All language subtitles for How.Its.Made.S18E09.Rally.Cars.and.Pork.Pies.1080p.AMZN.WEB-DL.DDP2.0.H.264-SLAG_track4_[eng]

Narrator:
A RALLY CAR IS A COMPACT VEHICLE

THAT'S HAD A RADICAL MAKEOVER.

IT'S BEEN STRIPPED TO THE STEEL
CORE AND COMPLETELY REBUILT.

INTERNATIONAL RALLY REGULATIONS
GOVERN THE PROCESS.

IN THE END,
THAT EFFICIENT LITTLE VEHICLE

BECOMES
A LEAN, MEAN RACING MACHINE.

FRESH OUT OF THE FACTORY,

THIS COMPACT CAR

IS ABOUT TO BE RIPPED APART
AND PUT BACK TOGETHER AGAIN.

THE REBUILD
WILL PUMP UP THE POWER

AND TRANSFORM A QUIET ROAD CAR

INTO A VEHICLE THAT ROARS
ON THE RALLY RACING CIRCUIT.

BOLD GRAPHICS WILL ALSO MAKE
THIS COMPACT CAR LOOK FIERCE.

AS THEY DISMANTLE THE CAR,

THEY GET RID OF SOME SUPERFLUOUS
BRACKETS AND PANELS

TO SHED WEIGHT.

THEY BLAST OFF THE PAINT.

THEN THEY WELD
A TUBULAR STEEL ROLL CAGE TO IT

TO PROTECT THE DRIVER
AND CO-DRIVER

IN A ROLLOVER OR CRASH.

THE ROLL CAGE
ALSO STIFFENS THE CHASSIS

FOR BETTER HANDLING
ON HARD TURNS.

THEY WIDEN THE BACK END SLIGHTLY

TO ACCOMMODATE AN UPGRADE
TO A 4-WHEEL TRANSMISSION

AND A LARGER FUEL TANK.

THEN THEY PAINT PRIMER
ONTO THE MODIFIED BODY SHELL.

THEY'RE NOW READY
FOR THE REAR TRANSMISSION.

THIS WILL CONVERT THIS
COMPACT CAR TO 4-WHEEL DRIVE.

THE TECHNICIAN BOLTS
THE TRANSMISSION

TO THE REAR FLOOR PANEL.

UPGRADING FROM 2-WHEEL DRIVE
TO 4-WHEEL DRIVE ADDS TRACTION

AND ALLOWS THE CAR TO HANDLE
MORE PRECISELY.

NOW THE SEATS.

THEY'RE INDIVIDUAL SURVIVAL
CELLS MADE OF CARBON FIBER,

A VIRTUALLY INDESTRUCTIBLE
MATERIAL.

IT'S ALSO EXTREMELY LIGHT,

AND THIS HELPS OFFSET
THE EXTRA WEIGHT

ADDED BY THE REAR TRANSMISSION
AND ROLL CAGE.

THE NEW DASHBOARD FASCIA IS MADE
OF LIGHTWEIGHT FIBERGLASS

AND COVERED
WITH A VELVETY FABRIC

TO BLOCK
THE REFLECTION OF LIGHT.

WITH THE DASHBOARD IN PLACE,

THE CAR GETS THE STEERING COLUMN
AND WHEEL.

THE CAR IS NOW READY
FOR THE FIBERGLASS BUMPER.

IT'S BEEN REDESIGNED SLIGHTLY
TO ACCOMMODATE NEW FENDERS

THAT ARE FLARED
FOR BIGGER TIRES.

THE TECHNICIAN
THEN EQUIPS THE RALLY CAR

WITH HEAVY-DUTY DAMPERS

TO ABSORB THE SHOCK
OF HIGH-SPEED BUMPS

ON THE RALLY COURSE.

HE SLIDES THE STIFF SPHERICAL
BEARINGS INTO THE CAR SHELL

AND SECURES THEM.

HE LINKS THE DAMPERS
AND THE DRIVESHAFT

TO THE HUB CARRIER
AND BOLTS THEM INTO PLACE.

