View Full Version : Material handling suggestions?
I'm trying to figure out better ways to maneuver heavy stuff. I have a perfect example on my work table right now. I want to temporarily assemble this to check the balance and also be able to get it back on the table, rotate it to work on the other side, etc., all without my getting squashed beneath it like a bug.
The parameters are:
- The workshop part of my studio has a ten foot ceiling, but my electric winch (rated for 800 lbs.) hangs from a beam, so the space from floor to the bottom ring on the winch is 93".
- The floor is very not level, so I have a 2.25" thick platform to put under the base, which needs to be levelled.
- The base is round steel, 33" in diameter x 1/2" thick. welded to it is a vertical 2" d. pipe with a trailer bearing on top. That vertical element is 27" high. I'm guessing the base weighs 100-120 lbs.
- The sculpture is 84" tall, irregular with good places to strap to, and weighs in the vicinity of 400-450 lbs. It has an interior sleeve made of pipe just a little wider than the vertical on the base and deep enough to sit fully on it.
- Besides the winch, I have two cargo straps rated for 1,000 lbs each and plenty of chain. Also, a small hydraulic worktable that can extend from worktable height down to 10".
Since I can't lift the sculpture high enough to just put the base down, then slip the sculpture down onto it, I think I need to tilt the base and get the sculpture on it at an angle, then raise it up. Any suggestions/tricks for doing that? I'm thinking I should install a pulley or some other inexpensive weight bearing device to raise the bottom end of the sculture independently. Any suggestions as the the best smallish pulley/block and tackle/chain hoist, or whatever, to get?
Any tips would be appreciated. I really should design things so that they come apart. Meanwhile, I'd like to finish this darned thing, which is taking me forever.
I'd like to learn ways to more easily manipulate heavy stuff within this little space I have. Unfortunately, I'm not on the ground floor either, and the wooden beams below me are always in the back of my mind. And I do work alone, though I can ask for help if I get really desperate.
Two images posted here to hopefully make the situation clearer.
sculptor
08-24-2004, 06:22 PM
Hi JAZ
this is the culmination of the silhouette you posted a few months ago?
(herein----"balance point" is hanging "pivot point" is standing)
I have moved heavy things by balancing near the balance or pivot point and tilting by cinching up a light weight hoist onto the main. then blocking the piece in place while redoing the hoist connections. In practice, moving by increments and readjusting the hoist is slower, and a lot less exciting.
it seems that you have 111 inches of sculpture under a 93" hoist under a 120" ceiling
so you'll have the final contact between hoist and sculpture down over 20% from the top which makes it closer to the balance point ----by hanging the top piece at something near a 45º angle, you should be able to feed the pipe and ball into it's socket.
Then, tilt up to the pivot point
I'm assuming that the pipe and ball fit into a deep pocket on the bottom of the sculpture?------so actual final height will be the pockets depth under the 111"
3 or 4 stabilizing ropes with an adjustable knot like a double-half-hitch are a cumbersome but valuable safety and -----ASK FOR HELP-----if it out-weighs you by 5-10:1 and you're experimenting with the balance, a little extra muscle, and a fresh idea can't hurt, and a driver to take you to the emergency room might come in handy.
If hoisting from an angle, when beyond the combined pivot point to the vertical, the danger of rapid and unexpected motion is reversed. and ---once past the pivot point, the sculpture will tend to right itself.
also, wrapping a heavy rope around the piece 3-4 times, then cinching both ends to the winch hook will retard any tendency to roll in the straps---
We just repaired and moved an 11' tall 1500-1800 lb carved log-
It started out over 12 ft, but had been asaulted by bugs and fungi--
I made the base to be wider by 10º from the top-which places the pivot point close to 30º from the vertical------we roped it to a hoist just above the balance point at 6+ feet above the floor(it balanced with me riding it's head)---then raised it and swung it into position,then I climbed down from it's head allowing the base to contact the floor, and then we hoisted to the max and shoved it over the pivot point, then by slowly backing down on the hoist, allowed it to reach the vertical-
------when we delivered, I had walked over to the biggest guy there, and asked if he had 29 friends his size-they scrounged up 8 guys including the father and son owners- 3 were superfluous--but added a margin of safety-
At the shop, I had moved it with a series of 6-10 ironwood poles and weights (lever and fulcrum stuff---set a pole and fulcrum then hang a bucket of sand on the out-end of the pole--then set the next pole and fulcrum......etc.) and added blocking and reset on taller fulcrums as I raised the log-3-5 inches at a time---then with counterbalance ropes and a simple cable hoist moved it---so I could pivit it, roll it , and work on it alone as the action beckoned.
