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Corporate Samples
Sterling silver rings were supplied to the Australian Paralympic Team during the Sydney Olympics. The 18ct gold medallion has been used as a Hall of Fame award.
The client's logo was turned into cufflinks. The infill is laser cut coloured Paua shell.
An example of a sculptured pewter lapel pin. The left has an oxidised copper finish (simulated bronze). The right is nickel plated with a translucent red resin infill.
The custom bead clasp was designed for a silicone rubber bracelet that was given to students.
Typical award medals simulating bronze, silver and gold. We can also provide the ribbons and a suitable box.
CAD rendering of a pin for Cooper's Ale. Note the contour that was achieved in the design. This increases the overall sculptured look.
This admission ticket was engraved with individual seat numbering. It is an ideal keepsake after a major event.
Another example of custom cufflinks using our photographic insert technique.
An example of a cloisonne pin. This technique is ideal where fine metal outlines act as perimeters for broader areas of enamel. The pins have a very smooth finish so an epoxy coating is generally not needed.
Example of a regular enamel pin. The metal is stamped or photoeteched. Colour infill is applied and then a coating of epoxy resin is added.
The tiger's head is an overprint on a cloisonne pin base. It was not possible to reproduce the tiger's head in enamel because of the fine detail.
The stainless steel bookmark was designed for a chef. Cooking books and stainless steel are always found in the kitchen so this was an appropriate promotional givaway.
Stainless steel bookmark proposal for the Maritime Museum in Sydney.
A set of pewter medallions for the RSPCA. The medallions were created from hand drawn sketches provided by the customer. Each medallion was individually numbered.
Examples of pin finishes. The top row are bright and the bottom row are antique or oxidised.
Proposal for a promotional givaway for the Lenin Bar in Sydney. This item could easily be turned into a pin, keyring or pendant.
Proposal for cufflinks for the minus 5 bar in Sydney. Our graphic technique allows samples to be created quickly with little expense.
Another pin proposal for the minus 5 bar in Sydney.
Example of sculptured pewter keyring with highly detailed logo design. Parts of the design are raised and other parts are engraved.
Examples of traditional resin coated, metal name badges. A small gemstone can be added for senior staff.
Example of anniversary pin and information card for a Sydney footbal club.
Example of custom pewter cufflinks. A proposal for the Taronga Park Zoo in Sydney.
CAD rendering of a pin proposal for the Australian Paralympic Committee.
Examples of PVC keyrings. These are ideal for inexpensive, high volume promotional givaways.
Design and Casting Process Example
Step 1 involves creation of the 2D artwork. This is an example of a belt buckle. Good quality vector outlines are required where all lines are joined together and there are no overlaps. Simple sketches need to be converted to outline graphics (.ai, .eps etc). High resolution bitmap images are required for any textures to be added as reliefs.
Step 2 involves the creation of the 3D model using CAD (computer aided design). This step requires 3D modelling skills and knowledge of industrial design. The output of this step is a file suitable for the creation of the wax pattern in the next step. Photorealistic CAD renders, as shown above, are also the output of this step.
Step 3 is the creation of the wax master pattern. The wax is created by either milling or printing (also called rapid prototyping). The choice of process is dependent on the size of the piece and whether it's double sided. Larger, flatter pieces favour milling whereas smaller pieces with undercuts favour printing.
Step 4 is the conversion of the wax pattern to silver (or bronze) via investment casting. The casting is rough and there is a sprue that has to be removed.
Step 5 is the hand polishing of the raw casting to get rid of the sprue and any imperfections. Generally a near to mirror polish is required to created a master pattern suitable for subsequent pewter casting.
Step 6 is the creation of the pewter prototype. This requires a rubber mould to create the first dozen or so pieces. These are then cleaned up for the creation of the production mould that will be used to create the 100+ pieces. After the production pieces are cast, they are tumbled, plated in silver, oxidised, buffed and finally lacquered.

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