HE INSERTS BRAKE PADS INTO
LIGHTWEIGHT ALUMINUM CALIPERS

AND MOUNTS THEM TO THE ROTORS.

THIS BRAKING SYSTEM IS EXTRA
LARGE FOR SERIOUS FRICTION,

ALLOWING THE RALLY CAR TO BE
SLOWED EFFICIENTLY WHEN NEEDED.

USING A CRANE, THEY NOW LIFT
THE ENGINE INTO THE CHASSIS.

THIS IS THE ORIGINAL
1.6-LITER ENGINE,

BUT SERIOUSLY RAMPED UP
TO BOOST PERFORMANCE.

THEY'VE UPGRADED
THE PISTONS AND CAMSHAFTS,

AMONG OTHER THINGS,
AND ADDED A TURBOCHARGER.

THIS TAKES
THE COMPACT-CAR ENGINE

FROM 90 HORSEPOWER TO 300.

INSTEAD OF A METAL FUEL TANK,
THEY INSTALL A RUBBER ONE.

IT'S PLIABLE AND EXPANDS,

SO IT'S UNLIKELY TO SPLIT
OR CRACK IN A CRASH.

THE RUBBER FUEL CELL FITS
PERFECTLY UNDER THE TRUNK FLOOR.

STRAPPED TO THAT FLOOR
IS THIS LITTLE TOOL KIT.

THEY'VE LIGHTENED THESE TOOLS

BY DRILLING HOLES
INTO THE HANDLES.

AS THE RACE HEATS UP, SO WILL
THE ENGINE AND ITS FLUIDS.

THEY CUSTOM-DESIGNED
THIS U-SHAPED RADIATOR

TO KEEP
THE POWER-STEERING OIL COOL.

THEY TIE IT TO THE FRONT OF
THE SUPERSIZED ENGINE RADIATOR.

WITHOUT THIS SUBSTANTIAL
RADIATOR SYSTEM,

OVERHEATING COULD KILL
THE ENGINE,

AND THAT WOULD BE THE END
OF THE RALLY FOR THIS CAR.

THE MECHANICS OF THE RALLY CAR

HAVE NOW BEEN
COMPLETELY REBUILT.

THEY NOW INSTALL WINDOWS.

THEY USE DOUBLE-SIDED TAPE

TO BIND THE REAR SIDE WINDOWS
TO THE CAR.

TAPING THE WINDOWS MEANS

THEY CAN BE EASILY KICKED OUT
IN THE EVENT OF AN ACCIDENT.

THE WINDOWS ARE MADE
OF SHATTERPROOF PLASTIC.

SO THERE SHOULDN'T BE
ANY CUTS OR SCRAPES

WHEN BUSTING THEM OUT.

INSTEAD OF PAINTING THE CAR,

THEY GLUE ON GRAPHICS
FROM BUMPER TO BUMPER.

THE GRAPHICS ARE MADE
OF PLASTIC FILM

THAT IS MUCH LIGHTER THAN PAINT.

THE CREW SAVES ABOUT 11 POUNDS
BY NOT PAINTING THE RALLY CAR.

SAVING WEIGHT AND REDISTRIBUTING
IT FOR BETTER HANDLING,

WHILE ADHERING
TO TIGHT WEIGHT REGULATIONS,

IS JUST PART OF THE CHALLENGE.

AND A GOOD FINISH
IN THE REBUILD SHOP

COULD LEAD TO A STRONG FINISH
IN THE RALLY.

Narrator: BRITISH PORK PIE

IS MADE OF CHOPPED PORK
AND PORK JELLY

NESTLED INSIDE A CRUST PASTRY.

MASS-PRODUCED VERSIONS CONTAIN
CURED PORK IN A SOFT PASTRY.

PREMIUM PIES ARE HANDMADE
WITH FRESH, UNCURED PORK

INSIDE A PASTRY THAT'S HARD
AND CRISP ON THE OUTSIDE,

SOFT ON THE INSIDE.