Can you position the hoist directly over the balance point?----if not, then get as close as possible, and add extra straping on both sides of the balance, and allow it to slide under the hoist----then block and restrap------safety first get a friend with no time constraints----slower is safer.
Hope this is intelligible
rod
sculptor (http://sculpture.alturl.com)
steponmebbbboom
08-25-2004, 08:21 AM
(edit: scratch that, I see now how it goes together. I thought the upper piece was going to lay horizontally.)
Yeah, I think you can do it with the equipment you have. The only thing I would add is, I would clamp something securely to the beam to stop the trolley just after you get the piece vertical, to catch the piece if it decides to keep going over the other way. If it's only 400 lbs or so, the hoist along with a few hands to steady the piece should be more than adequate. The hoist will keep the base from kicking out on you as you raise the piece up. I think you will be fine, just don't let the hitch slacken and let the hook slip off.
[QUOTE=sculptor]Hi JAZ
this is the culmination of the silhouette you posted a few months ago? ..."
No, actually, that was a wall piece based on the footprint of a yellow birch. This is one is an old growth hemlock footprint. there is a big charcoal drawing I did from the same pattern on my website.
"... you should be able to feed the pipe and ball into it's socket...."
Actually, since the base, pipe and ball weigh more than I do, feeding it in the way you describe was one of the problems. I resolved that by welding a long piece of 1"rod, rounded at the top, to a small piece of 1/4" plate that I drilled holes in. That I could easily feed up into the hollow space in the sculpture. My plan is to get the sculpture, with that smaller pivot piece inside it, vertical, then screw that 1/4" plate to the wooden base. So, I got past that problem by going around it.
"... 3 or 4 stabilizing ropes with an adjustable knot like a double-half-hitch are a cumbersome but valuable safety and -----ASK FOR HELP-----if it out-weighs you by 5-10:1 and you're experimenting with the balance, a little extra muscle, and a fresh idea can't hurt, and a driver to take you to the emergency room might come in handy..."
Maybe I should, but it would be better to do it myself if I can because once I have it vertical and correct the ballance, then I have to get it down, work on it, turn it over, etc. I can't be relying on other people all the time. And so far I've done lots of work without ever hurting myself. Knock on wood.
Your account of how you moved the big log thing is impressive. Wouldn't catch me sitting on something like that!
"...you position the hoist directly over the balance point?..."
Unfortunately, the hoist is bolted to the beam. The latest update is that using the hoist and a small pulley I have the piece secured at 80 percent of the way up. The small pulley is maxed out, so it won't pull the extra foot. Yesterday I spent most of the day trying to find a bigger pulley - the block and tackle type for good mechanical advantage - that's affordable. Our local hardware store would charge $160. I don't consider that affordable. An alternative would be a 1 ton chain fall, which I could get for $70, and may end up with, though that's not the best solution. The drawback is that a chain fall is good at lifting straight up, but often I'll need it to pull at an angle. Like with the present situation where I don't need to lift the piece, I need to pull the top of it to the right.
Anyway, thank you very much for all of your good input. I know all that stuff about the pivot point, etc, because I've done this before, but just not with something this heavy.
thanks for all of your help, Rod.
JAZ
Dear David (steponmebbbboom),
I sure wish I had a trolley hoist. But I have only one beam to work with and a good part of it is taken up by the flourescent lighting that came with this space. so, my solution was a small electric hoist bolted to the free part of the beam. Further down I bolted the small pulley to the side of the beam, next to the lights, but it stays enough below them not to hit them. It's the type that has two wheels on each of two pulley units with the rope wrapped around and around. That type works well for me, but it's just too small. I need it's mother.
But I'm working on it.
Thanks for the help.
JAZ
At an antique/junk shop I found a block and tackle set the size that's right for now, and price - $48. I had to go to three boat supply places to find the rope for it, another $16, but this will work. So, I made a bracket for it and a cleat to tie the rope to. ThenI did what Rod said, pull a bit on the pulleys, then let out some slack on the winch, then pull again on the pulleys, etc. It's vertical! I did it all by myself (but it took me three days.)
