Using the idea of 'rolling' the cards out, I bought some rubber washers from B & Q to use to aid the feeding of each card out of my first maquette. Although simple, this method worked well when the roller, shown above right, was turned. As I suspected, the pressure is key to its functionality.
To take this further I laser cut cogs to test my transitional method as mentioned in my previous post (see below). The system worked in theory but in reality it was a very rough mechanism and quite unreliable. Talking with other class members it became clear that this method allows too many variables for it to function perfectly without a great deal of time spent perfecting each intersection and placing it at the correct position. I don't intend to fully rule this method out but I think for a reliable effective mechanism I need a much simpler approach.
I have made several attempts to get information regarding the vac metalisation process to little avail. Whilst one company gave me a good insight into the process (revealed in a typed up phone call within my research file), they did not respond to my specific requirements and I have since been unable to get in touch. The general response seems to be that my requirements aren't worth their time as it is a one off piece. This process, as shown below, would clearly offer a great metal effect if it were carried out to the high standard I need. All parts are coated in aluminum before additional colourisation, such as gold, are applied within the lacquer. I will continue to peruse this avenue in the coming weeks.
Having looked at much of his previous work online I decided to get in contact with Aden Hynes at Sculpture Studios (www.sculturestudios.co.uk). He was kind enough to talk to me about my project over the phone and I was able to record the conversation and type it up for my research file. As well as talking me through his recommended process for sculpting, molding and casting of the Oscar we talked about the finish. I mentioned my attempts at finding a company to vac metalise the piece. He said he thought the piece may be too large for the process and the he would most likely paint the piece for the finished effect. This surprised me but also opened a new area to explore in order to achieve the finish I want. Whilst I am incredibly impressed by the work at sculpture studios, Aden himself said that many jobs simply need to last a matter of days or even moments for TV ad's or films and therefore don't necessarily have to have a good long lasting quality finish.
In order to keep moving in some way whilst waiting for companies to respond to my enquiries I decided to experiment with gold metallic paint as recommended by Aden Hynes. I primed my maquette with grey plastic primer before applying a liberal coat of the gold. It is worth noting that this method really requires full coats at a time rather than half-half. Doing one half at a time seems to leave an obvious join line between the two coats that don’t blend as well as regular paints.
The sprayed maquette below gives a good impression of how the finished piece might look the sculpting however being a much higher standard than this mock up.
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