After each part has been cast we move onto assembling the hand-crafted, NC, or 3D modeled pieces to complete the prototype mold from which the jewelry will be pulled. Once that is done, we put it through an oxidization treatment, and after checking what the balance, contrast, etc. of the finished product will be like we tidy up the surfaces. We pay the closest attention to detail with the alignment of moving parts, so before casting we calculate for the shrink percentage of the once the molten metal comes to harden (the finished product will be roughly 5% smaller than the prototype mold) and decide on the size of adjoining parts. Because size, thickness, and shape vary according to the temperature and conditions of the liquid metal, we take into consideration the creation and intricate meshing of gaps from the very beginning of the modeling process. The quality of the finished product is pretty much decided by the quality of the prototype, so we put the most care into this part of the process.
* Castings of master-model parts
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After completing the modelling data for Fossilized Angel, we match it with the design data for each respective accessory. Because the size and bevel inclinations vary based on each piece’s concept, we make fine tuned adjustments while crafting the fit. To give the appearance a sense of uniformity, we make delicate adjustments to each Fossilized Angels’ parts in respect to orientation, thickness, aspect ratio, and sense of bulkiness.
Director Kamiyama supplied us with the original drawing, which we scanned onto a computer and then converted into 3D data, using modeling software on every single skeletal part and feather. The final count was 213 parts!. We spent the most amount of time on the element that Mr. Kamiyama had paid the most attention to: the visual effects that really brought out the aura of a fossilized angel.