Photos attached.
Rod and David, thanks for your encouragement and suggestions!
JAZ
jwebb
08-27-2004, 04:16 PM
Yeah, thanks, now we all have learned something. JAZ, is this the "kinetic" piece you mentioned awhile back? (i.e., is this shape intended to turn on that ball?)
ironman
08-27-2004, 08:33 PM
Hmmmmmmmmmmmmm, Now if I only knew how to tie a double-half-hitch. I guess I should have paid more attention in boy scouts! It's amazing, the things that we sculptors do ALONE in our studios. Very interesting post and I for one can't wait to see photos of that piece finished and in someones sculpture garden.
Have a nice day,
Jeff
Yes, this is the one. It's taken me so long partly because it takes me a long time to do everything, but also, I lost tons of work time in order to coordinate the little sculpture park. Other people didn't do what they were supposed to do and I got stuck with all kinds of extra time and effort. But there were good things about it too.
Now that I have the piece vertical I'm depressed about what I see. I've done this kind of piece before, but not this heavy and because of the particular shape of this one, too much of the weight is up high. I had expected to adjust side to side weight because I thought that's where the balance would be off. But no, it's leaning forward. If you could see the way things are constructed inside you'd know why I see that as a problem. But anyway, that's a lot harder to deal with. The entire back side is completely welded to gether on the inside and about two thirds of the front is too. I tacked on the upper left third so I could open it up to add side to side weight if needed. The fact that it's leaning forward is bad news. As I said, I think it may be that the center of gravity is too high. I'm thinking about it.
There's just so much about the way I work that's guessing and instinct. I have no background in engineering or that sort of thing. So far I've made all kinds of pieces that did exactly what I wanted them to do. But this one may not.
I like the footprint idea because it gives me a shape that's both scientific and abstract, an interesting dichotomy, and I find these shapes out in nature where I'd rather be than anywhere else. (Today we sea kayaked 12 miles around an island, though I should have been in my studio. But sometimes it's the best way to work out a problem like this big one we're talking about.) So, I choose a tree because of where it is, how the size fits and the potential of the shape. I can't actually see the real shape of course until when I bring the pattern back to the studio. I usually decide when I make the pattern which way the image will be oriented. Like with this Old Growth Hemlock I'm working on now, I like the kinetic feel of having it seem to dance on one point. I've taken something horizontal and static and rotated it upward to give it some life.
The straps could be influencing the balance, but I think it's mostly too top heavy. But I'm working on it.
That's not the only dissapointing thing about it. I used a Walters disc to smooth the welds all along the edges that are done, which takes lots of time. Now that it's upright I can see places where the disc bit into the steel too much. That's because the light over my worktable isn't good enough and also the piece was sort of high on the work surface (or I'm just too darned short!). I want the edges and joints smooth, but in places they're not. I should get an air driven sander. The money and time always fly out the door and what's the return?
Why am I doing this? It's crazy. But I do it anyway. It's nuts.
ironman
08-28-2004, 09:41 AM
Hi Jaz, It sounds like you're a little bummed out over the way things are going with this piece. We're artists, not engineers, so that business about so much of the work being "guessing and instinct" is probably true for most of us. It is for me. Yeah, I know about that business where the sander/grinder bites the surface too much. My solution is to grind until the weld bead is almost gone but not quite and then finish with a sanding disc. We do this crazy stuff because we must. Money and time fly out the door? Money is a tool, and time flys wether you're in your studio or watching TV. The return is that you're creating a beautiful sculpture and one that is unique and only you can do. I have faith that you'll realize this piece to IT'S fullest potential and that your next one will be even better. Remember, it's the journey that counts! I just wanted to let you know that you're not alone with all these feelings. We ALL get bummed out about this stuff, but tomorrow is another day.