AMONG THE BEST-KNOWN
PREMIUM VARIETIES OF PORK PIES

IS MELTON MOWBRAY,

NAMED AFTER AN ENGLISH TOWN

WHICH HAS PRODUCED THIS BRITISH
SNACK SINCE THE 19th CENTURY.

ONLY MANUFACTURERS SITUATED

WITHIN A DEFINED RADIUS
OF THE TOWN

CAN LEGALLY CALL THEIR PRODUCT
MELTON MOWBRAY PORK PIE.

AND THEY HAVE TO FOLLOW
THE TRADITIONAL RECIPE,

WHICH BEGINS WITH BLENDING
HARD BREAD FLOUR.

THEN WORKERS PUT LARD
INTO A POT OF COLD WATER...

...SPRINKLE WITH SEA SALT,

THEN BRING THE WATER TO A FAST
BOIL, DISSOLVING THE LARD.

THEN THEY ADD THIS HOT MIXTURE
TO THE FLOUR.

THEY BLEND FOR A FEW MINUTES

UNTIL THE INGREDIENTS FORM
A MEDIUM-SOFT GOLDEN DOUGH.

UNLIKE DOUGH MADE
WITH COLD WATER,

WHICH BAKES SOFT THROUGHOUT,

HOT-WATER DOUGH BAKES
HARD ON THE SURFACE,

BUT SOFT WITHIN.

THEY ROLL THE DOUGH INTO BALLS

OF APPROXIMATELY
HALF A POUND EACH...

...THEN ROLL HALF THE BALLS FLAT

INTO A LAYER
ROUGHLY 2/10 OF AN INCH THICK.

WITH A ROUND PASTRY CUTTER,
THEY SLICE CIRCLES.

EACH ONE WILL BE A PIE TOP,
CALLED A LID.

THE OTHER DOUGH BALLS
WILL LATER BECOME

THE BASE OF THE PIE,
CALLED THE CASE.

THE PIE FILLING IS MADE
FROM FRESH PORK SHOULDER,

WHITE PEPPER, AND SEA SALT.

THEY PREPARE THE FILLING
IN SMALL BATCHES

IN ORDER TO BETTER CONTROL
THE DISTRIBUTION OF INGREDIENTS.

AFTER CUTTING THE PORK
INTO SMALL CHUNKS,

THEY SPRINKLE
WITH SALT AND PEPPER...

MIX BY HAND...

...THEN FORM BALLS THE SAME SIZE
AS THE PASTRY BALLS.

IN THE ASSEMBLY AREA,

WORKERS LAY A PLASTIC SHEET
OVER THE HOOP OF A PIE PRESS

TO PREVENT THE DOUGH
FROM STICKING.

THEY PUT A PASTRY BALL
IN THE HOOP

AND COVER IT
WITH ANOTHER SHEET...

...THEN PLUNGE A ROUND METAL DIE
INTO THE HOOP TO FORM THE CASE.

NOW THEY DROP
A PORK BALL INSIDE,

PUSHING IT DOWN TO FORCE OUT
SOME OF THE TRAPPED AIR.

THEY BRUSH WATER ONTO THE EDGE
OF THE CASE TO MAKE IT STICKY.

THEN THEY APPLY THE LID, LIGHTLY
THUMB-PRESSING ALL AROUND

TO ADHERE IT
TO THE STICKY EDGE OF THE CASE.

THEN WITH
A DIFFERENT HAND PRESS,

THEY SCORE THE PERIMETER
OF THE PIE...

AND GENTLY RUN A WOODEN BLOCK
ACROSS THE TOP.

THIS REMOVES THE EXCESS DOUGH

WITHOUT UNSEALING
OR RIPPING THE PIE.

A VENTILATION HOLE IN THE MIDDLE
LETS JUST ENOUGH STEAM ESCAPE

TO PREVENT PRESSURE

FROM BUILDING UP
AND BURSTING THE LID.

THE STEAM THAT REMAINS
HELPS TENDERIZE THE PORK.

A PIE DECORATOR
CRIMPS THE EDGE INWARD.

