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Kevin, I wish you would just buy a good condition NAZEL. You certainly have the machine shop to rebuild one, and Harold and I will come over and run it for you for free. Dan

And a large candle holder I made back in 2000 that started out as hex and ended up as ?

Thanks Don. I like working with hex. It has an interesting look when slit and drifted, upset, drawn out etc. Here is a large sculpture utilizing 3 1/2" hex bar. Dan

Thanks everyone...Harold if you ever need mill balls for a project I have plenty.

About the feet.......I heat the mill balls in the forge till glowing. I've never concerned myself with how hot but I get them yellow and let them soak for a while. Then I shut off the forge leaving the balls in and close it up...the next morning you can drill and tap them. Prior to that you can't even touch them with a center punch. The feet in question have a rivet that passes throught the entire ball and is upset top and bottom. On the first grate it is a 3/4" rivet the last grate it is around 5/8". Dan

Here is a fire grate I just finished for a local client. Forged from hex bar, and utilizing mill balls as feet.. Dan Here is another shot from the rear of the grate. And last, this is another grate I made a while back. It is similar in construction however fits into a fire box on the corner of a wall. Dan

My 100# hammer was sold new in the seventies and came with two toggle arms with the adjustable screw where the spring attaches. I see no advantage with two. Two adjustable knuckles on older style hammers is advantageous, in that you can equalize the lenght of each toggle link. Dan

I prefer Howards Citrus-Shield Paste Wax for my interior sculpture. It contains carnuba and citrus oils and is TOLUENE FREE. I have used it for years and for me it seems to protect against rust better than Johnsons. I purchase it at home depot although it is also available online. It drys well ( no sticky or oily residue), and produces a medium sheen. Also smells good. They also make a liquid form but I dont like it because it does leave an oily residue on steel. Dan

Thanks for the track torch info Michael. I've done something similar on a smaller scale, and may use this technique on a future piece that will be fairly large. I'll be checking into purchasing one. Dan

I sure am enjoying watching the progress of the piece. Thanks for documenting the process. Can you give me some info on your torch set up on tracks. What size tanks/torch does it take to allow you to cut through that thickness of material Dan

These are clutch blocks, on a new style 100# hammer. You can see them numbered 1,2,3, on the rear of the hammer. The orientation on an older hammer will be different. And last an old style 50# hammer clutch with linning. Dan

Nice press Kevin. I'll have to come over and check it out. Is that your new location. Dan

Here you go. Dan

Danny, Yes it is available and is in Texas. You can e-mail me for the contact info. Dan

Beautiful work. I like the way the lower section on "Aileron" relates to and transitions into the upper mobile section. I'm also always interested in work that combines different materials. What is the material that the "blades" are made of in the piece on the video? It almost looks like stone. Also I have a few technical questions...are you ever asked to have an engineer look at a design when doing public work, and is there a way to stop the movement of the pieces during high winds? Thanks again, and congratulations, Dan

Ric, Yeah you need to start working bigger . Oldenburg is 82 and still seems to be going strong.."On December 1, 2010, Claes Oldenburg presented a wooden model of a sculpture to members of the Philadelphia Art Commission. The design was enthusiastically received and unanimously approved". Dan

Ric, Familiar with Claes Oldenburg? You should look at his work. Monumental everyday objects. "Tumbling Tacks" Dan

Wasn't sure where to post this. Does anyone know exactly what this is. It has sharpener cast on the front. I thought it was an upsetter at first. I know I know it's a sharpener. Thanks, Dan

Ric, What a generous offer, thank you. Perhaps sometime when it's 112 degrees here in Tucson I'll make a trip to see your set up (that's not far off for us). I actually have an old KR Wilso 75 ton press that I use quite a bit but it utilizes a hand pump, and only pushes. I need something with a motor driven pump to speed things up, and to free up my hands. I'll check your videos out on youtube. I agree that I need more power, or should I say better controlled power. I've actually been looking at all the press designs out there, and may end up building something more suited to my needs. As for a bigger hammer, well you know there is just something about a big air hammer, and my goal is to eventually get a Nazel. Dan

I have a 100# hammer that I use quite a bit, however I'm getting to the point where I need something a little larger. Dan

Thanks, The tallest piece is around 9' Most of what you see are forged from 2" square and 2" round. Others like the concrete and steel piece are made from 2.5" - 3.0" plate. The concrete weighs around 400#. The piece on the floor with the "X" is 3 1/2" hex bar and 2" square. I upset the hex bars at the ends, and then pressed them together under my press. Dan

Thanks everyone. Dan

Thanks Michael, I'm afraid that hammer is just a little to big for my needs. It is a beautiful hammer. Dan

Thank you Harold for the comments, I appreciate it. I do wish that the Chambersburg had been a smaller hammer. Are you sure we can't fit that baby in your shop. Dan

Thank you. I went to Utep and received my BFA in 1993. The Ruben Center is fairly new,located on the UTEP campus,and has three gallery spaces. In 2010 UTEP Department of Art began an alumni show. Last year it was a group show of several previous students. I sent them several images, and was asked to do a solo show for 2011. I show in other galleries, and always approach them with a bio, artist statement and images of my most recent work. Dan