Sincerely,
Jeff
sculptor
08-28-2004, 04:21 PM
hi guys:
Jeff:
as/re........"Now if I only knew how to tie a double-half-hitch"------seriously?
here is a picture of one-----for visuals, I used one of my 1" ropes
(hard to pull tight in this size---but worth the effort)
upper horizontal rope becomes rope that slides through the knot
2 on left go out to form a loop-----which is a tie-off
2 on right are ends-----bottom right stays free end, top right gets tied off.
so--pull on bottom 2 to tighten, --once tight, by pulling on the back side of the knot, you can slide it along the rope, meanwhile, if the rope pulls on knot it just tightens the knot---so--once tie-offs are done pull tight(towards knot) on bottom left - as you slide the knot to right----then pull on cinch(free end) rope, and knot will tighten and (usually) not slip on rope--------so you can snug up the load--and resnug and resnug and.....---
to loosen, pull knot towards loop
--also known as the truckers knot-----also, if you tie loosely, and pull pass-through into knot in middle as you push middle away from you, you will see that this is a square-knot
JAZ:
as/re..."The money and time always fly out the door and what's the return?
Why am I doing this? It's crazy. But I do it anyway. It's nuts."
Uh Huh--------yup-----same here-------Jeff's remarks speak for us all.
---------
even when I think i have it right-----I still find uncomfortable views----so it's a process of working away from the negative and toward that which I thought I wanted to see------(perfection) but---never actually gets there--darned depressing at times---sometimes, I'll sit and stare (quite confused)for long periods of contemplation of changes----
--but----the working through the problems has it's own reward---and I usually like the end product.......
best wishes
rod
sculptor (http://sculpture.alturl.com)
Araich
08-28-2004, 04:43 PM
JAZ, this is my first rlook at this thread since getting back from Melbourne... and it sounds like you have arrived at that magic moment when an object at scale demands it's own solutions. I have no doubt that you will find them, and the inventiveness that is forced on you, will serve you well in the next work.
All I can add to the above is that on every larger work that I make, I weld a bunch of temporary fixing points to, usually just a loop of 10mm steel rod. This gives me a frozen (no slipping strap) hanging point and also lets me get the maximum lift height (nothing lost to the strap/chain). I work alone and it is reassuring to have less potential rotation and sudden movement when I re-hang the piece.
ironman
08-28-2004, 09:01 PM
Hi Sculptor, Thanks for the knot tying tutorial. I went right out to the studio, got a piece of rope and in between bites of pizza, played around with the knot. I now know what a double-half-hitch is and how it performs.
Thanks, I appreciate that,
Jeff
Hi Jaz, It sounds like you're a little bummed out over the way things are going with this piece. We're artists, not engineers, so that business about so much of the work being "guessing and instinct" is probably true for most of us. It is for me. Yeah, I know about that business where the sander/grinder bites the surface too much. My solution is to grind until the weld bead is almost gone but not quite and then finish with a sanding disc. We do this crazy stuff because we must. Money and time fly out the door? Money is a tool, and time flys wether you're in your studio or watching TV. The return is that you're creating a beautiful sculpture and one that is unique and only you can do. I have faith that you'll realize this piece to IT'S fullest potential and that your next one will be even better. Remember, it's the journey that counts! I just wanted to let you know that you're not alone with all these feelings. We ALL get bummed out about this stuff, but tomorrow is another day.
Sincerely,
Jeff
Thanks, Jeff for the supportive input. It really is helpful and today does look better. I've used the sanding disc method, too, but they sure wear out fast. So when the welding supply place across the street introduced me to the Walters discs claiming they were better than sanding, I switched because they last so much longer. They do, and they work well to a point, but finishing with the sanding disc would be better. If I got a better worklight I'd have seen the result sooner, so that's one easy thing to fix. I've also been pondering getting the compressor driven type of sander, but haven't because then I'll have to take some time to figure out how to add a second line to the one I've been using (lazy, aren't I?). So far the compressor is only for my plasma cutter. One incentive I now have to move forward with that is that the safety on one of my two angle grinders just went, so I can't turn it on. It's a Craftsman, so I think they will replace it, but maybe I should get the sander now anyway.
As far as the balance on this sculpture, that might be harder to resolve. We'll see. Thanks for your kind words.
JAZ
JAZ, this is my first rlook at this thread since getting back from Melbourne... and it sounds like you have arrived at that magic moment when an object at scale demands it's own solutions. I have no doubt that you will find them, and the inventiveness that is forced on you, will serve you well in the next work.