THEN THE PIES GO
ONTO A BAKING SHEET

AND INTO THE OVEN FOR AN HOUR

AT JUST UNDER
400 DEGREES FAHRENHEIT.

EARLIER, WORKERS PREPARED
THE PORK JELLY

BY BOILING PIGS' FEET
IN A LARGE POT OF WATER...

THEN SIMMERING FOR NINE HOURS

TO RELEASE THE NATURAL GELATIN
FROM THE BONES.

NOW THEY STRAIN
THE POT'S CONTENTS

TO ISOLATE THIS NATURAL JELLY.

THEY'VE TIMED THIS PERFECTLY
SO THAT THE JELLY IS STILL WARM

WHEN THE PIES
COME OUT OF THE OVEN.

WHEN THEY DO, THEIR PASTRY CRUST
IS A GOLDEN COLOR.

THE PORK, AS MEAT TENDS TO DO,
HAS SHRUNK DURING COOKING,

CREATING EMPTY SPACES
INSIDE THE PASTRY.

IT'S INTO THOSE VOIDS

THAT WORKERS NOW INJECT
THE WARM PORK JELLY

UNTIL IT STARTS BUBBLING OUT
THE HOLE AT THE TOP.

THIS INDICATES THE JELLY

HAS FILLED
ALL THE NOOKS AND CRANNIES.

THE PIES GO IMMEDIATELY
INTO A FRIDGE

SET AT 43 DEGREES FAHRENHEIT.

THEY REMAIN INSIDE FOR ABOUT
90 MINUTES UNTIL THE JELLY SETS.

FROM NOW ON, THE PORK
WILL REMAIN MOIST

THANKS TO THIS CONGEALED JELLY
SURROUNDING IT.

EACH PIE IS WRAPPED
IN A SEE-THROUGH PACKAGE

BEARING A "BEST BEFORE" DATE.

KEPT REFRIGERATED, A PORK PIE
STAYS FRESH FOR ABOUT A WEEK.

YOU TAKE IT OUT OF THE FRIDGE

AND LET IT WARM TO ROOM
TEMPERATURE BEFORE DIGGING IN.

NO SELF-RESPECTING BRIT
EVER WARMS UP PORK PIE.

Narrator: A FLOATING FOUNTAIN

ADDS VISUAL INTEREST
TO A POND OR POOL.

IT CONTINUOUSLY SHOOTS WATER
SEVERAL YARDS HIGH,

PRODUCING RIBBONS
OF CASCADING WATER.

A SUBMERSIBLE PUMP
GENERATES THE EFFECT.

AND ALL YOU HAVE TO DO IS JUST
SIT BACK AND ENJOY THE SHOW.

A FLOATING FOUNTAIN
IS A PLEASANT SIGHT,

BUT IT'S ALSO PRACTICAL.

THE CONSTANT PUMPING ACTION
AERATES THE WATER,

PREVENTING STAGNATION

THAT BREEDS MOSQUITOES
AND CAUSES ALGAE GROWTH.

PRODUCTION BEGINS
WITH THE FLOATATION RING,

WHICH THEY CAST
A SECTION AT A TIME.

A WORKER POURS A MEASURED AMOUNT
OF PLASTIC POWDER

INTO THE BOTTOM HALF
OF A CLAMSHELL MOLD.

THE MOLD IS ATTACHED TO AN ARM

THAT SWINGS IT INTO AN OVEN
AND ROTATES IT ON TWO AXES.

THE MOLD HEATS UP.

THE POWDER MELTS

AND ADHERES TO THE WALLS OF
THE MOLD, FORMING A HOLLOW PART.

THE MOLD NOW MOVES
INTO A COOLING ZONE,

WHERE IT FIRST ROTATES
IN FRONT OF A FAN,

THEN UNDER A COOL SPRAY
OF WATER.

THE CONSTANT TURNING MINIMIZES

SAGGING OR BUCKLING
IN THE PLASTIC

AS THE HOLLOW PART COOLS
AND SOLIDIFIES INSIDE.

THE MOLD OPENS,
REVEALING A QUARTER SECTION

OF THE FLOTATION RING.

