Statues Foundry, We provide Full Service of Customize Bronze sculpture.A complete list of the services we provide is on our service page.

We have Plaster mold casting, Silica Sol Lost Wax Casting, Sand casting technique for different bronze sculpture casting.

• usually We use Plaster mold casting for small sized and good dimensional accuracy is required ；
• Silica Sol Lost Wax Casting for bigger sculptures and have surface quality ；
• Sand casting for large-sized work. We are able to cast sculpture at any size.

More details about our bronze sculpture casting technique are on our Bronze Sculpture Casting page.

We have over 20 years' experience on bronze sculpture foundry business.

Our  mold maker, chased, polished, finishing worker is all the best in this industry.

We use good quality bronze alloy & Wax, casting method (Plaster mold casting) for casting and we have a professional quality control team to make sure the best possible result.

Every project is unique, and many aspects contribute to the overall cost of casting your sculpture. For example, complex sculptures may require more finishing and assembly time. Even a relatively simple construction may require more finishing.

Any way, we charge very reasonable cost for our service. We offer flexible service package according to different projects. We help clients optimize the best production method to reduce the cost. Nevertheless,  the best way to get started on an estimate for your project is to send us a picture with a description of its height and width.

A complete list of the services we provide is on our service page.

The lost-wax technique is that the commonest technique for creating bronze figures and sculptures. Though the precise process varies from foundry to foundry, the technique has been relatively standard since its first use in c. 3700 BCE. The artists begin with a model that they form a mold. We employ a soft material like silicone for the inner mold, which must be malleable enough to supply a particular negative of the first object. The outer mold is rigid, often made of plaster. Molten wax is then poured into the mold thinly coating its inner surfaces. After it's cooled the wax is faraway from the mold and ‘chased’–perfected to get rid of any flaws or evidence of casting–wax rods are added to form channels through which the molten bronze can flow and gas can escape. A rigid cast, again often plaster, is made round the wax mold and therefore the entire object is fired during a kiln. This both solidifies the plaster and melts the wax which drips out of the mold through the channels. This leaves a prefect negative of the artist’s object into which the liquid bronze is poured.
After it's cooled, the casting is faraway from its plaster mold, the bronze which formed in situ of the wax rods is removed, and therefore the surface is ‘chased’ once more, polished, and sealed. A well-cast bronze sculpture is weatherproof and very durable.

Though Bronze has remained relatively unchanged since the alloy combining copper and tin was first discovered, a sculpture’s quality remains very hooked in to how well it's cast. Various defects, like gas porosity–the formation of bubbles within the cooled casting–or cold-front–the imperfect fusion of two fronts of liquid metal–can affect the alloy’s strength, appearance, and sturdiness . Important things to notice when determining the standard of a bronze sculpture include the exactness of the casting to the artist’s model, particularly its surface texture quality and therefore the accuracy of subtle details like fingers. The patina which develops naturally on the surface of the sculpture can show the standard of the alloy used. The colour of the patina can vary from reddish to warm brown, green, or maybe yellow counting on the quantity of copper within the alloy. No matter its color or whether it's present or has been induced with chemical substances, the patina should be even and richly hued. Particularly thick or dark patinas are often won't to hide flaws in lower-quality casting.