All I can add to the above is that on every larger work that I make, I weld a bunch of temporary fixing points to, usually just a loop of 10mm steel rod. This gives me a frozen (no slipping strap) hanging point and also lets me get the maximum lift height (nothing lost to the strap/chain). I work alone and it is reassuring to have less potential rotation and sudden movement when I re-hang the piece.
That's a good suggestion Araich. What kind of hoist do you use and what is its maximum weight capacity? I hope your drive to Melbourne was as refreshing as you had hoped. A change of scenery is always good. Was it a private collector or a museum who bought the piece? Congratulations on that.
JAZ
Hey, Rod, thanks for the good thoughts and also for that knot. I have a sheet of knots in my file cabinet, but had forgotten about it. I'm printing your post out. I've got a couple of nautical ones I use. Here's one easy one.
Tie a loop in one end of the rope. Pass the other end through, then make a half hitch with the doubled other end, leaving the end of the rope dangling. Tighten. Then when you want to untie, just pull on the loose end.
JAZ
warren01
08-30-2004, 11:07 AM
I've used the sanding disc method, too, but they sure wear out fast. So when the welding supply place across the street introduced me to the Walters discs claiming they were better than sanding, I switched because they last so much longer. They do, and they work well to a point, but finishing with the sanding disc would be better. If I got a better worklight I'd have seen the result sooner, so that's one easy thing to fix. I've also been pondering getting the compressor driven type of sander
JAZ
JAZ, Wow quite the rigging there, I can almost hear the ceiling joist creaking. You had me lost there for a moment when you said Walters disc, but looking over their products, they have all type (Walter is the brand Duh). Now are you using the hard sand/grinding discs and then the flap style discs? Just curious because of the curves of your piece it may take variations of sanding discs to achieve what you want. Yeah ya sure do go through a lot of sanding products don't we.
On the air driven sander, first thing you want to think about is how big is your air compressor. Most air sanders take quite a bit of air to run, therefore requiring a large compressor. In addition, they require maintenance like oiling and having a water trap on the air line. I do not like working with the air sanders because of that -- oil mist on the steel or worst yet the little water mist. Besides, I hate hearing the air compressor running all of the time.
warren
jwebb
08-30-2004, 01:02 PM
JAZ,
Looks to me like maybe you need to move the "pivot point" as Rod defined it up higher into the piece. In other words, the vertical element with the ball on it, which you said is 27" high, might need to be much higher. Then the weight of the piece will hang below the ball and spin on it, rather than pushing down on it from above. I understand that the internal structure may not allow this easily. And, getting the thing onto the vertical element will really be a trick the longer that element is. Are you by any chance on the second floor? Can you stand the base down on the sidewalk and lower the piece onto it out the window? These are the kind of "Engineering" solutions that occur to me on these things. Also, there is a device called a Come-along, a self-contained, ratcheting kind of block and tackle, that is fairly cheap at an auto parts store. I've found it very useful in these kinds of problems because it allows you to pull things along or up or whatever in very small, secure increments.
Araich
08-30-2004, 04:08 PM
What kind of hoist do you use and what is its maximum weight capacity?... Was it a private collector or a museum who bought the piece? JAZ
Hi JAZ, I use 3, cheap, 1 ton chain blocks - not all of us can afford fancy electric winches you know :p
Yes that commission 'In Rapture' went to a private collector. I have had a string of bad luck with corporate stuff lately, hearing yesterday that I'd lost a commission for a hospital when they simply cancelled their art budget!
The trip south was excellent, close to perfect, but I'm feeling hassled and pissed off again now that I am back. I don't know what is wrong with me.
Could you post a couple more photos of the work? With some alternate angles to those above.
JAZ, Wow quite the rigging there, I can almost hear the ceiling joist creaking. You had me lost there for a moment when you said Walters disc, but looking over their products, they have all type (Walter is the brand Duh). Now are you using the hard sand/grinding discs and then the flap style discs? Just curious because of the curves of your piece it may take variations of sanding discs to achieve what you want. Yeah ya sure do go through a lot of sanding products don't we.