STAINLESS-STEEL INSERTS
FOR ATTACHING IT TO THE
OTHER SECTIONS

HAVE BEEN EMBEDDED
INTO THE PLASTIC.

THEY NOW MECHANICALLY PUSH
THE HOLLOW PART UNDERWATER.

THIS IS A TEST.

THEY PUMP AIR INTO IT

AND CHECK FOR BUBBLES
THAT WOULD INDICATE A HOLE.

THE FOUNTAIN RING
MUST BE LEAKPROOF

BECAUSE WATER WILL EVENTUALLY BE
ADDED TO IT TO LEVEL IT.

A WORKER NOW BOLTS
THE FOUR QUARTERS TOGETHER

USING BRACKETS

AND THE STEEL INSERTS MOLDED
INTO THE PLASTIC EARLIER.

NEXT, THEY FOCUS
ON THE FRAMEWORK

FOR THE SUBMERSIBLE PUMP.

A MECHANICAL SAW CUTS THE
STAINLESS STEEL PARTS TO SIZE,

AND A WELDER PIECES THEM
TOGETHER.

ANOTHER WORKER NOW ATTACHES
THE COMPLETED FRAMEWORK

TO THE BRACKETS

PROTRUDING FROM THE BOTTOM
OF THE FLOATATION RING.

USING A PRESS, THEY BEND STEEL
TO CREATE BRACKETS

TO HOLD THE FOUNTAIN'S LIGHTS.

THEY BOLT THE LIGHT BRACKETS
TO THE PUMP FRAME

IN A POSITION TO ILLUMINATE
THE UPWARD SPRAY OF WATER.

THEY SLIDE
THE LONG, TUBULAR CASING

FOR THE PUMP AND ITS MOTOR

THROUGH BRACKETS ON THE BOTTOM
OF THE FRAME.

THIS IS THE PUMP.

IT'S OPEN TO DISPLAY
THE INNER WORKINGS.

THOSE STEEL DISKS
ARE THE IMPELLERS

THAT WILL FORCE WATER UPWARD.

THE NEXT EMPLOYEE
APPLIES PVC GLUE

TO ATTACH A FLANGE
TO THE PUMP ASSEMBLY.

THE FLANGE WILL BE USED
TO CONNECT THE PUMP

TO THE FOUNTAIN'S PLUMBING.

HE NOW INSERTS THE PUMP AND
MOTOR ASSEMBLY INTO THE CASING.

THE MOTOR HAS BEEN HERMETICALLY
SEALED TO KEEP WATER OUT.

USING A SPECIAL GRIPPER,

HE PULLS THE ASSEMBLY
ALL THE WAY THROUGH THE TUBE

TO COMPLETE THE INSTALLATION.

HE SPREADS MORE GLUE
ONTO THE FLANGE

AND ATTACHES A PVC ELBOW

THAT LINKS IT TO THE REST
OF THE PLUMBING.

THE ENTIRE ASSEMBLY
IS PAINTED BLACK

SO THE FOUNTAIN WORKINGS WILL
SEEM TO DISAPPEAR UNDERWATER

WHEN VIEWED FROM THE SURFACE.

WITH THE ASSEMBLY
NOW FLIPPED RIGHT SIDE UP,

THEY INSTALL THE LIGHTS.

THEN A WORKER SCREWS A CIRCLE
OF EIGHT BRASS NOZZLES

ONTO A PVC BASE.

THESE NOZZLES WILL SPLIT
THE FLOW OF PUMPED LAKE WATER

INTO A EIGHT SPRAYS
AND CONFIGURE THEM IN A CIRCLE.

HE TIGHTENS EACH NOZZLE
TO ENSURE THE CONNECTION

WILL WITHSTAND THE POWERFUL
AND PERPETUAL PUMPING ACTION.

HE PLACES THE NOZZLE ASSEMBLY
ON THE PLUMBING

PROTRUDING
FROM THE FOUNTAIN RAFT

AND TWISTS
THE THREADED ENDS TOGETHER.

THE CONNECTION MUST BE
EXTREMELY TIGHT.

ANOTHER WORKER THEN ROLLS
A SHEET OF PERFORATED STEEL

TO BUILD A TUBULAR SCREEN
TO FILTER THE WATER

AS IT FLOWS INTO THE PUMP.

THE SCREEN FITS PERFECTLY

ONTO THE INTAKE END OF THE PUMP
AND MOTOR TUBE.

WITH THE FLOATING FOUNTAIN
NOW COMPLETE,

IT'S READY TO BE WIRED
TO THE CONTROL PANEL.

THIS PANEL
WILL BE POSITIONED LAKESIDE

FOR ONSITE ACTIVATION
AND PROGRAMMING OF THE TIMER.

THE FLOATING FOUNTAIN IS
NOW READY FOR LAUNCHING.

THIS PARTICULAR ONE IS
A LARGER VERSION

OF THE ONE WE SAW BEING BUILT,

BUT BIG OR SMALL, IT'S ALL ABOUT
GOING WITH THE FLOW.

Narrator: ARTIFICIAL STONE
IS A CAST MATERIAL

THAT LOOKS JUST LIKE
SCULPTED NATURAL STONE.

SINCE THE EARLY 18th CENTURY,

MANUFACTURERS HAVE CAST STONE
IN MOLDS,

PRODUCING BEAUTIFUL GARDEN
AND LANDSCAPE ORNAMENTS,

AS WELL
AS ARCHITECTURAL COMPONENTS

DESIGNED TO ENHANCE BUILDINGS.

CLASSICAL-STYLE STATUES
AND OTHER GARDEN ORNAMENTS

CAME INTO FASHION IN ENGLAND
IN THE 1700s.

IT WAS TRENDY
FOR THE UPPER CLASSES

TO TOUR ITALY AND ADMIRE ANCIENT
ROMAN ART AND ARCHITECTURE.

NOT EVERY NOBLE
WAS WEALTHY ENOUGH

TO HAUL HOME A SOLID STONE
ANTIQUITY BY STAGECOACH,

SO ENGLISH FACTORIES

BEGAN PRODUCING FACSIMILES
IN ARTIFICIAL STONE.

THE PRODUCTION PROCESS TODAY
IS MUCH LIKE IT WAS THEN,

BEGINNING IN THE STUDIO,

WHERE A SCULPTOR MAKES
A PLASTER MODEL OF THE ORNAMENT.

THIS ONE'S A COPY
OF AN ANTIQUE BUST OF PAN,

THE GREEK MYTHOLOGICAL FIGURE.

THEY USE
THIS INTRICATELY DETAILED MODEL

TO MAKE THE PRODUCTION MOLD.

AFTER COATING THE PLASTER
WITH A SEALER,

THEY COVER THE ENTIRE MODEL
WITH THIN STRIPS OF CLAY,

MAKING CERTAIN DIVISIONS
BETWEEN STRIPS

TO CREATE THE PRODUCTION MOLD'S
VARIOUS SECTIONS.

OVER THE CLAY, THEY APPLY
SIX OR SO LAYERS

OF FIBERGLASS CLOTH
SATURATED WITH RESIN.

THE RESIN CURES,

PRODUCING A 3/10-INCH-THICK
MULTI-SECTIONED CASE

AROUND THE CLAY-COVERED MODEL.

NEXT THEY OPEN THE CASE
AND REMOVE THE CLAY,

WHICH LEAVES A GAP
AROUND THE MODEL.

THEY CLOSE THE CASE

AND FILL THAT GAP WITH THEIR
SPECIALLY DEVELOPED RUBBER.

WHEN THE RUBBER CURES,

THEY OPEN THE CASE
AND REMOVE THE MODEL,

REVEALING A RUBBER MOLD

THAT BEARS ALL THE MODEL'S
INTRICATE DETAILS.

THEY SEND THIS CASED MOLD
OFF TO THE PRODUCTION FACILITY

AND PUT THE MODEL IN STORAGE

UNTIL THE RUBBER MOLD WEARS OUT
AND IT'S TIME TO POUR A NEW ONE.