On the air driven sander, first thing you want to think about is how big is your air compressor. Most air sanders take quite a bit of air to run, therefore requiring a large compressor. In addition, they require maintenance like oiling and having a water trap on the air line. I do not like working with the air sanders because of that -- oil mist on the steel or worst yet the little water mist. Besides, I hate hearing the air compressor running all of the time.
warren
I've been using an angle grinder to get most of the weld, then the Walters whatever-it's-called (flap disc?) becasue I was advised that would be better than the sanding disc, but as you know, I'm rethinking that. Maybe the good old fashioned sanding disc woudl be the best last step. Maybe, angle grinder, then Walter, then sanding? I usually also go over everything with a tell cup brish at the end to get rid of the shiny surface and the sharp spots. Now we're talking some serious time spent. A friend recommended that having two or more angle grinders saves time because you don't have to switch the consumables as often (one for grinding, one for sanding, etc.). He gets cheap ones through the Harbor Freight catalogue. So I bought a second one and it definitely saves some time.
As far as the air sander - I have a 5 horespower 25 gal Campbell Hausfell Extreme Duty, so I don't think ther'd be a problem, though the oil and water issue you describe doesn't sound very good. Maybe I should just use what I have.
Hey, thanks for saving me some money.
The central support is so well embedded that I'd really have to cut the whole thing open to extend that and also rebuild the base. Also, extending it, as you point out, would be a logistical problem. I am actually on the second floor, but the windows aren't an option for anything becaseu ,in additon to the regular window screening, the landlord had 1/2 inch wire mesh installed on all of the windows to prevent rocks thrown by kids from breaking our windows. Once, when there was a machine shop downstairs, the machinist wanted me to use my plasma cutter to cut up a big metal frame embedded in his floor. The only way I could do it (becasue he didn't have the same electrical service the cutter needs) would have been to lower the cutting trigger down through the window, so I asked the landlord for permission to curl up the corner of the wire mesh, which I'd replace when done. He said no. Right now you're maybe wondering why I didn't just go ahead without asking. We've been able to maintain a good relationship so far and he does things for me - like let me fillup the whole corridor outside my space with sculpture and photos and not charge me for it - so I do everything I cand to keep everything fair for both sides. He also has not raised the rent in the four or five years I've been there. I'm not about to rock that boat.
Anyway, I'm in the process of achievign the same thing the opposite way. I'm lowering the center of gravity by packing one of the bottom "legs", that is below where the ball will be, with weights. I'm not positive yet, but I think that I can get it heavy enough to get things on an even keel. I bought a bathroom scale and between that and some handy bar stock that the guy next door gave me I hope to conquor that issue.
Thanks for the suggestions. It really helps to hear all of these different solutions. Next piece will be a snap, right?
Hi JAZ, I use 3, cheap, 1 ton chain blocks - not all of us can afford fancy electric winches you know :p
Yes that commission 'In Rapture' went to a private collector. I have had a string of bad luck with corporate stuff lately, hearing yesterday that I'd lost a commission for a hospital when they simply cancelled their art budget!
The trip south was excellent, close to perfect, but I'm feeling hassled and pissed off again now that I am back. I don't know what is wrong with me.
Could you post a couple more photos of the work? With some alternate angles to those above.
Sorry to hear about your bad luck. Really, it's their loss.
Nothing is wrong with you, at least as far as I can see (not thousands of miles of course, so it's fine if you have bad breath or spit on the floor or something!). My input to anyone who feels hassled is to go and walk by the ocean or out in the wilderness for awhile. Looking at something that's a million times bigger than we are sure makes our little human tragedies seem insignificant.
Well, I don't know about the Aussie prices for chain falls and electric hoists, but here a one ton chain fall is about $70 new and my 800 lb capacity electric hoist was I think $130. 70 x 3 = $210. So who is the rich dude with the slick equipment now, eh? (of course you've got 3,000 lbs of carrying power for your money, but we won't go there.)
I will post a couple more photos, maybe tomorrow.Of course now I've had to do some surgery on the sculpture to open up space for the weights. Also, I removed the parts that I had only tacked in thinking that that's where I'd be adding the weights (wrong). Anyway, it's a work in progress.
I still like the outer shape of this one, and it makes an abstraction out of a real, acurate-to-nature shape. It also makes a conceptual space solid. It is the footprint of a tree by a trail in the old growth forest in Tennessee, which is hundreds and hundreds of miles from where I am now, yet it is also a very solid steel shape in my studio. And its form is visible in a way that isn't possible at all when looking at the live tree.
But the main visual drawback of this idea is that from the edges it's only 4" wide. It was meant to turn. If I fail in that I could make it stationary, but then the side views would be really boring. It has to move, just a little, slowly is fine, but some movement. I did one before that was a similar scale, though a more evenly distributed shape and much flatter and lighter. It moves very well, catching people by surprise when it shifts in the slightest breeze. The maple seeds, too, but they are even lighter and act like wings.
Anyway, yes about the photos. Tonight I tried to photograph a couple of little wall things I have, but the camera batteries and the back up batteries were all needing recharging. Tomorrow is another day. Meanwhile I'm also trying to work on my syllabus for school, which starts next Wednesday. I'll be teaching Drawing II, which I've done for awhile, but also Intro to Sculpture and 3D Design, which I've never done before. It'll only be paper, cardboard, plaster, plasticene clay andrivetted aluminum flashing. No welding fascility or any of the other heavy duty stuff. This is just a two year community college not an art school. If you or anyone has any ideas for good projects, let me know.
Thanks for your suggestion about putting a loop ont he piece and hooking it up just from the top. That worked very well.
JAZ
JAZ
....Could you post a couple more photos of the work? With some alternate angles to those above.
Araich, I took these photos a couple of days ago right after you posted the request, but just now had the time to try to make them readable. Because the workspace is so cluttered and I don't have professional lighting, it was very hard to see the shape, so I faded the backgrounds. It looks kind of weird, but at least you can see the shape.
One image shows the more finished side. The opposite view shows how some of the internal structure is laid out and also where I removed some of the outer surface so I could fit weights lower down. The reason for the circular form on each side is to help mask the joints where the plates are welded together. The circle is the circumference of the tree at 4 feet off the ground (33" in diameter). The remaining image shows an edge-on view. When you see the piece from this angle it almost disappears, which is interesting, as long as the piece rotates. If stationary I think this would be a real limitation. In reading everyone's comments in another thread (JWebb's?) about how 3D works always need to hold up from all angles I do wonder about the way I've gone about this piece since it obviously is flat. However, it does make solid and visible a form that is only conceptual otherwise. (That sounds pretty funny because of course that's what most art does, but you know what I mean.) In the edge photo the parts that are closer look wider, hence the strange variations in thickness, when in fact it is all the same thickness - 4 inches.
Something else about this that I have not resolved is what color it will ultimately be.
JAZ
Araich
09-19-2004, 04:26 PM
I think you must have forgotten the pictures? How has it worked out?
What's the matter with you, Araich? Can't you see those photos? (Joking) Yes, it would work better if I actually attached them, wouldn't it?
They aren't very good becasue I still haven't bought the pro lights and I can't get far enough back from the piece either - small shop filled with equipment.
As far as the current status. I spent a good part of three days readjusting weights, etc. I cut open some parts of what I had thought was complete, then stopped working on it in frustration because what I really need to do is do open heart surgery and reinstall the central core element at a different angle. This is the first time I've had to take something big apart and am disgusted with myself. The factor that creates this situation is that I want to keep the outside shape for obvious reasons. If this were an original abstract I could just add a bit more to the shape here and there to make it work. Anyway I've been doing some small experiments in cast paper, and I just started taking a workshop in figurative modelling - really only so I can stay one step ahead of my students, not becasue I plan to go in that direction.
But I will be going into the sculpture operating room this week.
JAZ
fritchie
09-20-2004, 07:33 PM
Very impressive piece, JAZ! Thanks for sharing even preliminary images.
Very impressive piece, JAZ! Thanks for sharing even preliminary images.
Thanks for the nice thought, Fritchie, but I don't think it really is impressive at all. Every time I go to a show and see how much bigger other people work.... and it takes me forever to finish something even this size. Also, it is nowhere near as intriguing a form as the two that Sam just posted. It's much, much simpler.
But today, after I did some more on the cast paper experiments, I started the surgery, taking a bit more of the "skin" off and cutting out some of the stuff that I just spent days welding in. Then I laid the piece back down on the cutting table and tomorrow I will dig out the central pipe/sleeve. I'm going to put a new one in at a different angle and make it a little longer (which someone suggested earlier in this thread, but I wasn't ready to succomb to then), which means that I'll also have to redo the base to make the upright taller. This is painful. I feel like I'm getting nowhere fast. But I'm going to finish this darned thing one way or another.
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