THE ARTIFICIAL STONE IS A
NATURAL-LOOKING OFF-WHITE COLOR.

IT'S MADE OF FINE SAND,
WHITE CEMENT, AND LIMESTONE,

PLUS PLASTICIZERS,
WATERPROOFERS,

AND A FEW SECRET INGREDIENTS.

THE FACTORY ADDS STONE PIGMENTS
INTO THE MIX

TO PRODUCE TERRA COTTA
AND OTHER COLORS.

A COMPUTER-CONTROLLED SYSTEM
FEEDS THE INGREDIENTS

INTO THE MIXER
IN ALL THE RIGHT PROPORTIONS,

THEN ADDS
A SMALL AMOUNT OF WATER

TO ACTIVATE THE CEMENT
THAT BINDS EVERYTHING TOGETHER.

ON THE PRODUCTION FLOOR,

A CASTER REPEATEDLY SHOVELS
A BIT OF STONE MIXTURE

INTO THE FIBERGLASS-ENCASED
RUBBER MOLD,

THEN, USING BOTH HAND
AND PNEUMATIC TOOLS,

COMPACTS IT IN THE MOLD.

THE QUALITY OF THE ORNAMENT

DEPENDS GREATLY
ON THE CASTER'S TECHNIQUE.

THE TRICK IS
TO RAM ENOUGH STONE MIXTURE

INTO EVERY NOOK AND CRANNY
OF THE MOLD,

BUT NOT COMPACT TOO MUCH
AT A TIME,

AS THIS MOLD WOULD PRODUCE

UNATTRACTIVE LAYERS
IN THE FINISHED ORNAMENT.

THEY TROWEL THE OPEN SIDE
OF THE MOLD BY HAND

AND SMOOTH THE SURFACE.

THE STONE MIX TAKES 24 HOURS
TO REACH AN INITIAL SET.

THEN, SECTION BY SECTION,

THEY UNBOLT THE CASE
AND PEEL OFF THE RUBBER MOLD.

THIS MAY BE ARTIFICIAL STONE,

BUT ITS SURFACE TEXTURE CLOSELY
RESEMBLES CARVED LIMESTONE.

THE FINAL STEP
IS A VAPOR CURING.

THE ORNAMENTS GO
INTO A CHAMBER OVERNIGHT.

THE STEAM FORCES MOISTURE
INTO THE PORES,

CURING THE CEMENT INSIDE.

THIS TYPE OF ARTIFICIAL STONE
IS CALLED DRY CAST LIMESTONE.

OTHER ORNAMENTS ARE MADE
OF WET CAST LIMESTONE,

A MIXTURE
OF SIMILAR INGREDIENTS,

BUT IN LARGER PARTICLE SIZE
AND CONTAINING MUCH MORE WATER.

BECAUSE YOU
CAN EMBED STAINLESS-STEEL
REINFORCEMENT BARS IN IT,

WET CAST IS THE BETTER MATERIAL
FOR MAKING OBJECTS

SUCH AS GARDEN BENCHES
OR LARGE FOUNTAIN BOWLS

THAT REQUIRE
STRUCTURAL STRENGTH.

WET CAST DOESN'T HAVE
TO BE VAPOR-CURED

BECAUSE OF ITS HIGH
WATER CONTENT.

HOWEVER, UNLIKE DRY CAST,

WHICH IS FINISHED
WHEN IT COMES OUT OF THE MOLD,

WET CAST
DOES REQUIRE FINISHING.

WORKERS HAVE TO GRIND AWAY
EXCESS MATERIAL

THAT SOMETIMES SEEPS
OUT OF THE JOINTS IN THE MOLD

AND HARDENS.

THE WET CAST SURFACE
IS SMOOTH AND SEALED,

SO IT'S NORMALLY EASIER
TO CLEAN.

DRY CAST STONE, BY CONTRAST,
HAS A TEXTURED SURFACE

AND WEATHERS
TO AN ANTIQUE LOOK.

--Captions by VITAC--
www.vitac.com

CAPTIONS PAID FOR BY
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